... the connection between imperial politics and culture is astonishingly direct. American attitudes to American "greatness", to hierarchies of race, to the perils of "other" revolutions (the American revolution being considered unique and somehow unrepeatable anywhere else in the world) have remained constant, have dictated, have obscured, the realities of empire, while apologists for overseas American interests have insisted on American innocence, doing good, fighting for freedom.

[Mujahedeen], by the way, don't represent Islam in any formal sense. They're not imams or sheiks. They are self-appointed warriors for Islam.

I emphasize in it [my Orientalism] accortdingly that neither the term Orient nor the concept of the West has any ontological stability; each is made up of human effort, partly affirmation, partly identification of the Other.

Captain Ahab was a man possessed with an obsessional drive to pursue the white whale which had harmed him - which had torn his leg out - to the ends of the Earth, no matter what happened. In the final scene of the novel, Captain Ahab is being borne out to sea, wrapped around the white whale with the rope of his own harpoon and going obviously to his death. It was a scene of almost suicidal finality.

Beginning is not only a kind of action. It is also a frame of mind, a kind of work, an attitude, a consciousness.

These actions were taken with the support and financing of the United States. How can you say this is part of U.S. adherence to international law and U.N. resolutions? The result is a kind of schizophrenic picture of the United States.

Orientalism can be discussed and analyzed as the corporate institution for dealing with the Orient—dealing with it by making statements about it, authorizing views of it, describing it, by teaching it, settling it, ruling over it: in short, Orientalism as a Western style for dominating, restructuring, and having authority over the Orient.