Note that there was no claim for these attacks [on 9/11]. There were no demands. There were no statements. It was a silent piece of terror.

The history of other cultures is non-existent until it erupts in confrontation with the United States.

It [9/11 event] was aimed at symbols: the World Trade Center, the heart of American capitalism, and the Pentagon, the headquarters of the American military establishment. But it was not meant to be argued with. It wasn't part of any negotiation. No message was intended with it. It spoke for itself, which is unusual.

What we must eliminate are systems of representation that carry with them the authority which has become repressive because it doesn't permit or make room for interventions on the part of those represented.

If you look at the curricula of most universities and schools in this country [USA], considering our long encounter with the Islamic world, there is very little there that you can get hold of that is really informative about Islam. If you look at the popular media, you'll see that the stereotype that begins with Rudolph Valentino in The Sheik has really remained and developed into the transnational villain of television and film and culture in general.

... 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.

Just as none of us is outside or beyond geography, none of us is completely free from the struggle over geography. That struggle is complex and interesting because it is not only about soldiers and cannons but also about ideas, about forms, about images and imaginings.