'Our union can be perfected.'

'Yeah, suck it, I do read the paper.'

'We may not be the best people...'

'But we're not the worst.'

'Graduate students are the worst.'

In case you're wondering what to buy me for Christmas this year, I've decided to make it easy on you.

'It seems like she sleeps an awful lot.'

'They all do.'

'And I always thought: the very simplest words
Must be enough. When I say what things are like
Everyone's heart must be torn to shreds.
That you'll go down if you don't stand up for yourself.
Surely you see that.'

'When my reasons come to an end and I am thrown back upon myself, upon my nature as it has so far shown itself, I can, supposing I cannot shift the ground of discussion, either put the pupil out of my sight - as though his intellectual reactions are disgusting to me - or I can use the occasion to go over the ground I had hitherto thought foregone. If the topic is that of continuing a series, it may be learning enough to find that I just do; to rest upon myself as my foundation. But if the child, little or big, asks me: Why do we eat animals? or Why are some people poor and others rich? or What is God? or Why do I have to go to school? or Do you love black people as much as white people? or Who owns the land? or Why is there anything at all? or How did God get here?, I may find my answers thin, I may run out of reasons without being willing to say "This is what I do" (what I say, what I sense, what I know), and honor that.

Then I may feel that my foregone conclusions were never conclusions I had arrived at, but were merely imbibed by me, merely conventional. I may blunt that realization through hypocrisy or cynicism or bullying. But I may take the occasion to throw myself back upon my culture, and ask why we do what we do, judge as we judge, how we have arrived at these crossroads. What is the natural ground of our conventions, to what are they in service? It is inconvenient to question a convention; that makes it unserviceable, it no longer allows me to proceed as a matter of course; the paths of action, the paths of words, are blocked. "To imagine a language means to imagine a form of life." (cf. §19). In philosophizing, I have to bring my own language and life into imagination. What I require is a convening of my culture's criteria, in order to confront them with my words and life as I pursue them and as I may imagine them; and at the same time to confront my words and life as I pursue them with the life my culture's words may imagine for me: to confront the culture with itself, along the lines in which it meets in me.

This seems to me a task that warrants the name of philosophy. It is also the description of something we might call education. In the face of the questions posed in Augustine, Rousseau, Thoreau . . . , we are children; we do not know how to go on with them, what ground we may occupy. In this light, philosophy becomes the education of grownups. It is as though it must seek perspective on a natural fact which is all but inevitably misinterpreted - that at an early point in life the normal body reaches its full strength and height. Why do we take it that because we then must put away childish things, we must put away the prospect of growth and the memory of childhood? The anxiety in teaching, in serious communication, is that I myself require education. And for grownups this is not natural growth, but change. Conversion is a turning of our natural reactions; so it is symbolized as rebirth.'

'Reminiscences, even extensive ones, do not always amount to an autobiography. And these quite certainly do not, even for the Berlin years that I am exclusively concerned with here. For autobiography has to do with time, with sequence and with what makes up the continuous flow of life. Here, I am talking of a space, of moments and discontinuities. For even if months and years appear here, it is in the form they have at the moment of recollection. This strange form - it may be called fleeting or eternal - is in neither case the stuff that life is made of. And this is shown not so much by the role that my own life plays here, as by that of the people closest to me in Berlin - whoever and whenever they may have been. The atmosphere of the city that is here evoked allots them only a brief, shadowy existence. They steal along its walls like beggars, appear wraithlike at windows, to vanish again, sniff at thresholds like a genius loci, and even if they fill the whole quarters with their names, it is as a dead man's fills his gravestone. Noisy, matter-of-fact Berlin, the city of work and the metropolis of business, nevertheless has more, rather than less, than some others, of those places and moments when it bears witness to the dead, shows itself full of dead; and the obscure awareness of these moments, these places, perhaps more than anything else, confers on childhood memories a quality that makes them at once evanescent and as alluringly tormenting as half-forgotten dreams. For childhood, knowing no preconceived opinions, has none about life. It is as dearly attached (though with just as strong reservations) to the realm of the dead, where it juts into that of the living, as to life itself. How far a child has access to the past is difficult to tell, and depends on many things - time, environment, its nature and education. The limitation of my own feeling for the Berlin that is not circumscribed by a few facts about the Stratau Fair and Frederick in 1848 - that is, for the topographical tradition representing the connection with the dead of this ground - results entirely from the circumstance that neither of my parents' families were natives of Berlin. That sets a limit to the child's memory - and it is this limit, rather than childhood experience itself, that is manifest in what follows. Wherever this boundary may have been drawn, however, the second half of the nineteenth century certainly lies within it, and to it belong the following images, not in the manner of general representations, but of images that, according to the teaching of Epicurus, constantly detach themselves from things and determine our perception of them.'

'If I write better German than most writers of my generation, it is thanks largely to twenty years' observance of one little rule: never use the word "I" except in letters.'