The Hare With Amber Eyes: A Family's Century of Art and Loss QUOTES

2 " With languages, you can move from one social situation to another. With languages, you are at home anywhere. "

― Edmund de Waal , The Hare With Amber Eyes: A Family's Century of Art and Loss

4 " Stories are a kind of thing, too. Stories and objects share something, a patina. I thought I had this clear, two years ago before I started, but I am no longer sure how this works. Perhaps a patina is a process of rubbing back so that the essential is revealed, the way that a striated stone tumbled in a river feels irreducible, the way that this netsuke of a fox has become little more than a memory of a nose and a tail. But it also seems additive, in the way that a piece of oak furniture gains over years and years of polishing, and the way the leaves of my medlar shine. "

― Edmund de Waal , The Hare With Amber Eyes: A Family's Century of Art and Loss

6 " Does assimilation mean that they never came up against naked prejudice? Does it mean that you understood where the limits of your social world were and you stuck to them? "

― Edmund de Waal , The Hare With Amber Eyes: A Family's Century of Art and Loss

8 " I do not know where Viktor and Rudolf were taken. I cannot find the records. I never Elisabeth or Iggie.

It is possible that they were taken to the Hotel Metropole, which has been sequestered as the headquarters of the Gestapo. There are many other lock-ups for this flood of Jews. They are beaten, of course; but they are also forbidden to shave or wash so that they look even more degenerate. This because it is important to address the old affront of Jews not looking like Jews. This processing of stripping away your respectability, taking away your watch-chain, or your shoes or your belt, so that you stumble to hold up your trousers with one hand, is a way of returning everyone to the shtetl, stripping you back to your essential character - wandering, unshaven, bowed with your possessions on your back. You are supposed to end up looking like a cartoon from Der Stuermer, Streicher's tabloid that is now sold on the streets of Vienna. They take away your reading glasses. "

― Edmund de Waal , The Hare With Amber Eyes: A Family's Century of Art and Loss

10 " There is something about that burning of all those letters that gives me pause: why should everything be made clear and be brought into the light? Why keep things, archive your intimacies? Why not let thirty years of shared conversation go spiralling in ash up into the air of Tunbridge Wells? Just because you have it does not mean you have to pass it on. Losing things can something gain you a space in which to live. "

― Edmund de Waal , The Hare With Amber Eyes: A Family's Century of Art and Loss

12 " Yangi, a philosopher, art historian and poet, had evolved a theory of why some objects - pots, baskets, cloth made by unknown craftsmen - were so beautiful. In his view, they expressed unconscious beauty because they had been made in such numbers that the craftsman had been liberated from his ego. "

― Edmund de Waal , The Hare With Amber Eyes: A Family's Century of Art and Loss

14 " The house wasn't theirs anymore. It was full of people, some in uniforms and some in suits. People counting rooms, making lists of objects and pictures, taking things away. Anna is in there somewhere. She has been ordered to help with this packing-up into boxes and crates, told that she should be ashamed of working for the Jews.

And it is not just their art, not just the bibelots, all the gilded stuff from tables and mantelpieces, but their clothes, Emmy's winter coats, a crate of domestic china, a lamp, a bundle of umbrellas and walking-sticks. Everything that has taken decades to come into this house, settling in drawers and chests and vitrines and trunks, wedding-presents and birthday-presents and souvenirs, is now being carried out again. This is the strange undoing of a collection, of a house and of a family. It is the moment of fissure when grand things are taken and when family objects, known and handled and loved, become stuff. "

― Edmund de Waal , The Hare With Amber Eyes: A Family's Century of Art and Loss

16 " And I'm not entitled to nostalgia about all that lost wealth and glamour from a century ago. And I am not interested in thin. I want to know what the relationship has been between this wooden object that I am rolling between my fingers - hard and tricky and Japanese - and where it has been. I want to be able to reach to the handle of the door and turn it and feel it open. I want to walk into each room where this object has lived, to feel the volume of the space, to know what pictures were on the walls, how the light fell from the windows. And I want to know whose hands it has been in, and what they felt about it and thought about it - if they thought about it. I want to know what it has witnessed. "

― Edmund de Waal , The Hare With Amber Eyes: A Family's Century of Art and Loss

18 " Stories and objects share something, a patina...Perhaps patina is a process of rubbing back so that the essential is revealed...But it also seems additive, in the way that a piece of oak furniture gains over years and years of polishing. "

― Edmund de Waal , The Hare With Amber Eyes: A Family's Century of Art and Loss

20 " Charles bought a picture of some asparagus from Manet, one of his extraordinary small still lifes, where a lemon or rose is lambent in the dark. It was a bundle of twenty stalks bound in straw. Manet wanted 800 francs for it, a substantial sum, and Charles, thrilled, sent 1,000. A week later Charles received a small canvas signed with a simple M in return. It was a single asparagus stalk laid across a table with an accompanying note: ‘This seems to have slipped from the bundle. "

― Edmund de Waal , The Hare With Amber Eyes: A Family's Century of Art and Loss