"After every war, there's an immense overhaul of language, which in the Western world has created really the cultural and artistic phenomenon of what we call modernism; that is, a paring down of everything to minimal size, including language and ideas of grandeur, and ideas of a possibility of the state making everybody happy, and things like that. That modernism is really a form of skepticism or minimalism. You cut out everything that has deceived you and throw it away, and that leaves you with things like the Eames chair and Picasso and numerous other outcrops of modernism."

“The Fate of Chivalry and the Assault Upon Mother" from Thank God for the Atom Bomb and Other Essays”

“Those who fought know a secret about themselves, and it is not very nice." … They have experienced secretly and privately their natural human impulse toward sadism and brutality. As I say in this new book of mine, not merely did I learn to kill with a noose of piano wire put around somebody's neck from behind, but I learned to enjoy the prospect of killing that way. It's those things that you learn about yourself that you never forget. You learn that you have much wider dimensions than you had imagined before you had to fight a war. That's salutary. It's well to know exactly who you are so you can conduct the rest of your life properly.”

“As a former soldier, what struck me is the absolutely heartless way that war was being pursued by the Americans, partly I think because of the race problem. The Vietnamese to us were not merely communists, they were nasty little yellow people without souls. It didn't matter how we blew them up or how we bombed them or how we burned their villages and so on. I was very struck by that. And one thing I was trying to do in The Great War and Modern Memory was to awaken a sort of civilian sympathy for the people who suffer on the ground in wartime, and that's really an act that I've been performing, oh, ever since 1945, I suppose.”

“To those on both sides who suffered.”

“: It's ironic because everybody believes that life is pleasurable, and they should. They have a right to believe that, especially if they're brought up under a Constitution that talks about the pursuit of happiness. To have public life shot through with that kind of optimism and complacency is the grounds for horrible, instructive irony when those generalities prove not true. War tends to prove them not true. War is about survival and it's about mass killing and it's about killing or being killed — that is, in the infantry — and it is extremely unpleasant. One realizes that a terrible mistake has been made somewhere, either by the optimistic eighteenth century or by mechanistic twentieth century. The two don't fit together somehow, and that creates, obviously, irony.”

“Irony is a great help in helping to penetrate fraudulent language. In the Second War especially, the language became virtually identical with the language of advertising. It was seen through by the troops, who knew what the truth was. It helped to sustain civilian support for the war, which was its purpose, after all. … And euphemism has remained, of course. It's a large part of the tone of public discourse. … It's now practiced on so wide and so official a scale that it's grown out of all proportion to what it was in the war.”