“No. Not even in the face of Armageddon. Never compromise.”

Diary of an Unknown (1988)

TV Interview for Channel 4 A Week in Politics (1 February 1985) http://www.margaretthatcher.org/document/105955
Second term as Prime Minister

Source: A Thousand & One Epigrams: Selected from the Writings of Elbert Hubbard (1911), p. 52

Of God and Men, p. 39

“Where Desert Spirits Crowd the Night”, p. 291
The Ivory and the Horn (1996)

History and Utopia (1960)

David Bomberg "The Bomberg Papers", ed. Patrick Swift, X: A Quarterly Review, Vol 1, No 3, June 1960
Context: Speaking generally Art endevours to reveal what is true and needs to be free. All things said regarding Art are subject to contradiction. An artist whose integrity sustains his strength to make no compromise with expediency is never degraded. His life work will resemble the integrating character of the primaries in the Spectrum. At the beginning, of the middle period, and at the end… I approach drawing solely for structure. I am perhaps the most unpopular artist in England – and only because I am draughtsman first and painter second. Drawing demands a theory of approach, until good drawing becomes habit – it denies all rules. It requires high discipline… Drawing demands freedom, freedom demands liberty to expand in space – this is progress. By the extension of democracy – good draughtsmanship is – Democracy’s visual sign. To draw with integrity replaces bad habits with good, youth preserved from corruption. The hand works at high tension and organises as it simplifies, reducing to barest essentials, stripping all irrelevant matter obstructing the rapidly forming organisation which reveals the design. This is drawing.

Charles Eames, interview in: Domus, monthly review of architecture interiors design art, Nr. 482-493, 1970; Cited in: American Academy and Institute of Arts and Letters (1980) Proceedings of the American Academy and Institute of Arts and Letters. p. 77

Jane Lewis, Chapter 8, p. 130
Source: 2000s, The Wedding (2003)