"I would rather not tell you here things which every German has at heart"
About this Quote
A dodge dressed up as intimacy: Speer’s line offers the listener a warm illusion of shared feeling while withholding anything concrete that could be challenged. “I would rather not tell you here” is the grammar of evasion, a preemptive boundary that says less about discretion than about control. He implies he possesses some deep, authentic reservoir of “things” but chooses restraint. That pose is useful for a man whose survival after 1945 depended on appearing reflective without becoming fully legible.
The phrase “which every German has at heart” does the heavier lifting. It launders personal belief into national consensus, converting ideology into a private ache supposedly common to all. It’s a classic collectivizing trick: if everyone carries it “at heart,” then no one in particular is responsible for it. Speer doesn’t name the feeling because naming would force content - loyalty, resentment, grief, revanchism, guilt - and content invites judgment. Vagueness becomes a shield.
Context matters: Speer spent the postwar years crafting a narrative of the “apolitical technocrat,” the cultured architect swept into history’s machinery. This sentence fits that strategy. It hints at a muted German interiority, a suffering or yearning that outsiders “here” (in Allied custody, in foreign company, in the court of global opinion) couldn’t understand. The subtext is a request for sympathetic exemption: don’t ask me to articulate it, just grant that it’s human, shared, and therefore forgivable.
It’s not confession; it’s choreography - a way to keep the moral spotlight diffuse while sounding almost tender.
The phrase “which every German has at heart” does the heavier lifting. It launders personal belief into national consensus, converting ideology into a private ache supposedly common to all. It’s a classic collectivizing trick: if everyone carries it “at heart,” then no one in particular is responsible for it. Speer doesn’t name the feeling because naming would force content - loyalty, resentment, grief, revanchism, guilt - and content invites judgment. Vagueness becomes a shield.
Context matters: Speer spent the postwar years crafting a narrative of the “apolitical technocrat,” the cultured architect swept into history’s machinery. This sentence fits that strategy. It hints at a muted German interiority, a suffering or yearning that outsiders “here” (in Allied custody, in foreign company, in the court of global opinion) couldn’t understand. The subtext is a request for sympathetic exemption: don’t ask me to articulate it, just grant that it’s human, shared, and therefore forgivable.
It’s not confession; it’s choreography - a way to keep the moral spotlight diffuse while sounding almost tender.
Quote Details
| Topic | War |
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