We must ask ourselves: Are we a confident, forward-looking nation that builds monuments - like DACA - to hope and determination? Or are we a nation that is turned inward, lauding monuments to intolerance and division?
There are thousands of Ten Commandments plaques or monuments all over the country, and lawsuits to remove them have popped up in more than a dozen states.
The Greeks, the Italians, and the Indians, from whom we get our ideas, erect monuments to ideas; we erect ours to men, and of such monuments we have an oversupply.
People should have freedom in their pilgrimages and tours. They should come and visit historical monuments and sites - let's say the sites around Iran - where they can easily engage in wide- scale contacts with others.
The Beatles never got through to all ages, nor did Elvis Presley, or any of the other monuments of mediocrity that we've had.
Nearly every president in the past 100 years has declared national monuments, from Teddy Roosevelt creating the Grand Canyon National Monument to George W. Bush preserving 10 islands and 140,000 square miles of ocean waters in the Northwestern Hawaiian Islands.
Historic Amsterdam, that old part you first see when you turn up at Centraal Station, may have its monuments, but it's also the most tawdry and overcrowded part of the city.
Who could look on these monuments without reflecting on the vanity of mortals in thus offering up testimonials of their respect for persons of whose very names posterity is ignorant?
Why should the Eisenhower memorial be over twice the size of WWII Memorial? Why should it be so vast as to comfortably house two Lincoln Memorials, two Washington Monuments, and two Jefferson Memorials - all six at once?
Ancient monuments 300 to 1000-plus years old are never 'renovated,' only 'restored,' a distinction that escapes the babus.
Confederate monuments belong in museums where we can study and reflect on that terrible history, not in places of honor across our state.
As I passed along the side walls of Westminster Abbey, I hardly saw any thing but marble monuments of great admirals, but which were all too much loaded with finery and ornaments, to make on me at least, the intended impression.
The monuments of the nations are all protests against nothingness after death; so are statues and inscriptions; so is history.
It took me some years to clear my head of what Paris wanted me to admire about it, and to notice what I preferred instead. Not power-ridden monuments, but individual buildings which tell a quieter story: the artist's studio, or the Belle Epoque house built by a forgotten financier for a just-remembered courtesan.