There are many reasons I feel at home in the U.K., but if I were asked to pinpoint the moment I knew I'd arrived, it might well be when I realised the British shared my love of fritters.
When I was in high school, I looked for the black presence in a British historical tradition - before too much slavery and empire - that would not cost me my self-respect.
I see myself as British, and I want to be celebrated by Britain.
British people don't express when they are in pain. They don't think it's elegant.
Most people in this country are very fair-minded; they understand we're in the middle of a very difficult journey of repairing, rescuing, restoring our British economy, and they want us, and they want particularly Liberal Democrats in government, to fight for the fairest possible way of doing that.
My grandmother is British. She was in the Women's Auxiliary Air Force during World War II. That's where she met my grandfather, who was sailing for the British Royal Navy. She was a war bride.
The British Museum was founded with a civic purpose: to allow the citizen, through reasoned inquiry and comparison, to resist the certainties that endanger free society and are still among the greatest threats to our liberty.
We have to ensure that our immigration system works in the interests of Britain, enabling us to make a realistic promise to our young school-leavers. It is part of our contract with the British people.
Bring me another bad one, and I shall protect my British people - I brought down Thatcher to protect my people, and I'm bringing down Tony to defend them, and I'll be there for any other dangers that come along.
The monarchy is foremost a business, and it's important to them that the British public continue to finance the excessive luxurious lifestyles of the now quite enormous, wasteful and useless 'royal' family. I find it very sad.
When I get asked about novelists I like, they tend to be white, male, and British, like Graham Greene. They write the kind of declarative sentences I like. I don't like to be deflected by acrobatics.
My vision is to put this country and the British people first and for us to divorce ourselves from political union and re-engage with the rest of the world.
I sometimes feel like a British writer more so than I feel like an American writer. But I think that has to do with my subjective understanding of what it means to be either of those things.
Regressing back to an infant state is nothing to be proud of. Rich Americans don't drive themselves, don't cook, don't do their own nails/hair/make-up, don't shop, and I suppose all they've got in common with rich British people is that they don't raise their own kids, either.
I am often accused of colluding with the British during the freedom struggle. I want to ask, how?
I'm a big fan of British journalists like 'The Independent's Robert Fisk, but it's hard to find voices like his in the U.S.
Among the fables that inspired the British Admiralty's cartographic assignments to Captain James Cook in the 1770s and Captain George Vancouver in the 1790s was a 1640 account under the name of Bartholomew de Fonte that appeared in a journal with the delightful title 'The Monthly Miscellany, or Memoirs for the Curious.'
The British retreat is over and now the advance will begin.
I'm three-quarters Russian, so I've always felt an outsider. But I don't think you can be in a play with John Of Gaunt's 'This sceptred isle' speech and not feel proud to be British.
The truth is that the free movement of goods, people, and money that developed under British hegemony between 1870 and 1913 - the first episode of globalization - was made possible, in large part, by military might rather than market forces.
Both Iraq and Syria are a fissile mixture of ethnicities and religions thrown together after Versailles by departing French and British imperialists and only kept together by Baathist tyranny and violence.
I believe that a large part of the training in the regional theaters is in imitation of the British style of acting. The British orientation is textual; they start from the language and work toward the character.
The thing that runs through the British film industry even today is a lot of unsung movies are financially the bigger ones. Even though they weren't always the greatest of movies, something in them was very potent which people loved.
Children's publishing is the jewel in the crown of British publishing.
I think we're all guilty of it as British citizens: if something gets big, we go, 'Ugh.'
In the United Kingdom, we need to promote an inclusive British identity that involves and empowers people from all ethnic and faith backgrounds.
The skills of the British intelligence community are a great national asset.
Being British, I don't want to be all paranoid and arrogant and think people are looking at me because, really, I'm nothing.
'Notting Hill?' Does that poke fun at being British? Maybe it does. In 'Mickey Blue Eyes,' that's kind of the point: the clash of worlds, the unlikely combo of a respectable Englishman and a mob guy. If you take out the Britishness, you don't really have much.
British innovation in design, in the creative arts, in engineering and manufacturing is world class.
I know the British people and they are not passengers - they are drivers.
I hope Britain stays in the European Union, but I don't want to decide for the British.
I love British cursing - the cadence of it, the joy in the sound of the words, and the vulgarity of it.
Now the British are coming. I think Cameron should ask the Chinese government not to make people 'disappear' or to jail them merely because they have different opinions.
Between 1945 and 1965, the number of colonial people ruled by the British monarch plunged from 700 million to five million. In 1956, just three years after the coronation, the Suez canal crisis and Anthony Eden's humiliation ended all notions that Britain was a world superpower.
For many, the icon of the British Museum is the Rosetta Stone, that administrative by-product of the Greek imperial adventure in Africa.
