In an age when cultural appropriation is “problematic,” the EU is a repeat offender. Not content with stealing a continent’s name and rewriting its history, the engineers of “ever closer union” have spent years squeezing centuries of art into a “European” (as they abuse that term) straitjacket, a maneuver anticipated by General de Gaulle during a press conference over half a century ago. Dante, Goethe, and Chateaubriand, he agreed, “belonged to Europe” insofar as they were Italian, German, and French. But they would not have done much for Europe had they lacked a nationality and written in some sort of “harmonized Esperanto or” — and here de Gaulle reinforced mockery with erudition — “Volapük.”