“The poet Rainer Maria Rilke and many others bowed in humble and awed obeisance to the ‘War God.’ Und wir? Glühen in Eines zusammen,/ In ein neues Geschöpf, das er tödlich belebt.* [“*And we? We glow as One/ A new creature invigorated by death.”] Invigoration by death: such was Germany's ‘rite of spring.’”
Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era
“The first impulse of an enlightened person on hearing the proposal to broadcast the debates of Parliament is merely that it is one of the typical triumphs of modern science. It is telling us that everybody can listen to what nobody wants to hear.”
G.K. Chesterton in Illustrated London News April 5, 1925, quoted in “Radio (and TV and Movies)” in Gilbert: the Magazine of the Society of G.K. Chesterton Vol. 28 #3 (Jan./Feb. 2025)
“The inclination here was to regard the war as a form of art, as a superior representation of life: only when mankind recognized that salvation lay in aesthetic values, in the symbolism of life and death, and not in sterile social norms, would the horror and sadness have meaning and be overcome. As evocation, as an instrument of change, the war had a positive purpose – that was the judgment of many artists, at least early on. The most radical artistic response to the war came from a group of people who made a complete break with traditional loyalties and gathered in neutral Zürich in 1915 to found there the Dada idea – if one can speak of this nihilistic manifestation as an idea. The cohort had an international flavor but its core was German.”
Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era
“The BBC reports that the North Hertfordshire Museum will now refer to Roman emperor Elagabalus with the female pronounces of she and her.”
Mark Pilon in “News with Views” “Compiled by Mark Pilon” in Gilbert: the Magazine of the Society of G.K. Chesterton Vol. 28 #4 (March/April 2025)
“From an early age, then, Hitler certainly had the temperament, exacerbated by his social circumstances, to become an artist of the ‘adversary culture.’ What he lacked was any exceptional talent as a painter or draughtsman.... Yet in spirit an artist was what he was and, as he would insist to the end, what he always remained.... He would, so he claimed, turn politics and life into art. It was the war, the Great War, that broadened his canvas so immeasurably. Like many in the artistic, intellectual, and radical community, he saw the outbreak of the war in August 1914 as a sudden liberation from stultifying bourgeois constraints, as an opportunity for a new beginning, as a means of bringing about a revolution of one sort or turn another. The remarkable picture we have of Hitler as a part of the crowd in the Odeonsplatz in Munich cheering the announcement of war speaks volumes. He is standing in one of the front rows, this misfit, without friends, without women in his life, without a job, without a future. And yet his face is ecstatic, radiant. The eyes seemed to sparkle. He looked as if – suddenly and as a complete surprise – he had just been informed that all those rejections from the Vienna Academy of arts have been a terrible mistake, and that he, Adolf Hitler, has in fact submitted, with his applications, the finest samples of work the academy has ever received. ‘To me those hours,’ he declared later, ‘seemed like a release from the painful feelings of my youth. Even today I am not ashamed to say that, overpowered by a mighty enthusiasm, I sank to my knees and thanked heaven from an overflowing heart that it had granted me the good fortune to be alive at such a time.’.... ‘It was,’ he said, ‘with feelings of pure idealism that I set out for the front in 1914.’”
Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era
“Inevitably, if death is to be conquered, and if humanity is defined by its mortality, then humanity must go. This isn’t an extrapolation; he admits as much that man is a ‘temporary stage along the evolutionary pathway.’ Just like Mr. Shaw, transhumanists would ‘throw over humanity with all its limitations’ rather than discard their own philosophy. They are loyal to their own philosophy, not to our shared humanity. And just when we realize where their loyalties lie, More contradicts these very loyalties with an ironic admission: ‘There can be no final, ultimate, correct philosophy of life.’ It is a line so perfectly self-refuting that we need only quote it and smile.”
Brady Stiller reviewing Max More’s essay “Transhumanism: Towards a Futurist Philosophy” in Gilbert: The Magazine of the Society of G.K. Chesterton Vol. 28 #6 (July/August 2025)
In my bonus contribution to the National Post “What we’ve lost” series I try to retrieve the bar of soap once used to wash out the mouths of people who swore in the wrong place or at the wrong time, and the self-control that went with it.
“[W]e are learning to do a great many clever things. Unless we are much mistaken the next great task will be to learn not to do them.”
G.K. Chesterton quoted in “News With Views” “compiled by Mark Pilon” in Gilbert: The Magazine of the Society of G.K. Chesterton Vol. 28 #6 (July/August 2025) [the specific context is using CRISPR to bring back extinct animals].