“of all the war books of the late twenties... Remarque’s [phenomenally successfull All Quiet on the Western Front] made its point, that his was a truly lost generation, most directly and emotionally, even stridently, and this directness and passionately at the heart of its popular appeal. But there was more. The ‘romantic agony” was a wild cry of revolt and despair – and a cry of acceleration. In perversion there could be pleasure. In darkness, light. The relation of Remarque and his generation to death and destruction is not as straightforward as it appears. In his personal life and in his reflections on the war Remarque seemed fascinated by death. All of his subsequent work exudes this fascination. As one critic put it later, Remarque ‘probably made more out of death than the most fashionable undertakers.’ Like the Dadaists, he was spellbound by war in its horror, by the act of destruction, to the point where death becomes not the antithesis of life but the ultimate expression of life, where death becomes a creative force, a source of art and vitality.”

Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era

“The scenes uncovered by the allied armies in 1945 were not the inevitable outgrowth of the events that took place in early 1933, but they were a probable outcome. National Socialism was yet another offspring of the hybrid that has been the modernist impulse: irrationalism crossed with technicism. Nazism was not just a political movement; it was a cultural eruption. It was not imposed by a few; it developed among many. National Socialism was the apotheosis of a secular idealism that, propelled by a dire sense of existential crisis, lost all trace of humility and modesty – indeed, of reality. Borders and limits became meaningless. In the end this idealism completed a circle, turned upon itself, and became anthropophagous. What began as idealism ended as nihilism. What began as celebration ended as scourge. What began as life ended as death. Contrary to many interpretations of Nazism, which tend to view it as a reactionary movement, as, in the words of Thomas Mann, an ‘explosion of antiquarianism,’ intent on turning Germany into a pastoral folk community of thatched cottages and happy peasants, the general thrust of the movement, despite archaisms, was futuristic. Nazism was a headlong plunge into the future, toward a ‘brave new world.’ Of course it used to full advantage residual conservative and utopian longings, paid its respects to those these romantic visions, and picked its ideological trappings from the German past, but its goals were, by its own lights, distinctly progressive.”

Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era

In my latest Epoch Times column I say we have indeed broken faith with those who lie in Flanders fields, and all Canada’s war dead, by refusing to defend our country or our civilization practically, intellectually or morally.

“‘The storm has died away,’ said Paul Valéry in a lecture at Zurich in 1922, ‘and still we are restless, and uneasy, as if the storm were about to break. Almost all the affairs of men remain in a terrible uncertainty.’ He spoke about all the things that had been injured by the war: economic relations, international affairs, and individual lives. ‘But among all these injured things,’ he stated, ‘is the mind. The mind has indeed been cruelly wounded... it doubts itself profoundly.’”

Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era

“Yet, while former [First World War] soldiers suffered from a high incidence of neurasthenia and sexual impotence, they realized that the war, in the words of Josée Germaine, was ‘the quivering axis of all human history.’ If the war as a whole had no objective meaning, then invariably all human history was telescoped into each man's experience; every person was the sum total of history. Rather than being a social experience, a matter of documentable reality, history was individual nightmare, or even, as the Dadaists insisted, madness. One is again reminded of Nietzsche’s statement, on the very edge of his complete mental collapse, that he was ‘every name in history.’”

Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era

“History belongs to an age of rationalism, to the 18th and particularly the nineteenth century. The latter century had shown great respect for its historians. The Guizots, Michelets, Rankes, Macaulays, and Actons were read and appreciated, especially by a bourgeoisie bent on expansion and integration. Our century has, by contrast, been an antihistorical age, in part because historians have failed to adapt to the sentiments of their century but even more so because this century has been one of dis-integration rather than integration. The psychologist has, as a result, been more in demand than the historian. And the artist has received more respect than either. It is noteworthy that among the mountains of writing built up on the subject of the Great War, a good many of the more satisfying attempts to deal with its meaning have come from the pens of poets, novelists, and even literary critics, and the professional historians have produced, by and large, specialized and limited accounts, most of which pale in evocative and explanatory power before those of the littérateurs. Historians have failed to find explanations to the war that correspond to the horrendous realities, to the actual experience of the war. The spate of official and unofficial histories that issued forth in the twenties was largely ignored by the public. By contrast, Remarque’s All Quiet [on the Western Front] became, virtually overnight, the best seller of all previous time.”

Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era

“The initial Canadian Expeditionary force of twenty thousand [in World War I] was organized by Sam Hughes, who was, as Borden informed him, ‘beset by two unceasing enemies. Expecting a revelation, he was intensely disappointed when I told him that they were his tongue and his pen.’”

Conrad Black Rise to Greatness: The History of Canada from the Vikings to the Present

“In methods, tactics, and instruments of war, Germany took the initiative in 1914. The war was to bring a revolution in the European spirit and, as a corollary, in the European state structure. Germany was the revolutionary power of Europe. Located in the centre of the continent, she set out to become the leader of Europe, the heart of Europe, as she put it. Germany not only represented the idea of revolution in this war; she backed the forces of revolution everywhere, whatever their ultimate goals. She helped Roger Casement and the Irish nationalists in their struggle against Britain, and shipped Lenin back to Russia from Switzerland to foment revolution in Petrograd. What was important above all for Germans was the overthrow of the old structures. That was the whole point of the war. Once that had been achieved, the revolutionary dynamic would proceed to erect new structures valid for the new situation.”

Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era