“The whole motif of liberation, which has become so central to our century – be it the emancipation of women, homosexuals, proletariat, youth, appetites, peoples – comes into view at the turn of the century. The term avant-garde has usually been applied simply to artists and writers who promoted experimental techniques in their work and urged rebellion against established academies. The notion of modernism has been used to subsume both this avant-garde and the intellectual impulses behind the quest for liberation and the act of rebellion. Very few critics have ventured to extend these notions of the avant-garde and modernism to the social and political as well as artistic agents of revolt and to the act of rebellion in general in order to identify a broad wave of sentiment and endeavour. This book attempts to do so. Culture is regarded as a social phenomenon and modernism as the principle urge of our time. The book argues in the process that Germany has been the modernist nation par excellence of our century. Like the avant-garde in the arts, Germany was swept by a reformist zeal at the fin-de-siècle and by 1914 she had come to represent both to herself and to the international community the idea of spirit at war. After the trauma of military defeat in 1918, the radicalism of Germany, rather than being subdued, was accentuated. The Weimar period, 1918 to 1933, and the Third Reich, 1933 to 1945, were stages in a process. Avant-garde has for us a positive ring, storm troops a frightening connotation. This book suggests that there may be a sibling relationship between these two terms that extends beyond their military origins. Introspection, primitivism, abstraction, and mythmaking in the arts, and introspection, primitivism, abstraction, and mythmaking in politics, may be related manifestations. Nazi kitsch may bear a blood relationship to the highbrow religion of art proclaimed by many moderns. Our century is one in which life and art have blended, in which existence has become aestheticized. History, as one theme of this study will try to show, has surrendered much of its former authority to fiction. In our postmodern age a compromised may, however, be possible and necessary. In search of this compromise our historical account proceeds in the form of a drama, with acts and scenes, in the full and diverse sense of those words. In the beginning was the event. Only later came consequences.”

End of Author’s “Preface” in Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era.

“‘There is nothing particular about man. He is but a part of this world.’ Today, in the West, there are many who would agree with [the just-quoted Heinrich] Himmler that, for humanity to claim a special status for itself, to imagine itself as somehow superior to the rest of creation, is an unwarrantable conceit. Homo sapiens is just another species.”

Tom Holland Dominion: How the Christian Revolution Remade the World

On the 9th Hour podcast I joined theatre artist Breanna Doyle and host Charley to discuss heroes and villains in history, finding truth among shifting interpretations, and what it means for us today.

“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

“Our image of ourselves as a people was lifted up into heroism by our honourable and solitary defiance of Hitler in 1940, and we liked to see ourselves as the inheritors of Henry V and the imitators of the Greeks and Romans. Of course, these ideas had been quietly subverted for years by the Left, and were secretly despised by a small but influential part of the educated middle class. George Orwell had rightly pointed out in the early months of the war that Britain was unique in having an intelligentsia that despised patriotism. That current in national thought had been suppressed by many things: Russia's entry into the war had allowed even the extreme Left to appear patriotic; the discovery of the extermination camps had transformed a defensive ‘imperialist’ war into a Just War, if only with hindsight; and the powerful myth that the Tories had all been appeasers, whilst the Left had been keen to fight the Nazis (though largely false), had allowed the intellectuals to claim the war as their own. The Suez catastrophe and humiliation, imperial withdrawal from Asia and Africa, and the simple passage of time eventually permitted open mockery of the war years to emerge, round about the time of Churchill's death.”

Peter Hitchens The Abolition of Britain [from my “revolt of the elites” file].

In my latest Loonie Politics column I identify a variety of self-defeating mental habits on display over the current Middle Eastern war that prevent decadent civilizations from prevailing in long conflicts.

“Lewis spoke to these questions two years before he and Tolkien launched their barbed wire university [it was under the British Red Cross/Order of Saint John of Jerusalem “Joint War Organisation” “Educational Books Section” program]. In a sermon titled ‘Learning in War-Time,’ which he preached at Oxford’s Church of St. Mary the Virgin on October 22, 1939, he addressed whether humanistic learning was irresponsible when England faced hellish threats and Europe’s liberties hung in the balance. If in the past ‘men had postponed the search for knowledge and beauty until they were secure,’ Lewis observed, ‘the search would never have begun.’ We are mistaken when we compare war with ‘normal life,’ he continued, adding ‘Life has never been normal.’ Plausible reasons have never been lacking for putting off all merely cultural activities until some imminent danger has been averted or some crying injustice put right. But humanity long ago chose to neglect those plausible reasons. They wanted knowledge and beauty now, and would not wait for the suitable moment that never comes. They propound mathematical theorems in beleaguered cities, conduct metaphysical arguments in condemned cells, make jokes on scaffolds, discuss the last new poem while advancing the walls of Quebec, and comb their hair at Thermopylae. And – he could have added a few years later – strive for an Oxford ‘First’ in English Literature, while imprisoned in a Nazi POW camp. Why does man make such efforts – search for truth and beauty in the midst of great adversity? Lewis’ response is simple: ‘This is not panache, it is our nature.’”

Mark Johnson in Gilbert: The Magazine of the Society of G.K. Chesterton Vol. 28 #6 (July/August 2025)

“To paraphrase Japanese Emperor Hirohito after the detonation of two atomic bombs on Japan in 1945, in the light of this week’s events, it is time for the ‘unthinkable.’ (The Japanese emperor acknowledged that the war had not gone ‘entirely as we had hoped.’)”

Conrad Black in National Post June 28, 2025 [re Gaza and Iran]