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Product details

File Size: 1377 KB

Print Length: 418 pages

Publisher: Mariner Books; 1 edition (September 14, 2000)

Publication Date: June 1, 2018

Language: English

ASIN: B00938QQD0

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#255,865 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

This is a truly great work. It is really not a history book in the conventional sense. It is closer to a literary biography of modernism. Its key contention is that the First World War changed everything at a fundamental level. The most important change was ideological or moral. The old values that had held sway through the 19th century no longer seemed tenable or even relevant. Before the war the avant-garde had adopted modernism as a rebellion against bourgeois conformity and sterility. Its anti-rational and nihilistic tendencies had however limited its adoption by the wider public. The Great War shattered the old verities and led to a general rejection of accepted values. This led to a general growth and expansion of modernism. With the death of traditional values and standards, people sought to escape the constraints of history and fashion an artistic construct to provide meaning for their lives. This tendency,he claims, helped give rise to Fascism and Nazism.

"Since everything lies open to view there is nothing to explain." -- Ludwig Wittgenstein (1889-1951)Twelve-tone music, Theatre of the Absurd, stream-of-consciousness literature, expressionist painting, functionalist architecture, logical positivism, Nazi kitsch. What does this confused jumble have in common? Well, everything. In Rites of Spring, Modris Eksteins unfolds the inner unity within the sprawl of twentieth-century modernism.Make it new! Inventors, engineers, chemists, physicists, architects. Scientism, efficiency, management, expertise, technique. Professionals! The anti-heroic spawn of the industrial age. Truth alone is beautiful. Don’t be a fool, don’t be a dupe, don’t be a hypocrite. Basic materials have their own authenticity; let them speak honestly for themselves, without melody, without ornamentation, without plot. Deflationism. Disenchantment. And pruning the cheesy fluff of a sentimental past was not modernism's only business. Disorienting, transient, discordant energies unleashed a quest for both titanism and the titanic. Trains, factories, skyscrapers, automobiles, airplanes; record-breaking speed, record-breaking innovation. Romanticized technology: futurism! The free act, devoid of any meaning except its own inherent accomplishment, the vitality of the moment. Think of Lindbergh crossing the Atlantic, or Armstrong walking on the Moon.Do. Your. Job. Eksteins’ thesis: the Great War was fought by the middle class, and for the middle class, a historical first. Even truth became a matter of technique, all sense of proportion lost, anything made up by anyone to serve the war effort. Rapid urbanization/industrialization made most Germans of the era first-generation urban-dwellers; they embraced flame-throwers, sniping, submarine warfare, chemical weapons, anything for a job well done. But it is the spirit Eksteins wants us to see! There was no Germany until 1871. Germany was new, a fiction, a question of imagination and inwardness, an illusion, self-conscious, something memed into existence, a myth. Why?Modernism, if anything, is cool. It aestheticized life with a new categorical imperative: live so that one becomes a form of fiction. Think of Stravinsky’s mugshot stunt, playing up the thug life. Professionals aimed to recover emotional spontaneity, to be part of a Symphony of a Thousand beyond the constraints of the civilized marketplace, thought fused with action. Inactive contemplation appeared devious, calculated, dishonest, crooked. Truth? It resided in irony. Action? It cannot be blamed for anything; action is life! Energy! Exultation! Necessity! The response to art became just as important as its intent, unlocking experience through shock, indecency, crudity, exaggeration, provocation. The goal? The full range of peak experience at the limits of existence, a place beyond understanding, beyond imagination, beyond feeling. Like life in the trenches.Which brings us back to the Germans. Nazism, Eksteins tells us, had no rules, no platform, and no agenda beyond any superficial sense. Rallies, slogans, salutes, flags, insignia, uniforms, ritual, propaganda, pageantry, even the brawling -- Nazism was an event. A spectacle. An aestheticization of politics. Pure motion, pure vitality, pure revolt. The thrill of living dangerously, in permanent resistance to any status quo. Anti-bourgeois, only because it allowed middle-class men like Göring and Goebbels to live action role-play as supermen. Collective reality had vanished into the dreams and myths of individual response, divorced from the social conventions of normality. What is Bartók's Miraculous Mandarin, or Stravinsky's Rite of Spring, other than ritualized murder? Or Mack the Knife? The pleasures of cruelty, the pleasures of the blade.“All was symbol, substitution, abstraction. At the center there was nothing, an utter vacuum. Only an audience could give Hitler meaning; he had none himself.” (p. 319)

I bought this book after reading Paul Fussell's The Great War and Modern Memory. Looking for something that followed the basic idea of a mix between literature and war I found this extraordinary book. In the case of the former, Fussell gives a very comprehensive account about writers who were soldiers and viceversa. In the case of Eksteins, he proposes a drama in three memorable acts: I) the life before the war, II) the war itself, and III) the aftermath of the war. Fussell's Great War is a big collection of data put together to make sense of a senseless war. Eksteins' Rites of Spring, on the other hand, it's the chronicle of a difficult birth, the birth of an epoch.What I have said doesn't mean that one book is better than the other. Instead it means that they are complementary works. Now well, in this vein, what you get in Rites of Spring is an elaborated but very natural picture of a crazy world. So crazy, that if you take what Eksteins calls the First Act and then you compare it with the Third one, you arrive to the conclusion that the Great War didn't have any sense from the start and that after all those millions of deaths and wounded you arrive to the Third Act without knowing who really won the conflict.Thus, Rites of Spring is not a book about the absurdity of the existence, but a book about the human existence facing the dilemma of choosing between blind options; blind because the consequences are always hard to grasp. The IWW was the end of an era and the begininng of another. The bridge between the two banks took a heavy toll. The industrial revolution gave us the telephone and the machine gun, the airplaine and the bomber, the anesthesia and the poisonous gas. So the question is how do you solve the equation. If you want the telephone, then you have to face the machine guns.So strange an epoch...The first time I heard Stravinsky's Rites of Spring I thought, boy, what a rarity. It's neither Bach nor Mozart. It's absolutely new, different, weird. In 1913 it was even harder to translate those armonies if you didn't know The Beatles or The Rollingstones. To me it was easier to love that strange and sophisticated music than to those guys in Paris on 1913. Gee, it had to be really hard to them. To understand an epoch like the twentieth century you need something different, you need to take a walk on the wild side which is the aesthetic side of life. So here enters Eksteins to give you a memorable and delicate comprehension of a crazy epoch, an epoch that gave birth to a child whose mother was a steam engine that nobody could call mummy.Perhaps this is the reason why Eksteins suggests that art is the only method for explaining the war. Don't try to comprehend the war by counting the corpses and the wounded. The building that were destroyed or the ruined cathedrals. There is another option. Try instead listening Stravinsky and reading Eksteins' Rites of Spring.Five stars plus.

Eksteins is not a bad writer by any means--far from it! His language would be exceptional in a book of poetry. However, his flowery, pretentious style is simply not appropriate for a book on history. I give the book 2 stars instead of 1 simply because there ARE good tidbits if information, but his language so often drifts into incoherence. When I was in school, students were constantly asking what different passages meant, and even the teacher could only guess. When it comes to history, you want solid facts, not vague statements that people can intemperate multiple ways.

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