Roger Kimball Quotes

If the politicization of art and education represents one large part of the counterculture's legacy, the coarsening of feeling and sensibility is another. No phenomenon has done more to advance this coarsening than rock music. It is impossible to exaggerate the importance of rock music to the agenda of the cultural revolution. It is also impossible to overstate its soul-deadening destructiveness. The most reviled part of Allan Bloom's book The Closing of the American Mind was his chapter criticizing the effects of rock. But Bloom was right in insisting that rock music is a potent weapon in the arsenal of emotional anarchy. The triumph of rock was not only an aesthetic disaster of giant proportions: it was also a moral disaster whose effects are nearly impossible to calculate precisely because they are so pervasive.

[B]ehind the many pseudo-sciences that have recently dominated literary criticism . . . you will find the same suspicion of literature, a desire to sever our relation to it by denuding it of meaning. The "methods" proposed are laughable caricatures of science; and the results delivered are useful to no one. But that was not the point. The methods of the new literary theorist are really weapons of subversion: an attempt to destroy humane education from within, to rupture the chain of sympathy that binds us to our culture. That is why the new schools of criticism have acquired a following: they promise to release us from the burden of study by showing that there is nothing after all to learn.

The institutionalization of the Beat ethic has been a moral, aesthetic, and intellectual disaster of the first order. (It has also been a disaster for fashion and manners, but that is a separate subject.) We owe to the 1960s the ultimate institutionalization of immoralist radicalism: the institutionalization of drugs, pseudo-spirituality, promiscuous sex, virulent anti-Americanism, naive anti-capitalism, and the precipitous decline of artistic and intellectual standards. But the1960s and 1970s only codified and extended into the middle class the radical spirit of the Beats, who, in more normal times, would have remained what they were in the beginning; members of a fringe movement that provided stand-up comics with material.

The Beats inaugurated the long march through the moral territory of American culture. Who knows how many lives were blighted along the way as a result of their proselytizing on behalf of drugs and promiscuous sex?

Some people regard the astonishing collapse of manners and civility in our society as a superficial event. They are wrong. The fate of decorum expresses the fate of a culture’s dignity, its attitude toward its animating values.

Like the medieval heretics that Norm Cohn wrote about in The Pursuit of the Millennium, the Beats cultivated an extreme narcissism that bordered on self-deification and that 'liberated them from all restraints' and allowed them to experience every impulse as a 'divine command'. What Norman Podhoretz observed of Ginsberg was also true of the Beats generally: they 'conjured up a world of complete freedom from the limits imposed by [bourgeois] responsibilities'. Podhoretz added, 'It was a world that promised endless erotic possibility together with the excitements of an expanded consciousness constantly open to new dimensions of being: more adventure, more sex, more intensity, more life'. Alas, the promise was illusory. Instead of an 'expanded consciousness', the Beats purchased madness, ruination, and, for many, an early death. Their attack on bourgeois responsibility led not to greater freedom but to greater chaos. The erotic paradise they envisioned turned out to be rife with misery.

The Beats, like their successors in the Sixties, have often been described as 'idealists'. But fantasies of total gratification are not the product of idealism. They arise from a narcissism that, finding the world unequal to its desires, retreats into a realm of heedless self-absorption. Modesty, convention, and self-restraint then appear as the enemies rather than as the allies of humanity. In this sense, the Beat generation marks a step away from civilization.

Ginsberg, Burroughs, and Kerouac were all on the side of the savage. That their penny-ante gnosticism was not only perpetuated but mythologized and spread abroad as a gospel of emancipation is something for which we have the Sixties to thank - or to blame.

And let’s not forget “Dane-Geld”: It is always a temptation to a rich and lazy nation, To puff and look important and to say: “Though we know we should defeat you, we have not the time to meet you. We will therefore pay you cash to go away.” And that is called paying the Dane-geld; But we’ve proved it again and again, That if once you have paid him the Dane-geld You never get rid of the Dane.

In short order, the unconventional became the established convention; the perverse was embraced as normal; the unspeakable was broadcast everywhere; the outrageous was met with enthusiastic applause.