“Telling the truth”—which for so long was itself a problematic exercise thanks to competing “truths” and the cost of airing them publicly—now became … - Tony Judt

I was brought up on English food. But not fish and chips, spotted dick, toad in the hole, Yorkshire pud, or other delicacies of British home cooking. These my mother scorned as somehow unhealthy; she may have grown up surrounded by non-Jews, but for just that reason she and her family kept to themselves and knew little of the domestic world of their neighbors, which they looked upon with fear and suspicion. In any case, she had no idea how to prepare "English delicacies." Her occasional encounters, via my father's friends in the Socialist Party of Great Britain, with vegetarians and vegans had taught her the virtues of brown bread, brown rice, green beans, and other "healthy" staples of an Edwardian left-wing diet. But she could no more cook brown rice than she could have prepared "chop suey." And so she did what every other cook in England in those days did: she boiled everything to death.

If one strand in the heritage of the Sixties was high-cultural pretension, the other, its intimate inversion, was a hardening crust of knowing cynicism. The relative innocence of rock and roll was increasingly displaced by media-wise pop bands whose stock in trade was a derisive appropriation and degradation of the style forged by their immediate precursors. Much as popular romances and tabloid journalism had once fastened on to mass literacy for commercial advantage, so ‘punk’ rock appeared in the Seventies in order to exploit the market for popular music. Presented as ‘counter-cultural’ it was in fact parasitic upon mainstream culture, invoking violent images and radical language for frequently mercenary ends.

If the era of political irresponsibility in France lasted from 1918 to 1958, the age of moral irresponsibility may be said to have begun in the mid-thirties and endured for the best part of four decades.