First, utopianism is probably a necessary social device for generating the superhuman efforts without which no major revolution is achieved. - Eric Hobsbawm

The alternative to escape or defeat was rebellion. And such was the situation of the labouring poor, and especially the industrial proletariat which became their nucleus, that rebellion was not merely possible, but virtually compulsory. Nothing was more inevitable in the first half of the nineteenth century than the appearance of labour and socialist movements, and indeed of mass social revolutionary unrest.

The internal and external pressures to do so may be great. Our passions and interests may urge us in this direction. Every Jew, for instance, whatever his or her occupation, instinctively accepts the force of the question with which, during many threatening centuries, members of our minority community confronted any and every event in the wider world: Is it good for the Jews? Is it bad for the Jews?' In times of discrimination or persecution it provided guidance - though not necessarily the best guidance - for private and public behaviour, a strategy at all levels for a scattered people. Yet it cannot and should not guide a Jewish historian, even one who writes the history of his own people. Historians, however microcosmic, must be for universalism, not out of loyalty to an ideal to which many of us remain attached but because it is the necessary condition for understanding the history of humanity, including that of any special section of humanity. For all human collectivities necessarily are and have been part of a larger and more complex world. A history which is designed only for Jews (or African-Americans, or Greeks, or women, or proletarians, or homosexuals) cannot be good history, though it may be comforting history to those who practise it.

Surrealism was a genuine addition to the repertoire of avant-garde arts, its novelty attested by the ability to produce shock, incomprehension, or what amounted to the same thing, a sometimes, embarrassed laughter, even among the older avant-garde.