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This book is about three Frenchmen who lived and wrote against the grain of these three ages of irresponsibility. They were very different men and wo… - Tony Judt
" "This book is about three Frenchmen who lived and wrote against the grain of these three ages of irresponsibility. They were very different men and would have been surprised to think of themselves as a group, yet they have something rather distinctive in common. All three played an important role in the France of their lifetime but lived at a slightly awkward tangent to their contemporaries. For much of his adult life each was an object of dislike, suspicion, contempt, or hatred for many of his peers and contemporaries; only at the end of their long lives were Léon Blum and Raymond Aron, for quite different reasons, able to relax into the comfort of near-universal admiration, respect, and, in some quarters, adulation. Camus, who had experienced all three by the age of thirty-five, died twelve years later an insecure and much-maligned figure; it would be thirty years before his reputation would recover.
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About Tony Judt
Tony Robert Judt (2 January 1948 – 6 August 2010) was a British historian, essayist, and university professor who specialized in European history.
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Tony Robert Judt
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In important respects Italy’s condition after the war stood comparison with that of Austria. Both countries had fought alongside Germany and had suffered accordingly after the war (Italy paid a total of $360 million in reparations to the Soviet Union, Greece, Yugoslavia, Albania and Ethiopia). Like Italy, Austria was a poor and unstable country whose post-war renaissance could hardly have been predicted from her recent past. The country’s two dominant political groupings had spent the inter-war years in bitter conflict. Most Austrian Social Democrats had regarded the emergence in 1918 of a truncated Austrian state out of the ruins of the Habsburg Empire as an economic and political nonsense. In their view the German-speaking remnant of the old Dual Monarchy ought logically to have joined its fellow Germans in an Anschluss (union), and would have done so had the self-determination clauses of the Versailles agreements been applied consistently.
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.
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