The case for reviving the state does not rest uniquely upon its contributions to modern society as a collective project; there is a more urgent consi… - Tony Judt

But the Derrida-Habermas initiative, even though it articulated sentiments shared by many Europeans, passed virtually unnoticed. It was not reported as news, nor was it quoted by sympathizers. No-one implored its authors to take up their pens and lead the way forward. The governments of a significant number of European states, including France, Germany, Belgium and later Spain, undoubtedly sympathized in general terms with the views expressed in these essays; but it did not occur to any of them to invite Professors Derrida or Eco in for consultation. The whole project sputtered out. One hundred years after the Dreyfus Affair, fifty years after the apotheosis of Jean-Paul Sartre, Europe’s leading intellectuals had thrown a petition—and no-one came.

Statesmen whose experience reached back beyond the troubled inter-war decades to the more settled and self-confident era before 1914 thus had a particular attraction. In the continuity of their person they could facilitate a difficult transition from the over-heated politics of the recent past to a coming era of rapid social transformation. Whatever their party 'label', the elder statesmen of Europe were all, by 1945, skeptical, pragmatic practitioners of the art of the possible. This personal distance from the over-confident dogmas of inter-war politics faithfully reflected the mood of their constituents. A post-'ideological' age was beginning.

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.