Tony Judt

Communism excited intellectuals in a way that neither Hitler nor (especially) liberal democracy could hope to match. Communism was exotic in locale and heroic in scale.

If the Left had the wind in its sails and History on its side, then a new generation of Right-wing literati would take pride in being defiant losers, turning the genuine decadence and death-seeking solipsism of inter-war writers like Drieu la Rochelle and Ernst Jünger into a social and sartorial style—thereby anticipating the ‘young fogeys’ of Mrs Thatcher’s Britain.

Sixty years after Hitler's death, his war and its consequences are entering history. Postwar in Europe lasted a very long time, but it is finally coming to a close.

The democratic transition of Mediterranean Europe was quite the most remarkable and unexpected development of the age.

Europe is not re-entering its troubled wartime past—on the contrary, it is leaving it. Germany today, like the rest of Europe, is more conscious of its twentieth-century history than at any time in the past fifty years. But this does not mean that it is being drawn back into it. For that history never went away.

Lenin’s distinctive contribution to European history had been to kidnap the centrifugal political heritage of European radicalism and channel it into power through an innovative system of monopolized control: unhesitatingly gathered and forcefully retained in one place. The Communist system might corrode indefinitely at the periphery; but the initiative for its final collapse could only come from the centre. In the story of Communism’s demise, the remarkable flowering in Prague or Warsaw of a new kind of opposition was only the end of the beginning. The emergence of a new kind of leadership in Moscow itself, however, was to be the beginning of the end.

Liberal intellectuals, then, whether of the continental persuasion like Aron or Luigi Einaudi, or in the British sense like Isaiah Berlin, were always distinctly more comfortable than most conservatives with the American connection that history had imposed upon them. The same was true, curious as it may seem, of Social Democrats. This was in part because the memory of FDR was still fresh, and many of the American diplomats and policy-makers with whom Europeans dealt in these years were New Dealers, who encouraged an active role for the state in economic and social policy and whose political sympathies fell to the left of center.

Economic liberalization did not signal the fall of the welfare state, nor even its terminal decline, notwithstanding the hopes of its theorists. It did, though, illustrate a seismic shift in the allocation of resources and initiative from public to private sectors. This change went far beyond the technical question of who owned which factories, or how much regulation there was to be in any given industry. For nearly half a century Europeans had watched the state, and public authorities, play a steadily more prominent part in their affairs. This process had become so commonplace that the premise behind it—that the activist state was a necessary condition of economic growth and social amelioration—was largely taken for granted. Without the cumulative unraveling of this assumption in the course of the waning decades of the century, neither Thatcherism nor the Mitterrand volte-face would have been possible.

No French government except Léon Blum’s short-lived Popular Front of 1936 paid serious attention to the grievous mis-rule practiced by colonial administrators in French North Africa. Moderate Algerian nationalists like Ferhat Abbas were well known to French politicians and intellectuals before and after World War Two, but no-one really expected Paris to concede their modest goals of self-government or ‘home rule’ any time soon.

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.

In the past, the social cost of economic change on this scale, and at this pace, would have been traumatic, with unpredictable political consequences. Thanks to the institutions of the welfare state—and perhaps the diminished political enthusiasms of the time—protest was contained. But it was far from absent. In the years 1969-1975 there were angry marches, sit-ins, strikes and petitions all across industrial Western Europe, from Spain (where 1.5 million days were lost to industrial strikes in the years 1973-75) to Britain, where two major strikes by coalminers—in 1972 and 1974—persuaded a nervous Conservative government that it might be the better part of valor to postpone major mine closures for a few more years, even at the cost of further subsidies charged to the population at large.

The diminishing standing of public authorities in matters of morality and personal relationships in no way supposed a decline in the role of the state in the cultural affairs of the nation. Quite the contrary. The broad Western European consensus of the age held that only the state had the resources to service the cultural needs of its citizens: left to themselves, individuals and communities would lack both means and initiative. It was the responsibility of a well-run public authority to deliver cultural nourishment no less than food, lodging and employment. In such matters Social and Christian Democrats thought alike, and both were heir to the great Victorian-era improvers, though with far greater resources to hand. The aesthetic revolt of the Sixties changed little in this respect: the new (‘counter-’) culture demanded and obtained the same funding as the old.