https://newcriterion.com/issues/2020/2/gertrude-himmelfarb-the-enlightenment
The beasts of modernism have mutated into the beasts of postmodernism—relativism into nihilism, amorality into immorality, irrationality into insanity, sexual deviancy into polymorphous perversity. And since then, generations of intelligent students under the guidance of their enlightened professors have looked into the abyss, have contemplated those beasts, and have said, “How interesting, how exciting.”
—Gertrude Himmelfarb, On Looking into the Abyss, 1994
When Gertrude Himmelfarb wrote about the abyss consuming the intellectual and moral traditions of her own time, she was one of the first to recognise how seductive was its appeal and how depraved its outcome. In her book On Looking into the Abyss, she attributed the original insight to the critic Lionel Trilling, who detected it in the early 1960s in the underbelly of the modernist movement that had dominated literature and the arts since the early twentieth century. Himmelfarb, however, came to her own recognition from another direction entirely, partly from her study of the history of ideas in Britain’s Victorian era but also from the apparently unlikely field of the history of social policy that led the Victorians to define poverty as a social problem. In the process, up to her death on December 30 last year, aged ninety-seven, those who knew her work came to regard her as not only one of the great American historians of her time but one of her nation’s most compelling moral critics. In American political circles she was best known as Bea Kristol, wife and mother, respectively, of the neoconservative authors and editors Irving Kristol and William Kristol.
Modernists, from their earliest public manifestations in London’s Bloomsbury, had regarded the Christian morality of the English-speaking world as the greatest obstacle to the bohemianism of “free thought” and “free love” they craved.