The Devil’s Pleasure Palace, by Michael Walsh. Encounter Books, 2015. 222 pages. $US 23.99
Western culture has been under attack by enemies within since the leveling collectivism of Jean-Jacques Rousseau, Michael Walsh observes in The Devil’s Pleasure Palace. But something new and horrible emerged in the 1960s, when the cult of Critical Theory gained a beachhead at American universities, and began a long march through the institutions that culminates in today’s Orwellian witch-hunt against politically- incorrect thought.
The subversives of the past at least preserved the memory of the past. The composer Richard Wagner used the techniques of Western classical music to pervert the way we hear music, but the accomplishments of his predecessors remain embedded in is work. James Joyce may have turned Homer’s Odyssey into pornographic bathos, but he demanded that we read Homer. Thomas Mann’s 20th-century Faust character, the composer Adrian Leverkuhn, wanted to “take back Beethoven’s 9thsymphony,” but even the act of subversion elicits the memory of the original.
Not so the children of the Frankfurt School, the motley collection of German Marxist-Freudian-Nihilists who migrated to America during the 1930s and invented what the academy calls “critical theory,” a nihilistic reduction of all thought to political categories. They set the tone for the radicalism of the 1960s, and their students now rule the major universities.
They are the American Taliban and ISIS, who set out to destroy the monuments of the past. Their objective is to erase the old order so thoroughly that it ceases to persist even in our cultural memory. Not only offending texts, but the names of flawed historic figures (for example Cecil Rhodes at Oxford) must be erased. Like Goethe’s Mephistopheles, they are spirits that only deny, who believe that “everything that comes to be goes rightly to its ruin.”