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Professor John Carey shows how early twentieth-century intellectuals imagined the 'masses' as semi-human swarms, drugged by popular newspapers and cinema, and ripe for extermination. Exposing the revulsion from common humanity in George Bernard Shaw, Ezra Pound, D. H. Lawrence, E. M. Forster, Virginia Woolf, H. G. Wells, Aldous Huxley, W. B. Yeats and other canonized writers, he relates this to the cult of the Nietzschean Superman, which found its ultimate exponent in Hitler.
Carey's assault on the founders of modern culture caused consternation throughout the artistic and academic establishments when it was first published in 1992.
- Sales Rank: #789247 in eBooks
- Published on: 2012-12-20
- Released on: 2012-12-20
- Format: Kindle eBook
From Publishers Weekly
This scathing critique argues that modernist literature and art arose as a reaction against popular culture and the mass reading public created by late 19th-century educational reforms. Oxford Enlgish professor Carey shows how intellectuals like D. H. Lawrence, Ezra Pound, W. B. Yeats, Knut Hamsun, George Gissing and Wyndham Lewis scorned "the masses" as vulgar and trivial while exalting the artist as a natural aristocrat and transmitter of timeless values. T. S. Eliot predicted that the spread of education would lead to barbarism. Charles Baudelaire condemned photography as a distraction for the "vile multitude," while other intellectuals expressed contempt for newspapers and popular entertainments. H. G. Wells proposed measures to restrict parenthood as a means to curb the "black and brown races" whom he considered inferior to whites. Carey's razor-sharp analysis is an antidote to snobbery and class prejudice in all forms.
Copyright 1993 Reed Business Information, Inc.
From Library Journal
Carey (English, Oxford Univ.) contends that the modernist literature of some prominent English authors writing from the 1880s through 1939 was a hostile reaction to the newly educated mass reading public and its popular culture. These writings were in styles designed to exclude semiliterate readers and buttress the self-esteem of literary intellectuals as part of a natural aristocracy. After World War II, confronted by television and other popular media, intellectuals were driven to create other literary modes to shield high culture from the reach of the majority. Separate chapters on George Gissing, H.G. Wells, Arnold Bennett, and Wyndham Lewis reinforce Carey's general thesis. Published last year in England, this is a closely reasoned and stimulating discussion. Recommended for academic libraries and large public libraries.
- Harry Frumerman, formerly with Hunter Coll., CUNY
Copyright 1993 Reed Business Information, Inc.
From Kirkus Reviews
The obscurities of modern art and literature, according to Carey (English/Oxford; John Donne, 1981), were devised by the intelligentsia to exclude the new reading public for whom they had contempt--a thesis that Carey applies here to, among others, George Gissing, H.G. Wells, Arnold Bennett, and Wyndham Lewis. Nietzsche, Yeats, Shaw, Flaubert, Ibsen, Ortega y Gasset, E.M. Forster, Virginia Woolf, James Joyce--indeed the entire modernist movement, says Carey, depicted the ``masses'' and the popular culture they generated with disdain. These writers, the author contends, worshiped the lofty, isolated, high-minded artist who produced an alienating art without human or narrative content to which the masses could relate. Followers of Freud, the intelligentsia feared crowds and condemned their suburban refuges as culturally impoverished ecological disasters. Gissing concluded that the masses were ineducable, while Wells considered them manifestations of a ``biological catastrophe.'' Meanwhile, Bennett, the ``hero'' of Carey's study, believed that the people could be redeemed through the study of literature, although Wyndham Lewis- -whom Carey compares to Hitler--felt that the democracy they believed in was effeminate. The author attempts to demonstrate how Mein Kampf was firmly rooted in the intelligentsia's orthodoxy--and how the incineration of Jews was an extension of it. Members of The intelligentsia, he says, believed that they formed a natural aristocracy united by an esoteric body of knowledge that protected them from the herd. Concluding with a chilling analogy, Carey suggests that the influence and style of the turn-of-the-century intelligentsia survives in the obfuscations of contemporary criticism. Provocative, courageous, certainly stimulating--and reflecting a profound understanding of the often invisible yet potentially insidious relationship between aesthetics and politics, as well as of how art can be used to camouflage the most repugnant ideas. -- Copyright ©1993, Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
36 of 37 people found the following review helpful.
The Writer As Totalitarian Snob
By R. W. Rasband
John Carey's "The Intellectuals and the Masses" is an eye-opening account of the fear and loathing many English writers had for ordinary people during the early days of Modernism. The intellectuals of the time hated and feared the growing power of the newly expanding middle class. Many famous and prominent writers came to dislike democracy and capitalism, because they thought they were losing influence. Carey theorizes that Modernism was invented in order to shut out the common reader of the day; to prove the elite's superiority and to put the upstarts in their places. Wyndham Lewis, a man with an amoral personal life, worshipped Hitler. D.H. Lawrence noted the efficiency of poison gas and imagined a large execution chamber where all the stupid people could be killed. Virginia Woolf sneered at the banality of the conversations she overheard from the women in the lavatory. The Bloomsbury set was especially guilty of the worst class-consciousness.
Some writers did battle with their impulses and the intellectual fashions of those years. George Orwell wrote with a minimum on condescension about "the proles" in his early novels and "1984." H.G. Wells seemed to advocate mass extermination of his inferiors in his non-fiction, but in his fiction his imaginative sympathies were usually with the failures and "losers" of the world. James Joyce's masterpiece was "Ulysses", a tribute of sorts to the common man (although written in a Modernist style that made it impossible for the common man to read it.) But on the whole the snobbery of most of the intellectuals of the day was unforgivable.
This book is an excellent companion to Modris Eksteins' "Rites of Spring" his cultural history of World War I. Both books argue that Modernism was in part responsible for the horrors of the 20th century, with its ruthless elitism and emotional coldness. Shaw, Pound and Forster dreamed of ridding the world of "superfluous" people; did this make it possible for Hitler and Stalin to actually attempt it? The necessary ideas were in the air. And they still are. Carey notes that, as the masses began to catch up in sophistication, post-modernism and literary theory was invented to create a new elite artistic language for its aristocrtatic initiates to revel in. The Modernist loathing for the mass media of newspapers was replaced by hatred of television and America, the middle-class nation par excellance. (And I would add, they really hate the Internet.) If you want to know why so many celebrities seem so sour and cynical about everything but themselves, read this book.
20 of 22 people found the following review helpful.
the murderous roots of snobbery unearthed
By PARTHO ROY
Strange to think that a well-chaired professor at Oxford, that ancient bastion of academic elitism (still, despite the sun setting on its hallowed but crumbling halls), would have so much criticism to level against the dawn of modern intellegentsia. But upon reading the first part of this concise and well-documented book, it became clear to me just how rotten at heart our intellectual heroes truly were. Carey finds a wealth of unnerving evidence that the great figures (self-appointed "greats," as this book shows us) of the modern literary canon festered with hatred of the common man, so much that they advocated (oftentimes straightforwardly) wiping out all of humanity. Moreso, the various case studies in the book's second part uncover further details about just how much these great writers loathed the "masses," and the strange, selfish reasons behind their disdain.
This is an excellent read for anyone struggling through "Ulysses," "To the Lighthouse," or even "The Wasteland." Carey's thorough research and well-argued points shed much-needed light on the dark side of our past century's most celebrated authors: why they wrote in such an unreachable voice, why they crafted their themes to be so alien to most people, why they lived where they did, and (most importantly) how much worthier they took themselves as human beings. I did groan a bit during the final chapter, which was about Wyndham Lewis and Hitler. Dropping the "H-bomb" can make anything seem evil and was therefore too easy a potshot for Carey to take at the intellectuals. Also, the two back-to-back case studies on H. G. Wells were somewhat redundant; Carey would have done better to write two case studies on two separate writers. Still, this book gives the reader an exciting, enlightening, and shocking view at the world of the intellectuals between 1880 and 1939 (and, in the Postscript, a look at similar currents in today's postmodern world), and I highly recommend it to any fan of modern literature who is not afraid to explore the ugly side of the great writers.
11 of 11 people found the following review helpful.
An Important, Much-Needed Book
By Gordon Burkowski
This book does an excellent job of showing the links between elitist, obscurantist art, political elitism and the pervasive contempt for popular culture which still infects much of the intelligentsia today. Especially interesting are the sections where Carey shows how much of this arose from panic on the part of many intellectuals at the burgeoning populations in the major Europeans countries.
I note that some reviewers regard Carey's documentation of the broad appeal of fascism among pre-WW II intellectuals as a cheap shot rather than a serious point. This is both fallacious and unhistorical. Those who enjoy their literary works might like to forget T.S. Eliot's anti-semitism (which is why After Strange Gods has never been reprinted), or to skate past Ezra Pound's pro-Fascist sympathies. But both were typical of their time. It's understandable that many authors who flourished in those days were anxious, post Auschwitz, to forget a lot of the things they said before 1939; and many of those who like the work of such authors would also like to forget words that praise eugenics and idolize political figures like Mussolini. But such things were said by some of our most respected poets, novelists and thinkers - and it is an injustice to pretend that they were not. The Great Silence on this matter must end.
Carey's book is a first step towards explaining why there has been so profound a disconnect over the past hundred years between intellectual elites and the broader reading and thinking public - a disconnect that thinkers in the middle years of the nineteenth century would have found shocking and almost incredible. Let us hope that others will follow in his footsteps.
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