Quotes from Rites of Spring: The Great War and the Birth of the Modern Age

“Early on, to arouse a sense of belonging, of “community,” the party began to emphasize the importance, above everything else, of ritual and propaganda—the flags, the insignia, the uniforms, the pageantry, the standard greetings, the declarations of loyalty, and the endless repetition of slogans. Nazism was a cult. The appeal was strictly to emotion.”
― Modris Eksteins, quote from Rites of Spring: The Great War and the Birth of the Modern Age

“The beautiful lie is, however, also the essence of kitsch. Kitsch is a form of make-believe, a form of deception. It is an alternative to a daily reality that would otherwise be a spiritual vacuum. . . . Kitsch replaces ethics with aesthetics. . . . Nazism was the ultimate expression of kitsch, of its mind-numbing, death-dealing portent. Nazism, like kitsch, masqueraded as life; the reality of both was death. The Third Reich was the creation of “kitsch men,” people who confused the relationship between life and art, reality and myth, and who regarded the goal of existence as mere affirmation, devoid of criticism, difficulty, insight.”
― Modris Eksteins, quote from Rites of Spring: The Great War and the Birth of the Modern Age

“Myth took the place of objectively conceived history. Myth, Michel Tournier has said, is “history everyone already knows.”2 As such, history becomes nothing but a tool of the present, with no integrity whatsoever of its own.”
― Modris Eksteins, quote from Rites of Spring: The Great War and the Birth of the Modern Age

“It was Hitler’s style, his oratorical talents and his remarkable ability to transmit emotions and feelings in his speeches, that took him to the leadership of the ragtag party of misfits and adventurers that he joined in Munich in 1919 and that called itself the German Workers’ Party. The ideas he and the party spouted were all tattered; they were nothing but jargon inherited from the paranoid Austro-German border politics of the pre-1914 era, which saw “Germanness” threatened with inundation by “subject nationalities.” Even the combination “national socialist,” which Hitler added to the party’s name when he became leader in 1920, was borrowed from the same era and same sources. It was not the substance—there was no substance to the frantic neurotic tirades—that allowed the party to survive and later to grow. It was the style and the mood. It was above all the theater, the vulgar “art,” the grand guignol productions of the beer halls and the street.”
― Modris Eksteins, quote from Rites of Spring: The Great War and the Birth of the Modern Age

“Nazi kitsch may bear a blood relationship to the highbrow religion of art proclaimed by many moderns.”
― Modris Eksteins, quote from Rites of Spring: The Great War and the Birth of the Modern Age

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Popular quotes

“Truth, justice...I always thought they were absolutes, like God. And Mom. And apple pie.
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“Nowadays, the work of Alfred Hitchcock is admired all over the world. Young people who are just discovering his art through the current rerelease of Rear Window and Vertigo, or through North by Northwest, may assume his prestige has always been recognized, but this is far from being the case.

In the fifties and sixties, Hitchcock was at the height of his creativity and popularity. He was, of course, famous due to the publicity masterminded by producer David O. Selznick during the six or seven years of their collaboration on such films as Rebecca, Notorious, Spellbound, and The Paradine Case.

His fame had spread further throughout the world via the television series Alfred Hitchcock Presents in the mid-fifties. But American and European critics made him pay for his commercial success by reviewing his work with condescension, and by belittling each new film.
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In examining his films, it was obvious that he had given more thought to the potential of his art than any of his colleagues. It occurred to me that if he would, for the first time, agree to respond seriously to a systematic questionnaire, the resulting document might modify the American critics’ approach to Hitchcock.
That is what this book is all about.”
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“And now?” he demanded.
“And now, I’d have to say, you have me where you want me, Marauder. Genghis would be proud.”
“Then you better kiss me quick before I burn your peasant village to the ground and take all your women as my concubines.”
“Oh, no,” she whispered, staring at his mouth. “I’m trapped between wanting to help my people and keep my innocence. What will I do?”
“What you always do, Blayne,” he told her honestly while pressing his body into hers. “Help everyone else.”
She leaned in, her hands moving from his shoulders to his face, her fingers stroking his jaw. “My God,” she whispered, her sweet breath brushing against his mouth, “the sacrifices I’m forced to make for my people.”
― quote from Beast Behaving Badly

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