when i settle down to write to you, I feel somehow “freer” than usual. The reason, I suppose, is that most of the time I am writing for people whose ambiguities and values I imagine to be rather different from mine; but with you, I feel enough in common to allow us “to get on with it” in more positive ways. Reading your book, Out of Apathy, prompts me to write to you about several problems I think we now face. On none of these can I hope to be definitive; I only want to raise a few questions.

It is no exaggeration to say that since the end of World War II in Britain and the United States smug conservatives, tired liberals and disillusioned radicals have carried on a weary discourse in which issues are blurred and potential debate muted; the sickness of complacency has prevailed, the bi-partisan banality flourished. There is no need—after your book—to explain again why all this has come about among “people in general” in the NATO countries; but it may be worthwhile to examine one style of cultural work that is in effect an intellectual celebration of apathy.

Many intellectual fashions, of course, do just that; they stand in the way of a release of the imagination—about the cold war, the Soviet bloc, the politics of peace, about any new beginnings at home and abroad. But the fashion I have in mind is the weariness of many NATO intellectuals with what they call “ideology”, and their proclamation of “the end of ideology”. So far as I know, this began in the mid-fifties, mainly in intellectual circles more or less associated with the Congress for Cultural Freedom and the magazine Encounter. Reports on the Milan Conference of 1955 heralded it; since then, many cultural gossips have taken it up as a posture and an unexamined slogan. Does it amount to anything?

Its common denominator is not liberalism as a political philosophy, but the liberal rhetoric, become formal and sophisticated and used as an uncriticised weapon with which to attack Marxism. In the approved style, various of the elements of this rhetoric appear simply as snobbish assumptions. Its sophistication is one of tone rather than of ideas: in it, the New Yorker style of reportage has become politically triumphant. The disclosure of fact—set forth in a bright-faced or in a dead-pan manner—is the rule. The facts are duly weighed, carefully balanced, always hedged. Their power to outrage, their power truly to enlighten in a political way, their power to aid decision, even their power to clarify some situation—all that is blunted or destroyed.

So reasoning collapses into reasonableness. By the more naive and snobbish celebrants of complacency, arguments and facts of a displeasing kind are simply ignored; by the more knowing, they are duly recognised, but they are neither connected with one another nor related to any general view. Acknowledged in a scattered way, they are never put together: to do so is to risk being called, curiously enough, “one-sided”.