Beckett wrote “unenjoyable” books, says Martin Amis. Paulo Coelho believes Joyce’s Ulysses caused “great harm,” while Roddy Doyle doubts any readers are “really moved by it.” “Shabby chic” is the Financial Times’ verdict on modernist architecture. You hear it often these days, this grousing about difficult, pretentious modernism: Woolf, Kafka, Stein, and Picasso come in for it too. The emperor has no clothes. The flight from modernism—we know the names but skirt the works—may be a sign of the cultural times, a symptom of our special mix of fatigue, cynicism, and complacency. And then, of course, the art can indeed try your patience and stamina. Its demands are relentless; these are creations that decline to traffic in reassurance or open themselves to clicks and scans.It's the opening of a book review on works produced in 1922, when modernism was still a rising force. But I wonder if the real problem isn't the one the critics append. Maybe it wasn't that the art was so challenging, but that it wasn't beautiful. The True and the Beautiful share a link that somehow know at basic levels of our being. We work hard for the beautiful because we can see its value, we know there is something of worth that deserves the work. Even when it is beyond us, as Kant said of the sublime, we try to grasp its truth though we are doomed to fail.
With modernism the challenge is purely intellectual, and relatively few are interested in that kind of challenge. That's not hidden praise for the art, as it is often taken to be -- "Only a select few can understand." It's a kind of hidden criticism, a democratic one.
UPDATE: Link missing before, fixed.





