Hans Keller

Otherwise identical with last year’s American edition, the English version has abandoned the original title, Sex by Prescription – in order, it appears, to gratify the author’s veritable passion for alliteration. He isn’t aware how lucky he is that his latest book has appeared at this particular stage in the history of our culture’s reflections on medicine – or rather, by now he is: I happen to know that recently he was shown Ian Kennedy’s Reith Lectures (which, highly indebted to Szasz without acknowledgment, criticise him for what he hasn’t said), and has decided to remain silent. For me, the relation between the two is particularly baffling: a few years ago I sat on a brains trust with both of them, and Kennedy was highly critical of those very elements in Szasz’s philosophy which he has meanwhile assimilated.

‘It was playing for pride; now it’s money, money, money. The game belongs to the people; money doesn’t come into it with me.’ Thus Bill Shankly, ultra-professional and ultra-amateur rolled into an apparent eccentric who, in reality, is the living proof of the profound unreality of our ideas, mutually exclusive, of professionalism and amateurism. Nor need we think that he is simply hitting out at a game he is no longer part of: Danny Blanchflower’s failure at, and resignation from, Chelsea, for instance, expressed the selfsame sentiment, which he himself articulated by saying that he was out of date, not in touch with his players, since he was unable to identify with their financial football philosophy – or, for that matter, with fellow managers who had no qualms about paying unreal prices for players they thought they needed.

My title is intended to be quadruply functional: the four books raise four interpenetrating problems – and not one problem per book either. That Hitler himself remains an incurable problem is proved by our civilisation’s continued, compulsive preoccupation with his personality – which a George Steiner even undertook to reinvent: his The Portage to San Cristobal of A.H. has been reviewed in these pages, nor are Norman Stone, James J. Barnes and Patience P. Barnes always less fanciful. And if Hitler’s personality remains an unanswered question, so too, does the history of National Socialism – which a book like Robert Harbison’s recent Deliberate Regression: The disastrous history of Romantic individualism in thought and art, from Jean-Jacques Rousseau to 20th-century fascism (1980) interprets as dreamfully as Steiner recreates Hitler. The reason why I quote Harbison’s enormous subtitle in full is that it is symptomatic of one of our intellectual age’s grand delusions – of the belief that Hitler has a specific history in German Romanticism. It is a delusion which Peter Paret and especially William Vaughan are quite ready to take for reality, while Norman Stone’s own dreams about ‘the positive qualities of Hitler, his real achievements’ (thus Professor J.H. Plumb’s Introduction) aid and abet it: if Hitler was some sort of genius, he is part of the history of German, nationalistic genius. The whitewashing of Hitler goes together with the soiling of his past.

There is no area of human endeavour on which we get a greater variety of opinions than on broadcasting, for the simple reason that everybody not only is but feels involved – as a listener and/or viewer, a broadcaster, or one who hates it all and makes a moral issue of it: I know more than one respectable mind who refuses to have a television set in the house – for his family’s sake and indeed his own. With a fair measure of boredom, then, the reader will expect yet another opinion from me – or rather, not another: by now, it is impossible for any opinion to be new.

Language, logic, style – these are usually thought to be aspects to wind up a review with, concerned as they are with the secondary ‘how’ rather than the primary ‘what’. Yet so much of your ‘what’ can depend on your ‘how’, so many of your reasons are rationalised motives, that your manner will easily yield a bird’s-eye view of your matter. And no ‘how’ is more enlightening than the basic one: how do you start your book, symphony, movements, chapters?