Why has the western world shown such loss of will in defending itself from radical Islamic terrorism? Why, indeed, do substantial numbers of peopleparticularly those who view themselves as intellectualsendlessly make excuses for belief systems and terrorist movements whose values are completely at odds with their own stated valuesand even romanticize these systems and their followers? I think some clues can be found in a forgotten novel by Arthur Koestler.
The Age of Longing
(published in 1950) is set in Paris, “sometime in the 1950s,” in a world in which Franceindeed all of western Europeis facing the very real possibility of a Soviet invasion. Hydie Anderson, the protagonist, is a young American woman living in Paris with her father, a military attache. Hydie was a devout Catholic during her teens, but has lost her faith. She was briefly married, and has had several relationships with men, but in none of them has she found either physical or emotional satisfaction…she describes her life with a phrase from T S Eliot: “frigid purgatorial fires,” and she longs for a sense of connection:
Hydie sipped at her glass. Here was another man living in his own portable glass cage. Most people she knew did. Each one inside a kind of invisible telephone box. They did not talk to you directly but through a wire. Their voices came through distorted and mostly they talked to the wrong number, even when they lay in bed with you. And yet her craving to smash the glass between the cages had come back again. If cafes were the home of those who had lost their country, bed was the sanctuary of those who had lost their faith.
Through her friend Julien DeLattre, Hydie is introduced to a number of Paris intellectuals and and East European emigres. Members of the former group are mostly in denial about the danger of a Soviet attack…many of them have indeed convinced themselves that Communist rule wouldn’t be all that bad. For example, there’s Professor Pontieux (modeled on Sartre)…”He did not believe that the Commonwealth of Freedomloving People had solved all its problems and become an earthly paradise. But it was equally undeniable that it was an expression of History’s groping progress towards a new form of society, when it followed that those who opposed this progres were siding with the forces of reaction and preparing the way for conflict and warthe worst crime against Humanity.” Vardi, another intellectual, says that if he had to choose between the (American) juke box on one hand, and Pravda on another, he isn’t sure which he would pick.
Madame Pontieux, modeled on Simone de Bouvoir (with whom Koestler had a brief affair) is less ambiguous about her choice among the alternatives. “You cannot enter a cafe or a restaurant without finding it full of Americans who behave as if the place belonged to them,” she complains to an American official. When the Russian emigre Leontiev suggests that France would not survive without American military support, pointing out that “nature abhors a vacuum,” she turns on him:
“I am surprised at your moderation, Citizen Leontiev,” Madame Pontieux said sarcastically. “I thought you would tell us that without this young man’s protection the Commonwealth army would at once march to the Atlantic shore.”
“It would,” said Leontiev. “I believed that everyone knew that.”
“I refuse to believe it,” responds Madame Pontieux. “But if choose one must I would a hundred times rather dance to the music of a Balalaika than a juke box.”
(The French intellectuals Koestler knew must have really hated juke boxes!)
Julien is romantically interested in Hydie, but she is not attracted to him, despite the fact that he seems to have much to recommend hima hero of the French Resistance, wounded in action, and a successful poet. On one occasion, she tells him that she could never sleep with him because they are too similar“it would be like incest”..on another occasion, though, she tells him that “what I most dislike about you is your attitude of arrogant broken-heartedness.” Parallel to Hydie’s loss of religious faith is Julien’s loss of his secular faith in the creation of a new society. He does not now believe in utopia, or any approximation to same, but he does believe in the need to face reality, however unpleasant it may be. Hydie argues that the Leftists of their acquaintance may be silly, but at least they believe in something:
“Perhaps they believe in a miragebut isn’t it better to believe in a mirage than to believe in nothing?”
Julien looked at her coldly, almost with contempt:
“Definitely not. Mirages lead people astray. That’s why there are so many skeletons in the desert. Read more history. Its caravan-routes are strewn with the skeletons of people who were thirsting for faithand their faith made them drink salt water and eat the sand, believing it was the Lord’s Supper.”
At a diplomatic affair, Hydie meets Fedya, a committed Communist who works for the Soviet Embassy. She is powerfully attracted to him: things get physical very quickly and, from Hydie’s point of view, very satisfactorily. (Fedya is one of Koestler’s best-developed characters. His boyhood in Baku is vividly sketched, and Koestlerhimself a former Communistdoes a good job in showing how a political faith can become core to an individual’s whole personality.)
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