Depending on what time zone you were in at the time, either today or tomorrow, in the Year of Our Lord 1969, Neil Armstrong first set foot on the surface of the Moon. For many, that moment was the high-water mark of Western Civilization. In the person of an American astronaut, Mankind had escaped its womb and begun its journey to the stars.
But the matter was far from settled. “Those who have not joy” (C. S. Lewis) immediately began to denigrate or cast doubt on the achievement. Some were blatant, others subtle. A number strove to recast the Apollo landing as somehow tainted by slavery, “imperialism,” or whatever else they could conjure up. A few tried to reduce its significance by stressing that the Moon is “conveniently close,” which makes getting there “no big deal.” Others pointed to the competitive, quasi-combative aspect of the “Space Race.” Had it not been for the Soviets’ early lead in space travel, they claimed, America would never have cared about a Moon landing. And so on, ad nauseam.
We ought to have paid more attention to the denigrators and naysayers. They were the point of an invisible spear aimed at America’s heart. There was significant pressure behind that spear. It had already made an inroad into our national psyche. It penetrated ever more deeply as the years rolled past.
The Sixties, for all the hype that’s been lavished on them, were the beginning of America’s decline. Those who sought to destroy us knew that you don’t start at the top. To bring down a society, you locate its foundation and work to undermine it. The foundation stones of the extraordinary achievement that Robert A. Heinlein called “the Renaissance Civilization” were all but invisible to the great majority of Americans. In consequence, we failed to recognize their attackers or grasp the aim of their efforts.
Rather than follow my usual practice, I’ll cut to the chase:
Was made from Christian ethics and political freedom.
Those aren’t things that would yield to the first blows of the chisel. They are – or were – too deeply ingrained in the American psyche to be quickly shattered. So deeply, in fact, that the average American of the first decades after World War II never thought about them. They were omnipresent, like air. More, we had inherited them from prior generations. It was easy to believe that that’s just how things are and always will be.
We never thought about why we believed that. That made it easy for the underminers to chip away undisturbed.
It was the Sixties in which the attacks on our foundation became generally visible. Conspicuous socialist and communist movements began to proliferate in “centers of higher education.” Those things are inherently opposed to both freedom and Christianity. Their purveyors were clever; they aimed first at cultural targets: the arts. They strove to displace the esthetics that ruled music, painting, sculpture, dance, fiction, and entertainment. For they understood, as many of us did not, that those things reinforce a people’s sense of themselves and their achievements.
Ironically, those who railed against the new, anti-Christian esthetics were beaten back with a weapon that baffled them: artistic freedom. That was presented to us with the implication that the nouvel artiste has an affirmative right to stand alongside traditional practitioners. It occurred to very few that freedom includes the freedom to condemn.
Collectivist nostrums would soon infiltrate the educational system. Clouds began to form around basic concepts such as rights and justice. The arts had lifted the tent flap and made it possible. Eastern European intellectuals had embraced the Gramscian prescription and brought it to receptive American “scholars” who were looking for something “new.”
First in the arts, then in “soft” studies such as psychology, sociology, and economics, American universities became battlegrounds between the Left and the Right.
This is really an introductory piece. I can’t finish it in one Sunday; there’s too much ground to cover. (Besides, I have laundry to do, a cat room to clean, and meatballs to make.) I wanted to introduce the idea and ideas of the Sixties, “the Summer of Love,” as the appropriate starting point for examining the attack on America’s conceptual foundation.
It’s time for the gloss that’s been smeared over that decade to be wiped away, in the interests of clearsighted understanding of our plight and its roots.