The first work by Hannah Arendt that I read, at the age of sixteen, was Eichmann in Jerusalem: A Report on the Banality of Evil.[1] It remains, for me, the emblematic Arendt text. It is not her most philosophical book. It is not always right; and it is decidedly not her most popular piece of writing. I did not even like the book myself when I first read it””I was an ardent young Socialist-Zionist and Arendt’s conclusions profoundly disturbed me. But in the years since then I have come to understand that Eichmann in Jerusalem represents Hannah Arendt at her best: attacking head-on a painful topic; dissenting from official wisdom; provoking argument not just among her critics but also and especially among her friends; and above all, disturbing the easy peace of received opinion. It is in memory of Arendt the “disturber of the peace” that I want to offer a few thoughts on a subject which, more than any other, preoccupied her political writings.
In 1945, in one of her first essays following the end of the war in Europe, Hannah Arendt wrote that “the problem of evil will be the fundamental question of postwar intellectual life in Europe””as death became the fundamental problem after the last war.”[2] In one sense she was, of course, absolutely correct. After World War I Europeans were traumatized by the memory of death: above all, death on the battlefield, on a scale hitherto unimaginable. The poetry, fiction, cinema, and art of interwar Europe were suffused with images of violence and death, usually critical but sometimes nostalgic (as in the writings of Ernst Jünger or Pierre Drieu La Rochelle). And of course the armed violence of World War I leached into civilian life in interwar Europe in many forms: paramilitary squads, political murders, coups d’état, civil wars, and revolutions.
After World War II, however, the worship of violence largely disappeared from European life. During this war violence was directed not just against soldiers but above all against civilians (a large share of the deaths during World War II occurred not in battle but under the aegis of occupation, ethnic cleansing, and genocide). And the utter exhaustion of all European nations””winners and losers alike””left few illusions about the glory of fighting or the honor of death. What did remain, of course, was a widespread familiarity with brutality and crime on an unprecedented scale. The question of how human beings could do this to each other””and above all the question of how and why one European people (Germans) could set out to exterminate another (Jews) ””were, for an alert observer like Arendt, self-evidently going to be the obsessive questions facing the continent. That is what she meant by “the problem of evil.”
Read it all.
Tony Judt: The 'Problem of Evil' in Postwar Europe
The first work by Hannah Arendt that I read, at the age of sixteen, was Eichmann in Jerusalem: A Report on the Banality of Evil.[1] It remains, for me, the emblematic Arendt text. It is not her most philosophical book. It is not always right; and it is decidedly not her most popular piece of writing. I did not even like the book myself when I first read it””I was an ardent young Socialist-Zionist and Arendt’s conclusions profoundly disturbed me. But in the years since then I have come to understand that Eichmann in Jerusalem represents Hannah Arendt at her best: attacking head-on a painful topic; dissenting from official wisdom; provoking argument not just among her critics but also and especially among her friends; and above all, disturbing the easy peace of received opinion. It is in memory of Arendt the “disturber of the peace” that I want to offer a few thoughts on a subject which, more than any other, preoccupied her political writings.
In 1945, in one of her first essays following the end of the war in Europe, Hannah Arendt wrote that “the problem of evil will be the fundamental question of postwar intellectual life in Europe””as death became the fundamental problem after the last war.”[2] In one sense she was, of course, absolutely correct. After World War I Europeans were traumatized by the memory of death: above all, death on the battlefield, on a scale hitherto unimaginable. The poetry, fiction, cinema, and art of interwar Europe were suffused with images of violence and death, usually critical but sometimes nostalgic (as in the writings of Ernst Jünger or Pierre Drieu La Rochelle). And of course the armed violence of World War I leached into civilian life in interwar Europe in many forms: paramilitary squads, political murders, coups d’état, civil wars, and revolutions.
After World War II, however, the worship of violence largely disappeared from European life. During this war violence was directed not just against soldiers but above all against civilians (a large share of the deaths during World War II occurred not in battle but under the aegis of occupation, ethnic cleansing, and genocide). And the utter exhaustion of all European nations””winners and losers alike””left few illusions about the glory of fighting or the honor of death. What did remain, of course, was a widespread familiarity with brutality and crime on an unprecedented scale. The question of how human beings could do this to each other””and above all the question of how and why one European people (Germans) could set out to exterminate another (Jews) ””were, for an alert observer like Arendt, self-evidently going to be the obsessive questions facing the continent. That is what she meant by “the problem of evil.”
Read it all.