摘要：Perhaps surprisingly for somebody who is nominally on the ‘progressive’ side of politics, Elizabeth Farrelly is no fan of post-modernism, or even modernism. She doesn’t even like the nanny state.
For instance, in Blubberland: The Dangers of Happiness, Farrelly laments literature’s move from being ‘the Victorian era’s primary moral carrier to being, in the subsequent century, mere entertainment’ and also the fact that the search for beauty is not only unfashionable in art, but considered positively banal. She argues that, while it originally set out to find real beauty, abstract art achieved the exact opposite. Indeed, it became ‘so remote and inaccessible that most people saw nothing in it at all’.
