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“In the presence of Esch, values have hidden their faces. Order, loyalty, sacrifice—he cherishes all these words, but exactly what do they represent? Sacrifice for what? Demand what sort of order? He doesn't know.

If a value has lost its concrete content, what is left of it? A mere empty form; an imperative that goes unheeded and, all the more furious, demands to be heard and obeyed. The less Esch knows what he wants, the more furiously he wants it.

Esch: the fanaticism of the era with no God. Because all values have hidden their faces, anything can be considered a value. Justice, order—Esch seeks them now in the trade union struggle, then in religion; today in police power, tomorrow in the mirage of America, where he dreams of emigrating. He could be a terrorist or a repentant terrorist turning in his comrades, or a party militant or a cult member a kamikaze prepared to sacrifice his life. All the passions rampaging through the bloody history of our time are taken up, unmasked, and terrifyingly displayed in Esch's modest adventure.”
― Milan Kundera, The Art of the Novel

“There are few poets today who can equal, in their esthetic exploitation of language, in their depth of commitment to their medium, in their range of conceptual understanding, in the purity of their closed forms, the work of Nabokov, Borges, Beckett, Barth, Broch, Gaddis, or Calvino, or any of half-a-dozen extraordinarily gifted South Americans.”
― William H. Gass, The World Within the Word

“What Broch understood by kitsch (and who else before him had even looked into the question with the keenness and profundity it demands?) was by no means a simple matter of degeneracy. Nor did he think of the relation between kitsch and true art as comparable to that of superstition to religion in a religious age, or of pseudo-science to science in the modern mass age. Rather, for him kitsch is art, or art at once becomes kitsch as soon as it breaks out of the controlling value system. L'art pour l'art in particular, appearing though it did in aristocratic and haughty guise and furnishing us - as Broch of course knew - with such convincing works of literature, is actually already kitsch, just as in the commercial realm the slogan "Business is business" already contains within itself the dishonesty of the unscrupulous profiteer, and just as in the First World War the obtrusive maxim "War is war" had already transformed the war into mass slaughter.
There are several characteristic elements in this value philosophy of Broch's. It is not only that he defined kitsch as "evil in the value system of art." It is that he saw the criminal element and the element of radical evil as personified in the figure of the aestheticizing literary man (in which category, for instance, he placed Nero and even Hitler), and as one and the same with kitsch. Nor was this because evil revealed itself to the writer understandably first of all in his own "value system." Rather, it was because of his insight into the peculiar character of art and its enormous attraction for man. As he saw it, the real seductiveness of evil, the quality of seduction in the figure of the devil, is primarily an aesthetic phenomenon. Aesthetic in the broadest sense; the businessmen whose credo is "Business is business" and the statesmen who hold with 'War is war" are aestheticizing literati in the "value vacuum." They are aesthetes insofar as they are enchanted by the consonance of their own system, and they become murderers because they are prepared to sacrifice everything to this consonance, this "beautiful" consistency.”
― Hannah Arendt, Men in Dark Times