But there are losses. Marxism, being itself the product of an intelligentsia, notably in East Germany, felt committed to certain archaic, paternalistic ideals of high literacy, of literary-academic culture. Classical theatre and music, the publication of the classics flourished. Because it carried within its raucous facility and mass seductiveness the germ of anarchic protest, much of what is shoddiest in modernity, in the media, in down-market entertainment was kept (partly) at bay. Now the conductors and the performers are leaving the more than seventy symphony orchestras financed by the East German government. The professors are draining away. The poets, the thinkers wonder whether they can compete on the futures market of commercial choices. Oppression happens to be the mother of metaphor. In the supermarket, Goethe is a lossmaker. These losses, however, are, at an immediate level, luxury losses, and are perhaps recoverable. The minus signs on the balance sheet cut deeper but are much more difficult to define.
in an essay about Berthold Brecht, about the losses after the fall of the Berlin Wall