From the British Political Philosopher Roger Scruton:
I as brought up at a time when half the English people voted Conservative at national elections and almost all English intellectuals regarded the term “conservative” as a term of abuse. To be a conservative, I was told, was to be on the side of age against youth, the past against the future, authority against innovation, the “structures” against spontaneity and life. It was enough to understand this, to recognize that one had no choice, as a free-thinking intellectual, save to reject conservatism. The choice remaining was between reform and revolution. Do we improve society bit by bit, or do we rub it out and start again? On the whole my contemporaries favored the second option, and it was when witnessing what this meant, in May 1968 in Paris, that I discovered my vocation.
In the narrow street below my window the students were shouting and smashing. The plate-glass windows of the shops appeared to step back, shudder for a second, and then give up the ghost, as the reflections suddenly left them and they slid in jagged fragments to the ground. Cars rose into the air and landed on their sides, their juices flowing from unseen wounds. The air was filled with triumphant shouts, as one by one lamp-posts and bollards were uprooted and piled on the tarmac, to form a barricade against the next van-load of policemen.
The van—known then as a panier de salade on account of the wire mesh that covered its windows—came cautiously round the corner from the Rue Descartes, jerked to a halt, and disgorged a score of frightened policemen. They were greeted by flying cobble-stones and several of them fell. One rolled over on the ground clutching his face, from which the blood streamed through tightly clenched fingers. There was an exultant shout, the injured policeman was helped into the van, and the students ran off down a side-street, sneering at the cochons and throwing Parthian cobbles as they went.
That evening a friend came round: she had been all day on the barricades with a troupe of theater people, under the captainship of Armand Gatti. She was very excited by the events, which Gatti, a follower of Antonin Artaud, had taught her to regard as the high point of situationist theater—the artistic transfiguration of an absurdity which is the day-to-day meaning of bourgeois life. Great victories had been scored: policemen injured, cars set alight, slogans chanted, graffiti daubed. The bourgeoisie were on the run and soon the Old Fascist and his régime would be begging for mercy.
Read the rest here from the New Criterion