Lukács believed that those authors willing to try and capture this social totality produced better works, both in aesthetics and in revolutionary potential, than the writers of the Modernist schools. Cleverly paralleling the dialectical developments of larger society, Lukács writes that the "monotony" of Modernist works "proceeds inexorably from the decision to abandon any attempt to mirror objective reality ... this approach permits no creative composition, no rise and fall, no growth from within to emerge from the true nature of the subject-matter".