Showing posts with label literature and revolution. Show all posts
Showing posts with label literature and revolution. Show all posts

Thursday, July 20, 2017

The 100th Anniversary Of The Russian Revolution (2017) )- Books To While Away The Class Struggle By-From The Pen Of Leon Trotsky-"Literature And Revolution"

The 100th Anniversary Of The Russian Revolution (2017) )- Books To While Away The Class Struggle By-From The Pen Of Leon Trotsky-"Literature And Revolution"




Recently I have begun to post entries under the headline- “Songs To While Away The Class Struggle By” and "Films To While Away The Class Struggle By"-that will include progressive and labor-oriented songs and films that might be of general interest to the radical public. I have decided to do the same for some books that may perk that same interest under the title in this entry’s headline. Markin

Book Review

Literature and Revolution, Leon Trotsky, 1924


Trotsky once wrote that of the three great tragedies in life- hunger, sex and death- revolutionary Marxism, which was the driving force behind his life and work, mainly concerned itself with the struggle against hunger. That observation contains an essential truth about the central thrust of the Marxist tradition. However, as Trotsky demonstrates here, Marxist methodology cannot and should not be reduced to an analysis of and prescription for that single struggle. Here Trotsky takes on an aspect of the struggle for mass cultural development.

In a healthy post-capitalist society mass cultural development would be greatly expanded and encouraged. If the task of socialism were merely to vastly expand economic equality, in a sense, it would be a relativity simple task for a healthy socialist society in concert with other like-minded societies to provide general economic equality with a little tweaking after vanquishing the capitalism mode of production. What Marxism aimed for, and Trotsky defends here, is a prospect that with the end of class society and with it an end to economic and social injustice the capacity of individual human beings to reach new heights of intellectual and creative development would flourish. That is the thought that underpins Trotsky’s work here as he analyzes various trends in Russian literature in the immediate aftermath of the October Revolution of 1917. In short, Marxism is certainly not a method to be followed in order to write great literature but it does allow one to set that literature in its social context and interrelatedness.

You will find no Deconstructionist or other fashionable literary criticism here. Quite the contrary. Trotsky uses his finely tuned skill as a Marxist to great effect as he analyzes the various trends of literature as they were affected (or not affected) by the October Revolution and sniffs out what in false in some of the literary trends. Mainly, at the time of writing, the jury was still out about the prospects of many of these trends. He analyzes many of the trends that became important later in the century in world literature, like futurism and constructivism, and others- some of which have disappeared and some of which still survive.

The most important and lasting polemic which Trotsky raised here, however, was the fight against the proponents of ‘proletarian culture.’ The argument put forth by this trend maintained that since the Soviet Union was a workers' state those who wrote about working-class themes or were workers themselves should in the interest of cultural development be given special status and encouragement (read: a monopoly on the literary front). Trotsky makes short shrift of this argument by noting that, in theory at least as its turned out later, the proletarian state was only a transitional state and therefore no lasting ‘proletarian culture’ would have time to develop. Although history did not turn out to prove Trotsky correct the polemic is still relevant to any theory of mass cultural development.

One of the results of the publication of this book is that many intellectuals, particularly Western intellectuals, based some of their sympathy for Trotsky the man and fallen hero on his literary analysis and his ability to write. This was particularly true during the 1930’s here in America where those who were anti-Stalinist but were repelled by the vacuity of the Socialist Party were drawn to him. A few, like James T. Farrell (Studs Lonigan trilogy), did this mostly honorably. Most, like Dwight MacDonald and Sidney Hooks, etc. did not and simply used that temporary sympathy as a way station on their way to anti-Communism. Such is the nature of the political struggle.

A note for the politically- inclined who read this book. Trotsky wrote this book in 1923-24 at the time of Lenin’s death and later while the struggle for succession by Stalin, Zinoviev and Kamenev was in full swing. While Trotsky did not recognize it until later (nor did others, for that matter) this period represented the closing of the rising tide of the revolution. Hereafter, the people who ruled the Soviet Union, the purposes for which they ruled, and the manner in which they ruled changed dramatically. In short, Thermidor in the classical French revolutionary expression was victorious. Given his precarious political position why the hell was he writing a book on literary trends in post-revolutionary society at that time?

Tuesday, April 25, 2017

***Writers' Corner- Andre Malraux In His Prime

***Writers' Corner- Andre Malraux In His Prime

Click on title to link to Wikipedia's sentry for French writer and politician Andre Malraux.


http://en.wikipedia.org/wiki/Andr%C3%A9_Malraux

Markin comment:

Leon Trotsky, early on, praised Malraux's literary talents in "The Conquerors" and "Man's Fate", tales of the Chinese Revolution. He was, and would have been, less enamored of Malraux's later career as Stalin admirer and subsequently in the post World II era a minister of culture under France's strongman Charles DeGaulle. Oh, well, everyone familiar with the biographic sketches of past literary figures knows that that milieu is replete with writers who cannot resist being in the circles of power-no matter the political cost. Still, in his prime Malraux could write thoughtful novels and write circles around most of his contemporaries. Trotsky was not wrong on that score, although he also seemed to be aware of certain moral flabbiness in Malraux. He was not wrong there either.

Tuesday, November 08, 2016

*A Snapshot View Of The Leaders Of The 1917 Bolshevik Revolution- Leon Trotsky

Click on title to link to Wikipedia's entry for the great 1917 Bolshevik revolutionary leader Leon Trotsky. No added comment is needed in this space for the work, life and deeds of this man.

Friday, October 28, 2016

*Saucy and Sexy- The Wicked Old World of James M. Cain- "Double Imdemnity" And Friends



Click on the headline to link to a Wikipedia entry for American novelist James M. Cain's noir classic, Double Indemnity.

Brother Cain Warms Up

Three Of A Kind: Career in C Major; The Embezzler: Double Indemnity, James M. Cain, Alfred A. Knopf, New York, 1943


I am more familiar with the work of James M. Cain via the movies as the basis of such films as The Postman Always Rings Twice and one of the works under review here Double Indemnity. For classic noir films I like to read the works they are based on to see how true they are to the literary efforts. Thus, I picked up this book for Double Indemnity but along the way I got into the other two. The common theme here is the role of women in bringing a man down (or building him up, if that seems appropriate to her designs). You know the old Adam and Eve tale in the modern setting. If Raymond Chandler and Dashiell Hammett, Cain's near contemporaries, had the hard-boiled, no nonsense detective down Cain has the bewitching femme fatale and `gullible' smitten guy down in the same way. This little three story volume, moreover, has the virtue of an introduction by Cain himself where he essentially dismisses out of hand positive critical comments about the hard-boiled outlook on the world expressed in his work, his commanding sense of language and his deft craftsmanship with the twists and turns of a story. Ya, right James.


Cain identifies Career in C Major as the story that he liked the best of the three presented here and the one that would hold up over time. I did not get that feeling mainly because the story line gets a little too bogged down by the narrator's efforts to become a male opera singer. The tension between his gratitude (if you can call it that) to his operatic paramour/muse and his catty, headstrong and over demanding wife (who also had musical ambitions) is what drives this little work. In the end, there is basically a Mexican stand-off between hubby and wife. I do not believe that either the theme or the moral hold up today. Let me point out that despite Cain's predilections for this little piece Double Indemnity, with a very much darker theme, is still remembered as a classic tale of murderous impulse. This one you can take or leave.

The Embezzler is, however, one you had better take, as its plot structure leads straight to the classics. This little sleeper of a story points to the fine twist and turns that Cain is rather noted for. The plot revolved around the complicity of a bank executive with the wife of a bank clerk to order to try to stave of family disaster (her's) by trying to "fix" the books of her philandering husband held in thrall by his fellow female employee, an accountant (go figure, right?). The twist and turns center, of course, around the attraction of the bank exec for the wronged wife who may, or may not be, on the up and up. Christ, this thing had me guessing for a while whether that exec was really going to take the tumble for a wrong "dame". Read this one. You will be glad you did.

I mentioned above that one of the things I want to read the original story of a film noir classic for is to see how close it is to the film version. Double Indemnity runs fairly close except as to the fates of the two lovers, if that is what they are. The plot here revolves around that old standard- life insurance- or rather more properly `death' insurance, for the insured. One hulky insurance agent meets one drop dead beautiful young wife of an insured older client. Said wife merely inquires about accident insurance for dear hubby. You know, he is in a dangerous business, producing oil in L.A. The rest is history- hubby is a goner. The double indemnity part? Oh, if you die in an accident on a train you get double. Get it? You will.

The core of the story goes to the compulsive nature of the actual murder once the wheels are set in motion, its cover-up and the falling out among thieves. Along the way we get an entanglement with the deceased insured lovely daughter, her `boyfriend' and enough duplicity to fill up the jails of 1930's California to capacity. No problem. Except the ending of this story doesn't match up with the film. Yes, the moral of both is that men (and women) must not do evil things to their fellows. Okay, but in the movie it is a straight proposition- the bad guys must pay back society for their crimes. They must die. In the book not only is that true but the bad guys had to feel guilt-ridden about it as well. So, instead of getting away with their nefarious deeds they must kill themselves. Moreover, as it turns, wifey didn't tell dear old insurance man that she had a little prior history of psychopathic behavior. So all of society's books are cleared on this one. Nice. I'll take the darker book ending, thank you.

Thursday, September 29, 2016

*Books To While Away The Class Struggle By-Professor Robert Service's "Trotsky: A Biography "

Click on the headline to link to a YouTube film clip of Leon Trotsky, leader of the Red Army.



Recently I have begun to post entries under the headline- Songs To While Away The Class Struggle By and Films To While Away The Class Struggle By-that will include progressive and labor-oriented songs and films that might be of general interest to the radical public. I have decided to do the same for some books that may perk that same interest under the title in this entry’s headline. Markin



Book Review



Trotsky: A Biography, Robert Service, Belknap Press Of The Harvard University Press, 2009



I have, on more than one previous occasion, noted that the spirit of the great Russian Bolshevik revolutionary, Leon Trotsky, animates the political material reviewed in this space, and is some ways the materials presented makes no sense without acknowledging that hard truth. I have also noted, as well, that of all the biographies, sketches, memoirs, etc. concerning the life and times of this extraordinary revolutionary that Isaac Deutscher’s three volume Prophet series done in the 1950s and 1960s still, to my mind, is the definitive such study of the man. After reading this Trotsky biography and another more specialized volume that centers on the last period of his life and his subsequent assassination by a Stalinist agent down in Mexico in 1940, both which have the benefit of the latest in archival, particularly Soviet archival, material I still hold to that opinion. However, the present book under review, gives a fairly decent exposition in one volume of Trotsky’s life, warts and all, from a liberal anti-communist academic perspective.

I admit to being somewhat surprised by Professor Service’s book. Not, as mentioned above for its expected liberal disdain for the Soviet experiment, that kind of expectation comes with wading into liberal academic territory. That disdain has been, moreover, telegraphed by Professor previously in his biographies of Stalin and Lenin. What is surprising is that Professor Service felt the need to write a biography of the fallen revolutionary Leon Trotsky in the year 2009 long after his ghost, and that of the Soviet Union, that he was instrumental in creating, especially its military structure, have left the scene and apparently no longer, according to his remarks at the end of the book animate world politics. Furthermore, while I believe this book has a certain merit as a contemporary Trotsky primer it certainly has not revealed much new in the way of biographical material despite the opening up of the archives. That is the sense, or one of the senses, that I mean when I say I continue to stand in awe of Isaac Deutscher’s exhaustive study.

For those not familiar with Trotsky’s life Service details his Ukrainian Jewish childhood, his early pre-revolutionary activities, his immersion into the Russian revolutionary milieu in Russian and in exile, his leadership of the Russian revolution of 1905 and after its defeat its defense , the pre-World War I free agent period, the struggle against World War I, the 1917 February and October revolutions where he links his fate with the Bolsheviks , the civil war to defend that October revolution, and Trotsky’s key role in creating the Red Army and the Communist International. He also details the post-Lenin inner-Bolshevik Party struggle where Trotsky’s star started to fate, his internal and then eternal exiles after his defeats at the hand so f Stalin, his fight to create the stillborn Fourth International to replace the Communist International in the fight for world socialist revolution and his assassination at the hands of a Stalinist agent in 1940. Along the way he also gives scope to Trotsky’s wide ranging literary and intellectual interest that permitted him to continue to make his mark on the political world after his exile, to make a living and to fund his various political projects.

In one sense it is hard for a biographer, any biographer, to say something new about such an open book political man as Leon Trotsky. Both because he wrote much, including his memoirs, My Life, self-serving as Professor Service believes or not, about his political life and positions from early on well before the Russian Revolution of 1905 and because the events that he was associated with left little room for not previously making it onto the pages of history. So what is left for a biographer, Robert Service or Isaac Deutscher included. Well, since no one has scoured the archives and found that Trotsky really did take German gold during World War I. Or that he really, as charged in the Moscow trials, was an agent of the Mikado, British imperialism or Hitlerite Germany then what is left is speculation, now apparently endless speculation, about his personal character flaws.

This is actually the ground that makes Service’s book interesting as he, like others before him detail Trotsky’s prickly personality, his failure to suffer fools gladly (or at all), his aloofness and haughtiness that made him less than the perfect choice for leadership of political factions in the struggle for power. Service’s Trotsky comes out loud and clear as being primarily one of the last of the free agent revolutionaries that while, perhaps, belonging to revolutionary organizations set their own agenda. That, in the end, was a key to Trotsky’s political undoing. Service also details more extensively than I have seen elsewhere some of Trotsky private traits like his late life affair with the Mexican artist Frida Kahlo, his health issues and his strained relationships with most of his kin folk.

For those who have not read a previous Trotsky biography and who understand that Professor Service is one of those liberal academics who see Lenin, Trotsky and Stalin as basically all part of the same anti-Western democratic political original sin, Bolshevism, then there is much that can be gleaned from his work. But, I always come back to this hard fact when dealing with the life of the much maligned, besmirched, and denigrated revolutionary Leon Trotsky. Trotsky, warts and all, comes as close as any historic figure that has come out of bourgeois society to being the proto-type for the new communist man that humankind has products thus far. In that sense Leon Trotsky is in need of no certificate of revolutionary good conduct from Robert Service, Mikhail Gorbachev, this writer or the reader. Enough said.

Sunday, August 21, 2016

*"LITERATURE AND REVOLUTION" by LEON TROTSKY

Click on title to link to the "Proletarian Culture and Proletarian Art" Chapter of Leon Trotsky's "Literature And Revolution".

BOOK REVIEW

Literature and Revolution, Leon Trotsky, Pathfinder Press, New York, 1972

Trotsky once wrote that of the three great tragedies in life- hunger, sex and death- revolutionary Marxism, which was the driving force behind his life and work, mainly concerned itself with the struggle against hunger. That observation contains an essential truth about the central thrust of the Marxist tradition. However, as Trotsky demonstrates here, Marxist methodology cannot and should not be reduced to an analysis of and prescription for that single struggle. Here Trotsky takes on an aspect of the struggle for mass cultural development.

In a healthy post-capitalist society mass cultural development would be greatly expanded and encouraged. If the task of socialism were merely to vastly expand economic equality, in a sense, it would be a relativity simple task for a healthy socialist society in concert with other like-minded societies to provide general economic equality with a little tweaking after vanquishing the capitalism mode of production. What Marxism aimed for, and Trotsky defends here, is a prospect that with the end of class society and economic and social injustice the capacity of individual human beings to reach new heights of intellectual and creative development would flourish. That is the thought that underpins Trotsky’s work here as he analyzes various trends in Russian literature in the immediate aftermath of the October Revolution of 1917. In short, Marxism is certainly not a method to be followed in order to write great literature but it does allow one to set that literature in its social context and interrelatedness.

You will find no Deconstructionist or other fashionable literary criticism here. Quite the contrary. Here Trotsky uses his finely tuned skill as a Marxist to great effect as he analyzes the various trends of literature as they were affected (or not affected) by the October Revolution and sniffs out what in false in some of the literary trends. Mainly at the time of writing the jury was still out about the prospects of many of these trends. He analyzes many of the trends that became important later in the century in world literature, like futurism and constructivism, and others- some of which have disappeared and some of which still survive.

The most important and lasting polemic which Trotsky raised here, however, was the fight against the proponents of ‘proletarian culture’ inside the Russian Communist Party. The argument put forth by this trend maintained that since the Soviet Union was a workers state those who wrote about working class themes or were workers themselves should, in the interest of cultural development, be given special status and encouragement (read: a monopoly on the literary front). Trotsky makes short shrift of this argument by noting that, in theory at least as its turned out, the proletarian state was only a transitional state and therefore no lasting ‘proletarian culture’ would have time to develop. Although history did not turn out to prove Trotsky correct the polemic is still relevant to any theory of mass cultural development.


One of the results of the publication of this book is that many intellectuals, particularly Western intellectuals, based some of their sympathy for Trotsky the man and fallen hero on his literary analysis and his ability to write. This was particularly true during the 1930’s here in America where those who were anti-Stalinist but were repelled by the vacuity of the Socialist Party were drawn to him. A few, like James T. Farrell (Studs Lonigan trilogy), did this mostly honorably. Most, like Dwight MacDonald and Sidney Hooks, etc. did not and simply used that temporary sympathy as a way station on their way to anti-Communism. Such is the nature of the political struggle.

A note for the politically- inclined who read this book. Trotsky wrote this book in 1923-24 at the time of Lenin’s death and later while the struggle for succession by Stalin, Zinoviev and Kamenev was in full swing. While Trotsky did not recognize it until later (nor did others, for that matter) this period represented the closing of the rising tide of the revolution in the Soviet Union. Hereafter, the people who ruled the Soviet Union, the purposes for which they ruled and the manner in which they ruled changed dramatically. In short, Thermidor in the classical French revolutionary expression was victorious. Given his political position why the hell was he writing a book on literary trends in post-revolutionary society at that time?
As he later recognized he was slow, too slow to pick up the ferocity of the Stalinism reaction at that time. Enough said.

Tuesday, January 05, 2016

***Detective Novelist Raymond Chandler’s Philip Marlowe Meets Leon Trotsky- “On The Quest For The New Socialist Persona”

Click On Title To Link To Leon Trotsky's "Literature And Revolution" Webpage.

Commentary


In a recent posting I reviewed detective novelist supreme Raymond Chandler’s late work (1958), “Playback”, the last in his series of Philip Marlowe stories. (See archives, September 20, 2009.) In that review I mentioned (as I have in several previous reviews of other books in Chandler’s Marlowe series) a number of positive attributes about Marlowe that I found appealing. For starters: his sense of personal honor in a modern world (the 1930’s, 40’s and 50’s) that laughed at such old-fashioned notions; his gritty intrepidness in search of ‘rough’ justice in a messy world; his amazing, almost superhuman, ability to take a punch or seven for the good of the cause; and, his minimally class conscious and sometimes barely hidden contempt for the traditional social hierarchy and its police authority. In response, I received an e-mail from a reader, an ardent socialist-feminist fellow admirer of Leon Trotsky, who took me to task for my characterizations and argued that I had it all wrong both as to Marlowe’s virtues and to his so-called (her description) anti-authoritarian posture.

In passing, the reader deeply discounted those attributes where I put a plus, deplored even the idea of the possibility that a future socialist society would have room for such attributes as mentioned above and that Marlowe’s attitude toward women was ‘primitive’ (her description). While one would be hard pressed, very hard-pressed, to include Marlowe, with his very quaint but macho attitude toward women reflecting the mores of an earlier age, as a champion of women’s emancipation and he became over time a little shopworn in his sense of honor, common sense, ability to take a punch and lay off the booze the reader missed the point of my critique. Or rather she is much too dogmatic in her sense of “political correctness” as it applies to the literary front. Thus this little commentary is intended not so much to clear the air as to posit several ideas for future discussion.

I hate to invoke the name of Leon Trotsky, the intrepid Russian revolutionary, hard-working Soviet official, well-regarded political pamphleteer, and astute literary critic into this discussion but in that last role I think he had some useful things to say. Without a doubt Trotsky could have made his mark solely on the basis of his literary criticism, witness his Marxist masterpieces “Literature and Revolution” and “Literature and Art”. What makes Trotsky’s literary analysis so compelling is not whether he is right or wrong about the merits of any particular writer. In fact, many times, as in the case of the French writer Celine and some of the Russian poets, he was, I think, wrong. But rather, that he approached literary criticism from a materialist basis rooted in what history, and that essentially meant capitalist history, when he analyzed characters, the plausibility of various plots and the lessons to be drawn about “human nature” put forth by any given writer.

This is no mere genuflection on my part to a revolutionary leader whose work I hold in high regard but a recognition that capitalism has given us some much distorted concepts of what human nature is, or can be, all about. That is the core of the genius of Trotsky’s sharp pen and wit. That is why he is still very readable, for the most part, today. Unless it is question of political import, like the struggle inside Russia in the early 1920’s over the preferential establishment of a school of “proletarian culture” supported by the Soviet state that was bandies about by likes of fellow Bolsheviks Bukarin and Zinoviev, Trotsky did not spend much time diagramming any but the most general outline of the contours of what the future socialist society, its habits, manners and morals would look like. He did, and this is central in this discussion, spend a great deal of time on what capitalism had and would bequeath a socialist state. Including both vices and virtues.

Not to belabor a point this is the link between Leon Trotsky and one fictional Philip Marlowe. Trotsky accepted that personal honor had a place as a societal goal and as a matter of social hygiene. The parameters of that sense of honor naturally would be different under a social regime that was based on use value rather than the struggle for profit margins. Certainly Trotsky’s biography, particularly that last period in the 1930’s when he appeared to be tilting at windmills, demonstrates that he had a high moral code that drove him. Certainly the word intrepid is not out of place here, as well. Hardworking, hard-driving, a little bit gruff, but in search of some kind of justice. Those, my friend are the links that are the basic premise of a socialist society as it evolves out of capitalist society. As well as individual initiative, a sense of fairness, and well-placed scorn for established authority and the time-worn clichés about the limits of human nature.

Do I draw the links here too closely? Perhaps. Although Marlowe has his own version of ‘tilling at windmills’ in search of some kind of rough justice and vindication for all those knocks on the head one cannot deny that he does not challenge bourgeois society except in the most oblique way. He will not rail against General Sternwood’s oil derricks. He will not lead a crusade against the old order in his search for the elusive Velma. He is if anything very Victorian in his attitude toward women, good or bad. (Chandler’s Marlowe and Trotsky are both men of another era in their personal attitudes toward women, although Trotsky was light-years ahead on the political front). Nor is Marlowe the prototype for the ‘new socialist man’. But he remains a very appealing fictional character nevertheless. Who is your favorite fictional character, detective or otherwise? Let the discussion continue.

Tuesday, December 29, 2015

Poet's Corner- T.S. Eliot's "The Hollow Men"- A Poem For Our Hard Times-The World Ends With A Bang, The Bang Of Revolution, Not A Whimper Though

Click on the headline to link to a Wikipedia entry for poet T.S. Eliot's The Hollow Men.

Click below to link to an On Point  NPR show on the very modern Mister Eliot


http://onpoint.wbur.org/2015/12/15/ts-eliot-modern-poetry-waste-land

Markin comment:

Praise be that Marxists take no particular notice of preferences in literature(or poetry, music, art, and other cultural tastes) except as literary figures are active counter-revolutionaries, etc., of course otherwise I would be in deep trouble here. T.S. Eliot "spoke" to me with The Hollow Men in high school and still does in these troubled times.
*******

The Hollow Men
T. S. Eliot

Mistah Kurtz—he dead.

A penny for the Old Guy

I

We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats’ feet over broken glass
In our dry cellar

Shape without form, shade without colour,
Paralysed force, gesture without motion;

Those who have crossed
With direct eyes, to death’s other Kingdom
Remember us—if at all—not as lost
Violent souls, but only
As the hollow men
The stuffed men.

II

Eyes I dare not meet in dreams
In death’s dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind’s singing
More distant and more solemn
Than a fading star.

Let me be no nearer
In death’s dream kingdom
Let me also wear
Such deliberate disguises
Rat’s coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer—

Not that final meeting
In the twilight kingdom

III

This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man’s hand
Under the twinkle of a fading star.

Is it like this
In death’s other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.

IV

The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms

In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river

Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death’s twilight kingdom
The hope only
Of empty men.

V

Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o’clock in the morning.

Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom

Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long

Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom

For Thine is
Life is
For Thine is the

This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.

Online text © 1998-2011 Poetry X. All rights reserved.
From The Hollow Men | 1925

Tuesday, November 09, 2010

*From The Archives Of "Women And Revolution"-Art and Revolution-Before "Socialist Realism" in the Soviet Union

Markin comment:

The following is an article from an archival issue of Women and Revolution, Winter 1976-77, that may have some historical interest for old "new leftists", perhaps, and well as for younger militants interested in various cultural and social questions that intersect the class struggle. Or for those just interested in a Marxist position on a series of social questions that are thrust upon us by the vagaries of bourgeois society. I will be posting more such articles from the back issues of Women and Revolution during Women's History Month and periodically throughout the year.
********
Markin comment on this article:

Over the past couple of years I have placed as many still relevant social, political, literary, and cultural articles from the journal Women and Revolution as I have been able to find as a source for leftist militants to think about these questions that are not always directly related to our day to day tasks in the class struggle today. I have made some effort into trying to get as many articles about the experiences of the Soviet Union as possible because that experience is, in some senses, our only example of what could have been had things turned out a bit differently back in the early days of the Russian revolution.

A couple of general observations about the tenor of the Soviet-centered articles. First, each article starts with items and ideas that spoke to the promise of the revolution, the things that could or should have been done and that the Bolsheviks raised holy hell to try to accomplish. Second, each article notes that turning inward of the revolution and the erasing of institutions, movements, and currents that surfaced in the revolutionary period and that were slammed in the period of Stalinist degeneration of the late 1920s. Those observations should be etched in the memory or every leftist militant who wants to fight for our communist future so we do better when our chance comes.
*******
Art and Revolution-Before "Socialist Realism" in the Soviet Union
by Janis Gerrard


Soviet art is linked in the minds of many with an endless and repetitive panorama of heroic factory workers and healthy-looking peasants, basking in the reflected glory of Stalin's fatherland. But the sterile,servile, cynical and unimaginative "art" associated with Stainist totalitarianism is the product of the suppression of a virtual creative explosion which accompanied the revolutionary struggle. During the brief period of democratic proletarian dictatorship between the overthrow of tsarism and its reactionary censorship policies and the institutionalization of "socialist realism" under Stalin, the optimism and unlimited expectations unleashed by the Russian Revolution supported a heady atmosphere of artistic experimentation.

Under capitalism the arts rely for survival on the monied patronage of the leisure class. But although the Soviet state was born in conditions of desperate poverty, its commitment to making art accessible to the masses intersected a profound cultural upheaval which had begun in the 1890's, to produce a surge of creative activity that swept through every area of artistic endeavor.

As the Soviet government was bringing new sources of light and energy to the population through a campaign to spread the use of electricity—leading to a popular definition of communism as "soviet power plus electrification"—it was taken for granted that the revolution would bring light and energy to the intellect as well.

A look at the effects on the arts of the October Revolution illustrates the commitment of the young Bolshevik regime, despite immense material obstacles, to culture. The complex and shifting relationship between artists and the regime also illuminates the high ideals of the best elements of this idiosyncratic petty-bourgeois layer, which sought to associate its creativity with the great liberating revolution.

The Winds of Change

Although there is no direct relationship between political struggle and aesthetic innovation, historically periods of great artistic and cultural ferment have often preceded violent political struggle, as the changing class relations are mirrored in artistic expression. In Russia, dramatic transformations were evident in the arts several decades before the revolution.

At the beginning of the 20th century, after 300 years of existence, the ballet was still regarded as
frivolous entertainment for young aristocrats. The audience regarded the performance as a form of burlesque—where else could one see women so scantily clad? When the young Mikhail Fokin, who was later to introduce innovations which would save ballet from oblivion, questioned a leading dancer on the possibility of artistic renewal of the dance, he was told, "Ballet is pornography, plain and simple."

Young noblemen would sit in the smoking room playing cards and exchanging stories of romantic conquests until an usher announced that one or another "favorite" was due to appear, at which they would rush into the nearly empty theater to cheer loudly for an encore. One went to the theater to hear the soliloquy of a famous actor, to see the (our de force of a renowned ballerina, to hear the high C of a visiting soprano.

The novel concept of ballet as art can be credited to a handful of theatrical geniuses who qualitatively trans¬formed the dance in the first years of the 20th century. They included: C. Stanislavsky of the Moscow Ar; Mikhail Fokin, choreographer of the Imperial Ballet; S. Diaghilev, grand impresario of the Ballets Russes; A. Benois, artist, designer of scenery and costumes and close collaborator of Diaghilev; George Balanchine, choreographer for Diaghilev and pioneer of modern ballet in the West; and Isadora Duncan.


Stanislavsky's role in ending the isolation of the Imperial Ballet cannot be underestimated. He strove to cast away all the artificial and unnatural theatrical conventions which served only to advance the career of individual performers while stifling the art of dance and theater. His ideas focused on the desire to create in art the concept of "truth of life." His costumes and sets were defined to reflect the period of the play and to contribute to the artistic whole. He allowed no interruptions in the mood of the drama and fostered collaboration between different branches of the performing arts to achieve an artistic whole.

Isadora Duncan's first Russian tour in 1905 occurred just as these leaders of the "left" reform current were formulating their criticisms of the ballet and searching for new artistic models. For Fokin, who had dreamed of staging a ballet in the Greek style, Duncan's powerful yet simple performance, in which she was clad simply in a Greek tunic and danced on a green, grass-like rug with simple, graceful movements to the music of Chopin and Schumann, had an overwhelming impact. Her dancing, unfettered by the confines of classical ballet technique, challenged all serious ballet dancers to examine their own concepts of art and aesthetic movement.


Duncan's influence was profound but, as Stanislavsky discovered when he met her in 1908, she was incapable of articulating her methods. She could speak only in mystical and idealistic terms of her concept of the interpenetration of art and life. Moreover, out of a false standard of artistic purity she refused to allow her dancing to be filmed.

The 1905 Revolution, which shook Russian society to its foundations, also jarred the complacency of the Russian ballet. Both Fokin and Anna Pavlova, the world-renowned prima ballerina, were involved in organizing a strike by dancers under the slogan "Freedom of Art," with a program of relatively minor economic and organizational reforms.

Other fields of art demonstrated an equally accelerated rate and heightened exuberance of creative expression. In poetry, new currents sprang up faster than they could be labeled. Symbolism gave way
to futurism, then to acmeism, imagism and a multitude of unclassifiable styles. On the stage, the ensemble work of Stanislavsky's Moscow Art Theater and the expressionism in Meierhold's theater wrought pro¬found changes in dramatic production.


But of all the art media, music seemed to be the central and determining one. Aleksandr Bloc, one of the greatest poets of the period, spoke of escaping from calendar time to "musical time." The pioneering abstract painter, Vasily Kandinsky, said he considered music the most comprehensive of the arts and the model for all others, while his colleague Chiurlionis called his paintings "sonatas" and his exhibitions "auditions."


In writing, too, a new musical style evolved, and a new form of lyrical narrative called "the symphony" was developed by Andrei Bely. In the theater, Meierhold's emphasis on gesture underscored his belief that "the body, its lines, its harmonic movements, sings as much as do sounds themselves."

Even Lenin, removed as he was from the world of art, confessed to a strong and disturbing attraction to music during this period. In his Days With Lenin, author Maxim Gorky quoted him as saying:

"I know nothing more beautiful than the Appassionata I could hear it every day. It is marvellous, unearthly music. Every time I hear these notes, I think with pride and perhaps childlike naivete, that it is wonderful what man can accomplish. But I cannot listen to music often, it affects my nerves. I want to say amiable stupidities and stroke the heads of the people who can create such beauty in a filthy hell. But today is not the time to stroke people's heads; today hands descend to split skulls open, split them open ruthlessly, although opposition to all violence is our ultimate ideal—it is a hellishly hard task...."


Particularly after the Revolution of 1905, when man artists fled to the West, Russian art developed in a direction that was both more international and more interdisciplinary. One artistic medium seemed to flow into another. Thus futurism, the most radical of the new artistic currents, began in painting and then moved into poetry. The painter M. Vrubel drew much of his inspiration from poetry, while his use of color inspired poetry. The Ballets Russes epitomized this harmonious fusion of the arts, combining the scenic designs of Benois, L. Bakst and N. Roerich, the music of Igor Stravinsky, the dancing of the great Nizhinsky, the choreography of Fokin and the guiding genius of Diaghilev.

This development was sharply checked by the outbreak of war in 1914, which forced Russian art into isolation. During the war even the most avant-garde artists became superpatriots. The futurists, including Maiakovsky, led a patriotic-nationalist movement which elevated Russian primitivism and religious icons to the basis of a great Russian art of the future. Diaghilev and his group, cut off from Russia, toured Europe and the United States with a continually degenerating Ballets Russes. Isadora Duncan became a French patriot on the grounds that France was the preserver of what was best in modern European culture, although she said:

"France is the only country that really understands But I have great hopes for Russia. At this moment she is passing through the growing pains of childhood, but I believe that she is the future for Artists and the Spirit "

The Russian Revolution

The Russian Revolution sent shock waves of wild hope and exhilaration through the artistic intelligent¬sia. In his famous poem, "Twelve," written just after the October uprising, Aleksandr Bloc introduces a popular revolutionary song traditionally sung to the accompa¬niment of balalaikas:

"No sound is heard from the city, There is silence in the Nevsky tower. And on the bayonet of the sentry Glistens the midnight moon."

—A. Bloc, quoted in James H. Billington, The Icon and the Axe

Only Bloc changes the last two lines to an exultant: "And there are no more policemen— Rejoice, lads, without need of wine!"

For Fokin and Stanislavsky, the opening of the theaters to audiences composed of factory workers who had last year been peasants and to soldiers who had only yesterday been peasants was the realization o a lifelong aspiration. Batches of tickets were distribute free to the heretofore artistically disfranchised plebe an classes through the Soviets and other worker, organizations.

The new audiences were difficult—to say the least— composed as they were of people unfamiliar with ur¬ban culture in general, not to mention the subtleties of literary and dramatic tradi¬tions. As commissar of war, Trotsky had to teach many of these former peasants to use soap and to clean their weapons. Similarly, Stanis¬lavsky viewed his task as educating them in the conventions of the theater: "... to sit quietly, not to talk, to come to the theater on time, not to smoke, not to eat nuts in public, not to bring food into the theater and eat it there, to dress in [their] best so as to fit more into the atmosphere of beauty that was worshipped in the theater."


In 1921, Anatoly V. Lunacharsky, Soviet minister for education, telegraphed Isa¬dora Duncan: "Come to Moscow, we will give you your school and 1,000 children. You may carry out your ideas on a grand scale." The offer was irresistible, despite the warnings of her friends that cannibalism was rampant and that "four year old children hung by their heels in the butcher shops."

Duncan entered the Soviet Union at a time when many artists were leaving, both for political reasons and to escape the misery and privations of a country ripped apart by civil war. She and her protege Irma Duncan were the first foreign artists to enter the Soviet Union and the last for some time.

Bolshevik Ideals and Harsh Realities

The Bolshevik Ministry of Education and Art— Narkompros—faced enormous difficulties. Lunacharsky was caught in the middle of warring artistic tendencies, all clamoring for official approval. Further¬more, he was crippled, as were all government administrators, by the gap between the ideals and program of the Bolshevik party and the material inability to realize this program under conditions of war, extreme scarcity and national isolation.

The Bolshevik program called for artistic freedom, no state intervention into artistic affairs and no preferential state support for any particular artistic tendency, on the grounds that this would inhibit the development of other tendencies.

Lunacharsky was well aware of the need for political support and material aid from the artistic intelligentsia, realizing how few active artistic sympathizers there were. He was forced again and again to prove his artistic
neutrality both to the artists themselves and to the party.


Despite the extremely difficult conditions under which it was forced to function, Narkompros did manage to keep open the universities and to preserve the public libraries, art collections and museums. It also instituted a network of kindergartens, children's colonies and experimental schools and administered state subsidies to support the arts.

Nevertheless, it seemed that Narkompros could satisfy no one. To give precious resources to the ballet while workers were starving was highly controversial. The exigencies of war communism left little extra for the fundamental restructuring necessary to lift the Russian masses out of centuries of backwardness and cultural poverty.

Narkompros vs. Proletkult

Freed from tsarist persecution, a multitude of artistic tendencies—futurists, confuturists, constructivists, supremacists, primitivists, imagists—surfaced; each with its own manifestoes, journals and organizational animosities. While hailing their new freedom from autocracy, many of these tendencies were suspicious of the Bolsheviks. The Artists' Union, formed in May 1917, held up the banner of artistic freedom like a cross to fend off the suspected Bolshevik threat.

The "left" wing of this Union was dominated by the futurists—self-proclaimed architects of the future "proletarian culture," who argued for a complete break with the past, insisted on a fundamental link between art and technology, introduced technical-industrial terms into their poetry and identified themselves with Bolshevism and internationalism. But futurist leader Maiakovsky, despite his sympathies for the revolutionary proletariat, stood in principle against joining any state body dealing with art. The Artists' Union refused to cooperate with Narkompros even in its campaign to save art treasures from war damage.


Lenin, whose aesthetic tastes were relatively conser¬vative, personally disliked the flamboyant public spectacles, bright yellow shirts and painted faces in which the futurists delighted and was infuriated when they painted the trees in front of the Kremlin bright colors for a May Day celebration.

Lunacharsky and Trotsky were more sympathetic to avant-garde and experimental trends but also felt a commitment to the preservation of artistic tradition. It was disgraceful, said Trotsky, to approach the "cultural heritage" of the past with nihilistic contempt. The working class had to take possession of that heritage and guard it. Above all, they strove to maintain an even-handed policy of official toleration and even encour¬agement with regard to all artistic tendencies. None¬theless, the government was always suspected by the traditionalists of favoritism toward the futurists, espe¬cially when the futurists, after splitting from the Artists' Union, had obtained a position within the graphic arts department of Narkpmpros by offering their services for the production of propaganda posters.

The most organized expression of radicalism in the arts was the Proletkult (Proletarian Culture) organiza¬tion, whose founder was Aleksandr Malinovsky,known as Bogdanov. Bogdanov means "god-gifted" and accurately reflects the image which this individual had of his own importance.

Although Bogdanov had been a member of the Bolshevik party until his expulsion in 1909, he believed that the key to the future lay not in the tranformation of economic relationships through class struggle and socialist revolution but in the technology and ideology which was already being created by the proletariat. He also argued that the destructive conflicts of the past would never be resolved without the creation of anew, socially oriented religion, which he called "empirio-monism." Bogdanov's idealism was attacked by Lenin in Materialism and Empiric-Criticism.

The theoretical basis of Bogdanov's Proletkult was the belief (originally supported by Lunacharsky) that
artists, under the direction of an organization similar to a trade union, which was to protect the interests of the proletariat in the cultural sphere, should create a "proletarian culture" which would substitute for the decadent, class-biased and therefore dangerous bour¬geois culture. "Proletarian culture" would become a weapon of the oppressed in the class struggle. Proletkult saw nothing of value in the old bourgeois culture, which, its adherents argued, must be immedi¬ately destroyed. The refutation of this idea of "proletarian culture" was succinctly summarized by Trotsky in the preface of Literature and Revolution:

"It is fundamentally wrong to oppose proletarian to bourgeois culture and art. Proletarian culture and art will never exist. The proletarian regime is temporary and transitory. Our revolution derives its historic significance and moral greatness from the fact that it lays the foundations for a classless society and for the first truly universal culture."

What is more, argued Trotsky, the historic destiny of the proletariat does not leave it enough time to develop a new culture. Whereas the bourgeois way of life developed organically over several centuries, the proletarian dictatorship will be measured in years or decades, and its duration will be filled with savage class struggles. "We are still soldiers on the march," he said. "Our epoch is not the epoch of a new culture. We can only force open the gate to it."


Although Lenin believed the concepts of Proletkult to be un-Marxist and unmaterialist, he refrained initially from intervening against it on the grounds that it was not the role of the party to take positions on questions of art and culture. But Proletkcult's attempts to create a new culture under the conditions of war communism proved dangerous. The discovery that Narkompros' budget for the arts was larger than its budget for education and that the special rations which had been granted technical specialists had been extended to artists prompted Lenin late in 1920 to support Lunacharsky's demand that the hitherto freewheeling Proletkult be subordinated to Narkompros.


The immediate cultural necessity, he argued, was to raise the level of the Russian masses—to help them acquire the level of competency that the petty-bourgeoisie had taken for granted: literacy, simple arithmetic, hygiene. But the avant-garde artists of Proletkult disdained such mundane tasks. Lenin characterized them as "parasites...escapees from the bourgeois intelligentsia" who were looking for a playground in the institutions desperately needed by the workers.

Lenin was supported in his struggle against Proletkult by both Lunacharsky, who believed that proletarian culture was possible but not imminent, and Trotsky. Trotsky agreed with Lenin on the philosophical aspects of proletarian culture as well as the immediate priorities of raising the level of culture for the masses but disagreed with Lenin's evaluation of avant-garde experimentation and was particularly sympathetic to the futurists.

The real strength of Proletkult is demonstrated by the fact that after deciding in 1919 that the organization represented a danger, it took the Bolsheviks two years to achieve its subordination to Narkompros. Proletkult was also censured for its claim to have brought about "immediate socialism" in the cultural sphere, a "proletarian culture" totally emancipated from the bourgeois past. It is instructive that throughout this fight Lenin never resorted to censorship. Freedom of expression for all except active counterrevolutionaries was a fiercely guarded principle during Lenin's lifetime.

Degeneration, Defection, Death.

The New Economic Policy (NEP) initiated in 1921 meant a loosening up in most areas, but coinciding asit did with the end of the Proletkult fight and the reorganization and trimming down of Narkompros, it hit the arts like an austerity program. It was all Lunacharsky could do to salvage subsidies for the Bolshoi and Mariinsky Ballets, the Academic Theater and the Moscow Art Theater. He almost lost on the ballet, which Lenin ordered closed because of its "negligible artistic value" and high cost of mainte¬nance; He managed to keep the Bolshoi open, after the Council of Trade Unions ordered it closed, only by arguing that the theater was needed for congresses and state functions. Other theaters maintained themselves by selling tickets to those who could afford them and distributing a small number to trade unions and schools at half price. The Proletkult Theater and the Isadora Duncan School maintained their premises but were told to support themselves through performances. Duncan, with 40 students and a staff to support, went on a pan-Soviet tour, which was artistically successful, but after the expenses of the orchestra and transportation were settled, she had little left with which to maintain her school. Her next tour to Central Asia was so financially disastrous that she decided that if she must go back to dancing for money she should go to a country that had some—the United States. But al¬though her concerts in the U.S. were sold out, she was banned in Boston and other cities for "inflammatory Communist dancing" and oratory.


The degeneration of the revolution after 1924 and the insidious entrenchment of the Stalinist bureaucracy was reflected in the arts. In the ballet, experimentation with themes of class struggle began to be booed off the stage. George Balanchine was publicly criticized for his experiments with pantomime, which were character¬ized as a break with "artistic tradition." In 1924 he and his whole company defected and joined Diaghilev in Paris—the first in a long line of Soviet ballet dancers to defect.

In 1925 the poet Esenin, Isadora Duncan's estranged husband, committed suicide. Although ostensibly an apolitical act, this suicide, like Balanchine's defection, started a trend among artists. In fact, the self-destruction of poets associated with "drunkenness and bohemian influences" created a new Russian word— "Esenism." These suicides represented the inability of a certain layer of artists either to submit to the growing bureaucracy or to fight it.

In 1929 Lunacharsky resigned his post as commissar of education. In the same year, Maiakovsky wrote "The Bedbug" and "The Washhouse," skillful, satirical plays exposing the bureaucracy. The public criticism of these works was brutal. He was allowed no reply and was hounded until he finally recanted. But although in a poem of capitulation he promised to write one hundred party books and publish them in the official party press, he was never to write anything again. In 1930 he shot himself.

In 1935 Maiakovsky was proclaimed a national hero by Stalin. Russian school children were compelled to memorize his poems; posthumous awards were bestowed; a subway station was named in his honor. One understands that when a subway station is dedicated to a martyred poet by his persecutors the time for debating questions of aesthetics, style and freedom is past." (Boldface by Markin)

Wednesday, October 27, 2010

Writer's Corner- From The Pen Of Jack London-"Revolution" (1905)

REVOLUTION AND OTHER ESSAYS
Revolution


Revolution-Jack London

I received a letter the other day. It was from a man in Arizona. It began, "Dear Comrade." It ended, "Yours for the Revolution." I replied to the letter, and my letter began, "Dear Comrade." It ended, "Yours for the Revolution." In the United States there are 400,000 men, of men and women nearly 1,000,000, who begin their letters "Dear Comrade," and end them "Yours for the Revolution." In Germany there are 3,000,000 men who begin their letters " Dear Comrade " and end them "Yours for the Revolution"; in France, 1,000,000 men; in Austria, 800,000 men; in Belgium, 300,000 men; in Italy, 250,000 men; in England, 100,000 men; in Switzerland, 100,000 men; in Denmark, 55,000 men; in Sweden, 50,000 men; in Holland, 40,000 men; in Spain, 30,000 men -- comrades all, and revolutionists.

These are numbers which dwarf the grand armies of Napoleon and Xerxes. But they are numbers not of conquest and maintenance of the established order, but of conquest and revolution. They compose, when the roll is called, an army Of 7,000,000 men, who, in accordance with the conditions of to-day, are fighting with all their might for the conquest of the wealth of the world and for the complete overthrow of existing society.

There has never been anything like this revolution in the history of the world. There is nothing analogous between it and the American Revolution or the French Revolution. It is unique, colossal. Other revolutions compare with it as asteroids compare with the sun. It is alone of its kind, the first world revolution in a world whose history is replete with revolutions. And not only this, for it is the first organized movement of men to become a world movement, limited only by the limits of the planet.

This revolution is unlike all other revolutions in many respects. It is not sporadic. It is not a flame of popular discontent, arising in a day and dying down in a day. It is older than the present generation. It has a history and traditions, and a martyr-roll only less extensive possibly than the martyr-roll of Christianity. It has also a literature a myriad times more imposing, scientific, and scholarly than the literature of any previous revolution.

They call themselves "comrades," these men, comrades in the socialist revolution. Nor is the word empty and meaningless, coined of mere lip service. It knits men together as brothers, as men should be knit together who stand shoulder to shoulder under the red banner of revolt. This red banner, by the way, symbolizes the brotherhood of man, and does not symbolize the incendiarism that instantly connects itself with the red banner in the affrighted bourgeois mind. The comradeship of the revolutionists is alive and warm. It passes over geographical lines, transcends race prejudice, and has even proved itself mightier than the Fourth of July, spread-eagle Americanism of our forefathers. The French socialist workingmen and the German socialist workingmen forget Alsace and Lorraine, and, when war threatens, pass resolutions declaring that as workingmen and comrades they have no quarrel with each other. Only the other day, when Japan and Russia sprang at each other's throats, the revolutionists of Japan addressed the following message to the revolutionists of Russia: "Dear Comrades -- Your government and ours have recently plunged into war to carry out their imperialistic tendencies, but for us socialists there are no boundaries, race, country, or nationality. We are comrades, brothers and sisters, and have no reason to fight. Your enemies are not the Japanese people, but our militarism and so-called patriotism. Patriotism and militarism are our mutual enemies."

In January, 1905, throughout the United States the socialists held mass-meetings to express their sympathy for their struggling comrades, the revolutionists of Russia, and, more to the point, to furnish the sinews of war by collecting money and cabling it to the Russian leaders.

The fact of this call for money, and the ready response, and the very wording of the call, make a striking and practical demonstration of the international solidarity of this world revolution: "Whatever may be the immediate results of the present revolt in Russia, the socialist propaganda in that country has received from it an impetus unparalleled in the history of modern class wars. The heroic battle for freedom is being fought almost exclusively by the Russian working-class under the intellectual leadership of Russian socialists, thus once more demonstrating the fact that the class-conscious workingmen have become the vanguard of all liberating movements of modern times."

Here are 7,000,000 comrades in an organized, international, world-wide, revolutionary movement. Here is a tremendous human force. It must be reckoned with. Here is power. And here is romance -- romance so colossal that it seems to be beyond the ken of ordinary mortals. These revolutionists are swayed by great passion. They have a keen sense of personal right, much of reverence for humanity, but little reverence, if any at all, for the rule of the dead. They refuse to be ruled by the dead. To the bourgeois mind their unbelief in the dominant conventions of the established order is startling. They laugh to scorn the sweet ideals and dear moralities of bourgeois society. They intend to destroy bourgeois society with most of its sweet ideals and dear moralities, and chiefest among these are those that group themselves under such heads as private ownership of capital, survival of the fittest, and patriotism -- even patriotism.

Such an army of revolution, 7,000,000 strong, is a thing to make rulers and ruling classes pause and consider. The cry of this army is, "No quarter! We want all that you possess. We will be content with nothing less than all that you possess. We want in our hands the reins of power and the destiny of mankind. Here are our hands. They are strong hands. We are going to take your governments, your palaces, and all your purpled ease away from you, and in that day you shall work for your bread even as the peasant in the field or the starved and runty clerk in your metropolises. Here are our hands. They are strong hands."

Well may rulers and ruling classes pause and consider. This is revolution. And, further, these 7,000,000 men are not an army on paper. Their fighting strength in the field is 7,000,000. To-day they cast 7,000,000 votes in the civilized countries of the world.

Yesterday they were not so strong. To-morrow they will be still stronger. And they are fighters. They love peace. They are unafraid of war. They intend nothing less than to destroy existing capitalist society and to take possession of the whole world. If the law of the land permits, they fight for this end peaceably, at the ballot-box. If the law of the land does not permit, and if they have force meted out to them, they resort to force themselves. They meet violence with violence. Their hands are strong and they are unafraid. In Russia, for instance, there is no suffrage. The government executes the revolutionists. The revolutionists kill the officers of the government. The revolutionists meet legal murder with assassination.

Now here arises a particularly significant phase which would be well for the rulers to consider. Let me make it concrete. I am a revolutionist. Yet I am a fairly sane and normal individual. I speak, and I think, of these assassins in Russia as "my comrades." So do all the comrades in America, and all the 7,000,000 comrades in the world. Of what worth an organized, international, revolutionary movement if our comrades are not backed up the world over I The worth is shown by the fact that we do back up the assassinations by our comrades in Russia. They are not disciples of Tolstoy, nor are we. We are revolutionists.

Our comrades in Russia have formed what they call "The Fighting Organization." This Fighting Organization accused, tried, found guilty, and condemned to death, one Sipiaguin, Minister of Interior. On April 2 he was shot and killed in the Maryinsky Palace. Two years later the Fighting Organization condemned to death and executed another Minister of Interior, Von Plehve. Having done so, it issued a document, dated July 29, 1904, setting forth the counts of its indictment of Von Plehve and its responsibility for the assassination. Now, and to the point, this document was sent out to the socialists of the world, and by them was published everywhere in the magazines and newspapers. The point is, not that the socialists of the world were unafraid to do it, not that they dared to do it, but that they did it as a matter of routine, giving publication to what may be called an official document of the international revolutionary movement.

These are high lights upon the revolution granted, but they are also facts. And they are given to the rulers and the ruling classes, not in bravado, not to frighten them, but for them to consider more deeply the spirit and nature of this world revolution. The time has come for the revolution to demand consideration. It has fastened upon every civilized country in the world. As fast as a country becomes civilized, the revolution fastens upon it. With the introduction of the machine into Japan, socialism was introduced. Socialism marched into the Philippines shoulder to shoulder with the American soldiers. The echoes of the last gun had scarcely died away when socialist locals were forming in Cuba and Porto [sic] Rico. Vastly more significant is the fact that of all the countries the revolution has fastened upon, on not one has it relaxed its grip. On the contrary, on every country its grip closes tighter year by year. As an active movement it began obscurely over a generation ago. In 1867, its voting strength in the world was 30,000. By 1871, its vote had increased to 1,000,000. Not till 1884 did it pass the half- million point. By 1889, it had passed the million point. It had then gained momentum. In 1892 the socialist vote of the world was 1,798,391 ; in 1893, 2,585,898; in 1895, 3,033,718; in 1898, 4,515,591; in 1902, 5,253,054; in 1903, 6,285,374; and in the year of our Lord 1905 it passed the seven-million mark.

Nor has this flame of revolution left the United States untouched. In 1888, there were only 2,068 socialist votes. In 1902, there were 127,713 socialist votes. And in 1904, 435,040 socialist votes were cast. What fanned this flame? Not hard times. The first four years of the twentieth century were considered prosperous years, yet in that time more than 300,000 men added themselves to the ranks of the revolutionists, flinging their defiance in the teeth of bourgeois society and taking their stand under the blood-red banner. In the state of the writer, California, one man in twelve is an avowed and registered revolutionist.

One thing must be clearly understood. This is no spontaneous and vague uprising of a large mass of discontented and miserable people -- a blind and instinctive recoil from hurt. On the contrary, the propaganda is intellectual; the movement is based upon economic necessity and is in line with social evolution; while the miserable people have not yet revolted. The revolutionist is no starved and diseased slave in the shambles at the bottom of the social pit, but is, in the main, a hearty, well- fed workingman, who sees the shambles waiting for him and his children and recoils from the descent. The very miserable people are too helpless to help themselves. But they are being helped, and the day is not far distant when their numbers will go to swell the ranks of the revolutionists.

Another thing must be clearly understood. In spite of the fact that middle-class men and professional men are interested in the movement, it is nevertheless a distinctly working-class revolt. The world over, it is a working-class revolt. The workers of the world, as a class, are fighting the capitalists of the world, as a class. The so-called great middle class is a growing anomaly in the social struggle. It is a perishing class (wily statisticians to the contrary), and its historic mission of buffer between the capitalist- and working-classes has just about been fulfilled. Little remains for it but to wail as it passes into oblivion, as it has already begun to wail in accents Populistic and Jeffersonian-Democratic. The fight is on. The revolution is here now, and it is the world's workers that are in revolt.

Naturally the question arises: Why is this so? No mere whim of the spirit can give rise to a world revolution. Whim does not conduce to unanimity. There must be a deep-seated cause to make 7,000,000 men of the one mind, to make them cast off allegiance to the bourgeois gods and lose faith in so fine a thing as patriotism. There are many counts of the indictment which the revolutionists bring against the capitalist class, but for present use only one need be stated, and it is a count to which capital has never replied and can never reply.

The capitalist class has managed society, and its management has failed. And not only has it failed in its management, but it has failed deplorably, ignobly, horribly. The capitalist class had an opportunity such as was vouchsafed no previous ruling class in the history of the world. It broke away from the rule of the old feudal aristocracy and made modern society. It mastered matter, organized the machinery of life, and made possible a wonderful era for mankind, wherein no creature should cry aloud because it had not enough to eat, and wherein for every child there would be opportunity for education, for intellectual and spiritual uplift. Matter being mastered, and the machinery of life organized, all this was possible. Here was the chance, God-given, and the capitalist class failed. It was blind and greedy. It prattled sweet ideals and dear moralities, rubbed its eyes not once, nor ceased one whit in its greediness, and smashed down in a failure as tremendous only as was the opportunity it had ignored.

But all this is like so much cobwebs to the bourgeois mind. As it was blind in the past, it is blind now and cannot see nor understand. Well, then, let the indictment be stated more definitely, in terms sharp and unmistakable. In the first place, consider the caveman. He was a very simple creature. His head slanted back like an orang-utan's and he had but little more intelligence. He lived in a hostile environment, the prey of all manner of fierce life. He had no inventions nor artifices. His natural efficiency for food- getting was, say, I. He did not even till the soil. With his natural efficiency of I, he fought off his carnivorous enemies and got himself food and shelter. He must have done all this, else he would not have multiplied and spread over the earth and sent his progeny down, generation by generation, to become even you and me.

The caveman, with his natural efficiency of I, got enough to eat most of the time, and no caveman went hungry all the time. Also, he lived a healthy, open-air life, loafed and rested himself, and found plenty of time in which to exercise his imagination and invent gods. That is to say, he did not have to work all his waking moments in order to get enough to eat. The child of the caveman (and this is true of the children of all savage peoples) had a childhood, and by that is meant a happy childhood of play and development.

And now, how fares modern man? Consider the United States, the most prosperous and most enlightened country of the world. In the United States there are 10,000,000 people living in poverty. By poverty is meant that condition in life in which, through lack of food and adequate shelter, the mere standard of working efficiency cannot be maintained. In the United States there are 10,000,000 people who have not enough to eat. In the United States, because they have not enough to eat, there are 10,000,000 people who cannot keep the ordinary measure of strength in their bodies. This means that these 10,000,000 people are perishing, are dying, body and soul, slowly, because they have not enough to eat. All over this broad, prosperous, enlightened land, are men, women, and children who are living miserably. In all the great cities, where they are segregated in slum ghettos by hundreds of thousands and by millions, their misery becomes beastliness. No caveman ever starved as chronically as they starve, ever slept as vilely as they sleep, ever festered with rottenness and disease as they fester, nor ever toiled as hard and for as long hours as they toil.

In Chicago there is a woman who toiled sixty hours per week. She was a garment worker. She sewed buttons on clothes. Among the Italian garment workers of Chicago, the average weekly wage of the dressmakers is go cents, but they work every week in the year. The average weekly wage of the pants finishers in $1.31, and the average number of weeks employed in the year is 27.85. The average yearly earnings of the dressmakers is $37.00; of the pants finishers, $42.41. Such wages means no childhood for the children, beastliness of living, and starvation for all.

Unlike the caveman, modern man cannot get food and shelter whenever be feels like working for it. Modern man has first to find the work, and in this he is often unsuccessful. Then misery becomes acute. This acute misery is chronicled daily in the newspapers. Let several of the countless instances be cited.

In New York City lived a woman, Mary Mead. She had three children: Mary, one year old; Johanna, two years old; Alice, four years old. Her husband could find no work. They starved. They were evicted from their shelter at 160 Steuben Street. Mary Mead strangled her baby, Mary, one year old; strangled Alice, four years old; failed to strangle Johanna, two years old, and then herself took poison. Said the father to the police: "Constant poverty had driven my wife insane. We lived at No. 160 Steuben Street until a week ago, when we were dispossessed. I could get no work. I could not even make enough to put food into our mouths. The babies grew ill and weak. My wife cried nearly all the time."

"So overwhelmed is the Department of Charities with tens of thousands of applications from men out of work that it finds itself unable to cope with the situation."- New York Commercial, January 11,1905.

In a daily paper, because he cannot get work in order to get something to eat, modern man advertises as follows:

"Young man, good education, unable to obtain employment, will sell to physician and bacteriologist for experimental purposes all right and title to his body. Address for price, box 3466, Examiner."

"Frank A. Mallin went to the central police station Wednesday night and asked to be locked up on a charge of vagrancy. He said he had been conducting an unsuccessful search for work for so long that he was sure he must be a vagrant. In any event, he was so hungry he must be fed. Police judge Graham sentenced him to ninety days' imprisonment." -- San Francisco Examiner.

In a room at the Soto House, 32 Fourth Street, San Francisco, was found the body of W. G. Robbins. He had turned on the gas. Also was found his diary, from which the following extracts are made:

"March 3. -No chance of getting anything here. What will I do?
" March 7. -- Cannot find anything yet.
"March 8. -- Am living on doughnuts at five cents a day.
"March 9. -- My last quarter gone for room rent.
"March 10. -- God help me. Have only five cents left. Can get nothing to do. What next? Starvation or --? I have spent my last nickel to-night. What shall I do? Shall it be steal, beg, or die? I have never stolen, begged, or starved in all my fifty years of life, but now I am on the brink death seems the only refuge.
"March 11. -- Sick all day -- burning fever this afternoon. Had nothing to eat to-day or since yesterday noon. My head, my head. Good-by, all."


How fares the child of modern man in this most prosperous of lands? In the city of New York 50,000 children go hungry to school every morning. From the same city on January 12, a press despatch was sent out over the country of a case reported by Dr. A. E. Daniel, of the New York Infirmary for Women and Children. The case was that of a babe, eighteen months old, who earned by its labor fifty cents per week in a tenement sweat- shop.

"On a pile-of rags in a room bare of furniture and freezing cold, Mrs. Mary Gallin, dead from starvation, with an emaciated baby four months old crying at her breast, was found this morning at 513 Myrtle Avenue, Brooklyn, by Policeman McConnon of the Flushing Avenue Station. Huddled together for warmth in another part of the room were the father, James Gallin, and three children ranging from two to eight years of age. The children gazed at the policeman much as ravenous animals might have done. They were famished, and there was not a vestige of food in their comfortless home." - New York Journal, January 2, 1902.

In the United States 80,000 children are toiling out their lives in the textile mills alone. In the South they work twelve-hour shifts. They never see the day. Those on the night shift are asleep when the sun pours its life and warmth over the world, while those on the day shift are at the machines before dawn and return to their miserable dens, called "homes," after dark. Many receive no more than ten cents a day. There are babies who work for five and six cents a day. Those who work on the night shift are often kept awake by having cold water dashed in their faces. There are children six years of age who have already to their credit eleven months' work on the night shift. When they become sick, and are unable to rise from their beds to go to work, there are men employed to go on horseback from house to house, and cajole and bully them into arising and going to work. Ten per cent of them contract active consumption. All are puny wrecks, distorted, stunted, mind and body. Elbert Hubbard says of the child-laborers of the Southern cotton mills : --

"I thought to lift one of the little toilers to ascertain his weight. Straightaway through his thirty-five pounds of skin and bones there ran a tremor of fear, and he struggled forward to tie a broken thread. I attracted his attention by a touch, and offered him a silver dime. He looked at me dumbly from a face that might have belonged to a man of sixty, so furrowed, tightly drawn, and full of pain it was. He did -- he did not know what it not reach for the money was. There were dozens of such children in this particular mill. A physician who was with me said that they would all be dead probably in two years, and their places filled by others -- there were plenty more. Pneumonia carries off most of them. Their systems are ripe for disease, and when it comes there is no rebound -- no response. Medicine simply does not act -- nature is whipped, beaten, discouraged, and the child sinks into a stupor and dies."

So fares modern man and the child of modern man in the United States, most prosperous and enlightened of all countries on earth. It must be remembered that the instances given are instances only, but that they can be multiplied myriads of times. It must also be remembered that what is true of the United States is true of all the civilized world. Such misery was not true of the caveman. Then what has happened? Has the hostile environment of the caveman grown more hostile for his descendants? Has the caveman's natural efficiency of I for food-getting and shelter-getting diminished in modern man to one-half or one-quarter?

On the contrary, the hostile environment of the caveman has been destroyed. For modern man it no longer exists. All carnivorous enemies, the daily menace of the younger world, have been killed off. Many of the species of prey have become extinct. Here and there, in secluded portions of the world, still linger a few of man's fiercer enemies. But they are far from being a menace to mankind. Modern man, when he wants recreation and change, goes to the secluded portions of the world for a hunt. Also, in idle moments, he wails regretfully at the passing of the " big game," which he knows in the not distant future will disappear from the earth.

Nor since the day of the caveman has man's efficiency for food-getting and shelter-getting diminished. It has increased a thousand fold. Since the day of the caveman, matter has been mastered. The secrets of matter have been discovered. Its laws have been formulated. Wonderful artifices have been made, and marvellous inventions, all tending to increase tremendously man's natural efficiency of I in every food-getting, shelter-getting exertion, in farming, mining, manufacturing, transportation, and communication.

From the caveman to the hand-workers of three generations ago, the increase in efficiency for food and shelter-getting has been very great. But in this day, by machinery, the efficiency of the hand-worker of three generations ago has in turn been increased many times. Formerly it required 200 hours of human labor to place 100 tons of ore on a railroad car. To-day, aided by machinery, but two hours of human labor is required to do the same task. The United States Bureau of Labor is responsible for the following table, showing the comparatively recent increase in man's food- and shelter-getting efficiency:



According to the same authority, under the best conditions for organization in farming, labor can produce 20 bushels of wheat for 66 cents, or 1 bushel for 3 1/3 cents. This was done on a bonanza farm of 10,000 acres in California, and was the average cost of the whole product of the farm. Mr. Carroll D. Wright says that to-day 4,500,000 men, aided by machinery, turn out a product that would require the labor of 40,000,000 men if produced by hand. Professor Herzog, of Austria, says that 5,000,000 people with the machinery of to-day, employed at socially useful labor, would be able to supply a population of 20,000,000 people with all the necessaries and small luxuries of life by working 1 1/2 hours per day.

This being so, matter being mastered, man's efficiency for food- and shelter-getting being increased a thousand fold over the efficiency of the caveman, then why is it that millions of modern men live more miserably than lived the caveman? This is the question the revolutionist asks, and he asks it of the managing class, the capitalist class. The capitalist class does not answer it. The capitalist class cannot answer it.

If modern man's food- and shelter-getting efficiency is a thousand fold greater than that of the caveman, why, then, are there 10,000,000 people in the United States to- day who are not properly sheltered and properly fed? If the child of the caveman did not have to work, why, then, to-day, in the United States, are 80,000 children working out their lives in the textile factories alone? If the child of the caveman did not have to work, why, then, to-day, in the United States, are there 1,752,187 child-laborers?

It is a true count in the indictment. The capitalist class has mismanaged, is to-day mismanaging. In New York City 50,000 children go hungry to school, and in New York City there are 1320 millionnaires. The point, however, is not that the mass of man kind is miserable because of the wealth the capitalist class has taken to itself. Far from it. The point really is that the mass of mankind is miserable, not for want of the wealth taken by the capitalist class, but for want of the wealth that was never created. This wealth was never created because the capitalist class managed too wastefully and irrationally. The capitalist class, blind and greedy, grasping madly, has not only not made the best of its management, but made the worst of it. It is a management prodigiously wasteful. This point cannot be emphasized too strongly.

In face of the facts that modern man lives more wretchedly than the caveman, and that modern man's food- and shelter-getting efficiency is a thousand fold greater than the caveman's, no other solution is possible than that the management is prodigiously wasteful.

With the natural resources of the world, the machinery already invented, a rational organization of production and distribution, and an equally rational elimination of waste, the able-bodied workers would not have to labor more than two or three hours per day to feed everybody, clothe everybody, house everybody, educate everybody, and give a fair measure of little luxuries to everybody. There would be no more material want and wretchedness, no more children toiling out their lives, no more men and women and babes living like beasts and dying like beasts. Not only would matter be mastered, but the machine would be mastered. In such a day incentive would be finer and nobler than the incentive of to-day, which is the incentive of the stomach. No man, woman, or child would be impelled to action by an empty stomach. On the contrary, they would be impelled to action as a child in a spelling match is impelled to action, as boys and girls at games, as scientists formulating law, as inventors applying law, as artists and sculptors painting canvases and shaping clay, as poets and statesmen serving humanity by singing and by statecraft. The spiritual, intellectual, and artistic uplift consequent upon such a condition of society would be tremendous. All the human world would surge upward in a mighty wave.

This was the opportunity vouchsafed the capitalist class. Less blindness on its part, less greediness, and a rational management, were all that was necessary. A wonderful era was possible for the human race. But the capitalist class failed. It made a shambles of civilization. Nor can the capitalist class plead not guilty. It knew of the opportunity. Its wise men told it of the opportunity, its scholars and its scientists told it of the opportunity. All that they said is there to-day in the books, just so much damning evidence against it. It would not listen. It was too greedy. It rose up (as it rises up to-day), shamelessly, in our legislative halls, and declared that profits were impossible without the toil of children and babes. It lulled its conscience to sleep with prattle of sweet ideals and dear moralities, and allowed the suffering and misery of mankind to continue and to increase. In short, the capitalist class failed to take advantage of the opportunity.

But the opportunity is still here. The capitalist class has been tried and found wanting. Remains the working-class to see what it can do with the opportunity. "But the working-class is incapable," says the capitalist class. "What do you know about it?" the working-class replies. "Because you have failed is no reason that we shall fail. Furthermore, we are going to have a try at it, anyway. Seven millions of us say so. And what have you to say to that?"

And what can the capitalist class say? Grant the incapacity of the working-class. Grant that the indictment and the argument of the revolutionists are all wrong. The 7,000,000 revolutionists remain. Their existence is a fact. Their belief in their capacity, and in their indictment and their argument, is a fact. Their constant growth is a fact. Their intention to destroy present-day society is a fact, as is also their intention to take possession of the world with all its wealth and machinery and governments. Moreover, it is a fact that the working-class is vastly larger than the capitalist class.

The revolution is a revolution of the working-class. How can the capitalist class, in the minority, stem this tide of revolution? What has it to offer? What does it offer? Employers' associations, injunctions, civil suits for plundering of the treasuries of the labor unions, clamor and combination for the open shop, bitter and shameless opposition to the eight-hour day, strong efforts to defeat all reform child-labor bills, graft in every municipal council, strong lobbies and bribery in every legislature for the purchase of capitalist legislation, bayonets, machine-guns, policemen's clubs, professional strike-breakers, and armed Pinkertons -- these are the things the capitalist class is dumping in front of the tide of revolution, as though, forsooth, to hold it back.

The capitalist class is as blind to-day to the menace of the revolution as it was blind in the past to its own God- given opportunity. It cannot see how precarious is its position, cannot comprehend the power and the portent of the revolution. It goes on its placid way, prattling sweet ideals and dear moralities, and scrambling sordidly for material benefits.

No overthrown ruler or class in the past ever considered the revolution that overthrew it, and so with the capitalist class of to-day. Instead of compromising, instead of lengthening its lease of life by conciliation and by removal of some of the harsher oppressions of the working-class, it antagonizes the working-class, drives the working-class into revolution. Every broken strike in recent years, every legally plundered trades-union treasury, every closed shop made into an open shop, has driven the members of the working-class directly hurt over to socialism by hundreds and thousands. Show a workingman that his union fails and he becomes a revolutionist. Break a strike with an injunction or bankrupt a union with a civil suit, and the workingmen hurt thereby listen to the siren song of the socialist and are lost forever to the political capitalist parties.

Antagonism never lulled revolution, and antagonism is about all the capitalist class offers. It is true, it offers some few antiquated notions which were very efficacious in the past, but which are no longer efficacious. Fourth-of-July liberty in terms of the Declaration of Independence and of the French Encyclopedists is scarcely apposite to-day. It does not appeal to the workingman who has had his head broken by a policeman's club, his union treasury bankrupted by a court decision, or his job taken away from him by a labor-saving invention. Nor does the Constitution of the United States appear so glorious and constitutional to the workingman who has experienced a bull pen or been unconstitutionally deported from Colorado. Nor are this particular workingman's hurt feelings soothed by reading in the newspapers that both the bull pen and the deportation were preeminently just, legal, and constitutional. "To hell, then, with the Constitution!" says he, and another revolutionist has been made -by the capitalist class.

In short, so blind is the capitalist class that it does nothing to lengthen its lease of life, while it does everything to shorten it. The capitalist class offers nothing that is clean, noble, and alive. The revolutionists offer everything that is clean, noble, and alive. They offer service, unselfishness, sacrifice, martyrdom -- the things that sting awake the imagination of the people, touching their hearts with the fervor that arises out of the impulse toward good and which is essentially religious in its nature.

But the revolutionists blow hot and blow cold. They offer facts and statistics, economics and scientific arguments. If the workingman be merely selfish, the revolutionists show him, mathematically demonstrate to him, that his condition will be bettered by the revolution. If the workingman be the higher type, moved by impulses toward right conduct, if he have soul and spirit, the revolutionists offer him the things of the soul and the spirit, the tremendous things that cannot be measured by dollars and cents, nor be held down by dollars and cents. The revolutionist cries Out upon wrong and injustice, and preaches righteousness. And, most potent of all, he sings the eternal song of human freedom -a song of all lands and all tongues and all time.

Few members of the capitalist class see the revolution. Most of them are too ignorant, and many are too afraid to see it. It is the same old story of every perishing ruling class in the world's history. Fat with power and possession, drunken with success, and made soft by surfeit and by cessation of struggle, they are like the drones clustered about the honey vats when the worker- bees spring upon them to end their rotund existence.

:President Roosevelt vaguely sees the revolution, is frightened by it, and recoils from seeing it. As he says: "Above all, we need to remember that any kind of class animosity in the political world is, if possible, even more wicked, even more destructive to national welfare, than sectional, race, or religious animosity."

Class animosity in the political world, President Roosevelt maintains, is wicked. But class animosity in the political world is the preachment of the revolutionists. "Let the class wars in the industrial world continue," they say, "but extend the class war to the political world." As their leader, Eugene V. Debs, says: "So far as this struggle is concerned, there is no good capitalist and no bad workingman. Every capitalist is your enemy and every workingman is your friend."

Here is class animosity in the political world with a vengeance. And here is revolution. In 1888 there were only 2000 revolutionists of this type in the United States; in 1900 there were 127,000 revolutionists; in 1904, 435,000 revolutionists. Wickedness of the President Roosevelt definition evidently flourishes and increases in the United States. Quite so, for it is the revolution that flourishes and increases.

Here and there a member of the capitalist class catches a clear glimpse of the revolution, and raises a warning cry. But his class does not heed. President Eliot of Harvard raised such a cry: "I am forced to believe there is a present danger of socialism never before so imminent in America in so dangerous a form, because never before imminent in so well organized a form. The danger lies in the obtaining control of the trades-unions by the socialists." And the capitalist employers, instead of giving heed to the warnings, are perfecting their strikebreaking organization and combining more strongly than ever for a general assault upon that dearest of all things to the trades- unions, -- the closed shop. In so far as this assault succeeds, by just that much will the capitalist class shorten its lease of life. It is the old, old story, over again and over again. The drunken drones still cluster greedily about the honey vats.

Possibly one of the most amusing spectacles of to-day is the attitude of the American press toward the revolution. It is also a pathetic spectacle. It compels the onlooker to be aware of a distinct loss of pride in his species. Dogmatic utterance from the mouth of ignorance may make gods laugh, but it should make men weep. And the American editors (in the general instance) are so impressive about it! The old "divide-up," "men-are-not- born-free-and-equal" propositions are enunciated gravely and sagely, as things white-hot and new from the forge of human wisdom. Their feeble vaporings show no more than a schoolboy's comprehension of the nature of the revolution. Parasites themselves on the capitalist class, serving the capitalist class by moulding public opinion, they, too, cluster drunkenly about the honey vats.

Of course, this is true only of the large majority of American editors. To say that it is true of all of them would be to cast too great obloquy upon the human race. Also, it would be untrue, for here and there an occasional editor does see clearly -- and in his case, ruled by stomach-incentive, is usually afraid to say what he thinks about it. So far as the science and the sociology of the revolution are concerned, the average editor is a generation or so behind the facts. He is intellectually slothful, accepts no facts until they are accepted by the majority, and prides himself upon his conservatism. He is an instinctive optimist, prone to believe that what ought to be, is. The revolutionist gave this up long ago, and believes not that what ought to be, is, but what is, is, and that it may not be what it ought to be at all.

Now and then, rubbing his eyes vigorously, an editor catches a sudden glimpse of the revolution and breaks out in naive volubility, as, for instance, the one who wrote the following in the Chicago Chronicle: "American socialists are revolutionists. They know that they are revolutionists. It is high time that other people should appreciate the fact." A white-hot, brand-new discovery, and he proceeded to shout it out from the housetops that we, forsooth, were revolutionists. Why, it is just what we have been doing all these years -shouting it out from the housetops that we are revolutionists, and stop us who can.

The time should be past for the mental attitude: "Revolution is atrocious. Sir, there is no revolution." Likewise should the time be past for that other familiar attitude: "Socialism is slavery. Sir, it will never be." It is no longer a question of dialectics, theories, and dreams. There is no question about it. The revolution is a fact. It is here now. Seven million revolutionists, organized, working day and night, are preaching the revolution -- that passionate gospel, the Brotherhood of Man. Not only is it a coldblooded economic propaganda, but it is in essence a religious propaganda with a fervor in it of Paul and Christ. The capitalist class has been indicted. It has failed in its management and its management is to be taken away from it. Seven million men of the working-class say that they are going to get the rest of the working-class to join with them and take the management away. The revolution is here, now. Stop it who can.

Sacramento River,
March, 1905.


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