Part 2

What a preposterous notion! What incentive to slavery, inactivity, and parasitism. Besides, it is not true that the meek can inherit anything.

"Blessed are ye when men shall revile you ... for great is your reward in heaven."

The reward in heaven is the perpetual bait, a bait that has caught man in an iron net, a strait-jacket which does not let him expand or grow. All pioneers of truth have been, and still are, reviled. But did they ask humanity to pay the price? Did they seek to bribe mankind to accept their ideas?... Redemption through the Cross is worse than damnation, because of the terrible burden it imposes upon humanity, because of the effect it has on the human soul, fettering and paralyzing it with the weight of the burden exacted through the death of Christ....

The teachings of Christ and of his followers have failed because they lacked the vitality to lift the burdens from the shoulders of the race; they have failed because the very essence of that doctrine is contrary to the spirit of life, opposed to the manifestation of nature, to the strength and beauty of passion.

And so on. In her dissolution of other "myths"--such as that of morality, for instance,--she has even more direct things to say. I quote from a lecture on Victims of Morality:

It is Morality which condemns woman to the position of a celibate, a prostitute, or a reckless, incessant breeder of children.

First as to the celibate, the famished and withered human plant. When still a young, beautiful flower, she falls in love with a respectable young man. But Morality decrees that unless he can marry the girl, she must never know the raptures of love, the ecstasy of passion. The respectable young man is willing to marry, but the Property Morality, the Family and Social Moralities decree that he must first make his pile, must save up enough to establish a home and be able to provide for a family. The young people must wait, often many long, weary years.... And the young flower, with every fiber aglow with the love of life? She develops headaches, insomnia, hysteria; grows embittered, quarrelsome, and soon becomes a faded, withered, joyless being, a nuisance to herself and every one else.... Hedged in her narrow confines with family and social tradition, guarded by a thousand eyes, afraid of her own shadow--the yearning of her inmost being for the man or the child, she must turn to cats, dogs, canary birds, or the Bible class.

Now as to the prostitute. In spite of laws, ordinances, persecution, and prisons; in spite of segregation, registration, vice crusades, and other similar devices, the prostitute is the real specter of our age.... What has made her? Whence does she come? Morality, the morality which is merciless in its attitude to women. Once she dares to be herself, to be true to her nature, to life, there is no return; the woman is thrust out from the pale and protection of society. The prostitute becomes the victim of Morality, even as the withered old maid is its victim. But the prostitute is victimized by still other forces, foremost among them the Property Morality, which compels woman to sell herself as a sex commodity or in the sacred fold of matrimony. The latter is no doubt safer, more respected, more recognized, but of the two forms of prostitution the girl of the street is the least hypocritical, the least debased, since her trade lacks the pious mask of hypocrisy, and yet she is hounded, fleeced, outraged, and shunned by the very powers that have made her: the financier, the priest, the moralist, the judge, the jailer, and the detective, not to forget her sheltered, respectably virtuous sister, who is the most relentless and brutal in her persecution of the prostitute.

Morality and its victim, the mother--what a terrible picture! Is there, indeed, anything more terrible, more criminal, than our glorified sacred function of motherhood? The woman, physically and mentally unfit to be a mother, yet condemned to breed; the woman, economically taxed to the very last spark of energy, yet forced to breed; the woman, tied to a man she loathes, yet made to breed; the woman, worn and used-up from the process of procreation, yet coerced to breed, more, ever more. What a hideous thing, this much-lauded motherhood!

With the economic war raging all around her, with strife, misery, crime, disease, and insanity staring her in the face, with numberless little children ground into gold dust, how can the self and race-conscious woman become a mother? Morality cannot answer this question. It can only dictate, coerce, or condemn--and how many women are strong enough to face this condemnation, to defy the moral dicta? Few indeed. Hence they fill the factories, the reformatories, the homes for feeble-minded, the prisons.... Oh, Motherhood, what crimes are committed in thy name! What hosts are laid at your feet. Morality, destroyer of life!

Fortunately, the Dawn is emerging from the chaos and darkness.... Through her re-born consciousness as a unit, a personality, a race builder, woman will become a mother only if she desires the child, and if she can give to the child, even before its birth, all that her nature and intellect can yield ... above all, understanding, reverence, and love, which is the only fertile soil for new life, a new being.

I have talked lately with a man who thinks Emma Goldman ought to have been hanged long ago. She's directly or indirectly "responsible" for so many crimes. "Do you know what she's trying to do?" I asked him.

"She's trying to break up our government," he responded heatedly.

"Have you ever read any of her ideas?"

"No."

"Have you ever heard her lecture?"

"No! I should say not."

In a play, that line would get a laugh. (It did in Man and Superman.) But in life it fares better. It gets serious consideration; it even has a certain prestige as a rather righteous thing to say.

Another man threw himself into the argument. "I know very little about Emma Goldman," he said, "but it has always struck me that she's simply trying to inflame people--particularly to do things that she'd never think of doing herself." That charge can be answered best by a study of her life, which will show that she has spent her time doing things that almost no one else would dare to do.

In his Women as World Builders Floyd Dell said this: "Emma Goldman has become simply an advocate of freedom of every sort. She does not advocate violence any more than Ralph Waldo Emerson advocated violence. It is, in fact, as an essayist and speaker of the kind, if not the quality, of Emerson, Thoreau, and George Francis Train, that she is to be considered." I think, rather, that she is to be considered fundamentally as something more definite than that:--as a practical Nietzschean.

I am incapable of listening, unaroused, to the person who believes something intensely, and who does intensely what she believes. What more simple--or more difficult? Most of us don't know what we believe, or, if we do, we have the most extraordinary time trying to live it. Emma Goldman is so bravely consistent--which to many people is a confession of limitations. But if one is going to criticise her there are more subtle grounds to do it on. One of her frequent assertions is that she has no use for religion. That is like saying that one has no use for poetry: religion isn't merely a matter of Christianity or Catholicism or Buddhism or any other classifiable quantity. Also, if it is true that the person to be distrusted is the one who has found an answer to the riddle, then Emma Goldman is to be discounted. Her convictions are presented with a sense of definite finality. But there's something splendidly uncautious, something irresistibly stirring, about such an attitude. And whatever one believes, of one thing I'm certain: whoever means to face the world and its problems intelligently must know something about Emma Goldman. Whether her philosophy will change the face of the earth isn't the supreme issue. As the enemy of all smug contentment, of all blind acquiescence in things as they are, and as the prophet who dares to preach that our failures are not in wrong applications of values but in the values themselves, Emma Goldman is the most challenging spirit in America.

No sooner is a thing brought to sight than it is swept by and another takes its place, and this, too, will be swept away.... Observe always that everything is the result of a change, ... get used to thinking that there is nothing Nature loves so well as to change existing forms and to make new ones like them.--Marcus Aurelius.

Chloroform

MARY ALDIS AND ARTHUR DAVISON FICKE

A sickening odour, treacherously sweet, Steals through my sense heavily. Above me leans an ominous shape, Fearful, white-robed, hooded and masked in white. The pits of his eyes Peer like the port-holes of an armoured ship, Merciless, keen, inhuman, dark. The hands alone are of my kindred; Their slender strength, that soon shall press the knife Silver and red, now lingers slowly above me, The last links with my human world ...

... The living daylight Clouds and thickens. Flashes of sudden clearness stream before me,--and then A menacing wave of darkness Swallows the glow with floods of vast and indeterminate grey. But in the flashes I see the white form towering, Dim, ominous, Like some apostate monk whose will unholy Has renounced God; and now In this most awful secret laboratory Would wring from matter Its stark and appalling answer. At the gates of a bitter hell he stands, to wrest with eager fierceness More of that dark forbidden knowledge Wherefrom his soul draws fervor to deny.

The clouds have grown thicker; they sway around me Dizzying, terrible, gigantic, pressing in upon me Like a thousand monsters of the deep with formless arms. I cannot push them back, I cannot! From far, far off, a voice I knew long ago Sounds faintly thin and clear. Suddenly in a desperate rebellion I strive to answer,-- I strive to call aloud.-- But darkness chokes and overcomes me: None may hear my soundless cry. A depth abysmal opens And receives, enfolds, engulfs me,-- Wherein to sink at last seems blissful Even though to deeper pain....

O respite and peace of deliverance! The silence Lies over me like a benediction. As in the earth's first pale creation-morn Among winds and waters holy I am borne as I longed to be borne. I am adrift in the depths of an ocean grey Like seaweed, desiring solely To drift with the winds and waters; I sway Into their vast slow movements; all the shores Of being are laved by my tides. I am drawn out toward spaces wonderful and holy Where peace abides, And into golden aeons far away.

But over me Where I swing slowly Bodiless in the bodiless sea, Very far, Oh very far away, Glimmeringly Hangs a ghostly star Toward whose pure beam I must flow resistlessly. Well do I know its ray! It is the light beyond the worlds of space, By groping sorrowing man yet never known-- The goal where all men's blind and yearning desire Has vainly longed to go And has not gone:-- Where Eternity has its blue-walled dwelling-place, And the crystal ether opens endlessly To all the recessed corners of the world, Like liquid fire Pouring a flood through the dimness revealingly; Where my soul shall behold, and in lightness of wonder rise higher Out of the shadow that long ago Around me with mortality was furled.

I rise where have winds Of the night never flown; Shaken with rapture Is the vault of desire. The weakness that binds Like a shadow is gone. The bonds of my capture Are sundered with fire!

This is the hour When the wonders open! The lightning-winged spaces Through which I fly Accept me, a power Whose prisons are broken--

* * * * *

... But the wonder wavers-- The light goes out. I am in the void no more; changes are imminent. Time with a million beating wings Deafens the air in migratory flight Like the roar of seas--and is gone ... And a silence Lasts deafeningly. In darkness and perfect silence I wander groping in my agony, Far from the light lost in the upper ether-- Unknown, unknowable, so nearly mine. And the ages pass by me, Thousands each instant, yet I feel them all To the last second of their dragging time. Thus have I striven always Since the world began. And when it dies I still must struggle ...

* * * * *

The voice I knew so long ago, like a muffled echo under the sea Is coming nearer. Strong hands Grip mine. And words whose tones are warm with some forgotten consolation, Some unintelligible hope, Drag me upward in horrible mercy; And the cold once-familiar daylight glares into my eyes.

He stands there, The white apostate monk, Speaking low lying words to soothe me. And I lift my voice out of its vales of agony And laugh in his face, Mocking him with astonishment of wonder. For he has denied; And I have come so near, so near to knowing ...

Then as his hand touches me gently, I am drawn up from the lonely abysses, And suffer him to lead me back into the green valleys of the living.

"True to Life"

EDITH WYATT

A recent sincere and beautiful greeting from Mr. John Galsworthy to THE LITTLE REVIEW suggests that the creative artist and the creative critic in America may wisely heed a saying of de Maupassant about a writer "sitting down before an object until he has seen it in the way that he alone can see it, seen it with the part of him which makes him This man and not That."

Mr. Galsworthy adds: "And I did seem to notice in America that there was a good deal of space and not much time; and that without too much danger of becoming 'Yogis,' people might perhaps sit down a little longer in front of things than they seemed to do."

What native observer of American writing will not welcome the justice of this comment? Surely the contemporary American poems, novels, tales, and critiques which express an individual and attentively-considered impression of any subject from our own life here are few: and these not, it would appear, greatly in vogue. Why? Everyone will have his own answer.

In replying to the first part of the question--why closely-considered individual impressions of our life are few--I think it should be said that the habit of respect for close attention of any kind is not among the American virtues. The visitor of our political conventions, the reader of our "literary criticism" must have noted a prevailing, shuffling, and perfunctory mood of casual disregard for the matter in hand. Many American people are indeed reared to suppose that if they appear to bestow an interested attention on the matter before them, some misunderstanding will ensue as to their own social importance. Nearly everyone must have noted with a sinking of the heart this attitude towards the public among library attendants, hotel-clerks, and plumbers. This abstraction is not, however, confined to the pursuers of any occupation, but to some degree affects us all. In the consciousness of our nation there appears to exist a mysterious though deep-seated awe for the prestige of the casual and the off-hand.

Especially we think it an unworthiness in an author that he should, as the phrase is, "take himself seriously." We consider the attitude we have described as characterizing library attendants and hotel-clerks as the only correct one for writers--the attitude of a person doing something as it were unconsciously, a matter he pooh-poohs and scarcely cares to expend his energy and time upon in the grand course of his personal existence. You may hear plenty of American authors talk of "not taking themselves seriously" who, if they spoke with accuracy, should say that they regarded themselves as too important and precious to exhaust themselves by doing their work with conscience.

This dull self-importance insidiously saps in our country the respect for thoroughness and application characteristic of Germany; insidiously blunts in American penetrative powers the English faculty of being "keen" on a subject, recently presented to us with such grace in the young hero's eager pursuits in Compton Mackenzie's Sinister Street; and disparages lightly but often completely the growth of the fresh and varied spirit of production described in the passage of de Maupassant to which Mr. Galsworthy refers. This passage expresses the clear fire of attention our American habits lack, with a sympathy it is a pleasure to quote here in its entirety. De Maupassant says in the preface of Pierre et Jean:

For seven years I wrote verses, I wrote stories, I wrote novels. I even wrote a detestable play. Of these nothing survives. The master (Flaubert) read them all, and on the following Sunday at luncheon he would give me his criticism, and inculcate little by little two or three principles that sum up his long and patient lesson. "If one has any originality, the first thing requisite is to bring it out: if one has none, the first thing to be done is to acquire it."

Talent is long patience. Everything which one desires to express must be considered with sufficient attention and during a sufficiently long time to discover in it some aspect which no one has yet seen or described. In everything there is still some spot unexplored, because we are accustomed to look at things only with the recollection of what others before us have thought of the subject we are contemplating. The smallest object contains something unknown. Let us find it. In order to describe a fire that flames and a tree on the plain, we must keep looking at that flame and that tree until to our eyes they no longer resemble any other tree, or any other fire.

This is the way to become original.

Having besides laid down this truth that there are not in the whole world two grains of sand, two specks, two hands, or two noses alike, Flaubert compelled me to describe in a few phrases a being or an object in such a manner as to clearly particularize it, and distinguish it from all the other beings or all the other objects of the same race, or the same species. "When you pass," he would say, "a grocer seated at his shop door, a janitor smoking his pipe, a stand of hackney coaches, show me that grocer and that janitor, their attitude, their whole physical appearance, including also by a skilful description their whole moral nature so that I cannot confound them with any other grocer or any other janitor: make me see, in one word, that a certain cab-horse does not resemble the fifty others that follow or precede it."

One underlying reason why American writers so seldom pursue such studies and methods as these is the prevailing disesteem for clearly-focussed attention we have described. Another reason is that the American writer of fiction who loves the pursuit of precise expression will indubitably have to face a number of difficulties which may perhaps not be readily apparent to the writers of other countries.

Naturally enough, in his more newly-settled, or rather his settling, nation, made up of many nationalities, the American writer who desires to "particularize" a subject from his country's contemporary history, and "to distinguish this from all the other beings and all the other objects of the same race," will have many more heretofore unexpressed conditions and basic circumstances to evoke in his reader's mind than the German or French or English writer must summon.

For instance, the young French writer of de Maupassant's narrative who was to call up out of the deep of European life the individuality of one single French grocer, would himself have and would address an audience who had--whether for better or worse (to my way of thinking, as it chances, for worse)--a fairly fixed social conception of the class of this retail merchant. The American writer who knows very well that General Grant once kept an unsuccessful shoe store, and that some of the most distinguished paintings the country possesses have been selected by the admirably-educated taste and knowledge of one or two public-spirited retail dry-goods merchants; and who also has seen gaunt and poverty-stricken Russian store-keepers standing among stalls of rotten strawberries in Jefferson Street market, in Chicago--that writer will neither speak from nor address this definite social conception according to mere character of occupation which I have indicated as a part of the French author's means of exactitude in expression.

Nothing in our own random civilization, as it seems to me, is quite so fixed as that French grocer seated in his doorway, that de Maupassant and Flaubert mention with such charm. Nothing here is so neat as that. To convey social truth, the American writer interested in giving his own impression of a grocer in America, whether rich or poor or moderately prospering, will have to individualize him and all his surrounding condition more, and to classify him and all his surrounding condition less, than de Maupassant does, to convey the social truth his own inimitable sketches impart.

Again, ours is a very changing population. Its movement of life through one of our cities is attended with various and choppy and many-toned sounds communicating a varied rhythm of its own. To return to our figure of the retail tradesman--if this tradesman be in Chicago, for instance, he may neither be expressed clearly by typical classifications, nor shown without a genuine error in historical perspective against a static street background and trade life. This background must have change and motion, unless the writer is to copy into his own picture some foreign author's rendition of a totally different place and state of human existence. The tune of the story's text, too, should repeat for the reader's inward ear the special experience of truth the author has perceived, the special ragged sound and rhythm of the motion of life he has heard telling the tale of that special place.

May one add what is only too obvious, and said because I think it may serve to explain in some degree why individual impressions of American life are not greatly encouraged in this country? It will be quite plain that such a limpid, clear-spaced, reverent style and stilled background as speaks in one of Mr. Galsworthy's stories the tragedy of a London shoe-maker's commercial ruin, would be false to all these values. It will be quite plain that such a bright, hard, definite manner as that which states with perfection the life of the circles of the petty government-official and his wife in The Necklace would be powerless to convey some of the elements we have selected as characterizing the American subject we have tried to suggest.