The Daily Worker Newspaper, January 16, 1934, Page 5

WORLD! By Michael Gold Well Fed Pacifists T IS the well-padded liberals, those who-still enjoy large incomes or feel secure in well-paid jobs, who try to fidintain that well-known “above the battle” attitude which is really nigning but a subtle way of sup- porting capitalism. In this connection, it is amusing ta note that the liberals who man- aged to capture the pacifist organization known as the Fellowship of Recon- ciliation by forcing out Roger Baldwin,'Ji B. Matthews, and other mem- bers who wanted the group to commit*ttself to the side of the working class in the class war, were almost, entitely made up of the wealthiest men among the membership. These pious people, according to ‘yeports, were not above using the slickest Tammany methods in their fight. They say they believe in de~ mocracy, and in the ballot as a means of deciding social issues, but they steamrollered their way by, an old trick; out of a total membership ot 8,000 there were exactly 68 members-who elected the National Council that maneuvered the final dishonest ‘victory. Bloody Dollars HEY don’t believe in violence, they Say. But they continue to draw dividends from coal mines and textilé: mills where workers are kept under the gun and blackjack of the State and private gangsters. Thoreau went to jail rather than pay. taxes to a State that tolerated the institution of chattel slavery. It .was.a logical position for an indi- yidualist anarchist to take, though not‘ very effective one. But these godly pacifists not only pay taxes to a state whose army and navy exists only to protect wage slavery and impéridlism, but they actually live off the profits of capitalist violence against the Working Class. It would be interesting to check up on the stocks; and bonds they own, and to trace the bloody history of each dollar they. spend. They “deplore” violence in labor struggles. Good; everyone but a Nazi sadist deplores violence and seeks'to avert it. It is not the Workers who make the violence. But any group of people who cai tump the violence of the revolting Russian peasant, sick of imperialist war and landlords, with the violence of his masters, the drunken, brutish generals and feudalists, has definitely taken sides against that peasant. When the German workers rise to overthrow Hitler, will that be something to be deplored? What other method has he left open to Com- munists, Socialists, liberals, Jews? Thé‘‘wHole technique of orderly and peaceful democratic progress has been destroyed; that myth once so use- ful to the boss-class. What have the liberals to offer in its place now? ‘The Fellowship of Reconciliation has..put itself on record as being cpposed to all those working class forcesthat must eventually rid the world of Fascism, and set up a new and better-world. Their recent action can ve interpreted in no other terms: To frbmise not to help the enemies of Tasoism, whatever form the struggle takes, is definitely to aid the fascists. Some Liberal Editing E NATION,” a weekly magazine known to most of us, is an exponent of this same mealy-mouthed, vacillating, bourgeois liberalism. It will pprove a labor strike here, and deplore another in some other place. It has swallowed big chunks of the N.R.A., and though finding the digestion difficult, is ever willing to try,again. There is much to be said about “The Nation,” here of only two little wrinkles on tat’ “Smug face. One does not ask The Nation to be, a Communist organ; it obviously could not be. But one does expect it to abide by its often professed ideals of free speech, democracy, etc. .. . Jt, does this fairly well when the argument is turned against Communists. Selden Rodman’s report of the recent student convention in. Washington, for instance, shot through with the usual stale anti-Communist’ slanders, was probably printed as written, Recently, however, another writer, named Rose Bradley, did a masterly job of reporting the lynchings fn Maryland. Her report, charac- teristically, was skillfully edited: withouther consent so that the thesis of the author was changed to one’entirely hostile to her intent. Her letter, which follows, is another document that displays the po- litely dishonest tactics of liberals when they pass from words to action: To the Editors of The Nation:— is Stirs: but let us take note in the current issue of The Nation an article entitled “Back of the Maryland Lynchings” appears under my name. I wish to state that this article was cut, “edited,” and in substande altered without my knowledge or consent, One of your editors, in a telephone conversation, claims that proofs were sent to me before the article appeared. If this was done, the proofs failed to reach me. As a result, I find myself credited with formulations and a point of view which I not only never expressed, but which I must whole~ heartedly repudiate. The article, as originally submitted,” showed that the lynchings on the Eastern Shore grow out of sodial and economic conditions—out of a conflict of class forces which has. een. intensified by the crisis, In a paragraph which was omitted andiwhich began, “The machinery of local domination is in the hands of small capitalists, who own the can- neries and the packing houses...” I gave evidence of the fierce ex- ploitation of white as well as Negro workers and farmers by the local capitalists. I believe I made clear how, today more than ever, the need for cheap labor and cheap raw. prodytts’are the basic needs of the Eastern Shore capitalists, and how directly their interests are served by inciting white against Negroes. I drew these conclusions, not on the basis of propagandist intentions, but on the wasis of factual evidence which was gathered in a spirit of research “~~ These conclusions, together with the*facts most directly supporting them, have been omitted. The originalyemphasis has been destroyed. It is significant that as a result Of8uch changes, the question of the class struggle has not merely been clouded but has been completely elimi- nated. It is also significant that references to the Internetional Labor Defense, which has led the fight against legal and illegal lynchings and for the rights of the Negro people, have: been eliminated. References to the Euel Lee case have heen eliminated. The references to Armwood imply a guilt of some sort which was not expressed in the original article. The relation of Armwood to the ‘white man said to have been in- volved in an attempted robbery of old Mrs. Denston is important, His relation to the white man was that of @ slave. At the age of 15, he had been given—indentured—to this white.man by his mother, and would not have attained “freedom” until he-teached the age of 21. This fact, with its important social and politicalmplications, was omitted. Finally, the conclusion that the Negroes need the help of thar natural allies, the white workers and poor white farmers, to secure bear- able conditions has been altered to read:,.‘The Negroes need the help of white sympathjzers.” Such a change,.though it “merely” involves a DAILY WORKER, N “They Shall Not Die,” John | Wexley’s Scottsboro Play, Goes In Rehearsal Today Philip Moeller will direct the The- |atre Guild production of John Wex- | ley’s “They Shall Not Die,” a drama dealing with the Scottsboro case. The play goes in rehearsal today with the opening announced for February 15. The cast will be announced later. Wexley is the author of “The Last Mile” and “Steel.” “The School For Husbands,” the Moliere comedy at the Empire Thea- tre, is now in its final week. The| play closes here on Saturday and will then go on tour. Dorothy Gish, Howard Lindsay and | Kenneth MacKenna head the cast! of “By Your Love,” the new play| which opens at the Morosco | |on Jan. 24. “No More Ladies,” a new comedy by A. E. Thomas, will open on Tues- {day evening, Jan. 23, at the Booth ‘Theatre. The cast includes Melvyn | Douglas, Lucille Watson, Rex O'Mal- ley, Ruth Weston and Miriam Bat-/ tista. | DYNAMO, a Journal of Revolution- ary Pootey. Bi-Monthly. 15 cents, rs By ALFRED HAYES extend revolutionary greetings | to “Dynamo,” a new journal of revolutionary verse, whose first issue has just appeared. This little book is slender—24 pages; it will appear every two months; its voice is still uncertain, but, as Mike Gold would say, it’s a husky baby with a promising future. | There are probably hundreds of poets in America today, writing from mines, fields, cities, who are already giving form to the new theme in American life—the emergence of the proletariat as a class becoming con- | scious of its role as protagonist of | the future classless society. Unlet- tered workers (I have met workers who write “phonetic” poetry about their homes and shops because they can’t spell); young poets whose careers began with the crack of the Stock Market; and professional poets who are trying to break the patterns of despair and disillusion so fashion able in postwar literature—all are consciously engaged upon the task jof creating a new poetry, 2 poetry | unknown in the textbooks of school teachers or the looey untermeyer anthologies. Its first accents can already be heard. In “Dynamo” we catch these |new syllables, in many different voices, in the direct straightforward | opening poem of Naakon Chevalier, | “Worker, Find Your Poet,” in the} subtler, more derivative rhythms of | Horace Gregory's “Night Watch From Chicago,” in the personal traditional lyrics of Joseph Freeman, in the simple factual ‘Workers’ Corre- spondence” of Michael Gold, in Isi- dore Schneider's ironic “Comrade- | Mister,” in the urbane sophisticate work of Kenneth Fearing, in the dra- matic monologue, “New Youngfel- low,” of Stanley Burnshaw. ‘There are many influences, differ- ent problems, different personal ap- proaches, determined by the indi- vidual background, talent and con- ception of the individual poet. All of, which is good, Revolutionary poetry should be varied, rich, multi- form. To the critic of revolutionary poetry (there are as many or more than the poets) “Dynamo” will pre- sent an excellent source for examples to illustrate their theses, One can, for instance, choose the work of Horace Gregory, a poet of recognized standing, and use it to illustrate the failure or success of the problem of integrating “bourgeois” form with \revolutionary content. Granville Hicks | thinks it can’t be done. Or one can) \pick out Joseph Freeman’s six poems} (why has he been hiding so long?) and praise or deny their highly sub- jective concern with the personal |problems of a comrade in the move-| |ment. For this reviewer, all these, are still open questions. Having seen how Louis Aragon (Red Front) has} poetry with forms created while he} was a Surrealist, ic. bourgeois poet, I am inclined to doubt Hicks’ an- swer. And having been moved by these “personal,” “subjective” lyrics of Joseph Freeman, I have wished more of our revolutionary poets turned to an honest expression of their “secret” selves. This reviewer) believes, with one of the editors of) “Dynamo,” that Joseph Freeman has} succeeded in widening the scope of revolutionary expression in poetry. by Gladys Hurlbut and Emma Wells |} jsmile encircles his mouth. | comes very figdety. | 9:30—Ed Wynn, Comedian; :00- achieved a dynamic revolutionary | | EW YORK, TUESDAY, JANUARY 16, 1934 Blinded in Fae Unemployed f tory, Worker or Four Years Is Ignored by Relief Group Investigator Tells True Story of Destitute Family Of Five in Brookly n By a Worker Caraneuion: I KNOCKED. A weak voice an- swered. “Does Morris Koplensky live here?” I asked. ‘My fath eg, ‘p) F ted fellow, “but I'll wake I said nothing. I was immediately | occupied surveying this bleak, barre black three-room a ment. No cur- tains or shades on the windows, about all that is visible one two tables, and a few scattered chairs. Yes, the father, too, is visible, for I see him getting up from an empt bed. “How do you do, Mr. Koplensky. I'm from the Exchange for the Blind | down at State St. I came to take your census.” The man’s face hardens, a bitter I try to justify myself. “I'm only going to ask you general | questions, nothing personal.” I then proceeded to take off my coat and try to make myself com- fortable. “I'm 38, I came from Russia,” the reply. “You were born then—in—” I start | to figure. Meanwhile the man be- He begins to talk wildly, almost unintelligibly, but I pretend I do not understand fusion. “Thirty-eight from 1933—you were is born in 1895. How many children?” | “Three,” is the blunt response. I am about to continue, but the man’s trembling figure checks me. “Can't you see I'm nervous? I'm a sick man, please don’t ask me ques- tions. I must go to a hospital! I can’t stay here! Already I’ve had three investigators here, but they only make promises. They say I’m not @ citizen so I can’t get a pension. I} can’t even get relief! But my three boys, they were born here, why should they starve and sleep on the cold floor? When the war comes, then— then—they’ll be remembered! Look, come, I'll show you: This is where they sleep—no bed, no covers, no nothing! And me, once I was strong and healthy, but at work one day some poisons got into my eyes and then I couldn't see—I couldn’t see anything. pains in my ears and teeth; I almost went crazy. From one hospital to the next they sent me; but the doctors didn’t bother, for what cared they for | @ poor blind man. It’s four years al- ready, but I still have pains. Why don’t they send me some piace, Ij can’t stay here!” | door opens, tarian mother, she must put up such front! “How do you do?” is her clear, wel- coming tone. “Edna, here is a. nice girl.from—" “From the Exchange for the pune of the AIC.P., madam.” “She came to help us, Edna, maybe | she can send me away.” “Tm just from the market, this t5| the first basket in a long, long time. | We were about starving when they grudgingly decided to give us $15 every two weeks for a family of five. Imagine—$7 « week with growing children, and that’s also to go for rent and clothing. You pee what I'm wearing—rags. Look at’my children, all bones. My little Morris és only seven, but he’s smart. ‘I won't eat bad food,’ he says. Show the lady your book, Morris. He has only hun- and | bed, | con- | I began to have terrible | @ short bustling | woman walks in, evidently much | in tone with the brisk, cold weather. | But then I realize she is a prole- | His teacher 10 8 is me if ndwriting, his beaut - | I am deeply engrossed in thought jas his mother is telling her troubles |to me, with the father breaking in iow and then. She finally finish |“and to think that once I had eve: thing, and now——” She is an educa’ mother, one can see that. I am putting on my coat | when—— “You will try to heip?” are her last words. | Her husband takes her hand, his disposition has complet chang | “She is good, Edna, can’t you see? "| Theme Page Five Yehudi Menuhin, Soloist With Philharmonic Thursday MOS ro Tosca second program Cycle on Thu day afternoon Yehudi Men A Program for for Proletarian Composers mnect Beet the hin as « jon erfecting major Concerto, The pro ans for the se ie the Overture to sic Olympiad, wh held det “Broica” S one of the s in town or Sunday afternoon Tos¢ duct Cherubi : through prolonged ver for med. 2umann’s “Don Juai oO Rossini’s mes -rusic for nest Schelling will offer an m program at the conce 1 and Young People on urday morning at Camegie Hall should also the music of le ure- class entertainment and dissipation. their Nikolai Sokoloff will dirt Vauehan| tarigt ‘or been forced into Cin cca oka eeiviniir pad eee Miam’s Concerto with Harriet Co-| t These men have lis- |mentality, Revolutionary music should hen, as at the New|, h varying degrees of atten- | have emotional “drive” and “lift” and York Orchestra concert this evening | tion to the w< of Stalin, which we | be optimistic, not morbid. There is at rnegie Hall. This is the first/may adapt to the musical : ion |a certain undeniable intellectual” sat- ance of the as follows: it of all, they (mu- that’ ‘should . The Dvorak "|siclans) must have a good ear for | stly sought. The best ‘fiusic Overture, Opus 92, D'Int the voice of the masses, must comes from the union, not the’ strife pay the with Variations the | from Suite close attention to th instinct r revolutiot (as so much bourgeois r | The door closes, but only for a|No. 3 of Tschaikowsky’s Opus 55 are | y be dui | short while, on the same program. | is sound for tends to | mio ‘i , be ‘ready not} into luxurious sday~- sses, but also to oster ction and ac- * hd le the function | ceptance of things as they are. Songs Canadian Censorship Threatens of these men to prepare the prole- | should arouse and maintain the-will | tariat for the making of its own/|to victory. to Bar Workers’ |Plan To Rivake License | Given to Toronto Theatre Group (Special to the Daily Worker) | TORONTO, Canada.—Afraid of an jexposure of their anti-labor policy | with an election in the offing, the | Ontario Tory government threatens to revoke the license of the Standard Theatre, rented to the Toronto Work- ers’ Theatre, for the play “Eight | Men Speak,” to be presented Jan. 15. The play, dealing with Kingston Penitentiary, where seven leaders of | the Communist Party of Canada are serving five years—one of the original eight being a deportee to Jugo-Slavia | —was first shown on Dec. 4 to a | packed house. Hundreds were turned away at that time. Beginning of Theatre Censorship | This action of the Tory govern- Tim Buck = | | | | | Canadian Communist jeader now serving five years, together with six of his comrades, in Kingston Penitentiary. play, “Eight Men Speak,” which the Canadian authorities threaten to stop, deals with the leaders imprisoned at Kingston. TUNING IN TONIGHT’S PROGRAMS WEAF—660 Ke. 3:00 P, M.—Mountaineers Music 7:15-—-Billy Batchelor—Sketch 1:30—Trappers Music T:45—The Goldbergs—Sketch 8:00—Reisman Orch.; Phil Duey, 8:30—Weyne King Oreh. 9:00—Bernte Orch. Voorhees Orch. aise of the Seth Parker—Dramatic cn Boauty—Mme, Sylvia Robert Simmons,sTenor; Sears Orch. FS) wlk—J. B, Kennedy 11:18—iueas Orch. 14:00— Whiteman Oreh. 12:00—Vailee Orch, 12: M.—Preeman Orch. 12:30—To Be Announced ai WOR—710 Ke 7:00 P. M.—Sports—Pord Frick 7:15—Nevs—Gabriel Heatter 0—Maverick Jim—Sketch 0—De Marco Girls; Frank Sherry, Tenor 8:15—Ralph Grosvenor, Tenor 0—Borrah Minevitch Harmonica Band Baritone | etaoie shrdiue , New Jer: ‘National shrdlu ico Reform League; Prof. W University | 8 Chorus—akete | 8:30—Adventures in Health—Dr. Herman 8 Announced | 900—Alice Mock, Soprano; Edgar Guest | Koestner Ore! | ,9:80—-Duehin Oren: 10:00—Joy Orch.; Sid Gary, | Mann, Soprano | 10:30—Mario Cozzi, Baritone 10:45—Production Oredit and Cotton Acre-| age Adjustment—W. I. Myers, Goternor | Farm Credit Administration 1:00—Leaders Trio | 1:15—Anthony Frome, Tenor | 30—Madriguera Orch. 2:00—Bissle Orci. | | 19:30 A. M.—Sosnick Orch WABC—860 Ke. H t and Marge 7 Bill—Skete! :300—Serenaders Orch. 1:45—News—Boake Carter 8:00—Studio Orch, Songs; Sydney }2 11 } 2 }2 |x | press to smash the workers’ art move- | ment. | ada is organizing a campaign all over | avoided in workers’ songs and some | gov ernment |feature of the movement. music, Proletarian music is @ historic ne- sity which will develop out of bour- by carrying on and add- e tendencies, and by regr or decaying Proletarian music may all the worthwhile qualities of It is essential that the music. of workers’ songs as well as-their. words should be revolutionary in character, Often we hear strong words .nega- tived by weak tu We must. be careful to avoid being long-winded o1 cheap, both in serious and jn gay music. Humorous and sattrical freat- ments are good provided the intent absolutely clear. Not all folk-tunes Play Showings . |ing to pro: ment is believed to be the beginning | discontinu ng of a stringent censorship of the | tendencies. theatre and art to prevent workers | have trom using the stage. | bourgeois music, and many more, but It is noted as a very peculiar coin-| it must and will express them by cidence that Governor General Bess-|means different in many frespects|are suitable to the revolutionary borough, patron of the Canadian/from bourgeois music. Proletarian movement. Many of them are com Little Theatre movement, arrived | music will result from revolutionary |Placent, melancholy, defeatist—origi- here a day. before the noted fascist|/tendencies persisted in over a con- {nally intended to make slaves endure of the stage, Dan Dickson Kenwinn, | siderable length of time. their lot—pretty, but not the staff for | announced a drive in the local boss|revolutionary ten }@ militant proletariat to feed. pon. be called the of |Folk-music that shows clearly a bourgeois music) there can be found spirit of resentment toward a some technical devices that must be nm or vigorous resistance: to it are valuable All of these traits have their tech- nical means of expression’ in music. In The Progressive Arts Club of Can-| the North American Continent to| that can and must be used in them. protest this action of the Canadian| The choice as to what bour, and calls upon all | technical devices are to be preserved | |workers, intellectuals and organiza-)and developed and what are to be | Gidding ness ite em ane tions to mail or wire protests to the | discarded may be discussed under the | tange, its te Prog Soa ine Provincial Treasurer, Ontario, Can- following principle: to be revolution- | rest), the wpaiseences of absolute ada, of dogma.’ Senti- usually recogtiizablé in stereotyped. formulas” of |ary in character, music should have mental; the use of ETE JOBLESS IN GREECE FOR melody, harmony and rhythm, --Mel- PRINTER'S ERROR || 70st onsscx once aim | Seiya eae GARBLES ARTICLE || miitant ‘demonstrations by aie enclave at ie ntelo~ empos and vagae but harmor is by EARL BROWDER Optimism ers in front of the factories | ” * g is and well- marked }Mann” and “Vlachakis,” and simi- Due to careless mishandling of | lar demonstrations in Thrace and t type, Earl Browder’s review of the | Other cities, the government has and dai January issue of “Fight Against |rdered the National Bank to turn) Technica freshr $s diffiey War and Fascism,” entitled, | 0Ver 15,000,000 drachmas to the To- [genic abe ra cn cake rengthen the Fight Against | acco Workers Insurance for the | 7; usually means that some mew com- Pacificm,” was badly garbled yes- | “employed, |bination of. old devices has. been | terday. The last three paragraphs — ——— | achieved or that some unusualomew of Comrade Browder’s article | material has been employed. Com- should have read as follows: |Posers must realize, of course, that PE EOE WHAT'S ON only comparatively ‘slight departures Harvey O'Connor writes an expo- jfrom conventional idioms. oan... be sure of how Andrew Mellon profits} \tisked in mass song writing for.tne f oy " breparatios aes fae? Gen Tuesday present. More can be dared in part- ews tells briefly of his visit to Cuba . witting for chorus. There are some om behalf of the League, together) remo ~~, SCHOOL, | Winter | (ateations that workers’ choruses with a delegation of the Anti-Im-| Student still register before the first|are ready for more technical, novel- {ties than has hitherto been thought perialist League, to support Cuba’s| Session o RED BUILDER. struggle for independence from Amer-| patiy Wore at ote, rest, rrette | possible. In view of the vast afount ican imperialism. A seaman, Frank} spply at City Dally Worker Office, 35 .| of new resources added to musi¢ by Robb, tells about the shipping subsi-| 12th St. store the bourgeois experimenters of the dies and naval reserves that are aj SPEAKERS on the movie available tor | Jest 30 years, it is tempting to. test most vital aart of war preparations. | Putte Teacn, “is tinge these indications for what theyware Lucile Perry contributes an exposure) THE NEW EXPERIMENTAL THEATRE | Worth. of the imperialist aims of the U. S.| Tiitea: 1° W: 126 St. at 8:30 pm. All| yt fs not to be expected that,Amier- in the Pan-American Conference in| cHorus ot Tremont Prog. Club meets|ican Workers’ songs or instrumental Montevideo. Fascism in Japan is| at 866 Tremont Ave. at 8:30 p.m. Comrade| music in fhe year 1934 willmake use dealt with Reh Haru Matsui, a Jap- Ress at on e jof more than a few of thd new. re- attacks the rising "Fascist trend ‘All local. or< in a bourgeois state and has botirgeois |American universities and_ colleges, are urged ‘| tatngs in music as in most other jand Lord Marley tells about the things. If he does not like thé music {Shanghai Anti-War Congress, which | | arranged or composed for him, he met under such difficult conditions in by | Will not sing or listen to it. The mu- September. The position of the Negro! * Will be held| sic he will sing and like will be pre- < plat School 8. | dominantly bourgeois in / character ~ | but can contain some departures from | conventional bourgeois styles—e h \at least, eventually to distinguish his music from that of the decaying. bour- \geols society—tin-pan alley, . revival |meeting and politically controlled Apply Pilm and] | ganization | attend. Philadelphia Pebruary 23, 24 and 25 are taken t. 9 for Section Ba: 43 Berks St., head as victim of war is shown by Eugene| organizations are urge date. |Gordon, leading Negro intellectual, the schools of America are be- d to provide funds for bat- sed by John Garvey. r gives a compilation facts on war preparations. The Chicago BAZAAR of the N.T.W.LU. on} Workers Lyceum, | Daneing every night Los Angeles tion of Haiti is exposed| prermerr 1: DOLIN CLUB, ninth | School-room. It may be only am oc- um ith an- Guy Endore. The Bolivian-Para-j nual concert, 81 Jan. 21, at 8:18 p. ponsional off-accent, wide skip, irregu- nown Up as a prelim-| at Turn Verein Hall, 996 W. Washington |1@Y phrase, tart harmony-sor~gome wide strug-| eet such thing. Some people will natur- jally demand more: others, lesse< There is stil some room for’ occa- Y | ani sional parodies of old songs 8 as a aca ported and given a wide distribution, |“Pie in the Sky” and “soup. aa spreading Tt must be constently helped by con-| for many of them. The revolutionary It must be used | movement will have its own. music. id up, eve: here, strong local} We shall keep as much.as weelike An article by Prof. Robert. Morss| organizati f t | of Laney Gaim anaes eee oes aeicetieg cate League Against | of the old, but build better, ys: it, |spreading widely among the students of America, deals with an important It is to be} regretted that Prof. Lovett, who is| doubtless a most sincere opponent of} war, could express such dangerous il-| lusions as that “President Wilson| would have found a way to redeem) his election pledge: ‘He kept us out! y -war movement, It must - ational notes by Idi Re ieee the beginnings of report the League organizationally over the! structive criticism. count: to buil _AMUSEMENTS SOVIETS NEWEST TALKING PICTU ‘An important chapter of Tivingy Bis le moment of dullness,” of PROGRESS BASED ON THE STORY “THE LAST ATAMAN” > PRODUCED IN SOVIET RUSSIA-CHINA, (ENGLISH. ‘TURLES) ACME THEATRE “won sauame, UNION SQUARE of war,’” if in 1917 “there had been any such open declaration of prin-} ciple. No declarations, however cor- can prevent war, but only thej jorganized power of a great mass, | movement, which overrides the in-| by Knowing allso how much workers O—Radio Di 8 ¥s—Edwin C. Hill |herent and inevitable movement of|)—THE THEATRE GUILD presents, jp RKO 7, Ath St. ode 0 few words, implies a serious underestitnation of the power of 14 million | enjoy good revolutionary poetry, Ij 6: Eo asa wen S:s01volen cok. Begeriencs jall capitalist governments (and capi-| EUGENE O'NEILL’: COMEDY Jefferson Sra Ave: | Now | Negroes in the United States to bett@r°their own conditions through hope that they will lend their sup-| 10: roo Teddy Bergman, Comedian: Betty| #4s—Fray and Braggiottl, |talist statesmen, such as Wilson ar} AH, WILDERNESS! | MARIS DRESSLER & LIONEL BARRXMORE militant struggle. It implies that the leadership of any struggle in which | port to this little magazine of verse] ,,,Qu¢e% Songs: Rondolier Quartet oo—Philadeiphis Ore |Roasevelt). towards settling their| wiih GEORGE 1M. COMAN | in “Her -S are? veent Evens—Harlan Ei a| 9:15—Alexander Woolleott—The ‘Towit Crier | er Sweethe they may engage belongs to liberal. White, sympathizers, instead of to |and not permit it to die one of these| 10:20—eady Brown, Violin; Concert Oren, | 8:90—ciearge Jessel, Comedian, Halt Murs|Contradictions by battle. We must\| GUILD mssjcesh: Weems || Ue g obscure financial deaths that so often 11:00—Moonbeams "Trio | a Rich Orch. ; Ivene Taylor s Bulletins ‘arlem Serenade Dell Campo, Songs 11:30—Nelson Orch. | 12:00-—Lopes Orch. | 42:30 A. M.—Pancho Orch, 1:00—Light Orch. the working-class, and effectively sticgeeds in destroying the revolu- x tionary content of the article. iolde r If this was the intention of the editors of The Nation, it would have been better for them to refuse the articlé in the first place. Sincerely yours, ROSE BRADLEY. “KING FOR A NIGHT” With Chester Morris and Helen Twelvetrees lopenly combat the penetration of the | Trlo/ anti-war movement by such illusions. |Generally “FIGHT” is weak in ex-| posing the fallacies of pacifism. overtakes our magazines. “Dynamo” also publishes an un- usual short story by James T. Farrell, @ young proletarian writer, author of the novels “Gashouse McGinty,” and “Young Lonigan,” Song MAXWELL ANDERSON’S New Play | MARY OF SCOTLAND | | with HELEN PHILIP HELEN |) On the whole it must be deciared | HAYES MERIVALE MENKEN || { ALVI | |that “FIGHT” is an excellent con-| Thes., 524 St., W. of B ‘tribution to the building of a mass| Ev,8:20.Mats. Thur. EUGENE O'NEILL'S New Play DAYS WITHOUT END Henry Miller’s [7,053 5 Ore. 0_Rabbins Oreh. Wd. 7-760 Ke ?. M.—Amos 'n’ Andy Regenerating Local Civil Service — Charles P. Messick, Chief Examiner Civil TH AYE, PLAYHOUSE, near. 13th St Sergei Eisenstein’s ‘ThunderOverMexico’ Also: JEAN COCTEAUS =: “The Blood of a Poet | Cont, from 1 p.m.—Matinees 30¢, Evge. 400 ‘Tonight — Trade Union Night THE ANTI-WAR PLAY 71B.BIG WEEK |PEACE ON | ALFRED KREYMRORG ays: “The offe play [in town not to mi ee CIVIC REPERTORY Thea,. ith 5. & 6ihAy, WA. 9-7450. Evgs. 8:45. 30°? ee. Mats. Wed. & Sat., 2:30. CARNEGIE HALL, Sat. Eve. $230,’ Jin, 29 2ND APPEARANCE OF THE: iat.2:20 The Grease Begins to Work By QUIT. ¥. of Broadway Evenings 8:40, Mat, Thurs. & Sat, 2:40 7 JEGFELD FOLLIES with FANNIE BRICE Willie & Eugene HOWARD, Everett MAR- SHALL, Jane FROMAN, Patricia BOWMAN, WINTER GARDEN, B'way and 50th. Ey Matinees Wednesday and Saturd: 1 GLAD It STOPPED RAINING = Warm UP A LITTLE ~ GOSH Im Hot! WHAT'S THE A MATTER Write me 5 MELLO! PERFESS: | OR MARTIN IS MILES AHEAD Don't WORRY-| HE WON'T WIN, AITABOOOY | TIMMMMMY: THE ROAD) By GEORGE MARLEN A Communist Novel Against Fascism - ~ - $1.50 RED STAR PRESS| ROBERTA P. O. Box 67, Sta. D, New York A_New Musical Comedy: JEROME KERN ‘onto NEW AMSTERDAM, W. 42 St. Pins tax. Mats. Wed. &Bat,,0c to Direct from The Marinsky Thea. Leningt? VECHESLOVA fer: in New Dances. Tickets: $1.10 rf $2.78 (1000 seats ab $1.1 — Sue