The Daily Worker Newspaper, January 29, 1934, Page 7

——————S—SS eee CHANGE THE || WORLD! By Michael Gold “4 Letter To the Author of a ‘irst Book D R Friend and Comrade Jack: Your novel” was assigned me for review. I began to write my report in the graveyard style of the Nation or New Republic book-spetz but soon found I couldn’t keep on in that vein. How can I pretend to be one of these Olympian arbiters of “truth” en as a matter of fact I am deeply partial to you and your work? rst book like yours, of a young working class author, cannot be regarded s literature. To me it is a significant class portent. It is a victory gal capitalism. Out of the despair, mindlessness and violence of the vroletarian life, thinkers and leaders arise. Each time one appears it is @ revolutionary miracle. I shall never grow “sophisticated” enough to witness this miracle with anything but joy. So I am deeply glad that you have written and published a novel at last. Why conceal it? I myself went to work at the age of 12, and I think I know what it means to create one’s own literary tools and one’s own courage. It is something academicians rarely can understand, sometimes not even when their academy calls itself Marxist. When Negroes, Tartars, and Bashkirs, when ditch-diggers, textile weavers or graduates of steel mills like yourself begin to write novels and poems, something great has been born. A new world has begun to create its own life; the first log huts. have been carved out of a wilderness. Proletarian literature is in its first crude beginnings in America, We shall have to know how to understand the inevitable crudity of our first rough-hewn shelters, and their relation to the shining cities of tomor- row. The fact that a revolutionary school of writers is arising in the cornlands of the Middle West, taking the place of the tired social-demo- crats of the school of Carl Sandburg, is something that critics ought to understand about your novel. You are one of the leaders of this move- ment, and your book is an advance-guard skirmish in the great battle. The first scouts in a new terrain can do little more than hurriedly map the main landmarks. One. does not expect them to be serene landscape painters. Your novel shows the interna! stress of the man under fire or the young proletarian author writing a first report of a strange life. There are too many unprecedented facts, and he is so involved in each one, that sometimes he cannot piece them together in any satisfactory pattern. Hence, the sketch-form which predominates in your book, and which is a dominant proletarian form today. * * * Many Faults—and Virtues TOR it is noteworthy that your novel has many of the same faults and virtues as other first novels by proletarians. It is semi-autobiographic, which is a virtue. However, in avoiding the sickly introspection of the bourgeois autoblographers of youth, the psychological reality often escapes our young authors. They neglect the major problem of all fiction, which is the creation of full-blooded character. Your characters aren’t completed. To illustrate by a parallel: there have been many novels written about the First World War. As one war book after another appeared it was apparent that those authors who chronicled only the objective facts of war's horror and violence had written monotonously. Horror is not enough. Facts are not enough. There must be a living human man por- trayed through whose mind all this is reflected. War must do something to him that other human beings can poignantly feel. Proletarian life is a war. The hero of your novel, Larry Donovan, is the son of a coal miner. One by one his brothers ara killed in the mine, | his father, too. His mother becomes a heroic drudge who bears on her shoulders the weight of a family. You create in a few strokes of fine talent the portrait of this universal mother of proletarians, stoic and haggard and loving, stooped over a washtub where the tears and sweat of her slow death are mingled, * ‘HE boy leaves the coal camp. His father has been ambitious for him, with the pathetic petty-bourgeois hopes that poison the workers’ soul in America. The boy wants to be a white-collar man. But he drifts from » one industrial hell-hole to another. He works in a stinking rubber factory, \ where dust rots the lungs in a few months. He works at a murderous saw. Ha passes through steel mills and road camps, he is one of the floating millions of migratories who are characteristic of American industry. i There is no escape for him, any more than for the other millions. ‘The boy meets the drifters, the failures, the drab women and crushed hopeless men who are called by patriots the American “people.” Some significance is brought into all this chaos when Larry encounters a Ger- man Spartacist in the rubber factory. Hans in class-conscious, though broken by temporary defeat. And he shares his class wisdom with the youngster, and at the end the twa participate in one of the farm revolts. All this is a truthful report of the steps by which most young workers enter the revolution. Nothing has been invented. You know this life, Jack, as well as a Hemingway knows the atmosphere of fifty Paris bistres. ), You have given us a picture of @ boy’s life in a coal-mining town which T have. never seen before. I can smell your rubber mill, and have been bored to madness by the work-sodden people in your rooming-houses. ° = * * What Held You Back? (OLENT death and gray, heart-breaking monotony, these are the main elements of war and of proletarian life. You have given the facts, Jack, but why could you not communicate the emotion as well? You, of the warm tragic Irish blood, had it in you. What held you back? Was it ® fear of the autopsy that might be performed on you by some pseudo- selentific Marxians? Don’t ever fear them, Jack; Marx and Lenin were men of passion and wisdom, and knew that life comes first, in fiction as in politics, and then the theories. Or was it a fear of the bourgeois critics? They have destroyed many a young proletarian writer; they have made us ashamed of being. our proletarian selves. They call our love and hate, propaganda; and they are too smug afd cowardly to understand what Gorky called “the madness of the brave.” To dream of pleasing them s a form of suicide for a proletarian writer. I really believe that a faithful study of Marx and Lenin would help our young proletarian writers more than any laboring over the “pure” yourgecis esthetes like Joseph Wood Krutch and the like. This has been said by unimaginative routineers so often that it has almost become repellent. Nevertheless, it happens to be true. I can point out one defect in your novel which might have been obviated by a study of Marx. To capture some of that unpredictable variety and romance which one finds even in the darkest depths of life, you have been led off the main road leading to your goal. In your novel too many of the charac- ters are social sports and eccentrics. They are not typical enough. It isn’t easy to fuse the typical and the individual in one true and breathing portrait, and yet that is our chief fictional problem. A knowledge of the structure of society is found in Marx, and Marx alone. He can help the writer attain the fusion I have described. a . yous book reminds one of the early work of Jack London, You have his stalwart, easy familiarity with the American worker. You have his ear for the natural idiom of proletarian speech. The same dynamic rebellion and red-blooded poetry is in your style. You lack as yet his feeling for powerful dramatic form. And you have, I believe, what was always his chief fault, the one that destroyed him in the end: a sub- conscious sense of inferiority to the bourgeois world, It is a common trait in the young proletarian struggling for self- education. You over-value the decayed culture of the other world. Your , ero, sunk in hopeless and mindless poverty, is naive enough to spout, , na nightmare rubber mill, some tinkling rhymes by a conventionally niner poet named Arthur Ficke. ‘Your boy does this with reverence, and ‘is @ false note that is repeated again and again. He is “literary” in the way of Jack London, the “literariousness” that begins by believing that -o mouth a few lush stanzas by Swinburne makes one superior to illiterate aril press hands and factory girls. This snobbishness usually ends, as ‘t, did with London, in believing that The Saturday Evening Post is the sternal standard in literature, and that the U. 8. ought to annex Mexico, You Have Revolution in Your Bones BOz 7 know you will never succumb to the ignoble success that led to the mental and then physical suicide of Jack London. You have Ee in your bones. You are making immense personal sacrifices to . . . | | ] * . { ) preate a Midwest proletarian literature through the medi , The Anvil. You have written a first good book. Tf aig Beas |p the galaxy of the young literature of our class, You will write many |j more books and better ones. You are a leader, You are a writer. You are a proletarian shock-trooper whose weapon is literature. Nothing ts easy for our class, but it is only in a hard school that greatness is tem- pered. Your book is a signal that You aspire to that greatness, Your comrade and fellow-worker, —MICHAEL GOLD. ® * “The Disinehrited, by Jack Conroy, Covici-Friede, New York. 32. al DATLY WORKER. NEW YORK. MONDAY Strike on at Waldorf, But” Blinds Will Be Pulled Down By SENDER GARLIN What are you doing tomorrow! | night? | | If you're not tied up, I'd urge you} | to step out @ bit, and meet a nice| | class of people. There's going to be a big shindig at the Waldorf-Astoria Wednesday | |night in honor of Frank Roosevelt, |you know, the President, and I | thought you might like to come on jover, You see, it’s Franklin’s 52nd | | birthday, and “Organized Lahor” is Jcalling on everybody to join in the | | celebration. | | Informal Gathering | The National Committee (Labor | | Division) of the Birthday Bail for |the President; tells all about it on | |@ neatly printed announcement. | which they just got out. The boxes | |on the main floor seat eight persons, | and are priced at $200, and it would | | | | be ® good idea to get together with | | Some other fellows and hire one of | | the boxes; it'll be more cheerful in | |@ group. You can horse around and have @ damn swell time with your |} own gang. If you don’t mind being jalone, though, you can buy an indi- | vidual ticket for only $5.00. This | | will entitle you to the entertainment, | buffet supper, and dancing. | | ‘The affair won't get under way, | until about 8-9 o'clock, so you can |make it without any trouble. If |you’re standing in line’ in front of | |the Home Relief Buro tomorrow— | even if you don’t get your troubles | | listened to until about closing time. | |you can still make the affair, al-| | though you mightn’t have much time | to go home to freshen up a bit. | The affair’s to. be held at the Wal- | dorf-Astoria, where the waiters and} others are out on strike. The picket | line outside the hotel might be a/ | little disturbing, but “Labor's” ar- | Tangements committee will have a/ special committee on hand to draw} down the heavy blinds of the Wal-| dorf, so as not to annoy the guests. If that doesn’t help, they'll prob- | ably call on the strong-arm boys that | the detective agencies have sent down to help smash the strike. “Labor's! | Committee” for Roosevelt’s birthday party is probably counting strong on these fellows. (The Washington De-| tective Bureau, 370 Seventh Ave., the Eagle Detective Bureau, 1457 Broad- way, the Metal Trade Assn., 126 Lib- erty St.) | “Who Do We Take for a Ride, Joe?” These yeggs will be right on their own dung-hill too, because the chair- | man of the National Committee | (Labor Division), of the Birthday | Ball for the President is Joe Ryan, | of Tammany Hall, one of the tough- | est eggs that ever blackjacked his | | way into the leadership of the Long- shoremen’s Union and the Central Trades and Labor Council. | If the detective agency lads can’t stop the picketing. annoyances, there will be a lot of cops on hand to help out. So don’t worry about being dis- | turbed at the banquet for the Presi- | sag if that’s what's holding you | back, Besides Ryan, there'll be lota of other “labor men” at the affair. Some of these boys would be ready to give up their lives for the workers--that is, if it wouldn’t cut down on their | Salaries. Take John L, Lewis, for | mple. He’s on the committee ar- Yanging the President’s birthday, but affairs in the interests of the coal | rators (in connection with the U.M.W.A. convention) may keep him tn Indianapolis. John L.—in spite of the constantly ising cost of living—has been con- t to stay at the $12,000 a year | which his delegates voted him during the big miners’ strike of 1928, when | ited of miners were starving to neal Green Is Chairman William Green, president of the \. F. of L., is chairman of the whole bang which is arranging the Wal- sorf-Astoria party. He’s plugging | | ‘long on $20,000 per annum, but that | | /oesn’t include honorariums received | i lacing it into the reds at Chem- | ver of Commerce and Legion ban- | quets, | There are a number of other | “labor” peopie on the committee—or may be capital people (it’s so hard to jeep ‘em apart). There's Barney | Baruch, the big Wall Street financ- jjer; Vincent Astor, W. W. Atterbury of the Pennsylvania Railroad; Chas. Dawes, ex- vice-president, whose friends on the R.F.C. helped him swipe $80,000,000 to save his tottering dank in Chicago; Edsel Ford, the Detroit speed-up artist; Gen. John J. (Blackjack) Pershing, who super- vised the slaughter of the American lads in the World War, and of course, Matthew Woll, about whom it is not. oven necessary to make a few well- chosen remarks, _, zhe Socialists have their man on the committee, too, because they're always johnny-on-the-spot when it comes to all civic affairs, Morris ©. Feinstone, leading Socialist and president of the United Hebrew Trades, is constantly at Joe Ryan's chow to give him tips on how to nake the banquet for the President 2 real wow. (The guy at the other bow is Frankie Madden, an ex-pug). So don't forget—if you can make ‘—be sure and come to the Waldorf omorrow night to celebrate the irthday of the President, Paunchy A.F.L. Boys to Throw Big Party for NRA President Notion 0 al Committes (aw Dons ‘The Birthday Bell for the Presiden: 60» canraxrene’ separa Waeurverom m6 Greetings low York that $t i» impr od it has +} Sines labor all over da this tribute te our President, ve are ¢ Labor in the greatest city in the United St to play its part. Please forvard your of the Central Trades ané Labor ¢ Sev York city: John 3. Munheltans Gavid Levy, Goarge B. Stilgendau Jame! Vincent J. Ferris ‘Kenting -. erate Labor Bell, and im ‘on the Committee of tie vactical to held separate (ded chat the best vey for Dehind the great Cestral i ‘union, it 18 urged thet they gubaerite ‘such @ greet part nt that arganined ALL net atl the country hes tai sudseription without delay to the offies jouncil = 285 West 14th Street Treternaliy yours, IME CoMMUITTER “JOSEPH P. RYAN, Chairesn JAMES 3. QUINN, Secretary Reproduction of invitation to “Labor” birthday party for Roosevelt, Service, Hell! (By One Active in N. Y. Hotel Strike I've served your feasts and banquets, T've poured your sparkling wines; I've decorated your With extravagant d tables lesigns, I've arisen at dawn of morning, I’ve worked far into the night; I've carried trays heavily laden ‘To your pompous rooms up the fiigh On land and on thi e ocean, On railroads and on ships; Ig is I who gives y ou all comforts For a measly salary and tips. I've listened to your conversation When you spoke of grinding Labor to dust But who would give you this service ‘Were it not for the one you have cussed? Without me you would have no banquets No wining, no dini Ing, no jests; How could you celebrate yout orgies? How entertain your friends and guests? No longer, I'll cringe in submission No longer, I’m willing to slave; My efforts deserye compensation, Not the meager pittance you gave. Today you may force me to serve you In your costly hotel Tomorrow, I throw Um ready to claim | TUNI a TONIGHT’S PROGRAMS WEAF—660 Ke, 7:00 P, M.—Jose Echaniz, Piano 7:15—Billy Batchelor—Sketch 20—-Shirley Howard, Songs; Jeste 45—The Goldbergs—Sketch 8:30—Richard Crooks, Metropolitan ‘Tenor; Daly Orch. 9:00—Gypsies Orch.; Frank Parker, ‘ve: 9:30--Ship of Joy, With Captain Barrett Dobbs 10:00—Eastman Orch.; Lullab; Amold, Narrator 10:30—Lobbying and Its Baneful Influence Government—Senator James F. Byrr of South Carolina 11:00—John Fogarty, Tenor 11:15-—Weems. Orch, 11:30—Lucas Orch, 13:00—Olsen Orch. 32:80 A. M.—Sosnick Orch, oeer WOR—710 Ke 7:00 P. M.—Sporis—Ford Frick 7:15—Comedy, Musio 7:30—Maverick Jim—Sketch 8:00—Detectives Black and Biue—Mystery Drama 8:15—Billy Jones and Ernie Hare, Eongs 8:30—Renard Orch.; Olga Albani, Soprano; | 11: Edward Nell, Baritone 9:00—Variety Musicale 9:30—To Be Announced 9:45—Alfred Wallenstein's Sinfonieta, Mi Heger, Soprano 10:15—Current Events—Harian © 10:30—Dance Orch, 11:00—Moonbeams Trio 11:30—Whiteman Orch, 12:00-—-Bide Dudley 12:05 P, hse Orch. . WJZ—T60 Ke 7:00 P. M.—Amos 'n’ Andy 7:15—Baby Rose Marie, Songs Potash and Perlmutter—Sketcl 45—Frances Alda, Soprano 8:00—Morin Sisters, Songs; King's Jes. Stokes Orch.; Cliff Soubier 8:30-—Cyrena Van Gordon, Contraito Metropolitan Opera Company GIBY- Loox! rue cor WW SoOuiO SILVER AND wWoRTG A TeoUusSAWO GERRIES—/ yy Lady; Gene) Is and your homes: off my fetters what's my own NG 8:45—Red Davis, Sketch 9:00—Minstrel Show 9:30—Pasternack Orch.; Melody Singers 10:00—Wagner, Part IM; Drametic | | i 19:8 i Deering, Piano ‘rio | 10:45—Ozark Mountaineers 11:00—Ramons, Songs Anthony Frome, Tenor Harris Ozch nceford Orch. A, M.—Coleman Orch. WABC—860 Ke 7:00 P. M.—Myrt and Marge 7:15—Just Plain Bill—Sketeh 1:30—Travelers Ensemble on | nes | 7:45—News—Boako Carter 8:00—Green Orch.; Men About Town Vivien Ruth, Songs 8:15—News—Edwin C. Hill 8:30—Bing Crosby, Songs; Arnhetm Orch, ‘Mills Brothers, Songs | 9:00-—Philedeiphia Studio Orch. | 9:18—Howard Marsh, Songs; Orch. 9:30—Gertrude Niesen, Songs; Jones 00-— King Orgh. Kostelanetz Orch. Evans, Baritone; Goncert ell Sisters, Songs 0—Ly Orch. 12:00—Belasco Orch. 12:30 A, M.—Little Orch, 1:00—Light Orch, ina s neaa| F. S, U. Nights for “Peace | On Earth,” Monday, Tuesday | Monday and Tuesday night per- | formance of “Peace on Earth,” anti- war play of the Theatre Union now ‘showing at the Civic Repertors “Theatre, 14th Street and Sixth Ave., have been designated as “F. S. U. | Convention Nights.” Special ar- | rangements will be made for out of “si town delegates to the convention of | the Friends of the Soviet Union to | see the performance, of New Masses Offers Poem On Van der Lube in New Republic Competition The first poem on the fire trial to be offered in contest inaugurated by Republic in its effort to fi poets are writing on polli was entered by New Masses in the current their weekly, after the Ni ment. The poem Reichstag issue of which appeared a day ew Republic’s announce- is “Van der Lubbe's Head” by Alfred Hayes, and an edi-| torial note says: “That the New Re- | public should recognize a ‘political subject’ as a suitable theme for a poem indicates—well, something. The New Masses itself is fully aware of | the suitability of this subject. In our last week's issue, in fact, published a poem by Alfred Hayes, ‘Van der Lubbe’s Head’, on just this theme. public is interested solely in printing the best poem available on the sub- ject, regardless of all other con- siderations, we hereby offer ‘Van der Lubbe’s Head’ as the New Masses entry in the contest. We await the verdict of the judges with con- dence,” In the current New Masses also appears a report by Mary Heaton Vorse on the Pennsylvania Anthra- cite miners’ strike under the title, “Dynamite and Scabs”; “Nightgown Riders of America” by Edward Dahl- berg, and a first hand account of terror in German concentration camps under the title; “Voices from Germany.” | WHAT’S ON | Monday Class in A B C OF POLITICAL ECONOMY, Oakley Johnson instructor, 8:30 p.m., Pelham Parkway Wor , 2179 White Plains Road. $1 for entire 12-week course. MASS MEETING in preparation for Na- tional Convention of Unemployed Councils. 8. Gonshak on | Coney Island A’ LECTURE — Jules Karstein (co-editor of Soviet Russia Today, on “Fascism vs. Prole- tarian Dictatorship,” at Brownsville Labor Lyceum, 219 Sackman St., Brooklyn. Auspices Brownsville Branch, F. 8. U. ROUND TABLE STUDY and discussion group every Monday at American Youth Ped- eration, 323 E. 13th St. Subject, “Causes of the World War, and Its After Effects.” In- structor Martin Chancey. Admission free. ASS HEARING of Coney Isuand Unem- ed Workers, at 2874 West 27th St., Coney |. Auspices Unemployed Council of Coney Island. Admission free. , Brighton Beach, 8:30. Boston SYMPOSIUM, “Is the U. 8. Toward Wer, at the Twentieth | 3 Joy St. Prominent speakers. Chairman, Rev. George L. Paine, of the Greater Boston Tederation of Churches, Auspices American League Against War and Fascism. A nt Stage and Screen Arthur Hopkins To Present Philip Barry Play Tonight This week will see seven new productions on Broadway. The first on the list is Arthur Hopkins’ new | production—his first this season— “The Joyous Season,” a new play by Philip Barry, which will have its premiere this evening at the Belasco | Theatre. Lilian Gish is the principal | player in @ company that includes Jane Wyatt, Moffat Johnston, Mary Kennedy ang Eric Dressler. “Hotel Alimony”, a comedy by A. W. Pezet, based on a story by Adolf | Philipp and Max Simon, will open this evening at the Royale Theatre. | “All The King’s Horses”, a musical comedy with book by Frederick Her- |endeen and musiz by Edward A. Horan will open on Tuesday night at the Shubert Theatre. Guy Rob- ertson, Betty Starbuck, Andrew | Tombes and Nancy McCord head the cast. we} Believing that the New Re-| “High Cost of Living,” 3200 | Episodes in By SERGEI EISENSTEIN HE October revolution is 16 years | old. My artistic career dates back 12 | years. | Family traditions, upbringing snd | education intended me for a totally | different career. I was studying engineering. But a} | subconscious and unformulated in-| }clination to work in the field of art | |induced me to pick # course within engineering that led, not to mechan- | ical, technological fields, but to one Closely allied to art—to architecture. The revolutionary tempest, ho lever, freed me from the inertia of |the course I had marked out, and |let me develop inclinations which by | themselves did not have the strength |to free themselves. | This is the first thing I owe the/ revolution. | | It took the shattering of the foun- | | dations of the country and two years | | of technical engincering work on the | |red fronts in the North and West | |to make the timid student break the | chains of the career marked out for | him by solicitous parents from early | youth, abandon an almost completed | education and assured future, and | plunge into the unknown future of | an artistic career. | From the front I return not to | Petrograd to complete studies begun, | | but to Moscow to start something entirely new. And although all about me the| thunder of the coming revolutionary art is rolling and scattering I, hav-| |ing broken through to art generally, am totally immersed in art “in gen. | eral.” | During my first steps the connec- tion with the revolution is purely su- | perficial. | However, armed with technical- jengineering method, I eagerly delve | | deeper and deeper into the funda- | mentals of creative art, instinctively | seeking the same sphere of exact | knowledge that had succeeded in | captivating me during my short ex- perience in engineering. * 7 e@ bie the help of Pavlov, Freud, a season with Meyerhold, I get a disordered but hectic hold of some of the mysteries of this new field. Very much reading and first inde- pendent steps in decorative and stage work at the Proletcult Theatre mark this single handed struggle against the windmills of mysticism erected by the solicitous hands of servile sy- cophants around the approaches to art methods against those who want to penetrate the secrets of art by common sense. The undertaking proves less Quix- | otical than at first appears. The wings of the windmills break off and i | | one perceives the same dialectics in this mysterious region that are at the basis of all phenomena and all processes. At this time I had been » materi- alist for a long time by inner dis- position. And now at this stage I unexpect- edly discover the relation between the things I came across in my ana- lytical work and what was going on around me. ‘My pupils in art, to my great sur- prise, suddenly point out to me that in the field of art I am following the same method that in the adjoin- ing room is being followed by the instructor in political science on so- cial questions. This is enough to put on my work table the works of materialist-dialec- ticians instead of those on esthetics. The decisive year 1922—a decade ago. ‘The essay in personal research in a particular branch of human ac- of Sergei Eisenstein | of those geniuses, enters my wo j Which one’s biography can put the Life | tivity is merged in philosophical re search of social phenomena as taught by the founders of Marxis But I do not stop there revolution, by means 0! a totally different fashi My connection with and innermost con my creative work this is marked by a transition from the ration alistic but almost abstract ecce “The Sage” (a circus spe over from Ostrov Good Deal of Simplicity to Sage”), through the propagand agitational theatrical poster-p “Hear Moscow and “Gas Masks. the revolutionary screen: wor “Potemkin.” The tendency to closer contact with the revolution calls for e' deeper instilling of the basic prir ciples of militant materialism into art. The succeeding films, together with the social requirements carry on Practical experimental work of veloping a “means” for creative film expression, to convey a maximum of positive activization of revolutionar art and arm pedagogically the gen- eration of young Bolsheviks who are to take the place of the cinema m: ters of the first Five Yeer Plans of the revolution. The center of gravity of the later (“Ten Days, Old and New”) lies in the experimental and research fields. Personal work is intimately bound up with planned scientific and peda gogic practice. (The State Institute of Cinematography. Theoretical works are written on the basic principles of cinema art. The philosophy of life seems formed. The revolution accepted. All activity turned completely to its interests. . * question remains, to what ex- tent consciously and with unbend- ing A’ this stage comes the trip t other countries, sete Foreign countriesthe ultimate Soviet citizen grown inseparably the growth of October, The test free choice. Foreign countries—the ulti test for the “masters of cultur consciously verify “with whom against whom.” Foreign countries—the ultimate test for the creative worker. Can create at all outside the revolutio: and continue to exist outside it Before the gold mountains of Hollywood the test arose and was withstood with no heroic pose of from earthly charms @ modest organic the creative build- work under other | demarcation the full strength and Power of the revolutionary pressure. came out, the pressure of the pro- letarian revolution that sweeps fromi its path like a storm all that is inim- ical to it and like even a more power- ful storm draws in and holds all those that once chose to go in step with it That is how every one in the galaxy of Soviet workers in art act, and think. Many of us that came to art br revolution. All of us that call to revolution by our art. International Publishers, 38! Fourty Ave, New York.) “Ist Internat’! Talkte—American Premiere- “HELL ON EARTH” “The Greatest of Anti-War Films.” HENRI BARBUSSE Produced in four different countries— spoken in four languages, mainly English. Directed by Vietor Trivas, With Wladimir Sokoloff, of the Moscow Art Theater, Ernst Busch, now in exile, and Louis Negro international vaudeville Union Sq. { SERGEI AND MARIE RADAMSKY in a program of Soviet Songs ROBERT MINOR, Speaker SATURDAY, FEBRUARY 3rd | 8:30 P, M— NEW SCHOOL 66 West 12th Street, N. ¥. C. Tickets 50c. and 750. at the Daily Worker Office or at Section 2, 56 West 25th Street ‘Tt Seems a Shame to Sell It.”’ QUNT 11 THOU BEQUTIFUL: pau blah f ICM GOWG To SELLIT- 313 0K. UWtTH THE TLD— THEW I'M GWING THEM SOME OF THE COWEN ~ KIO WHO @4uk ME THE “AMUSE MENTS THE THEATRE GUILD THEATR MARY OF with HELEN HAYES ALVIN THEATRE HENRY MILLER’S EUGENE O’NEILL’S COMEDY AH, WILDERNESS! with GEORGE M, COHAN 52nd St., West of Broadway, Evenings, 3:30 MAXWELL ANDERSON’S new play PRILIP HELEN MERIVALE MENKEN 52nd St., West of Broadway. Evenings ENGENE O'NEILL'S NEW PLAY DAYS WITHOUT END THEATRE, 43rd E, of Broadway, Evs. 8:40 Matinees Thursday GUILD Presents Matinees Thursday & Saturday 2:20 SCOTLAND Matinees Thursday & Saturday 2: O MORE LADIES A New Comedy by A. E. Thomas with MELVYN DOUGLAS LUCILE WATSON BOOTH Thea., 45th, W. of Bway. Evs. Matinees Wednesday and Saturday at Roland YOUNG and Laura HOPE CREWS io “Her Master’s Voice Plymouth "3yi, “iuars, sat, 3:00 RK! aw ‘lith St. & | | Q Jefferson repel Now The 4 MARX BROTHERS in “DUCK SOUP” added feature:—“FLAMING GOLD" with MAE CLARKE & PAT O'BRIEN SOMETHING TO THE HoT WATER AND Mats. Wed. & Sat., 2:30. j 7 AEG Dont BELL IT UNLESS YOU WANT TO~ WE CAN GET ALONG] YcouLoe’T FOR A wHILE! F.S.U. CONVENTION NIGHT THE ANTI-WAR HIT 3rd Big Month PEACE ON EARTH '. WARD says: “Go see it immediately!” J CIVIC REPERTORY Thea,. th §. & 0th Ay WA. 9-7450. Eves. 8:45, ¢ to $4 50 NO 30° x FELD FOLLIES with FANNIE BRICE Willie & Eugene HOWARD, Everett MAR+ SHALL, Jesn SARGENT, Patricia BOWMAN. WINTER GARDEN, B’way and 50th. Evs. 3.30 ‘Matinees Thursday and Satui By QUIRT | NO-~ It BE- LONGs TO ALL-OF US~ CAVE Won (T witdour HE