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

DAILY WORKER, NEW YORK, FRIDAY, NOVEMBER 16, 1934 Page 5 | | CHANG ——THE ——_ WORLD! By MICHAEL GOLD | | | | CRAZY system like capitalism can not be defended | EVERY once in a while the thea- | by any sane logic. That’s why college professors and | other intellectuals who must find excuses for capitalism become either liars or lunatics. | Our great nation is now being run by a Brain Trust, | for example. Our brainy President had the pick of all the colleges | and chose the cream for himself. He brought the brainy ones to Washington and set them to thinking up ways and means of saving capitalism. What was the result? Thus far, the most original idea the Brain Trust has had, after a year of tremendous cogitation, was that pros- perity could be restored by slaughtering most of the live stock of | America, and plowing under most of the cotton and wheat. | To the ordinary mean this looks like lunacy. But the professors have been true to capitalist logic. They have good brains, but must act on a bad premise. If you worship the capitalist law of supply and demand, it is logical to destroy millions of tons of food while millions of people go hungry. You are creating the scarcity without which there can be no demand and hence no higher prices and hence | no capitalist prosperity. A lunatic once fell into the notion that he was God. After this premise, it was perfectly logical for him to believe that God could | not have a mortal body or mortal wamts. Therefore why should God (the lunatic) have to eat, drink, sleep or defecate? So the lunatic | died, happy in his delusion. Just as capitalism, for all its Brain ‘Trusts, must perish. The Lowest of the Arts HITLER sane, for example, or when he is finally tried for his murders shall we permit him the plea of criminal insanity? No, he is sane. He is an unusually clever swindler hired by the big capitalists and financiers to save their bankrupt system. The method he employs is demagogy; that meanest and lowest of all the arts: the art of deceiving the poor in the interests of the rich. Once you grant the premise that capitalism ought an@ can be saved, then all Hitler's acts become as logieal as those of our own | Brain Trust. His crazy nationalism which preaches that only Germans are human, while all Latins, Orientals and other races are subhuman, he hopes will save German capitalism by diverting the mind of the masses from their real problems. The attack on the Jews also gives them a false scent to pursue. | Anti-semitism has been called “the socialism of fools and dupes,” | and Hitler consciously employs it as such. The German masses are starving; it is capitalism, obviously, that can no longer feed them; but Hitler tells them it is the Jews, and thus shields his masters from attacix. Tt is all very clever and logical, as I have said. And it works | for a year or more, obviously. Capitalists never dare to look into | the future; they live on a perpetual stock exchange. So long as they can get by for another day or more, all is well with them. But how about umbrellas? Hitler has been preaching the he- man doctrine to his German dupes, as Teddy Roosevelt once preached | it here. So, according to a financial report I have just read, most of the German bourgeois males, like the real supermen and chamber- pot Siegfrieds they are, scorn to carry umbrellas in the rain. It would be tco unnazified, the neighbors might gossip. ‘The result has been a terrible slump in the umbrella industry, threwing more than 150,000 men out of work, according to this re- pert in the Review of Reviews. means abcut as much help to prosverity as the slaughte:- ing cf cows by our Brain Trust. Yet it is all good capitalist logic, friends, the same old logic that will finally hang the great Lunatic that r Europe and America. That Wonderful “Epic” Plan SEE where my old friend and former literary hero Upton Sinclair has been defeated in his race for Governor of Californie. Upion doesn’t yet understand that capitalism is quite insane by any ordinary standards. He thought he could persuade the crazy capi‘alists to permit him to save them from themsely it is a great disgrace that this Upton Sinclair, who for so many years was dedicated to the surgical task of letting the capitalist pus out of the body of the human race, now has taken up the job of defending this world disease. He thought he had a wonderful epic plan for saving both the | patient and his gangrene. And now he is amazed that they wouldn't let him. Upten is smart encugh to know that Communism is the next, step, and he profers capitalism. His campaign was really intended, as he said often and again, to halt Communism. But the capitalists did not consider it necessary to utilize Sinclair's Services in public offi More Capitalist Logic RMISTICE DAY this year, celebrating the end of the war to end all wars, found a statistician who figured out that all the national war budgets had increased enormously over those of 1913. H France was spending 25 per cent more on war preparations than in 1915; Italy, 26 per cent; Great Britain, 48 per cent; the United States, 190 per cent and Japan had the highest increase, 388 per cent. Capitalism was almost wrecked by the last. world war, but is roll- ing up its sleeves and preparing hopefully for a new and bigger one. Now does this make sense? Of course not; itis insane. But it is also good capitalist logic; each capitalist nation competes for busi- ness with every other nation, and hence must occasionally use war as a mans of growth. Millions of Americans are perishing of hunger. So the capitelist Hollywood movies show them endless pictures of élegant parasites living on the fat of the land. This is supposed to soothe and en- . courage them, perhaps. Hungtr Marchers come to Albany to present a peaceful petition to the state government. They are set upon, slugged, beaten, almost murdered. This is also meant to soothe the feelings of the hufgry, | and to make them love their government, perhaps. So it goes. It is al! logical, if you accept the premise that capital- ism can go on forever, whatever the means used to save it. Czar Nicholas was as dogmatic and dumb. GOLD THIRD IN BIG “3” RACE TODAY “Change the World” today has the lowest contributions in the 3-cornered race with Burck and the Advisory Board. The latter have to their credit $22 and $8, respectively. Looks like Burck will be ahead in another 24 hours, too! Rochester Day Unit ..... Previousiy received $ 5.21 374.53 $379.74 an autographed Total ‘To the highest contributor each di copy ef his novel, “Jews Without Money. Mike Gold will present Trotsky’s “History” of Russian Revolution Refuted THE OCTOBER REVOLUTION By Joseph Stalin International Publishers, 381 Fourth Avé., New York Iam interested in your publications Stalin anaiyzes the main periods in \ 1 1 and would like to receive your ! 1 i) the Bolshevik Revolution since 1917 and appraises its international signi- ficance. Speeches and articles written in October and in the course of the polemics with Trotsky refuie the historians of anti-Bolshevism. Fee CLOTH ns i) QOD TIONAL PU. AVENUE, catalogue and news of new books. Name .. Address N A BLIS RTH e@ NEW YOR ER ov ; Press Correspondence. WORLD of the THEATRE Life and Death DARK VICTORY—A play in three acts by George Brewer, Jr. and Bertram Bloch, produced by Alexander McKaig at mouth Theatre. * . Reviewed by LEON ALEXANDER tre of Broadway busies itself with the eternal verities of life and geath. This time, taking its cue from the tabloids, it seeks to an- swer that old favorite query: What would you do if you had only a day—a week, a month, a year—to live? The contemplation of this prob- lem is supposed to fascinate news- paper readers; the playwright must have figured it would “panic” theatre audiences. As a matter of fact, the average man is strangely undisturbed by the abstract thought of imminent death. It is a sign of the disintegration of a |class when the idea begins to pre- occupy its playwrights and its journalists. And there is a dis- tinct odor of decay around the play |Dark Victory and the shrill acting of Tallulah Bankhead. This is the dilemna of life and death, as Dark Victory expounds it: A young daughter of the idle rich (Miss Tallulah Bankhead) learns that as a result of a fall from a horse, she has developed a malig- |nant tumor of the brain. Nothing |can save her, not even an opera- to live. She spends the first three months carousing, the next two days in deep self-probing; and what is left to her of her short span of life up in the hills of Ver- mont with her doctor, finding true Jove with him. Then the time comes for her to die, she bravely sends her lover-doctor away while she makes ready to face the grim reaper alone, purified by the no- bility of true love. 5 Se (E play is surprisingly dull. The plight of the heroine raises no terror or self-identified pity in the hearts of the audience. Their | Yawns can almost be heard above the valiant hysterics of Miss Bank- head. As an actress, the lady spatters herself and her emotions all over the scenery. Since her much ballyhooed glamor is also consid- ered a drawing card by the pro- ducer, it may not be unfair to men- tion that she seems to be growing both plump and buxom. The rest of the actors struggle valiantly | against the handicap of the mys- ticism and pseudo-poetry. There is one scene, however, that rises above the level of the rest. Hard, unsentimental, strident, its three protagonists a music-playing stockbroker, a smart scribbling wo- jman and our weaithy heroine, di- rected with feeling for its clashing moods, it reveals suddenly, whether intentionally or not, the whole jnaked foulness of a dying upper class culture. It would be interesting to see what a revolutionary playwright could do with the same theme of imminent death. The material is not lacking in the lives of the workers, whether it be the plight of the victims of radium or silicon Poisoning, or that of miners en- tombed by an explosion. And above all of these, the magnificent theme pointed out recently by Mike Gold: the story of those miners of Hun- gary who chose death in the mines rather than slow starvation and slavery to the mine owners, even in their attempted suicide affirming life and struggle above death, ‘Little Masterpiece’ Ralph Fox Calls ‘The October Revolution’ “No Communist can afford to be ignorant of this little masterpiece,” Ralph Fox writes in his review of Joseph Stalin's “The October Rev- olution,” in No. 55 of International Just off the International Publishers’ press, the book is warmly praised by Fox as “a handbook of proletarian rev- olution, a classic of Marxism- Leninism. It is safe to say that neither the problems of the work- ers’ revolution nor the slogan of Soviet Power can be properly understood without it.” Fox finds the dominant note in Stalin's book to be its “battle against counter-revolutionary Trot- skyism, against the conception of October which would have denied its Socialist character, which would have destroyed its world revolution- ary force and eventually destroyed the revolution also. “Stalin enables us to see not only the genius of Lenin, but also how the tactics of the Party were rooted in revolutionary Marxism, drawing all their inspiration from it. It is a common taunt of re- formism today that October was an ‘accident,” due partly to luck and partly to Lenin’s genius in seizing the exact moment to strike. That Lenin was a revolutionary genius is beyond doubt. Stalin, however, makes clear how the whole work of the Party in the period before Oc- tober made the victory of the working ¢lass certain. Trotsky also has the vulgar bourgeois view of October, save that he modestly sub- stitutes himself for Lenin as ‘the human factor’ responsible for the victory.” Little Lefty the Ply-| firing from behind ambushes of plent silently wounding, then silently moving on, Death and disease are its camp followers, Hunger’ This is | that against Germa This is the army, comrade, but drive from the the stealthy horde: and that once, well Imminence of tion. She has but six months more) WHO WANTS WAR. By A. A. Hel- | Italian. By WALKER WINSLOW s March Hunger’s army is a cadaverous, gaunt, gray army, comrade, schooled well in guerrilla warfare and shod with stealth, the same army, comrade, that, flanked by cold. conquered Napoleon; ny was an ally that has harassed the workers for ages, in supposedly peaceful lands, that only once has fallen, and then at the workers’ hands when a red fleg flew. Fell only when workers unmasked its imperialist- ic command, and fell upon it with solid ranks. There, comrade, is the precedent you need. Do not let moves toward disarmament deceive you, or the mask of plenty that slow death wears; bush of institutions and then strike once, War CaS _ In Important New Pamphlet Yet daily the sabre rattles ORLD of te John Reed MOVIES A Reply to Michael Gold By DAVID PLATT | National Secretary Film & Photo Leagues ICHAEL GOLD is correct when he states in his column in the Daily Worker, issue of November 5, By J. Kainen | that “our Film and Photo League | (E most vital exhibition of con- has been in existence for some years, 4 ie a - but outside of a few good newsreels,| ‘emporary art in New York hasn't done much to bring this; was opened Friday evening, Nov St aaaie weapon to the work-/gth, at the John Reed Club, 430 ing class. st ae This is very true and no one|Sixth Avenue. This show, “Revolu- knows better how true it is than |tionary Front—1934" marks the the Film and Photo League itself,|opening of the current e on which has been struggling for years to produce films on a budget and with forces that would have wrecked a similar bourgeois organization|moying, at the same time, to a | right at the start, and most of them | higher ideological plane ee been wrecked right at the} The paintings, draw ings and The Film and Photo League at Sculpture have a uniformly excel- the beginning, it must be under-|!ent technical level, and the prob- stood, was faced with the insoluble |!ems the artists have tackled are problem of exploring a new and |more fundamental than the usual difficult medium, a medium which |'ear-Jerking question-mark pictures |became. newer and more difficult |°f Park bench scenes and garbage every day, being the youngest of |can dramas. Also, some of the ob- the arts, and the most hopeful in | Vious “militant” pictures of workers | possibilities as well as the most|With fists upraised and allegorical easily accessible to pitfalls and er-|Compositions showing some aspect rors. It was faced with the task |Of nature turning into the hammer of finding the proper organizational |and sickle happily have been elimi- | structure to quicken production of | nated. | films and photos, a task made more| Despite these advances, however. ; burdensome by lack of good organ-|the exhibition lacks a clear revolu- izers and directors. Those few or-|tionary impact. Many are not ag- ganizers we had were also our best | gressive enough—they lack passion. cameramen or writers. It was con- |Current gallery mannerisms cor season of the J. R. C. and para in quality the “Social Viewpoint Art” exhibition of two years back | fronted with the problem of han- dling a membership not always ler. Published by the Friends of! more loudly in both these count-| ‘technically or theoretically equipped | the Soviet Union. Thirty-two | pages, 3 cents, | ESP Tas | Reviewed by i EDWIN SEAVER | ((NE of the most alarming symp- toms in the contemporary world is the fatalism with which the idea of a new world war is accepted. Masses of people no longer speak of the possibility of war in terms of “if”; they take the coming of war as a certainty and speculate only on when war will be declared and what will be the probable line-up | among the nations. Meanwhile the any agreement because of the inner contradictions of capitalism and the ing to the teeth, accusing their prospective enemies of arming, and using every source of propaganda to poison the minds of the masses for preparedness. Add to this the necessity of nations either openly spirit to keep in check the up- surge of their revolutionary prole- |tariat and to deflect the minds of the people from conditions at home, and you have a picture that ;makes a madhouse look compara- tively sane. The Soviet Union alone stands out like an oasis of sanity and hope in a world gone mad with im- Perialist and fascist rivalries, the one world power which has consist- ently struggled for peace and which continues to leave no stone un- turmed that will in any way at least perpetuate the present state of armed truce. And because of of the Soviet Union proves daily that world socialism holds out the only lasting certainty for peace, all the roads of imperialist military plans lead eventually to the bor- ders of the U.S. S. R. tions, then, A. A. Heller's pamphlet on “Who Wants War” is an ex- tremely timely and important pub- lication. Heller shows that it is not the common people of any country who want war, the masses who will have to pay the piper until they get rid of those who are calling the tune. Japanese masses don't want war. Yet they are staggering under an incredible war budget, are being killed in the war to dismember China, are being herded to Man- chukuo in ever increasing thousands to be held in readiness for the long-planned onsaught against the Soviet Union. Certainly the German people don’t want war, nor the | 1 1:00-WEAF—Gould and Sheftér, Piano WOR—Sports Resume—Ford Frick WABC—Amos ’n’ Andy—Sketeh | WABO—Myrt and Marge—Sketch 7:15-WEAP—Gene and Glenn—Sketch WOR—Front Page Drama WiZ—Plantation Echoes; Mildred Bailey, Songs; Robison Orchestra WABC—Just Plain Bill—sketeh | 7:30-WEAF—Uncle Ezra—sketch | WOR—Mystery Sketch WdZ—Red Davis—Sketch WABO—Paul Keast, Baritone 7:45-WEAF—Prank Buck's Adventures WOR—Dance Music WJZ—Dangerous Paradise—Sketch WABC—Boake Carter, Commentator 8:00-WEAF—Bourdon Orchestra; Jessica Dragonette, Soprano; Male Quar- tet; Football—Grantland Rice WOR Lone Ranger—Sketch ‘WJZ—Jewels of Enchantment—Sketch with Irene Rich, Actress WABC—Easy Aces—Sketch 8:15-WJZ—Dick Liebert, Organ; Arm- bruster and Kratis, Piano; Mary Courtland, Songs; Male Quartet WABC—Edwin C, Hill, Commentator 8:30-WOR—Katzman Orchestra; Lucille Peterson, Songs; Choristers Quartet WJZ—Gootman Orchestra; Jane Pro- man, Songs; Al Bowlly, Songs WABC—Court of Human Relations 9:00-WEAF—Lyman Orchestra; Prank Munn, Tenor; Vivienne Segal, Songs WOR—Selvin Orchestra capitalist powers, unable to come to| cutthroat competition for markets, | are at one and the same time arm- | or tacitly fascist to exploit the war | this very fact, because the existence | In view of present world condi- | Certainly the’ | TUNING IN ‘tries, as the Nazis prepare for an attack on the west against the U. S. 8. R. simultaneous with Japan's attack on the east, and as Mussolini | puts the Italian infants in uniforms. |And in the United States the war | budget exceeds that of Japan, Ger- | |Many, France or England. eee A OT only is war imminent, Hel- Jer points out. War exists: in China, where the Chinese white armies of Nanking, trained by Ger- jman fascist commanders and sup- | Ported by the wealth of the im-| perialist powers, struggle in vain to crush the Chinese Soviets; in South America, where the rival capitalists of Great Britain and the United States are behind the armies of Bolivia and Paraguay. But if the imperialist war is im-| | minent, it is not inevitable, Heller |shows. He points out in detail the | efforts of the Soviet Union on be- half of world peace, leading up to the entrance of the U. S. S. R. in |the League of Nations. He discusses | the anti-war efforts of the Euro-| pean masses and shows how this is | linked up with the fight against! fascism, the breeding ground of | war, He takes up the anti-war work in America led by the Amer- | |ican League Against War and) | Fascism, | “Nobody wants war,” Heller con- cludes, “Nobody but the financiers,! the munition makers, the mili- tarists and advocates of prepared- ness, the Legionaires and fascists, | the enemies of the Soviet Union and the imperialists of all coun- tries. The war forces dominate capitalist governments, control the press, have unlimited means at their | disposal. They dictate the policies | of the reformist trade unions, and |many Socialist leaders in the cap- italist countries give them support | by word and deed. But there are| other forces which are vitally con- cerned in preventing war. The toiling masses, the enlightened in- tellectuals, standing shoulder to! |shoulder with their class brothers in| the Soviet Union can and must pre- vent war. If our strength is‘ not great enough today, if the forces of | reaction still appear to be stronger, | jit is only for a time. Each one of| us, every friend of the Soviet Union, must work harder; every conscious worker and farmer, every honest intellectual and professional, every Communist and Socialist must get together, must form one solid united front. By unit®d, organized effort we shall conquer, we shall banish imperialist wars from the face of the earth.” WdZ—Harris Orch.; Leah Ray, Songs WABC—March of Tim¢—Drema 9:30-WEAP—Bonime Orchestra; Pic an Pat, Comedians WOR—Lum and Abner—Sketch WJZ—Phil Beker, Comedian; Martha Mears, Contralto; Belasco Orch. WABC—Hollywood Hotel—Sketch, with Dick Powell, Jane Williems, Ted Fiorito Orch., and oth Interview with Carcie Lom! 9:45-WOR—Wayne King Orchestra Mion wale Deamatle Sicetch WJZ—Minstrel Show -WOR—Current Events—H. E. Read )-WEAF—To Be Announced ‘WOR—Variety Musicale WJZ—The Message of Israel—Rabbi Jonah B. Wise WABC—Kate Smith, Songs 11:00-WEAF—George R. Holmes, Chief Washington Bureau, I. N. S. WOR—News Bulletins WJZ—Davis Orchestra WABC—Nelson Orchestra 11:15-WEAF—Ferdinando Orchestra WOR—Moonbeams Trio 11:30—WMCA—Dence Music (Also WOR, WJZ, WABC, WEVD WEAF, ) The Section leaderships in ev- | ery district must visit all units in | the next two weeks to get them — to fill their quotas before Dec. 1. or inclined to avail itself of the op- | portunities latent in the class strug- |gle for film and photo produc- |tion. Above all it was faced with the lack of knowledge, attention and interest of those cultural workers | who might have been of enormous tinue to influence some of our paint- ers, bringing to their work the melancholy, whimpering esthetic of the petty buorgeoisie. This is a minor characteristic, however, com- ‘pared with the bold and honest work of the majority of the exhi- bitors, AINTINGS which are vital and |of newsreels and documents of the | our: productions that will ulcimac.., value in the production of well- rounded films of and for the work- ing class. revolutionary, ig the trail \for this show includ: Strike Talk’ |by Selma Freeman, “The New Deal” |by Jacob Burck, and a sensitive |water-color “Meeting of Japanese Workers’ Club” by C, Yamasaki Selma Freeman's picture of girls in tural weapon to the working class.”|% Sweatshop passing the word for New people are coming into the |@ Strike-meeting is authentic in Film and Photo Leagues demanding mood and detail. A great deal of work, to do and getting work to do|the picture's power is dissipated, or going elsewhere. Audiences are|unfortunately, by a disproportionate springing up by leaps and bounds /|sliding of interest toward the left for workers’ films. Unfortunately, |and out of the picture. Burck’s pic they spring back when there is | ture of a National Guardsman bay none. joneting a worker during a militant However, they have a right to ex-/|strike scene possess2s undeniable pect continuous production from a power but loses much of its effec- medium which by nature is their |tiveness because of its athletic rhe- own, The film of all the arts is|toric and careless color. the art of the masses, since it de-) Nicolai Cikovski’s “East Side pends upon masses both within pro- Landscape” has a deep and sober duction and outside production for/harmony and stands out as one | pis pita pe me cr the | of the ablest things on the walls only medium fully capable of giving | 72° Bpenpiored Wien Ch the dock ‘ ‘ and their meek and worried atti- expression to a period wherein great | masses are in motion. tudes make the painting fall short In view of this, it is not easy to }of what Cikoyski can ‘really do. understand the tendency on the| Tully Filmus’ painting “Workers’ part of many workers who could be | Meeting” possesses a charm and of value to the revolutionary film |capability which delights and dis-| movement, to consider the film|arms, until one realizes how incon- | specifically a medium for camera- | sistent the technical method is with | men and photographers, which, in|the subject. C. Pollock's tempera | a sense, is analogous to limiting |“Chicken in Every Pot,” depicting the art of painting to the manuiac- |several homeless men heating up a turers of paint-brushes only. lcan of slop, is well painted but Comrade Gold says, “The movies|shows a more than casual kinship; can make the revolutionary move-|with the style of Thomas Benton. ment seem real as rain or food to/This results in a brittleness which | workers. The movies are an ex-/is not convincing. perience. This is life itself, un- . * forgettable, not an argument about life." And yet the many experi- enced writers of the John Reed Clubs, artists, poets, sound techni- cians, directors, organizers that we have in the movement and who | could stimulate the film movement into continuous and productive a UT times have changed. Today there is a significant ferment in the field of the film which may yet result in bringing “this great cul- MONG the paintings of a more! cerebral nature are those of |Abraham Harriton and Walter Quirt. Harriton’s “Death of a Pro- letarian Hero” has unusual power and rich, clashing color. Yet one can’t avoid feeling that Harriton’s tivity, have up to now ignored this ;aNtiseptic forms, of classic end | Comrade Ramsey. While the vast unexplored propaganda in-|Monumental suggestion, smack of || cultural front supports Mike strument “which may prove to be|@nachronism. The grandicse and|} Gold, the art field supports the best organizing weapon in a |legendary figures of Greek myth- machine country like America.” jology seem a bit remote from our, Se |modern consciousness. } Quirt’s painting “The Past and the | nesses in the revolutionary film |Passing” requires “figuring out.” It movement was the chief task of the |is an historical allegory featuring National Film Conference of the [the skeleton of an American Film and Photo Leagues held in|soldier of the Revolutionary War Chicago last month, 'O FIND a remedy for these weak- Club Art Show Displays Class Theme As Main Note with flashes of present-day Amere ica showing the decay of bourgeois society and the development of the revolutionary idea among the masses Other paintings that attracted ate tention were Phillip Reisman’s muted “Hoovervile,” William Si¢e gel’s water tempera “Share-Crop« pers’ Union,” Max Spivak's plastie Right To Organize,” Anton Ree fregier’s “Hungry,” and Jim Gt ‘A Kiss for Every Hero. MONG the graphic artists Harry Sternberg’s contribution was most effective. His lithograph, “Industrial Landscspe—1934,” possesses genuine revolutionary indignation and sends a thrill of horror up one's spine. A worker is being deliberately and sadistically bayonted by a Na- tional Guardsman, whose gas-mask and brutal stance make him seem monstrous. Sternberg’s channeling of resentment against the National Guardsman throws the soldier into false perspective as a deliberate and cruel oppressor of the working class 0. a conscious agent of the bour- geoisie, like the policeman or thug, instead of the deluded working class boy he is. Burck’s painting, to a lesser degree, shows the same mis- conception, Barbara Burrage’s lithograph of a miner and his wife is a very human document. Lillian Adelman’s lithograph, “Evening Meal,” is capa- ble Julien Albert's lithograph, “Profits for God,” modern in treat- ment, has a richness of tone and texture that makes it one of the most interesting exhibits in the show. Paul Meltsner’s dramatic “Death of a Sailor” is a bit too nerveless and black in drawing. Other graphic work of merit in- clude Edward Laning’s fine, sym- bolicel “Riders” Joseph Vogel's strong and effective “Hungarian Miners’ Hunger-strike,’ Ned Hil ton's satirical “The Demogogue,” Mitchel Siporin’s “Stop Munition Shipmen: I. Margoles’ solid “We'll Put It Back,” Louis Lozowick’'s Strike Scene” and Herb Kruck- man’s “War At Home,” R. Lim- bach’s “Reviewing Stand” and Wil- liam Gropper's “Sweat Shop” have been seen before. E sculpture is much better than that of any previous John Reed exhibition. Aaron Goodelman’s in- tense and powerful “Driller” would be outstanding anywhere. Sam Becker's “Pickets,” a compact figure group of workers carrying awey a hurt but still defiant fellow-striker is a fine small figure piece, full of feeling and revolutionary spirit. Nat Werner's “Taxi Driver,” a strong head, is sympathetically done. Ann Wolfe's “Eula Gray = Olenikov's “Head” and S. A. Lipton's “United Front” are other pieces that at- tracted attention. The exhibition is open daily from one to six p. m, and on Tuesdays and Sundays is open until nine o'clock. The admission is 10 cents. HAVE THE WELLS OF SCIENCE RUN DRY? Science, which is being put to such Bolshevik uss in the Soviet Union, is certainly not showing Bolshevik spirit in the case of Burek and high political circles flock to Gannes, the sciéntists are leaving Comrade Ramsey high and dry. Witness today’s record—l6 per cent of his $250 quote! Tetal to date... $41.24 The conierence unanimously | agreed that the major task ahead | of the Film and Photo Leagues of America was the mass production | ciass struggle. That this has al-| ready taken effect can be seen in the reecnt reorganization of the N.| One of Y. Film and Photo League whose | problems three-month plan of action ending the most perplexing facing the Communist Party today is the nature of our | February includes completion of work in the tzade unions. The | “Marine Strike” and “Waste and|changing situation has necessitated Want” and production of “Harlem,” | the giving up of the Nationel Tex- Stachel Clarifies Trade Union Tasks in November ‘Communist’ the development of our trade union work since the formation of the Party, examines the conditions which we face at the present moment, and sets forth our tasks in this situation. In the course of “W. I. R.,” “Taxi,” “Cigarette,” and tile Workers Union and the send- the article, Comrade. Stechel mekes one other enacted film. jing Of its membership into the jan annihilating expesure of the Hie ae: |United Textile Workers. The same |“dual unioniem” slanders of the 0, COMRADE GOLD, the out-| i. true of the needle workers. Lovestoneite and Trotzkyite rene- look is not as dark as it seems. ; This coming year will undoubtedly! The changes made necessary in mark the turning point of the revo-|our trade union tactics have raised lutionary film moveemnt in the!several important questions such as: right direction, let us hope. |Where is our main basis for work | Not long ago in the Soviet Union, |at present—in the A. F. of L., the | writers and artists were urged to |T.U.U.L., or the independent unions? | throw their resources behind the | What is the future of the T.U.U.L. motion picture to increase the qual- | organization? What of the inde-| ity and tempo of production. The/pendent unions and the slogan) same necessity hoids good for the raised in the Eighth Convention, | American workers’ film movement.|tndependent Federation of Labor? When the Film and Photo Leagues noes the present change of tactics | become overflowing with serious | constitute a revision of our former | workers, cameramen, technicia 6? And s0 on. artists, professional and amateur, | all working harmoniously on this | Comrade Jack Stachel answers | greatest of collective arts known to these questions in his article, “Our history, we can expect jeature film Trades Union Policy,” published in production and mass audiences for the November issue of “The Com- {munist.” Firet made as a report blast the bourgeois movie industry |to the Political Bureau of the Cen- into kingdom-come. ‘tral Committee, the article traces | gades. The November issue of “The Com= munist” is an enlarged, 128-page jue. It contains an editorial on he seventeenth anniversary of the October Revolution, an article on the national textile strike, the séc- ond part of the review of Lewis Corey’s, book on American capital- ism and other material. The full table of contents follows: The Seventzenth Anniversary of the October Revolution—Eai- torial. Our Trade Union Policy—by Jack Stachel. Lessons of the Great National Textile Strike—by Carl Reeve. Leninism Is the Only Marxism of the Imperialist Era—by Alex Bittelman and V. J. Jerome. (Part 2 of a review of Lewis Corey's “The Decline of Amer- ican Capitalism.”) The Present Situation, Perspec- tives, and Tasks in Cuba, Figures on the American Economic Crisis—Labor Research Assn. Dynamite Against the Working Class—by A. Bimba ( review of Louis Adamic’s “Dynamite.”) TOE THE MARK! Now that Del has an offering for the highest contributors we look forward to more fruitful re- sults to Little Lefty's touching appeals for contributions toward the $500 quota. A large sum for a little fellow—but not THAT little fellow! A Friend . Previously received ..... Total .. i Del wiil present a beautifully colored portrait of his cartoon characters every day to the highest contributor,