The Daily Worker Newspaper, November 29, 1934, Page 5

DAILY WORKER, NEW YORK, THURSDAY, NOVEMBER 29, 1934 Page 5 CHANGE —-THE — | WORLD! ——— By MICHAEL GOLD HE latest analysis and interpretation of the meaning of “freedom” in America today comes from no less a gent- leman than Donald R. Richberg, the executive director of the National Emergency Council and Roosevelt’s head- man. Richberg was addressing the businessmen, the indus- trialists, the bankers and cotton kings of the South who have recently organized into the Southeastern Development Board for the purpose of “selling the South to the nation.” (Do I hear bids?) The address was given at Atlanta, Georgia. Now this is an excellent place to discuss the meaning of “freedom,” for it was in Atlanta that Angelo Herndon was given to understand that “freedom” in the South today applied only to the bosses. “Free- dom” for Negro and white workers who organized in a struggle to ob- tain relief from the city meant jail, torture and imprisonment. It meant unearthing old forgotten “slave insurrection” laws to use against workers. It meant 20-year indictments to the chaingangs. This was the meaning of “freedom” that Angelo Herndon and the Negro and white masses of the cotton states learned! * . ~ “Freedom’—in the South IOWEVER, it is obvious that the memory of Donald R. Richberg is a convenient one; it forgets what it doesn’t like to remember. And Richberg and the whole Roosevelt regime have been anxious to forget that when they speak about the great liberties the N.R.A. has con- ferred upon the working class of America, the slavery and peonage of the Negroes in the South, gives a burning answer to their manufac- tured lies. During the course of his address, which began as do all the speeches of the Roosevelt clique, with allusions to the imminent “civil war” facing the country when Roosevelt took office, and proceeded into hossanahs for the prosperity and happiness F.D.R. has brought the na- tion, Richberg came to the definitions of freedom under the N.R.A. ‘They are very instructive. * * . Freedom—And the N. R. A. 'HERE are many freedoms, said the Executive Director. Today there no longer exists the “freedom” of the pioneer to chop and hew his way through the wilderness. The freedom and the security of the city dweller of the twentieth century depends upon freedom to exchange what he produces with the productions of others. The freedom of the business man to run his business depends upon his ability to get raw materials, to sell, to employ machine and man labor, and to get credit and transportation. The freedom of the worker depends upon his having access to jobs. The freedom of the householder depends upon his being able to get a supply of food, water, and light, which are brought from afar through the labor of others. In brief, according to Richberg, freedom is dependent upon “co- operation.” Only when all the factors in our industrial civilization “co-operate” is there freedom for the individual. The Rich and Poor Are Free ICHBERG is a very suave, sleek-looking gentleman, with a reputa- tion for wit. He is also supposed to be one of the students of econo- mics. god save the mark!, who have been assisting Roosevelt in his effort to turn the crisis into prosperity. Richberg’s “freedom” is the same kind of freedom that Anatole France once characterized so excellently. Both the rich and the poor are free to sleep in the public parks in the winter. Both the rich and the poor are “free” to starve. Both the rich and the poor are “free” to stand in breadlines. But everyone knows that the “freedom” to Starve and sleep in the parks is always exercised by the workers and not by the rich. For some strange reason, in spite of the fact that they have been granted this “freedom,” the rich do not care to exercise their constitutional right of spending a winter night on a park bench. ‘They much prefer that the poor be “free” to sleep on the bench. In the second place, it is obvious that Richberg is defining “free- dom” as class-collaboration. He-is trying to picture “freedom” as the harmonious working of the capitalist system without any opposition from the working class. This is not something new in economic thought. The bourgeois professors, the government officials, and A. F. of L. leaders have always pretended that it is in the best interests of everybody concerned that the workers realize they have a stake in the capitalist system and therefore should not strike or fight the bosses. Richberg’s freedom is not Jiberty for the workers, but the illusion of liberty; it is not freedom but it is the same kind of in- dustrial and social slavery in which they now live. “Willing” Workers ND Richberg, in fact, makes this plain; workers should submit to exploitation for the benefit of the bankers and industrialists. He says, “Who shall we depend upon for these freedoms?” and answers, “We believe the willing workers of trade and industry should be able to rely upon private enterprise for their continuous support.” The “willing” workers of trade and industry! Which workers does Richberg mean? He means those workers who are “willing” to submit themselves to starvation, unemployment, speed up, all the evils of capitalism. He means “willing” to be exploited, “willing” to voluntarily chain themselves and enslave themselves for capitalism! * * * Against Class-Collaboration ICHBERG demands that the workers submit in the interests of “na- tional prosperity”. just as many politicians and misleaders have been drumming for years. Should the workers strike, the argument Tuns, it will interfere with the recovery of the nation. What a hypocritical lie this is! Richberg and Roosevelt ask the working class of America to lie down and take it and sacrifice them- selves, but what “sacrifices” have they demanded of the bankers and capitalists? The R.F.C. and the other government credit agencies have been pouring billions of dollars into the laps of railroads, banks and trusts—does this resemble “sacrifice” on the part of the capitalists? The workers are asked to accept wage cuts, but are the capitalists asked to accept smaller profits? The whole machinery of the New Deal has been geared up and oiled to supply defunct and failing capital- ist firms and corporations with new huge grants of federal money, and at the same time, relief and public projects have been steadily diminished. The workers have nothing to gain from the false illusions of “sacri- fice” the Roosevelt government is trying to palm off on them as a help to “recovery.” Only by fighting in the interests of their own class, only by militantly organizing for their own benefit, will they be able to improve their own conditions, While capitalism lasts “pros- perity” for them is a lie; only socialism can give the working class “prosperity.” HE WHO HATH, GETS! “As proof that the Daily Worker is invaluable as an organizer, last year there were only two of us. Today, thanks to the Daily Worker, there are five. This $5 contribution (previously listed) represents the whole five. We just passed the old red hat around.” L. L. of Phila- delphia, giving their-dough to Michael's credit! 38 Czech and Slovak Workers . Dr..C. T. Bergen .. Mike without Gold Previously received . Total -....... vee. 665.40 To the highest contributor each day, Mike Gold will present an autographed eopy of his novel, “Jews Without Money,” or an original autographed manuscript of his “Change the World” column. By JAMES GILBERT PORTLAND, Ore.—A_ boss-con- | trolled court room was again turned | jinto a workers’ forum last week. Dick DeJonge, found guilty in Port- |land, Ore., of criminal syndicalism, | used the witness box not only to attack the capitalist class which was trying to railroad him to jail, but to present to the massed work- ers the Communist platform and to expose the class-justice workers get in the courts. This is the second conviction in these cases, Don Cluster, young Y. C. L, organizer being the first. Carrying on the tradition of self- defense of which Dimitroff and Herndon are examples, DeJonge brilliantly exposed the subterfuges and lies of the prosecutor. At- tacked for not having called for police protection, he exposed this fakery by showing that it was the police themselves who had raided and broken up the meeting. The courtroom was packed with workers wearing red badges with the inscription “Free Dirk DeJonge” on them, massing inside the open doors of the courtroom. The pros- ecutor dusted off all the old lies that have been used against Com- munists—that they advocate © vio- lence, that they are only looking for martyrdom, that all they do is to make soap-box speeches on every occasion, But one by one, calmly and clearly. DeJonge took up these lies and showed how false they are. “The Communists oppose force and violence,” he declared. “Should I advocate violence, I would be ex- pelled from the Communist Party as an agent-proyocateur.” He blamed the ruling class with the responsibility for violence, accusing it of trying to keep the workers in subjugation by such methods. “Did you ever hear of a group of workers attacking the police?” he demanded. “The reason that our meetings are being broken up is that the ruling class wishes to break the Communist Party,” he charged. “The reason that Dirk DeJonge is on trial is because he is a member of the Communist Party that the ruling class wishes to break. The Communist Party would have been on the ballot this year had it not been for the vicious attacks upon the workers soliciting petitions to put the Party on the ballot.” Not Out for Martyrdom The corrupt A. F. of L. offictal- dom fulfilled its usual role, in this case, of assisting the police. One of the officials, Mr. Osborn (three testified for the state), accused the | Communist Party of favoring the} criminal syndicalism laws because such laws helped make martyrs out of the Communists. But DeJonge exposed this for the lie it is. “This | is ridiculous,” he stated. “If we wanted to go to jail we would just march up to the gate of the peni- tentiary of Salem and say ‘Here we are, Lock us up. We want to go to prison.’ No, we do not believe in marytrdom. We don’t want to be in prison. But at times we have to submit to such persecutions.” The capitalist press of Portland, by lying and slander, tried to preju- dice the case in advance against this militant worker. But DeJonge successfully showed the workers in the courtroom how these news- papers distort <acts against the workers. “You undoubtedly zvead in the local capitalist press that Dirk De- Jonge was to give the jury a soap box speech today. When a worker makes a speech, it is a soap box speech. When Mr. Doyle and Mr. Cohen make a speech to you, that is an address. That is the way in which the capitalist class slanders the working class. If this spech to you is termed by them a soap box speech, nevertheless I shall not have been ashamed for having made this speech.” Doyle and Cohen were special prosecutors called in by the cap- italists to make sure that DeJonge would be railroaded to jail because of his militancy. Reads Communist Party Platform The platform of the Communist Party in the recent elections was placed squarely before the workers by DeJonge, who took a copy from his pocket, and, point by point, dis- cussed its various demands. He | De Jonge Brilliantly Exposes Capitalist Justice in ‘You May Sentence Dirk De Jonge, | ~ But Not the Communist Party? Cries — Oregon Worker in Bosses’ Courtroom Packed Court at Criminal Syndicalism Trials Communist Party as the political party of the working class working within the trade unions and other workers’ organizations. When the prosecutor accused him of not being a patriot, DeJonge turned this attack on him into an attack on the 100 per cent Amer- icans who are always preaching |The Land of the Free| (From Voice of Action) patriotism. “Yes, I am a patriot, too,” he declared. “I am not one of these patriots, however, who is a professional patriot and who makes a racket of being patriotic. I am patriotic to my people, my class, the workers.” DeJonge declared that he would defend the Soviet Union, the work- ers’ fatherland, in case of attack by| the imperialist powers. He stated he would do so even though the attackers were American imperial- ists, and explained why he took this position. He recited the tremen- dous cost of the recent world slaughter, telling the number of lives lost, the families wrecked, the millions left homeless, the maimed, | and the billions of dollars wasted. | He warned that unless the work-| ing class takes vigorous action that} We would be involved in another) wer. Exposes War Preparations DeJonge showed how this im- pending wer, and the present crisis, were affecting the rise of| fascism, as shown by the very trial through which he had gone for the past three weeks. He pointed out why and how the Communists work | among the workers in the armed forces of the imperialist nations, explaining the necessity for this. In cefinite terms the preparation of the United States for war at the present time was presented, the call for a still greater navy in- volving still more of the workers’ money. DeJonge’s voice rang clear and steady throughout the silent court- room all through the course of this address. His words were not a plea for sympathy, but a statement of the stand of the Communist Party and of the defendant who represented it in the courtroom. He spoke not as the arrested victim of the capitalist courts bit rather as the symbol of defiance of a militant worker facing the ruling class legal machinery. “I am here as @ worker, as a member of the Communist Party to clarify certain issues involving the Communist Workers Dance Movement Makes Great Strides Forward By SIMON HALL HE program of revolutionary solo dances on November 25th at the Civic Repertory Theatre, spon- sored by the Workers Dance League and New Theatre, was performed to an enthusiastic overflow house. Hundreds were turned away at the door. Those who could not get in Sunday, as well as those who will want to see these dances again, will be cheered to know that there will be a repeat performance next Sun- day night at the Ambassador The- atre. The solo dances afforded the greatest variety in technique and in subject-matter. There was the lu- dicrous clowning of Death of a Tra- dition (Anna Sokolow, Lilly Mehl- man, Sophie Masiow), the satur- nine, condensed hate of Parasite (Nadia Chilkovsky), the richly com- plex moodiness of The Dream Ends (Jane Dudley), and an ironic cri- tique of sensuality contained in The Woman (Miriam Blecher). Since the revolution has come to mean all of life to these young ar- tists, and to their audiences, they have found room for light and joy- ous aspects in their interpretations, side by side with the tragic and heroic. The scope of last night’s program was broader, more popular in the good sense of the word, more flexible than heretofore. Their revolutionary art is beginning to feel at ease with its receptive audience. Not all the dances given were revolutionary in the previous- ly accepted use of the term: that is, the specific worker, or his at- titudes to his work, or his specific participation in the class struggle. New elements, which have always eried out for place on the rev- olutionary dance program, were ad- mitted last night: lyricism in The Dream Ends, Homeless Girl, The ‘Woman; cruel mockery, as in Anna Sokolow’s Histrionics; humor, as in her “romantic dances.” a ae 'HE admission of these new leaven- ing-elements in our once over- heavy and unmitigatingly sombre dance marks our release from cer- tain sectarianisms in subject mat- ter. Nor does this mean that deep- seated proletarian convictions in these dancers were lacking. In the dances of protest and militancy there was a greater dignity, power and directness. In fact, more sea- soned in their art, more highly edu- cated in the foundations of the class-struggle (thanks to the edu- cational work of the Dance League) dancers like Miriam Blecher, Nadia Chilkovsky, Jane Dudley were out- explained the difference between the Communist Party and the trade unions, and the role of the THEY GOT WHAT THEY WANTED! When the Young Communist League of Richmond Hill Sec- tion, New York, sent its $4 con- tribution to Del, it was “to acknowledge the popularity of Little Lefty. We hope we will receive his offered portrait of ; Lefty and his pal as a worthy decoration for our Workers Cen- ter.” standing for their clear grasp of Total to date ....... . $218,24 revolutionary content. Quota—$500. Nadia Chilkovsky’s evocation of Del will present a beautiful colored The Homeless Girl fr: ir portrait of his cartoon characters om een Sketches was frail and sensitive, ad- mirably suited to her physique, but. every day to the highest contributor. I'M AUE'LY SORRY You GeT BaWLED OUT ON ACCOUNT You GAVE THE KIDS A BREAK INTHE FREE LUNCHES, Mi95} GOODHAL BLONE | UM NOT SoRRY. BUT I'VE BEEN TAUGHT THAT 1 CAN'T SWING THIS THING fe 1 WISKk WE Parasite showed her capable of great vitality, too. The latter piece was a theory of the leisure class ob- jectified in dance, forceful in de- nunciation. As flashing was Lilly Mehlman’s Defiance. Building up to a climax swiftly, dynamically and energetically, it ran a hurricane course to great applause. Sophie Maslow’s Themes from a Slavic People, suave and brooding, was commendable for-its reserved unity of mood and dexterity of execution. For daring in conception, Jane Dudley certainly ranked highest on the program. Im the Life of a Worker revealed her powerful grasp of proletarian subject matter, while her imagination, steeped in under- standing of the worker, evolved his life composed of work, war and struggle with a sympathy sheared of overemphasis or simplification. The latter failing was the great defect of Edith Segal’s Tom Mooney, and, like the poem to which it was read, over sentimentalized; now was it quite coordinated to its word- rhythm accompaniment. Jane Dudley's dance to S. Funar- off’s poem Time is Money, was bei- ter constructed, more fluent in movement. She disregarded the limitations of the poem’s rhythm spans, lets the dance flow organical- ly, and used the words only for programmatic text. Miriam Blecher’s three dances showed her a finished technician, with a mar- vellous power of projection and ani- mation. This power was especially marked in The Woman and in the opening number of the program, Awake, a thrilling and dramatic call to action. Three Negro poems while finely executed, seemed to this re- viewer, a little too self-conscious, though there again her dramatic projection was outstanding, reer asics: ‘HERE has never been anything so farcically funny in the theatre as Death of a Tradition, a droll travesty on the favorite themes of sentimentaly bourgeois dancers. Anna Sokolow’s Histrionics, almost a burlesque, was nevertheless mag- nificently danced. This program opened the eyes of the audience to the propaganda values of caricature and burlesque, and to Anna Soko- low’s talent for that type of dance. Although it may be premature to predict a brilliant future for these talented dancers as revolutionary artists, it is not unsafe to prophecy a rapid and praiseworthy growth in the workers’ dance movement. The revolutionary dance has gone a long way since last year; it has much to accomplish in the way of specific propaganda for the revolu- tionary movement, but it has achieved professional standards and a diversity of subject matter that will take it far ahead toward the SLOW VISION, by Maxwell heim, Macaulay Company Fs | $2.00. Party that cannot possibly be clari- fied by any attorney. I am here merely because I am a member of the Communist mes AEDS _. |/ Maxwell Bodenheim Using his one case as an example “ DeJonge presented the problem of | “ightly known as a poet than as a the foreign-born workers in Amer-| novelist The most ica, and told of the extra hardships | his earlier writings were to be found confronting them He told workers how he had come from. : Holland to the United States| Minna and Myself,” and “Ad twenty-two years ago, and how he|In these, he produced tender and had had to undertake the most individualized romantic love poer laborious and distasteful work not) anq utilizing many of the fam because he wanted to, but all for- eign-born workers were faced by these conditions. “I was denied the opportuniy of) .— education. Therefore had to be- come a day laborer. I worked in the steel mills, on the Great Lakes, on the ocean, and for the railroad: Iam not an attorney. I am just aj worker. I am accused of unlawful and felonious acts. Is it unlawful to fight for relief? Is it unlawful to fight for little children of the working class to have the right to go to school, adequately dressed, | adequately fed? | “Ladies and Gentlemen of the jury, you may convict DeJonge. I| am not the leader of the Commu-} nist Party. I am just a member. | You may convict me, but I tell you that I will not give up the Highs} | Boden- 247 pp Reviewed by JAMES T. FARRELL was more impressive of themes of poets, such as de treated them with a su for my freedom. The workers will fight for me, too. We will fight) this case to the Supreme Court of] the state and to the United States Supreme Court if we have to. Reads from Lenin “Do not think that the Commu- nists in Portland will declare a rev- olution. The Communists follow | metaphorical originality which ro- the teachings of Lenin. They know | Sulted in genuine freshness. that it must be the wish of the| Im his succeeding volumes of majority of the people before there | Verse, he stiffened up, overdrawing can be a revolution.” Here DeJonge | and attenuating his subtleties, and read from Lenin in spite of the | allowing his metaphorical originality objection from Doyle, the special|to run into too much verbal license. prosecutor. : |Exceptions to this development in “Yes, the eve of the greatest| his verse were some of his jazz crisis heard of in history is here,”|Poems which recreated a real sense stated DeJonge. “We are on the|Of jazz age atmospheres in the eve of another great imperialist |Tythms and movements of jazz. world slaughter. And fascism is} Since Bodenheim has turned to rearing its ugly head in the form of} the wholesale production of fiction, vigilantes and of bands of raiders|his poetry seems to have lapsed, practicing force and physical vio-|}and if we compare “Slow Vision” lence against the working class. | with some of his recently published “Yes, ladies and gentlemen of| efforts at revolutionary poetry, such the jury, you may convict Dirk}as “Revolutionary Girl’ in the New DeJonge, but that will not stop the | Masses, it is apparent that the for- growth of the Communist Party.|mer is now outrunning the latter. That cannot stop the rising tide of | Previous to this book, the most the revolutionary proletariat. If you] satisfying of his earlier novels was send DeJonge to prison, you do not| unquestionably “Georgie May,” the sentence the Communist Party to | story of a southern prostitute. Al- prison. The working class, the though he inclined to over-senti- revolutionary proletariat will go|mentalize his feminine characters, marching on to victory.” and to interrupt his narrative pro- |gress with needless authors’ asides, MOVIES |his characterization survived, and | we were given a plausible picture of this girl's life, her background, her FUGITIVE ROAD, a Chesterfield production starring Eric von} unchannelled and unalaysized bitter- ness. Stroheim, Leslie Fenton and Wera Engels, MAXWELL BODENHEIM OCIOLOGICALLY, “Slow Vision” is one more document added to |that accumulating pile which in- ERE are a number of anti-|forms us of what is happening in Soviet touches in this otherwise Present day capitalistic America. stupid and ridiculous attempt to Here we see two white collar work- humanize “Austrian” militarism.|¢TS, Ray Bailey and Allene Baum, The scene is supposed to be the|dumped into the depression, with Austrian border with von Stroheim | Unemployment, speed-ups, discour- (who keeps mourning the passing | 2¢ement on every side. Their story of the Viennese Waltz while mal-| runs a natural and inevitable course. treating his subordinates) in charge. | They offer resistance after resist- Come wandering into the situa-|@nce to a growing impulsion to- tio an American gangster and| Wards radical and revolutionary im- Wera Engels both holding bogus| Pulses. They try to convince them- passports, but who so conduct|Selves that maybe they, if not themselves (it’s hard to believe they |thers of their class, can forge get away with it) that they are ahead. They offer jingoistic phrases given the liberty they desire. Later |to cool their growing doubts. we are introduced to a couple of} They piously hope that some re- diamond thieves lead by an evil- | formistic politician will make Amer- looking Russian who keeps demand- ica honest, and that they will prof- ing the right to return to his na-| tive land, Soviet Russia. Naturally he is refused and treated as though | gangsterism and Soviet Russia are inseparable ciphers. | Arrive a large family of Italians | looking for food and shelter. The); head of the family, a happy-go-| lucky small cheese manufacturer | remarks to the Russian, “Ah, so you're a Bolshevik, eh—better not come to Italy, they give you castor- oil there—hah hah!” And also—“In| Italy when you have no money— they throw you out. But here— when you have no moi2y—they throw you in”—referring to the de-| tention camp, The family is offered! * . —_: CONTRIBUTOR CHALLENGES RADIO FANS “We are very much interested in science and think that your column is a great step forward on the part of the Daily Worker to reach the young workers,” writes the Ave. St. John Group to Ramsey, “We therefore de- cided to do our part in support- ing your column .. . and chal- lence Comrade Izzy Milman and his radio friends to exceed the amount we raised. ($5 listed yes- terday).” B. Miller Previously received . Party, and must Ir THE earlier stages of his career, | a nice slice of land on condition that they multiply fast and build the Austrian army. ‘There is method in this reasoning, if only to show that here in “peace-| loving and democratic Austria” (the | same Austria that used cannons and machine guns against workers not long ago), following the experienced path of “democratic” America, is life or liberty desirable or possible; while against this we have the iron-heel of dictatorship represented by Fascist Italy and Worker's Russia, both oppressing the masses. Well, this will give you a fairly clear idea what you have in store if | you happen to be roped in to see the film. It is all the worse for accomplishment of its tasks. being clumsily put together.—D. P. Here’s How! Nov EXPECT To GET FREE FOOD AND CLOTH Nou CAN ANO MUST HELP IF ALLRIGHT eS ! "HOLY JUMPIN ASHCRNS I! Snow me pow! wWrtd 0S defenseless | “He Top- gut SHE CHILDREN AND PARENTS To FIGHT Total to date .. | | | 1:00-WEAF—Himber Orchestra | WOR—Sports Resume—Ford Frick | WJZ—Amos 'n’ Andy—Sketch 1 ‘WABC—Myrt and Marge—Sketch 7:15-WEAF—Gene and Glenn—Sketch WOR—Comedy Music } WJZ—Concert Orchestra | WABC—Just Plain Bill—Sketch 7:30—-WEAF—Minstrel Show WOR—Larry Taylor, Tenor WABC—Jack Smith, Songs 7:45-WOR—Dance Music | WJZ—Shirley Howard, Gongs | WABC—Boake Carter, Commentator | 8:00-WEAF—Vallee's Varieties; Bert Lahr and Oliver Wakefield, Comedians; by del I'LL DOSUE FIGHTING FROM UR JOB Is To GET IOGETHER WE'LL. WIN! (‘A i a U in his first two volumes of verse,|them. In building White Collar Workers Facing Crisis Is Theme | Of Bodenheim Novel it from such a moral cl And in the end, with their unfulfilied and their doubts o coming their resistances, they move towards a Red union, he taking the lead, and she following after him because of their love. Bodenheim tells this story natur- ally, and the gravitation of h' characters towards a revolutionary stand is unforced, and implicitly a part of their lives as he depicts up this story, he surrounds it with a sympathetic account of their love, the way they are granted no privacy, and mutst on park benches and meet the lares of strangers, and the g stares of cops. Also, he the effects of work and stresses _ fatigue on his characters, the way t impels them towards a search for stimulation, and for the forget- ness that can be achieved in drink, in sex, in quibbling quarrels, IN A sense, the theme of this novel = also recapitulates and reveals omething of Bodenheim’s own de vel ient. In much of his earlier york, he blindly stabbed out in the ression of a resentment and un annelled bitterness which he felt, nd ich he put into the mouths ¢ characters. At one stage of their career, his protagonists here give voice to the same feelings. They gravitate beyond them to a revolie- tionary position, just as Bodenheim reveals that he ha Thus he is here able to establish the social background to his story more firmiy than in some of its predecessors. And he does not force his endings by needling in an attentuated sub- tlety, or by hammering over melo- drama as in other novels. Rather, the denouement rides naturally out of the story and the author’s view- point Bodenheim writes with ease, His descriptions of the work-worn crowds flowing homeward over the pavements, of the crowds in the parks at night, of Union Square are all done with effect. However, in a few descriptive passages of pass- ing importance, he relapses into an old mannerism, in which he come bines anthropromorphism and gra- tuity to produce a description that is merely wordy: “The beginning of night in late March had a subdued coolness, the reluctant compromise between winter and spring with one putting on its best front to say good bye and the other diffidently ac- ceptant, a meeting always robbed of its inherent gaiety and plaintive- ness, in any large, American ci by a factor’ difficult to define in i external contrasts and yet unmis- takeable underneath.” Also, in passing, it should he added ‘hat in establishing the ef- fect of work and fatigue on various characters, he relies on a number of explicit statements which beat like a refrain, producing a certain amount of over-statement. These criticisms notwithstanding, “Siow Vision” is decidedly the best of Bodenheim's novels, and it is symp- tomatic of what is happening at the present time in our American PERIODICALS ART FRONT — Joint organ of Artists’ Union and Artists’ Com- mittee of Action, November issue, Five cents. ‘HE publication of Art Front, the joint organ of the Artists’ Union and the Artists’ Committee of Action, marks the first serious effort to crystallize sentiment for a positive program for the needs of the masses of artists. The Novem- ber issue of this monthly is a record of the struggles of the artists of this city for jobs, for adequate re- Hef and for a Municipal Art Gal- Jery and Center to be administered by the artists. Both the Artists’ Union and the Artists’ Committee of Action present their militant programs in full as a rallying call. The magazine, which is strikingly designed by the all-artist editorial board, also features photographs of artists’ demonstrations, drawings, correspondence by artists and ob- servations of a more or less humore ous nature by members of the edi- torial board. The next issue, which will be out soon, should be awaited not only by artists but by all who are in- terested in the rapidly broadening fighting front of the culutural work- ers, —J.K. Heywood Broun; Don Cossack Ruse sian Male Chorus WOR—Little Symphony Orchestra, Philip James, Conductor; Mildred Dilling, Harp WJZ—Dramatic Sketch WABC—Ea: Aces—Sketch 8:15-WABC—Fray and Braggiotti, Piano 8:30-WJZ—Charles Sears, Tenor; Ruth ‘ons, Soprano WABC—Johnson Orchestra; Edward. Nell, Baritone; Edwin C. Hill, Nate rator; Speaker, Alexander Edward Duncan, Chairman of the Board, Commercial Credit Company 9:00-WEAF—Captain Henry's Show Boat WOR—Hillbilly Music WJZ—Death Valley Days—Sketeh WABC—Gray Orchestra; Annette Hanshaw, Songs: Walter O'Keefe 9:30-WOR—Lum and Abner—Sketch WJZ—Robert Childe, Piano: Larry Larsen, Organ; Mixed Octet WABC—Waring Orchestra 10:00-WEAF—Whiteman’s Music Hall, with Yvonne Gall, Soprano WOR-—Sid Gary, Baritone ‘W5Z—Montreai Concert Orchestra WABC—Forty-five Minutes in Hollys wood; Music; Sketches 10:15-WOR—Current Events—H. E. Read — 10:30-WOR—Dance Orchestra ‘WJZ—Economic Planning—Wesley CG, Mitchell, Professor of z National Bureau of Economic Res Search; Levering Tyson, , National Advisory Council on R in Education 5 10:45-WABC—96th Anniversary of Uprising Day"; Speaker, Kutylowski, acting President, isan-Polish Chamber of Cot and Industry in,the United Stat Symphony Orchestra; Janusz Pat lowski, Tenor; Maryla Karwov Soprano 11:00-WEAF-—Adventures in Literal WOR—News i Colonel Ralph H. Isham WSZ—Madriguera Orchestra WABC—Family Welfare Speaker >