The Daily Worker Newspaper, December 6, 1934, Page 5

ay mom WORLD! — a MICHAEL GOLD OSTON, MASS.—There must be many sincere people who give money to support the numerous religious missions one finds along the waterfronts, the Bowerys and slave markets where the unemployed congregate. In the minds of the vast majority of unemployed who know these missions, the word “religion” has come to mean horrible slops for food, louse-ridden beds and racketeering hypocrites of super- visors. If any simple-minded contributor doubts this, let him go among the unemployed and ask. A few may be found who will speak well of the missions; they are usually the stool-pigeon type, “rice Christians,” they are called in the Orient, where the starving peasants will often let themselves be converted for a bowl of rice. The epithet “mission-stiff” is the worst insult you can hurl at a man; it means he is one of these degraded victims of a mission. But the decent men among the unemployed are fully aware of their degradation and the big salaries of the religious racketeers who run these places. Brother Tom of the Bowery Mission, for example, occupies a suite of rooms in one of New York's swell hotels, the Shelton. Think of this cheapest of all holy parasites, fresh from his luxurious surroundings, rolling down in his expensive car to tell the hungry, homeless and desperate unemployed on whose misery he lives, to be patient and meek as Jesus. What hypocrisy, what slime! Or the “saintly” Evangeline Booth, travelling across the Atlantic in the best and most expensive suite on a crack liner, a passage of five days costing over $2,000, and then telling us her heart bleeds for the poor! Who pays for her fine living? Who pays for her country estate, and her butlers and servants? It all comes out of the money which simple-minded charitable folk contribute in nickels and dimes, think- ing it will go to feed some starving worker. That’s where the luxury comes from; and if there is a lower form of graft, I have never heard of it. . . . The “Hungry Hook” THERE is a mission on the Boston waterfront. I had no time to visit it, but the seamen gave me a little picture of its familiar char- acter. It is called the “Hook,” but they have nicknamed it the “Hungry Hook,” A clergyman runs it, and makes the seamen pray with him before they can get their handout of coffee, crullers, and stingy, fifth- rate food. A young sailor named Tex, who has been in the Marine Workers Industrial Union only a few months, sang a song for me that he made up out of his experiences at this holy flophouse: The Old Hungry Hook There's a place down the street Where the sailors and rumdums meet, They serve the hash on the second floor With a doctor in the parlor And the undertaker’s shop next door, At that old all-hungry Hook where I used to dwell.” O the steak was dead and rare And the butter had red hair, The pie was weary and gray It was tackled by some jay And then he passed away, The sausage it was dark If you touched it, it would bark, O the eggs they wouldn’t match, If you touched them they would hatch, The doughnuts they were wooden And they gave us sawdust pudden, ‘The molasses was yellow paint If you smelled it you would faint, We knelt in prayer before we got our grub And we got a breeze of the ham and cheese And thought we’d been hit by a club, In that all-go-hungry Hook where I used to dwell. * * . An Unholy Trinity 'HE Union, besides fighting for a centralized shipping bureau that will break the power of the crimps, is also fighting for government relief paid directly to seamen, so that they can sleep and eat at rooming houses of their own choosing, and not at these places where they are robbed and humiliated. The story of the Seaman's Institute in New York is familiar to everyone on the waterfront. Walking in there is like going into a steel company town, so thick is it witi bouncers and thugs ready to beat up seamen in the name of the “gentle and lowly Christ.” One of the missions here in Boston, though paid by the govern- ment to feed the seamen, used to beg the leavings and garbage of restaurants in the neighborhood, and feed that to the sailors. The M. W. I. U. exposed this shameless racketeering, and the next time some of the union men came around, they found a squad of detectives waiting to receive them. Graft, starvation and the cops seem to be the holy trinity worshipped by these missions. . * . Parasites and Racketeers er ee. Lambert, who is the union leader in this port, impresses one as a most fearless and capable person, the true stuff out of which working class generals are made. There have been two big strikes along this waterfront—that of the fishermen and the coal boats. During the latter strike the Boston police Red Squad sent a message to the union hall that if Lambert appeared on the water- front for even a second, they would kill him. He appeared, and they did not dare to kill him. For the sailors in the International Seaman’s Union, which is affiliated with the A. F. of L., were not carried away by the Red scare the bosses tried to raise. They knew Lambert was honest, and they rallied around him. And they knew their own leaders were dishonest. Several times during the strike. the rank-and-file marched on their own hall, and cleaned out the place, telling the racketeers to stay away. For of all the parasites that prey on seamen, these phoney labor leaders are the worst. One of them, who owns a string of taxis, actually was hauling scabs in his cars during the strike. He also tried to form a rival union under his own control, stabbing his racketeer chief in the back, real Capone stuff. _ Ex-bootleggers, cheap politicians, racketeers of every sort have muscled into this A. F. of L. union, just as they have in many an- other union led by the “saintly” William Green. The rank-and-file are completely sick of them, and it is this that makes the Marine Workers’ Industrial Union so popular among seamen, ever when they belong to the other unions. The racketeering has been so shameless that the time is near when the port of Boston will be completely under the control of the Marine Workers’ Industrial Union. For as I have said before, these days in labor union circles the word “Red” is coming to mean honest leadership and rank and file control. All the Red scares in the world, all the police and racketeer and holy parasites’ lies cannot hide the facts from the exploited work- ers—if you want to win a strike or gain better conditions, you cannot do it with a gang of cheap crooks leading you, but you can depend to the bitter end on the Lamberts and Roy Hudsons. HOW ARE THE MIGHTY FALLEN! Not only is Mike Gold fifth in the day’s contributions, but he is eclipsed by Burck, who beats him by $50. Proceeds of Pinochle Game ..... 15 Seidler Boys Social Club 2.00 House Party in Rye .... 4.60 Previotisly Rec'd. si. .cscccessceeecccceecsntenes TIRES Total .. -$781.50 To the highest contributor. each day, Mike Gold will present an autographed copy of his novel, “Jews Without Money,” or an original autographed manuscript of bis “Change the World” column | It’s an attempt on the part of the {lot worse. | the shrewdness to equip themselves SAILY WORKER, NEW YORK, THURSDAY, DECEMBER 6, 1934 THEATRE A Jazzed-up Spanish Folk Tale REVENGE WITH MUSIC, a musi- cal play, featuring Charles Win- ninger, Libby Holman and George Metaxa. Book, lyrics and music by Howard Dietz and Arthur Schwartz; at the New Amsterdam Theatre. Reviewed by ALAN CHUMLEY EVENGE With Music” is not, as its title might suggest, either a lavish girly girly show with a touch of melodrama or a “smart” revue, as past performances of its creators might well prompt one to think. makers of “Three’s A Crowd” and “Bandwagon” to write a full-fledged comic operetta. And having had with a lusty old Spanish folk-tale (novelized by Pedro A. De Alarcon under the title of “The Three Cor- nered Hat”), they’ve turned out something which without that solid base might well have been a whole AND SO NIGHT PASSES By ALFRED HAYES. And here a woman blindly at the curb Pauses and staring face up to the sky Thinks heavily of snow and if snow falls | Perhaps a little work will fall with it. She mutters to herself and hurries by. { The-policeman in the doorway of the store Puts up his collar higher to the wind; It’s a long beat. Cold jabs tonight deep at the bone. The general is riding in the park alone, Stone horse and tricorned hat of stone salute night air. In subway entrances you'll find his minute men, Asleep, while lice play Valley Forge within their hair. And now the towerclock speaks out in bronze | Announcing in that universal tongue, the time To East Side tenements and uptown cocktail bars Where jazz bands jazz the rich and movie stars. Clarinets wheedle the women; saxophones Agitate the men; likewise, the long trombones Grumble in the groin. Apoplectics roll their eyes, Dyspeptics feel their livers turn, the bald grow hair, To see the dimpled darlings with their powdered thighs Shake shimmy shakes, boop buttocks bare, Celebrities and celebrants, fine hands and noses; | and is proud of it | work hard. There is a lot of labor | | this quite openly. | | The heckler’s position was, more or | Page5 B® /WORLD of Life in a Hooverville MUSIC Westminster Chorus Sings | Roy Harris Composition Reviewed by | CARL SANDS 3 OY HARRIS was born in Okla- homa in 1896. Looks it, acts it Considers him- self a man of the people. But an artist! And an artist, especially if his field is composing music, has to You Can't Sleep Here. By Newhouse. Macaulay Company Reviewed by ISIDOR SCHNEIDER IN THE line above, readers will rec- ognize, in the publisher's name, a notorious anti-union house an wonder why a revolutionary no should have permitted such an involved in writing notes, the right notes, on paper, getting the music into performance and seeing that | Print. To Edward Newhouse’s cred: everyone is notified of the fact, etc.| Jet it be said at once that he did | He knows what labor is! He says| everything in his power to break an association repugnant to him. At the very outset of the Macaulay strike, he informed the owners of the firm that he stood on the side of the workers; he marched wiih them on the picket line; and he | negotiated with another firm which | offered to take over the book on less, “We hear you say so, but how | terms fair to the Macaulay Com- do you prove it? Evidently you!. profit from it or how do you live; but what connection is there be- In fact he said it in a lecture at) the Pierre Degeyter Club last winter | and was, according to creditable re- | ports, rather roughly heckled. His position was, more or less, that the composer wrote for society’s sake. You couldn’t spoil as droll a tale as this completely. It relates how an ugly miller found his buxom and bedimpled spouse commandeered by the bawdy city magistrate (and himself not accidentally arrested) and how he then contrived to shake his bonds and wreak a just and | quite piquant revenge upon his over- | dancers, | lord by returning in kind services rendered. And though the present set of Broadway jongleurs play fast and loose with the story, it is still | at bottom the work of the Spanish | it still has a robustness, a toilers; truth and a universality which they alone could give it; it still comes out smiling. Dietz and Schwartz, as might have been expected, play the story down and give it many revue features. There are dancing ensembles, solo vocal choruses who come on and off in alternation with the story scenes and while they afford “chicness” and “flash,” add little to the richness of the fable. To meet the “starring” needs of Libby Hol- man (but for whose split tonsil we should never have had “moanin’ low”), the roguish, vivacious peasant of the folk tale is wrenched into the brooding pseudo-passion of a torch singer; the ugly but genuine | miller becomes for the needs of “charming” George Metaxa, a cute, imitation Maurice Chevalier; and the lecherous, stupid gobernador is vulgarized by Charles Winninger, the Captain Andy of Maxwell House Showboat, into a mugging purveyor of slap-stick. Only the elegant Ilka Chase, playing the gobernadora, gives her part the crisp gayety, the polish, the keen spice of subtle mis- chief that the part demands. @ Seely ‘HE music is a cross between the lyric flow of operetta and the trickier melodies of the first-rate popular songs. Arthur Schwartz has | always been among the better, more traditionally On the sophisticated. more musical ballad composers. whole, however, this is no inspired score on either count. Libby Hol- man's featured Only One” will undoubtedly main- | tain its two months on the air, and Bing Crosbie will lisp far too many times “If There is Something Love- lier Than You"; them will achieve the relative im- mortality of “an old standby” be- cause they're not made for dancing Weaves an illustratory bit of Spanish heel work into the rhythm of the lyric; and “My Father Said” is a microscopic scherze which never gets around to telling what her father said. “That Fellow Manu- ello,” a lilting number, has a bit of simple good fellowship. But of honest, rousing. buoyant, infectious and authentic folk music, there ap- pears not a trace. The folk tale underlying “The Three Cornered Hat” is a work- ers’ anecdote in a jocularly ribald vein. Written with this point of view it is not without its social bass. But workers and workers only will catch its true spirit and they alone will be able to write and sing it with \the fine intimate likeness to its source that it calls for. When the “When You Love but neither of Cold blows the wind. And so Whooping the girls up, clinking tall glasses; Tonight, they'll all blow out their brains on beds of roses. night passes, (Reprinted from the New Republic) By TILLIE LERNER IAM HANKS, the “star” wit- ness in the Sacramento Criminal Syndicalism frame-up, without whom there never would have been @ case (even the D. A. says so), doesn’t have very much freedom these days. He’s hiding out in the country somewhere, “protected” by four plain clothes bulls from dis- appearing or being kidnapped. For William Hanks was kidnapped once—or so he says. On the foggy morning of Sept. 20th, a bearded giant who said he was a “Commu- nist sympathizer” poked a shotgun in his ribs and said if he didn’t get out of town right away it would | mean his life. Somehow Hanks got |his plea granted to get his clothes out of his rooming house first—and then he boarded a bus east, he knew not where. When he found himself in Wisconsin he telegraphed D. A. McAllister, and got an armed escort back. The front page stories began. The Elks used it as an example of what the Communist terrorists would do if bail were let low enough for them to get out. McAllister made an elec- tion speech on his own bravery in prosecuting the C. 8. cases. No- body listened to Hanks’ landlord’ who had a slightly different story—that on Sept. 19th, after talking several weeks about going back to Wisconsin to apply for an old age pension, Hanks had finally checked out and he didn’t see him again. Nobody paid any attention either |to his sister-in-law who told the same story, or his friend who swore out an affidavit to the same effect— that Hanks had told him he was going to Wisconsin. They had prob- ably been bribed by Moscow gold, you can't believe people like that. Aen There are two novelty songs FR AES | a mild cleverness: “Never | agcALLISTER was ified in be- Marry a Dancer” adroitly inter- RR Heey ing frantic about his “star” wit- ness. Hadn’t all the defendants brought down their Communist membership books especially to show Hanks, the few months he was hanging around party headquar- ters? Hadn’t they all confided in him they believed in force, violence, bloody overthrow in the “October way?” (they all used that term), and hadn't they all (Hanks forgot this till the second jury proceedings when they had to make a new in- dictment) advocated “arming and \resisting all officers, killing them if possible, only they called officers thugs and hijackers.” The other three state’s witnesses had never heard these things. But Hanks had. Many times. And they had all said it in exactly the same way too. Maybe that was because Sacramento’s ‘Star Witnass? In Criminal Syndicalism | Frame-Ups Makes a‘Mistake , | thousand soviets in the Spanish Union, “The Three Cornered Hat” Soviet of Asturias is but one of a|he got asked questions in the same will give uproarious if somewhat reminiscent laughter. TRIBUTE TO DEL “By donating my ‘wages’ for a lecture to the Daily Worker fund through your column,” writes Max Bedacht, “I wish emphati- cally to express my opinion about the value and importance of the lighter features of our ‘Daily.’” Unit 6, Paterson ... Unit 3, Paterson .. Unit 4, Paterson Pele... 1:00-WEAF—Himber Orch. WOR—Sports Resume—Pord Frick ‘WJZ—Amos 'n’ Andy—Sketch WABC—Myrt and Marge Sketch 7:15-WEAF—Talk—John B, Kennedy WOR—Comedy Music ‘WJZ—Concert Orch. WABC—Just Plain Bill—Sketch 7:30-WEAF—Minstrel Show WOR—William Larkin, Tenor WABO—Troopers Band 1:45-WOR—Dance Music WJZ—Shirley Howard, Songs ‘WABC—Boake Carter, Commentator New Youth Club 8:00-WEAF—Vallee's Varieties Max Bedacht ... WOR—Little Symphony Orch., Phil- Daily Worker Chorus Wace Exhibit 5.10 ‘WJZ—Paints and Varnishes—Sketch Friends of Little Lefty. » 1.00 Partie rn aa, a received ay and Braggiotti, Piano soee 326.84 Nae at Sears, Tenor; Ruth ons, rano Total to date . WABC—Johnson Orch.; Edward Nell, Del will present Baritone; Edwin C. Hill, Narrator; portrait of his cartoon characters Speaker, Thomas H. Mcinneney, every day to the highest contributor. President National Dairy Products Corp. of America Little Lefty WHAOYA SAY, STOVE PIPE 1 E'S TAKE & WALK— OUR GUYS WON'T BE OUT OF HAT FREE- FOOD FIGHTERS CLUB FoR HOURS ty way, but maybe not. Usually his questioning went like this. “Do you know’ Albert Hougardy?” “Yes.” “What was his occupation?” “He was Communist organizer; he organizes Communists, people in the Communist Party.” “Do you know whether or not he | belongs to the Party?” “Oh yes, I have seen his card.” “Did you ever hear him say any- thing unusual about government or advocate anything unusual about it?” eyvea, ‘Did you ever hear him advocate the overthrow of our government by force?” “By force of arms, yes.” “Did you ever hear him advocate the overthrow of our industrial! system?” “Yes.” “Did you ever hear him advocate resistance of officers with arms?” “Yes.” “Did you ever hear him advocate general strikes?” “Yes.” aay ts OOR Hanks got so used to “yes- sing” he'd sometimes answer “yes” to questions like “where did you hear him speak?” Sometimes | he'd miss his cue, too, and have to wait for frantic questioning from McAllister to bring out the force and violence business. For instance, there was Collentz. | Hanks said, no, he’d never heard | Collentz say anything unusual. | Eight questions later tho he had—j| when McAllister asked it the old} way— “Did you ever hear him speak | about the plenum, the Russian form | of government, or our form of gov- ernment, or bioody overthrow?” Then he had. Collentz had de- clared for “the only way out, mean- ing the October way out.” “The October way, meaning?” “Meaning the overthrow of the) government by force of arms, the same as they did in Russia.” Hanks was always very positive in identifying the pictures of the defendants. He'd “knowed” them | pations” |them. They have JOBS—some of tween your music and the class struggle?” Briefly, there seemed to be no answer, That is, until this fall when Harris cheerfully remarked that while the Club talked, he did things —for instance, unaccompanied chorus, lasting 20 minutes, on a poem of Walt Whit-| man’s beginning: A song for Occupations! In the labor of engines and trades and the labor of fields I find the developments, And find the eternal meanings. There is some truth in what Harris says. His composition is there. Who of choral technique? And it was superbly sung last Tuesday night in Carnegie Hall, by heart, by about marched onto the stage as to army | maneuvers. The well-dressed audi- | ence liked it. But it is very doubtful whether | the people who “occupy” themselves | with the Whitman-Harris occupa- tions will sing it or listen to it. Why is this? HITMAN was a fine ferment in| his day. There was much in him (and still is for many people), much | | that was disturbing to the rich and |“cultivated.” He was “that disgust- | ing old man” to all polite circles. But today, Whitman is the most ad- | states find happiness in themselves, |in their work, in the things best | known to them? Notice, please, all | unemployed, all exploited, sweated, cheated, bamboozled workers of | America—you find happiness \things just as they are! You do! | Oh, if the galleries had risen and with one rebel yell shouted “We; | don’t!” When will Harris learn} work of this world don’t have “occu- and are not “happy” in them. Does Harris know what a job is? Does he realize that prac- tically every job available in Amer- crippling, enervating, blasting ruin- ation upon one or another of the | vital funcions of one who holds it? |Does he think that this work that terites’ questions shows he has any idea of what is happening around | him today and was happening all around Speed-up, union-smashing, sterism, pay-cutting, | hunger, starvation? Harris is sincere; but he is slow. If he lives long enough he will dis- | cover the Communist Manifesto. He has it in him to be on the left side stretchout, all, seven or eight months. But! there was a little mistake once, cor- | rected at the special second session | McAllister explained, “Mr. Hanks, | I think I was a little bit twisted | the other day on some of these pic- | tures; there are two of the names that are almost identical and I} think I handed you the wrong pic- ture. I will now hand you the pic- tures of Collentz and Mincy and ask you to look at these pictures and see if you identify them, if you know them.” “Yes, sir, I think I made a mis- take on them myself.” 9:00-WEAF—Capt. Henry's Show Boat WOR-Hillbilly Music WdZ—Death Valley Days—Sketch WABC—Gray Orch.; Annette Han- shaw, Songs; Walter O'Keefe 9:30-WOR—Lum and Abner—Sketch WJZ—Robert Childe, PianoM™ Parry Larsen, Organ; Mixed Octet WABC—Waring Orch. 9:45-WOR—Garber Orch. 10:00- WEAF—Whiteman's Music Hall, with Yvonne Gall, Soprano WOR—Sid and Gary, Baritone WJZ—Montreal Concert Orch. ‘WABC—Forty-five Minutes in Holly- wood; Music; Sketches 10:15-WOR—Current Events—H. E. Read 10:30-WOR—Dance Orch. WJZ—The Investor in Modern Socie- ty, John T, Flynn, writer; Alfred L. Bernheim Jr. 10:45-WABC—Fats Waller, Songs 11:09-WEAF—Adventures in Literature— Colonel Ralph H. Isham WOR—News: WJZ—Madriguera Orch. ‘WABC—Family Welfare Speaker 11:05-WABC—LiLttle Orch. of the barricades. USICALLY, the work shows a great advance in technique for him. He is our foremost conserva- tive-liberal composer. He has been studying the choral technique of the late gothic and renaissance churcl: music (1300 to 1600). It shows in his work. It has cleaned up a lot of his muddy writing. But still, it is on the whole chordal and rather static music—the melodies don’t impel true contrapuntal texture They have not enough character, | enough cutting edge, enough direc- tion. One feels throughout tha the composer might, suddenly, do some~ thing with his technique, might show he is going somewhere, But he never does. The music starts, wobbles, stops, starts again, rambles pleasantly, gets a little rough, but has no punch. One section, about where the words dealt with the cotton pale and the stevedoze’s hook, started on a_ steady, going to happen! can, But there is little or no con- tent. “getting on in the world” Harris. It totelly lacks the conscious going! mass songs, Harris. up better than you would believe. a composition for| on the music front has anything | like it to show for sheer virtuosity | forty young men and women who} mired in polite circles. Does he not | say that the working men of these) in| that the people he sees doing the ica has its disease, its own peculiar | constitutes his answer to the Degey- | the dear old Whitman? | gang- | EDWARD NEWHOUSE (Portrait by Ossip Garber Studios) pany. The Messrs. Furman, how- | ever, refused to dispose of their rights, another curious display of capitalist ethics. We have the sar- donic spectacle of publishers who, in the hope of gain, fight to retain | their right to publish a book whose | clearly announced principles they are violating. | It is a pleasure to be able to say that the writing is worthy of the | author's militant action. It is the record of a young “unskilled intel- | lectual’s” entrance into the revolu- tionary movement. It is convincing- ly told in terms of action rather and impressive story The principal character is a young | hewspaper man out of a job. He has been living with the couple who would have been his brother and sister-in-law had he gone through a |Something the sister-in-law si | Some confused phrase about privacy spoken during a drunken party, makes him realize that she is tired of having him around. He knows | she would never have said it had | she been sober, but he realizes that jher drunken tongue let out the truth. Selling his last possession, | his typewriter, he leaves the house. | THEN swiftly the harshness of the | | on sleep-murdering park benches chased out of warm railway termi- | nals, dollars on a dreary furnished room, finally to find shelter in the rickety walls but firm comradeship of dis- tressed workers in a Hooverville Even here, however, neighbors. ony of the snug ge! ist Aiied home- than discussion. And it is a stirring | City Hall ceremony with his girl. | world of property to the prop- | ertyless falls upon him. He writhes | uses most of his remaining | the well-fed | worry that the neighborhood's rental | values will drop because of such | They raise the irritated | | Graphically Described In Novel By New hou s, “You can’t sleep here.” After to bribe, then to intimidate the men into leaving the homes they have built and furnished by wharf combing and painful labor, the local real estate men call in the governs ment; and cops with clubs and g38 bombs beat and smoke out any illue ions the Hooverville citizens may have had that there is any considere ation for them in capitalist society, This last scene, a fine, long one, is one of the best planned, best told and most exciting scenes in recent fiction The leaves cockta story, throughout, once it the stale morning-after of ll dregs, cigarette litter and emotions of the Bohemian it opens, moves a powerful step through a de= pression world that it understands, It is full of good things that stick in the memory: the two scenes, for instance, in which the same gent, the real estate shark, makes contact with the unemployed, first to offer | the strongest looking pair ten dol- }lars for half killing each other in a bare knuckle bout at a lodge smoker orgy to stir the paunches there to an extra quiver; later to appear, mumbling law and charity, in an effort to smooth-talk them out of their shanties. Another memorable section is the account of the building of one of the huts, revealing the unkillable pride in good work, through a dozen | dramatic little episodes. And the |same human need and pride is shown at work in another sort of building, the intangible structure of human relationships into a minia- ture cooperative society. 'T IS Newhouse'’s best claim to art that he does this naturally, that the reader doesn’t notice how it is being done. That is why this “con- version” novel, this story of the | h in unemployed workers, from growt ignorance to understanding, from indifference to militancy, is one of | ae most successful in its field. The | high point in that success is, per- haps, the story of how the Negro worker got in; the breaking down |of the prejudice against him; the strengthened sense of solidarity after he is in. Newhouse writes his story some- what in the Hemingway manner, But it has an emotional richness that the toneless style of Heming- way, whose emotional ear was, so to speak, first deafened by the blasts of the World War, then stuffed up with bourgeois success, has rarely had. Character in “You Can't Sleep Here” is not as important as the crowd sense and the flow of action, and this very submergence of indi- vidual personality is an achieve- ment of this proletarian novel. Where Newhouse sets out to draw character, however, he does it well, except in the instance of the girl Eilen, who is too incredibly sub- missive, The patient Griselda of one of Bocaccio’s least successful stories did not come to life in it3 time, and does not come to life in this version. The brief glimpse given of her proud sister has more portraiture in it. SEVENTH TODAY! Although Ramsey is making steady gains, he is seventh on the list today, ahead only of Ann Barton. N.Y. Wkrs. Schl. Classes of Kingston & Stein . Previously received $ 613 198.01 Total to date ... $204.14 Bittelman Raviows | ‘The December issue of “The Com- munist,” which is now on sale, con- | tains a number of interesting and instructive articles on problems fac- ing the American workers today. United Front Struggles in December Communist the campaign, and sets forth our tasks in the light of the election | results. In his article on the “EPIC” movement, Comrade Minor declares that “There can be no doubt that | the ‘EPIC’ movement to ‘End Por- erty in California’ represents a vast stirring of discontent, tending toward “Developments in the United Front,” by Alex Bittelman, is a re- | view of our united front struggles | | since March, 1933, “We do this,” got remorseless, syncopated rhythm. Something was But it petered out. The technique is doing all it Music means nothing but | for strength and drive of Copland. But then, Copland knows where he is Try writing some revolutionary You might make a good one. You have it in| tion results nationally, points out you. At any rate it would clean you! the achievements and especially the | writes Comrade Bittelman, “in order what has happened and of the tasks confronting us at present.” The article traces the numerous propos- | als made by the Communist Party | to the Socialist Party for united action, exposes the maneuvers of the S. P. leadership in continually re- erates the growing number of local united front actions betwen Com- munists and Socialists. Two articles on the results of the recent elections are contained in the December issue of “The Commu-| nist.” The first is “Results and Lessons of the Elections,” based on a summary of discussions by the Po- litical Bureau of the Central Com- mittee. The second is “The ‘EPIC’ Mass Movement in California,” by Robert Minor. The first analyzes the political meaning of the elec- i shortcomings of the Communists m om YOU MAKE FUN OF MHE RICK, PAL, BUT You Gorta ROMIT MHEY'RE NECESSARY to gain a fuller understanding of | jecting unity of action, and enum-| | high forms of class struggle.” In view of the approaching strug- | Rles of the steel workers, the article | by John Steuben, “Recent Develop- j}ments in the Steel Industry and Our Tasks” is an important contri- bution to this issue.| On the basis of the Central Committee's decision to | throw the entize weight of our ac- tivities inside and through the A. F, | of L. union in the steel industry, the article analyzes the recent develop- ments and outlines our practical | tasks among the steel workers. Continuing his investigations into the conditions and the historical background of the Negroes in the Black Belt, James S. Allen contrib- utes an article entitled “Shares cropping as a Remnant of Chattel Slavery.” This article is an impor- tant contribution to the determin- ing of the nature of the sharecrope ping system, The December issue of “The Come munist” also contains “An Unpube lished Document,” the plan for & speech delivered by Engels at the Conference of the First Internae tional in London, September, 1871} an article on “The Rise of the Revoe |lutionary Movement in Cuba” by Joaquin Ozdoqui; “Marxism and Anarchism,” in which Emilian Yar | oslavsky traces briefly the struggle | against Bakunin and anarchism |from Marx and Engels, througn Lenin, down to teday; “Figures on the American Economic Crisis,” as of October, 1934, by John Irving and Phil Mayer (Labor Research Assn.), and an index for the contents of “The Communist” for the entire year of 1934, “The Communist” is a magazine | of the theory and practice of Marx- ism, published monthly by the Com- munist Party of the United States. The price is 20 cents a copy, $2 for one year's subscription, $1 for six months. It can be purchased at all Workers’ Bookshops, or direct from. Workers Library Publishers, P. O, Box 148, Sfa. D, New York City,