The Daily Worker Newspaper, December 31, 1934, Page 5

Py CHANGE ——THE— | WORLD! —-— By MICHAEL GOLD EAR Mike Gold: It is too bad that we haven’t had our big guns going all along the line for the Writers’ School of the John Reed Club. Here it is only a few days before the first term is to begin and we have aroused only little in- terest in the first revolutionary writers’ school to be held in the United Stat There is no excuse for it. The courses in fiction, poetry, re- portage, criticism touch cn four of the most important fields of litera- ture. The instructors and guest lecturers include some of our ablest revolutionary writers: John Spivak, Alfred Hayes, Joe North, Michael Gold, Sender Garlin, Granville Hicks, Myra Page, Edward Newhouse, Philip Rahy, Wallace Phelps, Edwin Berry Burgum, Jerre Mangione, Stanley Burnshaw, Edwin Rolfe, Mary Heaton Vorse, Gertrude Diamant, John Mitchell, Leon Dennen, Orrick Johns, Kenneth Fearing, Isidor Schneider. For a number of years many have pointed out the growing need of such a writers’ school. Workers particularly have shown a great interest in courses on writing. At almost every John Reed Club Sunday night symposium and at the clubs where groups of our writers have read their work and discussed problems of revolutionary litera- ture, workers have taken the floor to ask about: such a school or with the “cursed modesty of the proletariat” have whispered to some John Reed Club writer that they too are writing and would it be possible for us to read their manuscripts and to give them a little of our time. * . . Revolutionary Literature vs. Mae West IOW it is obyious that our old methods of stumbling upon worker writers play into the hands of the white guards, the blackguards, and the confused people who insist that workers don't care for books, especially when they are revolutionary, and that the American work- ers would rather go Mae West or see the Brogklyn Dodgers lose an- other baseball game than read the best of our revolutionary literature. And one would have to admit that he has met fine workers and farmers who steer away from our discussions and our books. And one would have to admit that in many cases it was our own fault. I remember particularly the Connecticut farmer, whose ancestors had not only fought in the Revolutionary War but had been come of those hard-fisted men who scattered their seed on Plymouth Rock, and who was expelled with 16 other farmers from his milk producers association because he was a Red. It was a Sunday morning that we spent a few hours on his farm. He showed us his stock, his fields. It was a pleasure to watch him handle his big horses and crush a clod of dirt in his fist until the soil ran between his fingers like silk. But when I urged him to come down to a literary gathering in Hart- ford, the died out in his hand and eye. Such an incident may hearten those whose chief job it is to slop the American masses with dime novels and the boss sheets so that the “gentlemen of Wall Street” may continue hauling their bacon home. But we can knock the wind out of them by approaching our Yankee farmer in the right way, and what do we get? He reads the Farmers National Weekly which prints sketches and poems. He'll read the feature page of the Daily Worker. He'll ram through Whit- taker Chamber's “Can You Hear Their Voices” and call it the finest story he’s ever read. He'll listen to you for hours when you tell him how delegations of farmers appeared at the Soviet Writers Congress and ordered stories not only about themselves but also about stone- farmers like himself in Connecticut. And I'll bet a pair of good leather boots that it won’t take long before you can get him to listen to “literary talk.” Closer to the Masses 'HE point then is this: the American masses have the stomach for revolutionary literature, but we've got to help them to it. We can do this by getting closer to the masses, and by doing far better writ- ing ourselves. We can do this by helping to make the John Reéd Club Writers’ School a real recruiting station and drilling ground for revolutionary writers from the masses. In the past one of the chief weaknesses of our New York John Reed Club has been its approach to worker writers. When Mike Pell’s S.S. Utah appeared it was given a short notice in the Partisan Review. There was no discussion whatsoever in the club on this very important story written by a seaman, a story issued in book form in foreign languages, serialized and run not only in our own Daily Worker but in the revolutionary press of the most important of the European countvies, And here again we can learn from Soviet Russia. In Batoum I spent some time at the International Seaman’s Club. I learned here that not only was Pell’s book discussed and read by every Russian member but that the foreign seamen come into port on the oil tankers hati been drawn into these discussions. Four or five evenings were devoted to the book. And then the comrades entered into a long correspondence with the author about the book. * * * Literary Circles in Russia VISITED three literary circles in Russia. One in Moscow and two in Naginsk, two hours ride from Moscow. The leader of these three circles, Nicolai Tolpegin, former fireman on’ a Volga River steamboat, now well-known among the younger poets, is also a graduate of a literary circle. An able comrade. Stocky, looks like a soccer player, quick, ready to head the ball or flash out with his legs. Tolpegin told me of the thousands of literary circles in Soviet Russia, schools for workers and farmers who wish to become writers. There are literary circles for Moscow subway workers, for the Moscow carmen, Donbas miners, Stalingrad tractor workers, Zernograd State Farm farmers, Red Army men, etc. And one of the most memorable eve- nings I spent in Russia was at the gathering of the Naginsk literary circles where chauffeurs, drillers, draughtsmen, bookkeepers, librarians, drop forge workers, riveters, read their work for us. The John Reed Club Writers’ School is an important event in our revolutionary literary movement in the United States. The instructors and guest lecturers will undoubtedly learn much from a study of the work of Soviet workers’ circles and the pamphlet on these circles which the Soviet Writers’ Union shall send us, There is no reason why the Writers’ School should not be able to produce a corps of able writers whose work will put them in the forefront of our growing revolutionary literature. BEN FIELD Will FATHER COUGHLIN Become AMERICA’S HITLER —Read the Answer in— FATHER COUGHLIN’S ARMY By A. B. MAGIL In This Week’s— NEW MASSES Out Friday! 10 Cents on Newsstands { DAILY WORKER, NEW YORK, MONDAY, DECEMBER 31, 1924 \_ ‘FLASHES and | CLOSEUPS By DAVID PLATT Samuel Brody writes-that “the | radical who harangues the crowd | against war in ‘The President Van-| ishes’ is a more acceptable charac- | terization than any I have seen in a Hollywood film before. “Moreover, I think Hollywood has found it an inexpedient device to poztray reds as neurotic ravers. The red in ‘The President Vanishes’ is therefore a kind of readjustment | to reality.” | prove te what unscrupulous lengths | Mr. Wanger has gone to turn out |@ film intended to fertilize the | American scene for the impending | slaughter. “(1) Most of the shots purporting | to show the Grey Shirts attacking | anti-war demonstrators are really actual newsreel shots of New York and other police attacking unem- ployed and other demonstrations. “(2) All of the shots supposedly showing thousands of people parad- ing in front of the Capitol in Wash- ington demanding that war be de- clared (sic!) are in reality newsreel clips of the heroic Hunger Marchers demonstrating for bread and jobs before Congress!” What Brody says of “The Presi- dent Vanishes” is also true of “Deal- ers in Death,” the most recent of! cycle of films issued on the heels of the munitions investigations. Here, ; too, a newsreel sequence of Emonuel Levin, of the Workers Ex-Service- men’s League, speaking in behalf of | the Veterans Bonus. and against | imperialist war is violently twisted | out of shape to give the impression that the veterans have also felt the propaganda of the more unscru- | pulous munitions manufacturers, hence their frenzied orations in behalf of wars for profit... . | MOVIE studios are tieing up with advertisers on a big scale to make up for losses they are sustain- | | ing due to falling off in attendance | | at films. . . . For instance, Radio's | | national advertising campaign on the film “The Silver Streak,” which features the Silver Streak train on view recently at the World”s Fair, includes man- ufacturers with more than a mil- lion dealer outlets. . . . This un- precedented campaign includes tie- | ups between RKO and: Camel Cig- arettes, the Burlington Railroad |Lines, Railway Express, eries, toy manufacturers and what not. + Twenty thousand Western | Union wires will join in the chorus | of praise of “The Silver Streak” to | get their share of the profits. .. . | Sixty thousand bakeries -have been supplied with cookies distributed in| miniature Silver Streak packages made by Grennan Bakeries, Chi- cago. . . . A number of products with the name “Silver Stres*” are Silver Streak Roller Skates, Silver Streak Carpet Sweepers, and a Silver Streak Razor Blade. .,, RKO is determined to make American movie-goers “Silver Streak” con- scious or bust ... but all the movie- goers can expect out of this phe- nomenal money-making campaign is speed-up in the industries hooked up with Rockefeller’s movie trust. ... 4A CERTAIN star in Hollywood has a sister . . . sister has a husband . . . sister sold the star on the idea that it would be nice if she had a home for herself and hubby . .. star called in architects, had plans drawn and was about ready to order in the plasterers, plumbers, carpenters, when the sister noticed the plans and discov- hadn't included a spot for the hus- band’s horse .. . the sister is now out of a house....” Taken ver- batim from a publicity release... . E will be four booths at the New Theatre New Year's Eve Frolic at Webster Hall, one of which will he devoted to a continuous showing of films produced by the Film and Photo League and others. Here is your chance to see “Water front,” photographed and edited by Leo Seltzer and Edward Kern, 'HE CHICAGO Film and Photo League, in cooperation with the Workers International Relief, has just made public a three months’ plan of work calculated to make this organization a real factor in support of the struggles of the Chi- cago workers. Outstanding in the plan of work is the “establishment of a Film Pro- duction Committee in consultation with doctors and child health spe- cialists to make a film exposing the alarming effects of malnutrition among the children of Chicago's | unemployed and employed.” A class in elementary photogra- phy will be opened in January and a call has been issued to hundreds of photographers, amateur and pro- fessional, to contribute to a city- wide photo exhibition to reveal the real living, working and fighting conditions of the workers of Chi- cago. Any amateurs interested in learn- ing how to make films, and profes- sionals willing to be of assistance in this work, are urged to call at the headquarters of the League, 1703 West Madison Street, Room 8, or call Canal 8658 for information. Little Lefty iE BIG -GHOT WANTS “16 See You, -Tom- and a further necessary concession | Brody lists “two major exhibits to | the “take the profit out of war”! 3 Western | Union, Chrysler, book dealers, bak- | involved in the picture, including | ered a grave error... the architect | By Stenographer WALKER WINSLOW Girl, those keys your fingers touch with thoughtless precision to clip black on the white (Dear Sirs:) to guys who are neither dear nor sir, | dim your eyes. and each letter you seal Practise on this word, girl, let your life and hope s to your hand, on this word: Comrade— and feel the machine take life are taking from your finger tips a dripping toll, poured myriad-rain like on those keys. Your life streams out through the mail; the ashes in the bottoms of a thousand incinerators Those sheets you fold are folding your own flesh, has your future sealed within it. ad to your fingertirs. let each letter swing down from your heart prepare your trade for the coming day, punch those keys with defiance and write beneath it, “I am with you"— beneath your hands. To the THE LENIN SETS January is the month when special efforts should be made to distribute the new $8 edition of Lenin's Collected Works during the Lenin Memorial Campaign. As the campaign progresses we must make strenuous efforts to carry out our slogan, “A Lenin Set in Every Unit and Workers’ Organization.” An example of the possibilities in this field is given by the following letter received from Section 3, Cleve- land. . CLEVELAND SECTION FULFILLS QUOTA ON LENIN SETS “When our section received direc- . * Department in regard to the Lenin Sets, they included a quota for us to dispose of eight sets. We have six units in our section, with a total of 90 members, and, frankly, I thought our quota was too high. I underestimated the ability of the units to absorb such a quota, think- ing to myself that if we succeeded in disposing of five sets through the section we would be doing well. “Nevertheless, I raised the ques- tion in the section committee and started to agitate the units on the necessity of each one of them get- ting a set for their unit library, I sent them clippings dealing with the achievement of International Publishers in putting out the set at | such a low price, and started social- | ist competition among the units. “The review as published in the Daily Worker (Dec. 8) was sent to every unit buro, and with it a plan on how they could secure a set for their library and sell sets outside |of their unit. The plan we sent them set forth these points: “1) Units to buy sets on payments as low as 50 cents a week. “2) sets on same terms. “3) Units to dispose of 100 raffle tickets at 10 cents each, for which they would get a Lenin Set and have $2.00 for their literature fund. “4) Unit members to go over a list of workers and intellectuals who are known to be interested in the revolutionary movement, approach- ing them to buy a Lenin Set. “5) Each unit to get at least one mass organization to purchase a Lenin Set. “Results up to date show that our Section has already disposed of 12 sets. We are confident that with more effort we will see our original quota doubled.” whee te NEW YORK SECTION ORDERS 30 LENIN SETS Section 2, New York, is composed of 70 units, most of them shop nuclei. The section literature di- rector reports that 15 Lenin Sets have already been sold in the sec- | tives from the District Literature | Burlington Zephyr} Unit members to purchase | Party Literature Masses tion, and she has just placed an order for 15 more. She claims that | Section 2 will reach its quota of | one set to each unit in a very short time. |1935 PLANS IN NEW YORK DISTRICT | Having completed its quota of | 2,000,000 pieces of literature sold in | 1934, the District Literature Depart- ment in New York is making a drive to sell 5,000,000 pieces of liter- ature during the coming year. The method of socialist competition will be used extensively. To stimulate the activity of the units, sections, and mass organizations the follow- ing prizes will be awarded to the winner of the competition: $150 worth of books to the section of the Party that reaches the high- est percentage of its quota. $50 worth of books to the liter- ature director of the winning sec- tion. $50 worth of books to the Party unit receiving the highest percent- age of its quota. $15 worth of books to the liter- ature director of the winning unit. Second prizes will amount to half the above amounts. The individual comrade in the | District selling the highest amount of literature will receive $15 worth of books. The individual comrade selling the second highest amount will re- ceive $7.50 worth of books. The competition will be based on proportionate sale of literature as compared with average dues pay- ments for the months of January, February and March. This puts all sections and units on an equal foot- ing no matter what their member- ship. In the contest, a certain number of points will be awarded for agitation material, a certain number for theoretical material, and a certain number for amount of cash taken in, ila 9 MEETING JAN. 10 TO START GIGANTIC LITERATURE DRIVE IN NEW YORK To initiate its drive for a mani- fold increase in literature distribu- trict is holding a meeting Thursday, Jan, 10, 8 p.m., at Irving Hall, 15th Street and Irving Place. Literature agents and agit-prop directors of all units and sections, and literature agents of all branches and mass organizations are asked to attend the meeting. It is expected that 500 literature actives in the New York District will attend this meeting. The literature campaign, which will be started with this meeting, has as its purpose entrenching the units of the Party and the mass organizations in their shops and neighborhoods, Question: Although Father Cough- is a misleader of the working class, would not the best method of ex- posing him, be to give him moral support, and allow him to expose himself in practice?—R, A. 8, Answer: While it is true that Father Coughlin’s actions will ex- pose his demagogy, we would not be acting as Communists if we were merely to depend upon self-expos- ure. In organizing the masses for struggles around their immediate needs, we must continually warn them against fakers such as Father Coughlin. His type of social dema- gogy is far more dangerous than the open hostility of the reaction- aries. Their hate is so apparent that the workers can be mobilized against them. But the misleader whose heart bleeds over the woes of the working man conceals his ruling class purposes with radical phrases and smooth words. It is against his sophisms that we must } HE Questions and Answers aim our sharpest criticisms, warning the workers that behind his phrases is the mailed fist of the capitalist. Take Father Coughlin as an ex- ample, He attacks Wall Street. He preaches a jeremiad against the rich, But his advocacy of the pri- vate ownership of the means of production, his attacks against the Communists, his close tie-up with the most predatory forces of Amer- ican capital, all stamp him for what he really is, one of the most dan- gerous enemies of the working class. His job is to steer the workers who are aroused over their intolerable conditions into the camp of fascism. must especially be directed against those enemies of the workers who mask their enmity with the great- est demagogy. With such mislead- ers there can never be the slightest LLU | ar vase! Bevcia t's me RAISE IVE SLAVED So HARD FOR ALL “THIS TIME II LL BE ABLE “TO Do SomUCK MORE compromise. On the contrary our main blows must be struck against them. ai Surprise! AH -THERE JONES ! MUSIC Music Division in the Work- ers School By CARL S. IDUCATION is, with education. It is trai cog in industry and to be a harmless fool 2 when unemployed cultural” subjects—tha ng in the arts which not only makes work bearable and understandable, but which ma and form of leis to imagination and to ac correction of unsatisfact tolerable conditions of liv things are slighted and botc capitalist education, we all of us receiv public or private country, in un: stitute. Education in music is ost com- pletely excluded from all of these The considerable hullabaloo that passes for musical instruction is mostly more than mere waste time |—it is pernicious propaganda for | being a docile slave and against | true self-interest and class-interest. Most effective musical education, | therefore, is done outside of the in- | stitutions of capitalist education. | There are three main types: study (one individual with anot ed in up the bringir ed, wheth chool, in city or trade so-called “private” conservat (run for profit), and endow schools (run to preserve the social m under which the wealth represented in the endowment was accumulated). Except where personal integrity of | the teacher withstands the corrup- | tion of the profit system (and this | is a rarer instance than most people would believe possible), either the | teacher or the student, or both, are | exploited economically. And owing |to the domination of the theory of rugged individualism (in this field known as “romantic individualism’) the musician is artistically exploited | by being taught to regard himself }as a “priest of art” and his music as a semi-mystical creation of his peculiar, individual make-up. 'HE music of the great composers of the past 300 years ser as music has always served. a social function. It was mostly ordered, | made for, performed for, and has | since been entirely appropriated for the use of the bourgeoi It has | been jealously guarded from the rest | of society by a system of high costs jin the making and the hearing of it, that have stamped it as a prop- erty of the ruling class. | The bourgeoisie does not make its }own music. Like its other “prop- erties” this music is made for it by | a few over-paid virtuosi and a horde |of under-paid rank-and-file work- ers of other classes. At the same | time, it has preached that this mu- sic is a universal art and striven | shewdly and calculatingly to destroy the music and the music-making capacities of other classes and of |colonial and oriental countries! To |lull the threatening upsurge of the | masses, as well as to reap monop- | olistic profits of truly grand pro- | portions, bourgeois music has come |to be heard upon a large scale by |members of non-bourgecis cl for the first time in history, during the last few decades of phonograph, |sound-film and radio. The much- WORLD of 'Brilliant Dialectical Analysis of Literature | In Booklet by Strachey LITERATURE AND DIALECTICAL MATERIALISM, by John Stra- chey, Covici Friede. $1.00. Reviewed by J. GERLANDO a period 'N are doing wh the! the concepts of re ive criticism zes and explains intelligent- JOHN STRACHEY ly many essentials of Marxism that are confused in the minds of liberals and sympathizers, His task is an important one, one that adheres closely to Lenin's statement that the main duty of the Bolshevik is | “patiently to explain.” His profound grasp-of current happenings, his ability to discuss brilliantly their | Marxian interpretation in a style that is compact, as well as readable, fits him ideally for this task. | | “Literature and Dialectical Mate- rialism,” though less than twelve thousand words long, is an excellent example of Strachey’s genius for Saying a great deal in a short time. for explaining simply without con- descending, and, what is quite im- portant in his particular function, for keeping his emotions largely in the background and his thinking in the foreground. For anyone who is | at all uncertain about the implica- | tions of revolutionary literature, its role in the class struggle, the effect of fascism on modern literature, the | application of dialectical material- jism to culture, I recommend this booklet as the shortest and most | brilliant introduction to the study | | of revolutionary literature that has | been written yet. Some- have called Strachey a polite” Communist. Mere polite- | ness, we all know, will never bring about a revolution, Strachey’s po-/ | liten: however, is not the Emily Post sort; it is, rather, a suave |manner of writing and speaking jthat is especially effective with |those white collar professionals, | Workers, and intellectuals, who are | tion during 1935, the New York Dis- | | publicized plan is to induce the often easily frightened. Indeed, so masses to regard music in the same |preat is Strachey’s suavity that light as do their masters—that is, | many of our tender bourgeois critics | as a relaxation from work, aS 4| who, ordinarily, are ready to yell | pleasant and harmless dissipation, | “ouch” at the slightest abuse, have j and as a powerful, drug-like, dream- | apparently read this essay through | | escape from the suffering and prob-| very diligently, without losing | lems of life. | their precious tempers and, judging | | It is already widely known that | from several of their reviews, with | | bourgeois art music (i.e. occidental! considerable respect for Strachey’s or European art music) is not a| points. Of course they have under- universal but a class art of only a| stated their respect as much as part of the earth’s surface; that. it | possible. has produced some great monu-| John Chamberlain, for example, | ments, but is now given over to agrees that Strachey’s general thesis | ancestor-worship to such an extent | is “sound enough.” He spends no that the living art is in a state of | time discussing it, however, and, in- | decay and break-up; thet while it | stead, uses more than half of his has produced some phenomenally | review to piddle around.with minor skillful performers, it has produced | details, expanding them out of their | Lenin taught us that our criticism | TELL ME — HOWLONG Yj | HAVE VOD BEEN Wit us? a general level of musical culture in }contemporary Europe and America |lower than that of the average [barbarous or savage tribe. This low level of musical culture is due to the inherent nature of bourgeois society which produces here, as else- where, an extraordinary degree of skill in a few thousand men and women and forces an almost com- | plete neglect of their own capacities | by the hundreds of millions of othe people, 'USIC is of two kinds: that which ome makes one’s self or with one’s fellows; and that which is made for one by the skilled musi- cian, Of the two, bourgeois music practical exclusion of the former. The bourgeoisie knows perfectly well that music made by the masses will express the masses, will be liked by them more than they like bourgeois music and will be used in the strug- gle of the masses against their op- pressors. The proletariat is learn- |ing in this era of imperialism these very obvious things. And it is in- that while workers do not by any means disregard music as relaxation universally, condemn its use as | dream-escape from the reality of i their class struggle, and they do insist not only upon listening to “bo has emphasized the latter to the) teresting and instructive to observe | and as pleasure, they do, practically | true proportion, so that readers of! the review who have not read the | book are bound to get a distorted | idea of what the essay contains, } junless they already know enough | |of Mr. Chamberlain to be on their | | guard, | | aie aha | |@EVERAL of the liberal critics | have applauded Strachey on one | particular point: His appeal to such music but upen making it them-/| selves. We cannot point out too insist- ently that it is in the music that | the workers make themselves that| |the strength of the revolutionary music front lies. But how are they, uniaught by capitalist education, without the opportunities of ex- pensive lessons, to use their normal | musical talent to best advantage? | Our social system will keep them) from this, to the limit of its power} over them, The only resource is for | them to organize music schools for) |themselves. No one will endow these! The workers must found | them and conduct them laboriously, by their own effort. So we greet the newly formed Music Division of the Workers School, affiliated with the Workers Music League, which opens its first term January 3. May it live long and prosper! 840,10 Bao! EVERYTHING MUST ENO, JONES, EVEN SUCH PLEASANT ASSOCIATION AS OURS - ER- MY HAND \5 FORCED- ECONOMY rq &Tc. \. HOW SHALL HE FACE HIS WIFE WITH SUCH SHOCKING Page _ ille Hicks, to ua Titers as writers, who are conscious or } leolm Cowley in issue of New Republie he fallacy of setting up tion between style and matter; the two are, of , interwoven. Strachey in Hemingway's techs 1 as writer but attacks his philosophy. Cowley replies: A writer's technical equipment al- helps to determine his ject. Fven more fatal~ opinions and ambitions, and social h social allegiances have an effect on his techni the Cowley’s point ell-teken and serves as an excellent rebuff to ose liberal critics who praised hey’s appeal, probably for no her reason than because judging the merits of a writer as a writer” seemed closest to liberal, bourgeois thought. In a longer and more detailed book I believe Strachey would have developed this point more carefully and reached a conclusion that is closer to Cowlev’s opinion. Indeed. I ere several nlaces in his essay he implies that style and stb- ere devendent on each fails, however, to link point effectively with his gen- implication that revolutions literature inherits the best of bour= geois culture. In selecting Heming- as a writer from whom we can learn a great deal about literary technique, without accepting his Nihilistic philosophy, Strachey could easilv have shown how Hemingway's Nihilism has led\him to a blenk wall, The negative aspects of his social attitude have not only limited his scope but also weakened his technique, so that now he is rapidly becoming a “has-been.” (OWLEY makes one other point in his review that is important consider. Strachey uses the term nconscious fascist” as Michael Gold orginally used it to designate writers whose work was fascist in implication, even though those ers were not aware of being fascists. That term, says Cowley, “is losing its importance now that wholly conscious fascism is becom=- ing prevalent among us.” While it is true that conscious fascism is more. prevalent now than if wa’ when Gold first used the phre there are still dozens of influe writers. like Joseph Wood K: and Henry Hazlitt. who wo stoutly pooh-pooh the accusati that they were fascists, but who, by their so-called liberal writings, are surely paving the way to fascism, , Listen to Mr. Krutch, for instance, * * t | speaking in his..recent.bock, “Was Europe a Success?” “There is no activity more prac- tical or more immediately useful than that of the great poet who does not [emphasis mine] act as an instrument for so changing social conditions that men may be happy but is a direct producer of happi- ness, a direct communicator of the ability both to endure an imperfect world and to see its imperfecta as beauty.” > This statement recommend sort of passivity that Messrs. Mus= solini and Hitler would have efi= thusiastically advocated before th marched into power. After readi: Mr. Krutch’s statement, my conch: sion is that he is not only a “fas + unconscious” but also sadly” unconscious. TUNING IN 71:00-WEAF—Our Outlook for 1935—Senae tor Hendrik Shipstead of Minne« sota. WOR—Sports Talk—Stan Lomax WJZ—Amos ’n’ Andy. WABC—-Myrt and Marge—Sketch, 7:15-WOR—Lum and Abner—Sketch WJZ—Plantation Echoes WABC—Just Plain Bill—Sketch 7:20-WEAF— Armand Gerard, Bass WIZ—Red Davis—Sketenh WOR—Mystery Sketeh WABC—The O'Neills—Sketch | 145-WEAP—Uncle. Brra—Sketeh WOR—Channing Choir WJZ—Dangerous Paradise—sketch WABC—Boake Carter, Commentator 8:00-WEAT—Himber Oreh WOR—Lone Ranger—Sketch WABC—Emery Deutseh, Violin. $:15-WABC—Edwin C. Hill, Commentator. 8:30-WEAF—Gladys Swarthout, Soprano} Symphony Orch.; Mixed Chorus. WOR—Concert from S.S, Aquitanis WJZ—Caretree Carnival WABC—Kate Smith's Revue 9:00-WEAF—Gypsies Orch. WOR—The Witch's Tale, W5Z—Minstrel Show. WABC—Warnow Orch. 9:30-WEAF—House Party; Goodman ‘ Oreh.; Conrad Thibault, Baritone} Martha Mears, Songs. WOR—Corrinna Mura, Soprano. WJZ—I Like Your Nerve—Sketeh WABC—Gluskin Orch.; Bloek and SULLY, Comedy; Gertrude Niesen, 9:43-WOR—Veesey Orch. 10:00-WEAP—Eastman Oreh.; Lullaby Male Quartet. WOR—Jack Arthur, Baritone. WJZ—America in Musi; John Tas ker Howard, Narrator. WABC—Wayne King Orch. 10:18-WOR—Current Events—H. E. Read 10:30-WEAF—Cugat, Goodman and 2Mur- ray Ort (until 1:30 a.m.); Ma= ria Jeritza, Soprano, at 11:50 p.m, WOR—Kemp Orch. WJz—Same as WEAF. WABC—Progress in 1934—Michael M, Davis and ©. Rufus Rorem of Jus lius Rosenwald Pund, Chicago. 10:45-WABC—New Year's Celebration by Berd Expedition at Little America, 11:00-WOR—News. WABC—New Year's Bve Dancing Party (to 4 a.m.) 41:15-WOR—Lyman Orch. -WOR—St. Thomas Carillon. -WOR—Dance Music (to 2 a.m.), Orders have been issued by Harry Hopkins to cut millions of unemployed workers off the relief rolls. It is absolutely essential for all workers to give their fullest support to the Workers’ pleyment and Social é “Bill, H.R, 7598. Send your vate the Daily Worker today! Get friends to vote! Get NEWS come requlst reeders of 1 Worker, which \s sp