Showing posts sorted by relevance for query Sacco and Vanzetti. Sort by date Show all posts
Showing posts sorted by relevance for query Sacco and Vanzetti. Sort by date Show all posts

Wednesday, September 23, 2020

Slavoj Zizek: The treatment of Assange is an assault on everyone’s personal freedoms

Slavoj Zizek

is a cultural philosopher. He’s a senior researcher at the Institute for Sociology and Philosophy at the University of Ljubljana, Global Distinguished Professor of German at New York University, and international director of the Birkbeck Institute for the Humanities of the University of London.

21 Sep, 2020 12:06
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Vivienne Westwood demonstrates in support of Julian Assange, in London © Reuters / PETER NICHOLLS
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Julian Assange has had his rights stripped away in a case that should alarm millions, but too few people care because his character has been assassinated. He might have to go to prison before he gets the support he deserves.


There is an old joke from the time of World War I about an exchange of telegrams between the German Army headquarters and the Austrian-Hungarian HQ. From Berlin to Vienna, the message is “The situation on our part of the front is serious, but not catastrophic,” and the reply from Vienna is: “With us, the situation is catastrophic, but not serious.”

The reply from Vienna seems to offer a model for how we react to crises today, from the Covid-19 pandemic to forest fires on the west coast of the US (and elsewhere): ‘Yeah, we know a catastrophe is pending, media warn us all the time, but somehow we are not ready to take the situation seriously…’

There is a similar case that has been dragging on for years: the fate of Julian Assange. It’s a legal and moral catastrophe – just consider how he is being treated in prison, unable to see his children and their mother, unable to communicate regularly with his lawyers, a victim of psychological torture so that his survival itself is under threat. They are killing him softly, as the song goes.

But very few seem to take his situation seriously, with an awareness that our own fate is at stake in his case. The forces which violate his rights are the forces which prevent the effective battle against global warming and the pandemic. They are the forces that ensure the pandemic is making the rich even richer and hitting the poor hardest. They are the forces which ruthlessly exploit the pandemic to assert their control over our social and digital space, regulating and censoring it at our expense – the forces which protect us, but also deny us our own freedom.

Assange fought for the public transparency of the digital space, and there is a cruel irony in the fact that the pandemic is being used as a pretext to isolate him from his family and his defense. We are always ready to protest the limitation of basic human freedoms imposed on Hong Kong by China; should we not turn the gaze back on ourselves? Maybe we should remember Marx Horkheimer’s old saying from the late 1930s: “Whoever is not prepared to talk about capitalism should also remain silent about fascism?” Our version is: “Those who don’t want to talk about the injustice imposed on Assange should also keep silent about the violation of human rights in Hong Kong and Belarus.”

Assange’s well-planned and well-executed character assassination is one of the reasons why his defense has not grown into a wider movement, like Black Lives Matter or Extinction Rebellion. Now that his very survival is at stake, only such a movement can – perhaps – save him.

Remember the lyrics (written by Joan Baez to Ennio Morricone’s music) of ‘Here’s To You,’ the title song of the movie ‘Sacco and Vanzetti’: “Here’s to you, Nicola and Bart / Rest forever here in our hearts / The last and final moment is yours / That agony is your triumph”?

There were mass gatherings all around the world in defense of Sacco and Vanzetti – and the same is needed now in defense of Assange, although in a different form.

If Assange were to die (or disappear in a US prison cell, like the living dead), that agony will be his triumph; he will die in order to live in all of us. This is the message we all must deliver to those who have held him: if you kill a man, you create a myth which will continue to mobilize thousands.

The message to us from those who are after Assange is clear: We can do what we want. But why does this only apply to them? What they are doing to Assange is radically changing the political weather, so perhaps we need new weathermen.

Tuesday, October 18, 2005

Chinese Anarchist Author Ba Jin RIP


"Loving truth and living honestly is my attitude to life. Be true to yourself and be true to others, thus you can be the judge of your behavior." --- Ba Jin

Ba Jin, 100, Noted Novelist of Prerevolutionary China, Is Dead

Mr. Jin was one of China's most acclaimed writers and the author of several influential prerevolutionary novels about the brutality of Chinese feudal family life.

Ba Jin (aka Pa Chin) is Chinese for Bakunin, (Ba) and Kropotkin (Kin) he took his nom de plume from the influence that Bakunin and Kropotkin had on the Asian anarchist movement at the begining of last century. Their works were translated into Chinese, Japanese and Korean, and influenced the workers movements as well as the left of the anti-imperialist movements in those countries. Anarchist writings were influential with a small sector of the intelligentsia as well amongst the embryonic trade union and worker cooperative movements.

He was influenced as well by Emma Goldman and her individualist anarchism and wrote an essay dedicated to her. It is part of the current Emma Goldman Archives Exhibit, which was shown in Vancouver at the Pacific Labour History Conference, last June, at the downtown Harbour Front Simon Fraser University campus.

John Ames of the Vancouver IWW and I set the display up, (The Edmonton IWW had gotten the Exhibit shown in Edmonton for its first ever presentation in Canada, in 2003. Donalda Casell was the coordinator for the show, she and John collaborated to set it up as part of the Culture and the State Conference.) At Simon Fraser we gave Ba Jin his own section, which attracted enormous interest from the Chinese Canadian students on the campus.

In the West he is an unknown revolutionary Chinese writer whose influence was far broader than even the writings of the psuedo platonist Mao Ze Dong. Mao's writings were far more influenced by the Stalinist school of politically correct writing and the influence of Confucionist story telling. Ba Jin used modernist social realism influenced by his teacher and fellow Parisian exile; the writer Li Jieren.

Regarding Li Jieren's works, C. T. Hsia, in his A History of Modern Chinese Fiction, wrote "I might also mention here Li Chieh-jen on the strength of the superlative praise accorded him in Ts'ao Chu-jen, Wen-t'an wu-shih-nien, 2, 44-45. A French-returned student, Li Chieh-jen, was primarily known in the twenties and thirties for his translation of French fiction: Madame Bovary and Salambo, Maupassant, Daudet, Marcel Prevost, Edmond de Goncourt. From 1935 to 1937, however, Li applied himself to the composition of a naturalistic trilogy about Chengdu, Szechwan, from the Boxers' Uprising to the Republican Revolution of 1911: Ssu-shui wei-lan (Ripples on Dead Water), Pao-feng-yu-ch'ien (Before the Storm) and the three-volume Ta po (The Great Wave). Ts'ao Chu-jen regards these novels as "superior in achievement to the works of Mao Tun and Pa Chin." Ta po, especially, is "a great work, with which Mao Tun's Twilight could hardly hope to compare." Since Ts'ao has the highest respect for Mao Tun, this would make Li Chieh-jen virtually the greatest modern Chinese novelist."

Li Jieren's trilogy also won great acclaim from Guo Moruo, who read these works in Japan in 1937, praising Li Jieren as "the great Chinese Zola," and his trilogy as "the pre-modern Chinese history of fictional pattern," and "the pre-modern record of Huayang Kingdom." Moreover, his well-known student Ba Jin also held Li Jieren in high esteem. Ba Jin once said: "He fully deserves to be the historian of Chengdu, and Chengdu's past gets revived in his novels." In 1979, Ba Jin led the Chinese writers' delegation to France. When asked by a correspondent "Who else can really deserve the title of a great novelist of modern China besides Lu Xun and Mao Dun?" Ba Jin answered: "We still have Li Jieren. He is a great master of realist writings."

Despite the political limitations imposed on him by the regime his youthful contact with Sacco and Vanzetti, the anarchst martyrs falsely accused by the US government of robbery and murder, gave him the strength to suffer through the Maoist revolution.

Pa Chin's career as a serious novelist was immediately blighted with the establishment of the People's Republic in 1949. Thereafter he wrote mainly as a foreign correspondent and produced slim volumes of reportage about the Korean and Vietnamese wars. As a foreign correspondent Pa Chin spent time in Korea (1952), Japan (1961), and Vietnam (1962).

And in a singular irony of historic preportions it was Dante's Inferno that inspired his resistance through out the long tragic dark night of the soul he experienced during the cultural revolution.

That he not only survived the cultural revolution, Stalinism writ large across the face of China, but has been revered by the Chinese for the last thirty years is an indication of how much China has changed since the reforms of 1978. That he is one of the great literary giants of China even today, is a great tribute to the universal appeal of his anarchist inspired writings. That he is hardly known of in the West is one of the greater tragedies and the one of the greatest ironies since he was one of the school of revolutionary modernist Chinese writers who introduced western literature to China.

It is hoped that the tragedy of his anononimity in the West that will be rectified upon the news of his passing.

Due to conflicting biographical details, (and the Chinese tradition of celebrating a birthday a year in advance) Ba Jin was either 100 or 101 when he passed away this weekend.

Also see the Anarchist Archives for more on Ba Jin

This is one of his modern short stories available on-line

When the Snow Melted

by Ba Jin

Words Without Borders - The Online Magazine for International Literature


Revered Chinese Author Ba Jin Dies at 100

Monday October 17, 2005

By ELAINE KURTENBACH

Associated Press Writer

BEIJING (AP) - Ba Jin, one of China's most revered communist-era writers who attacked the evils of the pre-revolutionary era in novels, short stories and essays, died Monday in Shanghai, the official Xinhua News Agency said. He was 100.

Best known for his 1931 novel ``Family,'' the story of a disintegrating feudal household, Ba Jin also translated the Russian writers Ivan Turgenev and Pyotr Kropotkin.

Ba Jin worked well into his later years writing essays and compiling anthologies of his work.

He was part of the young intelligentsia in the early 20th century that looked to Western philosophies - Marxism, anarchism, and liberalism - for solutions to China's backwardness and social inequality.

Born Li Yaotang on Nov. 25, 1904, in the western city of Chengdu, he later changed his name to Ba Jin, taking the first syllable in Chinese of the surname of Mikhail Bakunin and the last syllable of Kropotkin, both Russian anarchists.

No information on survivors or funeral plans was immediately released.

``Never for a moment will I put down my pen. It is kindling a fire within me,'' he wrote. ``Even after I have been turned into ashes, my love, my feeling will not disappear from this world.''

Born to a landlord's family, Ba Jin joined the Chinese anarchists as a teenager.

Ba Jin spent his early adulthood writing fiction and editing anarchist publications, and in 1936 joined the Literary Work Society, an organization of progressive young writers headed by Lu Xun. Most of Ba Jin's heroes were rebels.

In ``Family,'' his favorite work, he portrayed tensions between feudal, patriarchal controls and rebellious youth fighting for personal and social goals.

Another of his well-known novels, ``Cold Night,'' published not long after World War II, told the story of a couple whose dreams are shattered by the war and who become estranged amid disease and discord.

His biographer, Olga Lang, said his works were successful as much for their social importance as their literary significance. He wrote about the restrictions he knew from his upper-class upbringing and examined the plight of workers and peasants.

Ba Jin said he wrote ``to expose enemies. They include all the old traditional concepts, the irrational systems that obstruct progress, all the forces that destroy human nature.''

``Since I'm not good at speaking, I have to turn to writing to express my feelings, my love and hatred, and to let out the fire within me,'' he said.

Ba Jin was branded a counterrevolutionary and purged during the 1966-76 ``Cultural Revolution,'' during which many writers and artists were persecuted and art was completely subordinated to politics. He was labeled a class enemy, banned from writing and forced to clean drains.

He did not reappear until 1977.

Later, at a time when writers were just beginning to take chances again and feel some security about their status, he complained, ``Why is it that our writing cannot be at the forefront of world literature?''

``Where else have authors in the world throughout history gone through something so terrifying and ridiculous, so bizarre and agonizing?'' he asked.

Ba Jin proposed that the government create a museum to the Cultural Revolution so that later generations could learn from its horrors and avoid a repetition. The suggestion was ignored.

In his later years, Ba Jin suffered from a form of Parkinson's disease but still took on several honorary posts such as chairman of the Chinese Writers' Association and a vice chairman of a top government advisory group.

In 1984, he was a guest of honor at the International P.E.N. Congress in Tokyo, and delivered an address entitled, ``Literature in the Nuclear Age: Why do We Write?''

Ba Jin's wife, Xiao Shan, a translator of Turgenev and poet Alexander Pushkin whom he married in 1944, died of cancer in 1972.

Tuesday, October 18, 2005

Death of writer who dared speak the truth
Chronic disease kills Ba Jin after decades as a symbol of intellectual conscience

JOSEPHINE MA, IRENE WANG and AGENCIES in Beijing
scmp.com

Ba Jin: Nobel hope

Ba Jin, one of China's most famous writers, died in Shanghai last night after a battle with chronic disease. He was 101.
Xinhua reported he died at a local hospital at about 7pm after suffering malignant mesothelium cell tumours and other diseases.

Ba Jin's blunt language and his courage in opposing the feudal system made him a symbol of intellectual conscience since he was involved in the May Fourth cultural movement in the early 1920s. He was purged during the Cultural Revolution, but made a comeback as a voice of reason after those turbulent years.

The report said he had been struggling with ill health since suffering a high fever caused by influenza six years ago. While it did not mention other diseases, earlier reports said Ba Jin had been suffering from Parkinson's disease for more than 20 years.

Xinhua was quick to report his death last night, although details of his funeral arrangements were not announced.

Born in Chengdu on November 25, 1904, his parents named him Li Yaotang and gave him the name Li Feigan when he became an adult. He later used Ba Jin as his penname, taking the first syllable in Chinese of the surname of Mikhail Bakunin and the last syllable of Kropotkin, both Russian anarchists.

The authorities held a massive celebration of his 100th birthday in late 2003 - according to Chinese tradition, which counts birthdays a year earlier - although at that time the writer was already seriously ill.

Ba Jin is most acclaimed for his autobiographical trilogy - Family (1937), Spring (1938) and Autumn (1940) - which became classics of modern Chinese literature with their descriptions of the struggle between young intellectuals and their family traditions.

He had long been seen as China's hope for a Nobel literature prize until Gao Xingjian became the first Chinese writer to receive the honour.

Ba Jin lived in Paris from 1927 to 1928. He chose to stay in China after the communist takeover in 1949, but could not escape the fate of many other intellectuals during the Cultural Revolution and was purged by the Red Guards during the late 1960s. It was not until 1977 that he reappeared.

Liu Xinwu , another renowned mainland writer, lamented the passing of Ba Jin. Liu praised him for "speaking the truth" soon after the Cultural Revolution.

"He was able to give the revolution a new identity. [He said] instead of being cruel, revolution should be humane. He also said we should not have personality cults or deify our leaders."

Mr Liu said it required "great courage" to make such comments just after the Cultural Revolution had ended.

Ba Jin received many honorary titles in his later years, including becoming a vice-chairman of the Chinese People's Political Consultative Conference and chairman of the China Writers Association.

Partial excerpt of English translation of Ba Jin's dedication to Emma Goldman

Only you know, when I was fifteen years old, you woke me up and I escaped disaster at the last moment. Then in 1927, in Boston, when two innocent workers {Sacco and Vanzetti ep} were taken to the electric chair by law and the voice of the working class was suffocated, I poured out my anguish as well as sincerity to you and entreated your help. You have consoled me many times with your friendship and encouragement and taught me many times from your rich experience. Your beautiful letters have been a great comfort to me, when I have an opportunity of reading them. E.G., my spiritual mother (you have permitted me to call you in this way) you are a daughter of dreams (L.P. Abbott called you before)...

Now my education, life and consciousness are alked about by those who cannot understand what I wrote, what I think, what is my life. They make me up from their subjective imagination and attack me publicly as well as secretly. Because my novels completely obscure my behaviour and ideas, and result in a lot of misunderstandings, my name is related to nihilism or humanism, although I have written a book of over three hundred pages to explain my ideas (this book is very easy to understand and without a metaphysical term). Those who talk about me never read it. They judged my deas according to one of my short stories, then deduced a variety of strange conclusions and decided which doctrine I belong to. I have been caught in this predicament all these years and cannot get rid of it...

Today I read your autobiography in two volumes, Living My Life. These two books full of life, shocked me greatly. Your roaring of forty years like spring thunder, knocked at the door of my living grave throughout the whole book. At this time, silence lost its effect, the fire of my life was lit, I want to come to life and go through great anguish, immeasurable joy, dark despair and enthusiastic hope, throughout the peak and the abyss of life. I will calmly go on living with an attitude you taught me until I spend my whole life.

E.G., now I will begin to break the ice. I would like to dedicate my new collection of short stories and this letter to you. This collection is the result of my silent period. I spent a lot of care on it. You can find my painful life of recent years in it. In the article, "On the Threshold," you can see yourself. As to your recommendation, I read the great prose poem by Turgeniev so that I knew those women who fled to Paris with Provgesnie's characteristics. Their impressions were engraved in my mind forever. I hope I will meet you...in the near future.


A series of essays by SGI President Ikeda in which he reflects
on his encounters with various world figures
Warrior of the Pen—Ba Jin

When I met the Chinese writer Ba Jin, he repeatedly declared, "Youth is the hope of mankind."

"Youth is the hope of mankind." Ba actually first learned these words from Bartolomeo Vanzetti, an innocent man whose guilty verdict in a politically motivated murder trial in the U.S.A. created a worldwide uproar in the 1920s. Despite many calls for his acquittal, the death sentence was eventually carried out. As a student in Paris, Ba exchanged correspondence with the imprisoned Vanzetti, and a spiritual baton was passed from the prisoner who stood falsely accused and condemned to death to a young student in a foreign land. "May the next generation not commit such foolish, ignorant acts."

When Ba Jin was a guest speaker at a lecture series in Kyoto in 1980, he declared: "I do not write to earn a living or to build a reputation. I write to battle enemies.

"Who are they? Every outdated traditional notion, every irrational system that stands in the way of social progress and human development, and every instance of cruelty in the face of love. These are my great enemies.

"My pen is alight and my body aflame. Until both burn down to ash, my love and my hate will remain here in the world."


My Fourth Uncle Ba Jin (Series of Commemorative Works of Ba Jin's 100th Birthday)
Li Zhi
Beijing: SDX Joint Publishing Company, 2003. Size: 187×258mm; 276 pages.
ISBN 7-108-01982-5
The author Li Zhi who has known Ba Jin for more than 60 years is the son of Ba Jin's elder brother. Ba Jin has exerted considerable influence on Li Zhi throughout his life. The book provides rich and accurate first-hand materials and vivid details which are rarely found in ordinary textbooks and research monographs. The more than 100 pictures in the book include photographs of Ba Jin in different stages of his life, letters, original hand-written inscriptions, portraits, photos of his works, and receipts of donations.

Ba Jin Elected to Contend for 2001 Nobel Literature Prize

Peoples Daily News, China, Friday, May 12, 2000

Nobel Literature Prize Chinese Writers Nomination Committee in the US has made a final decision to elect the Chinese famous writer Ba Jin to compete for the 2001 Nobel Literature Prize.

In a letter to Ba Jin by the Chinese Writers Nomination Committee lauded Ba Jin as the most outstanding writer and thinker in today's China, his literature works of nearly half a century has set him up as a writer enjoying high prestige and respect in world culture circles

Chinese Premier Calls on Renowned Writer Ba Jin

Peoples Daily News, China, Monday, September 01, 2003

Ba Jin, one of the greatest contemporary Chinese writers, Sunday received a visit to his hospital bed from Premier Wen Jiabao, a member of the Standing Committee of the Political Bureau of the Communist Party of China (CPC) Central Committee. Ba Jin is one of the founders of modern Chinese literature and is prestigious for his prolific output and masterpieces like the trilogy "Family", "Spring" and "Autumn", a series believed to be inspired by his own experiences.

Living legend: Ba Jin
Ba Jin is one of the few writers in China who live not on government pay, but on royalties from his writing. On his 80th birthday, he said, "I've lived on royalties all my life. It is the readers who have supported me."

Literary witness to century of turmoil
( 2003-11-24 09:03) (China Daily)

Lost decade

After the founding of New China, Ba Jin was elected vice-chairman of China Writers' Association. For many years he devoted most of his time to his new post and did less creative writing.

If not for the "cultural revolution" (1966-76), Ba Jin might never have felt the impulse to pick up his pen again. Yet at an advanced age, he surprised and profoundly influenced the Chinese intellectual world by revealing the mental and emotional storm that had assaulted him since the end of "cultural revolution."

Ba Jin was severely persecuted during that political turmoil. Having survived, he was rehabilitated and restored to the highest esteem in China. But he is unable to forget his past traumas as many others have done. He keeps the ashes of his beloved wife, Xiao Shan, who died in the "cultural revolution" after being denied medical care, in their bedroom. And terrible nightmares about those years haunt him in his sleep.

"Forgetting" is the thing Ba Jin fears most deeply. He hopes the nation will remember the disaster as long and clearly as possible, and learn from it to avoid similar catastrophes in the future.

For this purpose, he has called for the establishment of a "cultural revolution museum," for he believes "only by not forgetting the past can we be the master of the future" - words artist Yu Feng quotes in her calligraphic work in the museum exhibition.

From December 1978 to August 1986, Ba Jin composed 150 essays, which were first serialized in newspapers and then published as a five-volume collection under the title of "Records of Random Thinking (Suixiang Lu)."

During the eight years he worked on those essays his health was very poor, and many of the articles were written in hospital. It was the need to release his emotion and the responsibility he felt for later generations that forced him to work. "These essays should be my will," Ba Jin told his friend Huang Shang when first starting the project.

In the collection, he records the physical and mental torment the "cultural revolution" inflicted on his family and friends. The volumes include touching memorial essays about his wife and friends, such as Lao She (1899-1966), another top-notch writer who committed suicide after being persecuted.

However, what grieves Ba Jin most in retrospect are his own weaknesses that he said he unconsciously exhibited during those years. And what affects readers most are the relentless self-interrogations and painful repentance he makes throughout the book.

For example, Ba Jin said he followed the movement's instructions to alienate those persecuted. When he was charged, for a period he sincerely believed he was guilty. Weaknesses such as the absence of independent spirit and obedience to mental slavery made everyone unconscious accomplices of the human disaster, he said.

Ba Jin treats himself as an example of the Chinese intellectuals of the time, dissecting his own weaknesses to arouse the consciousness of them all.

A Jeremiah shouting in the wilderness, he has won the highest respect of Chinese readers by his earnest love, loyalty and solicitude to his country and people.

Ba Jin: A Century of Literary Greatness

From 1966 to 1976, the turbulent "Cultural Revolution" swept across China. Along with many other renowned scholars and writers, Ba Jin was sent to the May 7th Cadre School -- which was nicknamed the "cowshed" -- to reform himself through labor in accordance with Mao Zedong's directive. By accident, he got hold of Italian poet Dante Alighieri's Divine Comedy. Kept in the "cowshed" every night, he secretly copied out the Divine Comedy-Hell by hand. In the daytime, either laboring in the field or receiving mass criticism, he silently read the poem.

Reciting Dante's Divine Comedy-Hell helped Ba Jin pick up his courage to struggle through hard times. Actually, Ba Jin's "predestined relationship" with Dante lasted long after he was set free from the "cowshed." In 1982 his translated works won him the Dante International Prize.

"I believe in the future a new Dante will write a new Divine Comedy," Ba Jin once said.


What Can We Chinese Learn from Hans Christian Andersen?

To sing the praises of the true, the good, and the beautiful, to castigate the false, the ugly and the evil:
The theme of singing the praises of the true, the good, and the beautiful can be found in H. C. Andersen's tales like "Thumbelina", "The Little Mermaid", "The Ugly Duckling" and "The Ice Maiden". But such tales as "The Emperor's New Clothes", "The Nightingale" and "The Evil Prince" expressed the theme of castigating the false, the ugly and the evil. Under the influence of H. C. Andersen's tales, the Chinese children's writers also attached great importance to this theme after the May 4th Movement. For example, Ye Sheng Tao described the sincere and friendly affection between the people and depicted the beautiful scenery in his first fairy tale "The Small White Boat". In the fairy tale "Three Butterflies", He Yi recounted how the three butterflies living in the dark world pursued their bright future. It is really a song praising the true, the good, and the beautiful. The fairy tale "Nan Nan and His Bearded Grand-Father" written by Yan Wenjin praised the strong will and the brave and indomitable spirit, and also expressed the feeling of longing for the bright future. Influenced by H. C. Andersen's tales, Ye Sheng Tao also wrote a fairy tale named "The Emperor's New Clothes". Judging by the content, it is a sequel to H. C. Andersen's fairy tale. The theme of castigating the false, the ugly, and the evil can also be seen in contemporary Chinese tales such as "Ever-Lasting Pagoda" by Ba Jin, "The Fairy Tale Writer" by He Yi and "The Red Mask" by Jin Jin.


The Modern Chinese Literature Museum

At the end of the spring of 2000, the Modern Chinese Literature Museum opened in Beijing. The 98-year-old writer Ba Jin is the honorary chairman, and writer Shu Yi, the son of famous Chinese writer Lao She, is the chairman.

Literature Museum an Epilogue for Authors

The museum had an auspicious start. Bedridden for years in Shanghai, 96-year-old 20th-century literary master Ba Jin personally called on President Jiang Zemin to help in the building of the museum in 1993.

Ba said the museum's completion is the last major event in his life. He had dreamed of people looking at the exhibits, a dream that made him laugh with pleasure.


Problems of Far Eastern Literatures
dedicated to the centenary of famous Chinese writer Ba Jin
on June 22-26, 2004
in Saint Petersburg

Ba Jin Biographies and Writings


  • Olga Lang, Writer Pa Chin and his time: Chinese youth of the transitional period. Ann Arbor,
  • Mich,: University Microfilms International, 1985.

  • Nathan K. Mao, Pa Chin. Boston: Twayne, 1978.

  • Cornelius C. Kubler, Vocabulary and notes to Ba Jin's Jia: an aid for reading the novel.
  • Ithaca, N.Y.: East Asia Program, Cornell University, 1976.

  • Olga Lang, Pa Chin and his Writings: Chinese Youth Between the Two Revolutions.
  • Cambridge, MA: Harvard University Press, 1967.

    Works Available in English
    # Autumn in Spring and Other Stories (Gladys Yang). Beijing: Chinese Literature Press, 1981.
    # Cold Nights (adapted by Meg Jump). Singapore: Federal Publications, 1981.
    # Cold Nights (Nathan K. Mao and Liu Tsun-yan). Hong Kong: Chinese University Press; Seattle: University of Washington Press, 1978.
    # Family. Boston: Cheng & Tsui Co.; New York: Doubleday, 1972; Prospect Heights, III.: Waveland Press, 1989.
    # Living amongst Heroes. Beijing: Foreign Languages Press, 1954.
    # Random Thoughts (Geremie Barm¨¦). Hong Kong: Joint Publishing Co., 1984.
    # Selected Works of Ba Jin (Sidney Shapiro and Wang Mingjie). Beijing: Foreign Languages Press, 1988.
    # The Family (Sidney Shapiro). Beijing: Foreign Languages Press, 1958; Hong Kong: C & W Publishing Co., 1979.



    From the book: FAMILY by Pa Chin

    Anchor Books edition: 1972

    INTRODUCTION by Olga Lang



    Pa Chin (Li Fei-kan) is one of the outstanding figures of modern Chinese literature. He was very popular in China during the 1930s and 1940s, especially among the youth who were increasingly influential in Chinese political life in the twentieth century. Pa Chin wrote fiction, literary essays, and political articles, but his best works, and those which made him famous, were his novels describing the life of educated Chinese youth. The most successful of these has been Family, which forms the first part of his autobiographical trilogy, Turbulent Stream.

    Pa Chin owed his popularity to the fact that his young readers readily identified with his characters. In his novels they saw the reflection of their own lives, their own sufferings and struggles. They were attracted not only by his ability to grapple with the crucial problems of the times, but also by his warm humanitarianism and his belief in the ultimate victory of his ideals. Though primarily realistic, Pa Chin's fiction contains a great deal of romanticism which struck a responsive chord in his young readers.

    Pa Chin did not belong to the most influential political movements of the period. At the age of fifteen he became an anarchist, and he continued to identify with anarchism until the Communist revolution of 1949. Few of his readers, however, followed in his political footsteps: the majority of those who became politically active joined either the Kuomintang or the Communist Party. Pa Chin, nevertheless, did influence them. True to his anarchist ideas, he taught them to rebel against despotism and oppression in every form. A particular target of his attacks was the old Chinese family system, which deprived the young of their freedom of action and their right to love and marry according to their own choice. Young men and women growing up during a period in which they felt they had "to shoulder the responsibility for their country," as Pa Chin put it, often asked the question: "What is to be done?" Pa Chin gave them an answer. He called for action and tried to convince his readers that the only effective way to act was the revolutionary way. In his fiction and essays he presented models for emulation in the Russian revolutionary idealists of the nineteenth and early twentieth centuries as well as in the Chinese revolutionaries of his time.

    Like so many other intellectuals of his generation, Pa Chin keenly felt the impact of Western political and moral ideas and literary trends. His disposition, his innate craving for freedom and justice, led him to embrace the Western humanist tradition. Three Western ideologies were of primary importance in the formation of his political ideas: international anarchism, Russian populism, and the French Revolution.

    The greatest literary influences on Pa Chin's works were the Russian classical writers, above all Turgenev, as well as the memoirs of Russian revolutionaries. But he was also influenced by French writers, especially Zola, Maupassant, and Romain Rolland. All these influences were superimposed on the style and methods inherited by the young writer from the magnificent old Chinese realist novels and short stories and from Chinese poetry. It must be stressed, however, that when Pa Chin used foreign ideas and literary devices he did so because they helped him to perceive and represent the new realities of Chinese life, which often bore a closer resemblance to Western life than to that of Old China. In many cases the resemblance between the situations and motivations described by Pa Chin and those apparent in Western literature are due less to influences and borrowings than to the similarity of circumstances described. This also explains the preponderance of Russian influence. As he himself once put it, "I liked them [the Russian writers] tremendously because the conditions of life in Russia resembled those of the Chinese people of that period. The character, the aspirations, and tastes of the Russians were somewhat similar to ours."

    The reader of Family will see, however, that foreign influences did not change the essentially Chinese nature of Pa Chin's novels. At the same time the poetic quality of his descriptions and the vividness of his characters lend them a universal appeal.

    In many respects Pa Chin was a typical Chinese intellectual of the twentieth century. Even his fascination with anarchism could be found in the biographies of many men and women who played an important role in shaping the life of China in our time, including some prominent members of the Kuomintang and the Communist Party.

    Pa Chin was born in 1904 of the wealthy and educated Li family in Chengtu, the capital of the province of Szechuan in southwest China. From the age of twenty-three, when he signed his first novel Destruction, the journalist, known until then as Li Fei-kan, used the pen name Pa Chin under which he became famous. He chose this name to express his adherence to anarchism; "Pa" in Chinese transcription stands for the first syllable of the name Bakunin and "Chin" for the last syllable of the name Kropotkin. Those who gave him the name Fei-kan drew their inspiration from an entirely different source: these words, meaning "sweet shelter," were taken from the Book of Odes, one of the ancient sacred books of China.

    The change from Fei-kan to Pa Chin is symbolic of the great change that took place in China during the writer's life time. When Pa Chin was born the structure of the old Empire was still standing, though already deeply shaken by foreign aggression and internal strife. In 1911-12, when he was seven years old, the monarchy was overthrown and the Republic proclaimed. His adolescence and early youth spanned civil wars, the victory of the Kuomintang (Sun Yat-sen's Nationalist Party) over the warlords, and the appearance on the Chinese scene of the Communist Party, soon to develop into a formidable force. The time when he became an influential writer coincided with the twenty-first year of Kuomintang rule and the war with Japan. He was a mature man of forty-five when, in 1949, the Communist Party seized power, and he lived through the tumultuous years of the establishment of socialism in his ancient country.

    The first nineteen years of Pa Chin's life were spent, with a short interruption, in the large family mansion in Chengtu, a household consisting of fifty Li family members and their forty-five servants, ruled autocratically by his grandfather. After his parents' death, the twelve-year-old boy was very unhappy and lonely in this family, which he called "a despotic kingdom." He felt the pressure of his grandfather's iron hand especially painfully when the old man forbade him to enter a modern school. But after the grandfather's death in 1917 the family had to yield to the wishes of the younger generation. Without the authority of the strong-willed patriarch, the family could not resist the fresh wind of change created by the New Culture Movement of 1915-22 (also known as the May 4th Movement). The initiators of this movement were convinced that in order to survive as a free and independent state, China had to reject completely the traditional outlook on life, particularly Confucianism, and to create a new culture. Most significant was the demand for a leading role of youth in the new China. And the New Culture Movement itself provided the first example: it was initiated and led exclusively by the younger generation of professors and students.

    In working out the principles of the new culture the participants of the movement accepted from the West not only its technology, as did some enlightened members of the older generation, but also many of its political, social, and moral values. The publications of that time were full of material intended to familiarize readers with various Western political, social and philosophical theories, including Marxism and anarchism. Anarchism was already rather influential among the radically inclined intelligentsia at that time, and Marxism gained momentum after the Russian Revolution of 1917. The importance of science and democracy, the respect for the individual and his duty toward society, and a critical attitude toward life and ideas were especially emphasized. An important feature of the New Culture Movement was the impetus it provided for the tendency to establish the spoken language as the literary medium in place of the dead classical language. Simultaneously new themes, new style and new content reflecting modern life and ideas were introduced into literature. All these and also some Western influence had a beneficial effect on Chinese literature and the subsequent three decades belong to one of the most productive periods in its history.

    In 1919 the youth actively and successfully intervened in Chinese political life. In a demonstration on May 4th the students of Peking University initiated a protest movement against the decisions of the Versailles Peace Conference which were detrimental to China's interests. The initiative of the young intellectuals found wide support among the people of China, and under the pressure of public opinion, the Chinese delegation at Versailles refused to sign the peace treaty. This political action provided a great stimulus for the New Culture Movement. Periodicals and books spreading its ideas filled bookstores all over the country, and the anarchist groups numerous at that time greatly contributed to this flow.

    In due course the wave of the movement reached the city of Chengtu, and the new literature came into the hands of the fifteen-year-old Pa Chin. From early childhood the sensitive, frail boy was sympathetic to the poor and oppressed. He realized that his grandfather's mansion harbored two worlds: the upper world where the family lived, and the lower world--the cold dingy rooms relegated to the servants. "I don't want to be a young master," he decided, "I want to be on their [the servants] side, I want to help them." Lonely and not understood by his family, the boy found his friends in books. He was greatly impressed by the new literature which helped him articulate his desire "to sacrifice himself for the happiness of humanity." Of decisive importance in his life were the popular anarchist publications in Chinese translation: Kropotkin's "An Appeal to the Young," Emma Goldman's articles on anarchism, and a drama called On the Eve, depicting the life of Russian revolutionary terrorists before the 1905 revolution. These books decided Pa Chin's fate; he became a "Kropotkinite"--an anarchist-communist--and found in Emma Goldman his "spiritual mother."

    The next step was the desire to carry his ideas into practice, and the young man joined the local anarchist group. He became the group's most active member, taking part in the students' demonstrations against the local war lords, distributing revolutionary leaflets, and organizing a reading room on the premises of the local anarchist journal, to which he began to contribute articles. Thus at the early age of fifteen Pa Chin became an anarchist and a writer.

    Relations between the young members of the Li family improved at that time, when many of them became interested in the new trends. Pa Chin was especially fond of his eldest brother. Yet his greatest emotional satisfaction was derived from his friendship with the members of his group. From then on friendship played a great role in his life and in the role of the characters in his fiction.

    This period of Pa Chin's life gave him the material for his trilogy, Turbulent Stream.

    In 1923, after an energetic struggle, he won the consent of his family to continue his studies in a big city, and moved first to Shanghai and then to Nanking. In 1925 he graduated from a high school in Nanking but he did not enter the University of Peking as he had planned. He was carried away by a new upsurge of the revolutionary movement in China, the May 30th Movement, which derived its name from the date of the great demonstration in support of the striking workers of a Japanese-owned factory in Shanghai. The demonstration was brutally suppressed by the British police of the International Settlement and many of the participants were killed.

    After May 30th Pa Chin lived in Shanghai and was very active in the anarchist movement. He translated from English, French and Esperanto, wrote on social and political problems, and did some work in the trade unions. The most important of his works at that time was a pamphlet called Chicago Tragedy, telling the story of the Haymarket affair of 1886 in which five Chicago anarchists were sentenced to death on trumped-up charges.

    In the 1920s the anarchist movement in China, as everywhere in the world, was on the decline. Many of its adherents were forsaking it for the Kuomintang and the Communist Party, which promised more practical ways to achieve their aims. The cause of communism was greatly helped by the victory of Bolshevism in Russia and by the Soviet government's abrogation of unequal treaties. But Pa Chin remained faithful to anarchism. He was a young man imbued with a feeling of compassion for the people and a desire to help them, with a craving for justice and freedom. Anarchism, striving for a happy, just and free society, through the teaching of Kropotkin, which has been aptly described as "applied ethics," was his choice. It was also the choice of other idealists who abhorred "the practical ways" of the Communists who accepted the cruelties, human sufferings and lack of freedom in the Soviet Union on the ground that the end justifies the means, an explanation Pa Chin considered thoroughly immoral.

    Pa Chin and a few other genuine anarchists were modern counterparts of those idealists, poets, and dreamers of Old China who adhered to the teachings of Buddha and Lao Tzu instead of following the practical ways and becoming Confucian scholars and administrators.

    His disappointment not in the anarchist ideal but in the results of his work in Shanghai were responsible for Pa Chin's decision to study in France. Studies abroad were not unusual for Chinese intellectuals of that time. But Pa Chin left China during one of the most critical moments of the Chinese revolution, January 1927, when the revolutionary nationalist army was moving toward Nanking and Shanghai. He knew that it was not the right thing to do for "a sincere anarchist." But evidently, for all his devotion to the cause, Pa Chin was not a political fighter. He was an artist. During the next few years this became evident.

    Pa Chin spent the next twenty-two months in Paris and in the small town of Château-Thierry on the Marne, with occasional trips to London. These two years greatly widened his cultural and political horizons and provided the intellectual stimulation and experience necessary for a writer. Contrary to his family's expectations, he did not pursue much formal education, except for his study of the French language, but he read widely in philosophy, economics, and social problems as well as in Western fiction, mainly Russian and French. At that time he became thoroughly familiar with the history of the Russian populist movement, in which he found a rich source of inspiration for his writings.

    No less important was Pa Chin's involvement in political life. He immediately joined the Chinese anarchist group in Paris and became associated with anarchists and other exiles of various nationalities, including such prominent figures as Alexander Berkman and T. H. Keell (London). He continued his correspondence with Emma Goldman, begun in 1924 when he was still in China, and began to exchange letters with the Austrian anarchist Max Nettlau. He also associated with middle class and working class Frenchmen. His greatest emotional experience at that time was the execution of Sacco and Vanzetti in August 1927. While still in China he had participated in the campaign for new trials for these Italian-American anarchists. In Paris he read Vanzetti's autobiography, and, fascinated by this unusual man, wrote him a letter, received an answer and from then on referred to him as his "beloved teacher."

    But as submerged as Pa Chin was in Western culture and the Western revolutionary movement, he never became an expatriate and constantly kept in touch with China and its problems. He was a frequent contributor to anarchist periodicals in Shanghai and to the journal Equity published by the Chinese anarchist group in San Francisco. His translation of Kropotkin's Ethics: Origin and Development, "immortal masterpiece," as he called it, was done for a Shanghai anarchist publishing house.

    The break between the Kuomintang and the Chinese Communist Party and the massacre of Communists in Shanghai on April 12, 1927, was of course heatedly discussed in the meetings of the Chinese anarchist group in Paris, and Pa Chin and his friends were definitely against the Kuomintang in this conflict.

    Not only the contemporary events in China but also those of the recent past were constantly on Pa Chin's mind. In Paris he wrote his first novel, Destruction, in which he described the life of Shanghai revolutionists, and whose protagonist is recognizable as an autobiographical figure. The novel deals with problems of the greatest concern for revolutionists: the main motive of revolutionary activities, i.e. love for the oppressed or hatred of their enemies; the right to personal happiness; terror as a method of revolutionary struggle. Pa Chin also dealt with the last problem in an article entitled "Anarchism and Terrorism." He was against political assassinations. "There is no other way to bring about anarchism but an organized mass movement," he said. But he was sympathetic toward the terrorists and held the present immoral society responsible for their desperate acts. After finishing his novel Pa Chin sent it to a friend in Shanghai. When he returned to Shanghai in December 1928 he discovered that it had been accepted by a leading literary journal, The Short Story Monthly.

    Although he had already written his first novel, upon his return to Shanghai Pa Chin considered himself primarily a political writer. Even when it became clear that Destruction was a great success, he still did not recognize himself as a creative writer par excellence. He continued to translate, finishing Kropotkin's Ethics, the work he considered his revolutionary duty and which "gave him courage [and] strengthened his faith" at the time of the consolidation of the reactionary Kuomintang government and the growing menace of Japanese aggression. Another important work of that time was the book From Capitalism to Anarchism based on Alexander Berkman's Now and After: The ABC of Communist Anarchism.

    But "in his free time" Pa Chin continued to write fiction. His first volume of short stories, describing the Westerners he had met in France, aroused considerable interest, since Westerners were rare figures in Chinese fiction. The readers also liked the new Western literary devices in Pa Chin's stories. The Setting Sun, a novel set against the background of the May 30th Movement and which dealt with foreign aggression and the role of bourgeois intellectuals in the revolutionary labor movement, was also favorably received by the critics.

    In 1931 Pa Chin wrote the novel Family, his masterpiece. The topic was a timely one. The struggle for the liberation of youth and women from the fetters of the old patriarchal family system had been going on for many years. The New Culture Movement gave it an impetus and many outstanding writers and scholars supported it. But the battle was not yet won. In the eldest brother Kao and the other young victims of a family dominated by old men and old traditions, many young men and women recognized themselves, their friends and brothers. Many of them found courage reading about the rebellion and victory of the younger brothers Kao. The poetic and tragic figure of the slave girl Ming-feng, the vivid dialogues and descriptions of the family and youth group life fascinated the readers. The novel was a tremendous success and it definitely brought Pa Chin into the ranks of first-class writers. For many years Family was the favorite book of Chinese students.

    Two more novels followed: New Life, a sequel to Destruction, dealing with an intellectual who overcomes his despondency and loss of faith in the revolutionary movement, rejoins the fight and dies a heroic death; and Fog, the first part of the trilogy Love. Then appeared new collections of short stories. Pa Chin's artistic skill was developing. In 1931 he began to consider himself a "regular writer of fiction." He was full of energy and apart from fiction wrote political articles, literary essays, and book reviews, and devoted much time to editorial work.

    The year 1931 marked the beginning of difficult times for China. In September the Japanese army occupied Manchuria and in January--February 1932 the Japanese attacked Shanghai. Pa Chin's house was occupied and looted by the Japanese soldiers and the manuscript of his novel New Life was burned in a fire in the printing office. The acute feeling of indignation and national danger prompted Pa Chin to write a novel, Dream on the Sea, the story of a country occupied by foreign invaders, easily recognizable as China and the Japanese. The story is a passionate indictment of the invaders, of the foreigners who sympathized with them and of the upper class collaborators, with praise for the resistance offered by the common people and revolutionary intellectuals.

    Almost all of Pa Chin's novels dealt with the intellectuals. But after his extensive travels in North and South China, described in detail in two travelogues, peasants and workers began to appear in his stories; one of the best of these stories is "Dog." In 1933 Pa Chin wrote the rather successful novel Snow, based on his own observations of a coal miners' strike in North China.

    In 1934 Pa Chin finished the trilogy Love, which consisted of three novels, Fog, Rain, and Lightning, and a novelette Thunder. The trilogy describes the life of revolutionary intellectuals and (in Thunder and Lightning) their work in mass organizations. In a series of dramatic episodes, tense dialogues and interior monologues, it tackles many vital problems: the purpose of human life, political convictions, revolutionary tactics, friendship, loyalty, family, love. In spite of the trilogy's title, love does not play the main role in the life of its characters. "More important for them is their faith," said the author. Like almost all of Pa Chin's fiction, Love has a didactic purpose: to show the readers how to live and to give them a model for emulation. Pa Chin considered Love his favorite work. The critics and the public did not agree with this judgment and found some of his other works, in particular, Turbulent Stream, to be greater achievements.

    Pa Chin wrote with enthusiasm, regarding his literary work as a mission. He felt "an inner urge to describe the life, feelings and ideas of Chinese youth and to influence life with my writings." This attitude toward literature naturally brought him close to those writers who advocated "art for life's sake" rather than to those of the "art for art's sake" school. But sharing anarchist distrust of organizations, he did not join any of the literary groups of his time. As an anarchist he was an avowed enemy of the Kuomintang regime. Some of his books and the books of other anarchists were banned, and in 1934, afraid of being arrested, he escaped to Japan for a while. This situation naturally brought him close to the other enemies of the regime, the Communists, with whom he shared some views on the aim of literature. But his cooperation with the Communists did not proceed smoothly. Some of the left wing critics praised Pa Chin but more often he was reproached for being a "petty bourgeois writer" who "does not understand history, does not understand revolution" and attacked for his "vague humanitarianism" and adherence to anarchism. His defense of the Spanish anarchists during the Spanish Civil War (1936-38) also made him a target of attack by the adherents of the Communist Party line. His refusal to join the Chinese Writers' Organization in 1936 was denounced as an attempt to wreck the writers' united front for resistance against Japan. This reproach was utterly unjust and the great writer Lu Hsün, who valued Pa Chin highly, came out in his defense. Pa Chin warded off these attacks but they did hurt him, especially when the critics spoke of his "petty bourgeois origin." Like many other left wingers (not only in China) he was ashamed of not hailing from a worker or peasant family which would have been a guarantee of a correct attitude toward life.

    In general, in spite of his great success and his readers' devotion, Pa Chin was not happy and was not at all convinced of the usefulness of his literary work. It is also evident from his writings that he felt guilty about drifting farther and farther away from his work in the anarchist movement after he became a popular fiction writer. In almost all his writings Pa Chin called on his readers to rebel against the establishment and to recognize that progress can be achieved only at a price of great sacrifice. But he felt it hard to demand these sacrifices from the young people whom he loved so much. Moreover he often asked himself, "What right have I to do that? What did I sacrifice for the sake of the people?" All these scruples and torments show what an honest and sensitive person Pa Chin was. And it should be remembered that until 1947 he never expressed his doubts and despair in his works of fiction, all of which are basically optimistic. Even the sad "cries of the soul," as he calls them in his autobiographical works, always end in a proud positive assertion that he "never lost his faith," the faith in a better future for humanity.

    After the war with Japan finally broke out (July 7, 1937) Pa Chin eagerly participated in the struggle against the enemy. In his attitude toward war Pa Chin did not follow the orthodox anarchist view that "a man ought never to fight except in the social revolution." He could not consider the Japanese invasion merely a conflict between the Chinese and Japanese ruling classes, the outcome of which was irrelevant for the working people. Yet during the war Pa Chin repeatedly stressed his continued faith in anarchism. Maybe he felt that to fight against foreign aggression was compatible with anarchist ideals, remembering that two famous anarchists whose names he adopted as his own also did not "stand above the battle": Bakunin during the Franco-Prussian War of 1870 and Kropotkin during the First World War.

    Pa Chin spent the war years (1937-45) moving from one city to another in the part of China not occupied by the Japanese. At that time he was one of the leaders of the "All China Association of Artists and Writers for Resistance to the Enemy." He edited periodicals dedicated to the cause of resistance and worked in the publishing house "Culture and Life," whose editorial director he had been since 1935. He also participated in the translation and publication of Kropotkin's most important works. And of course he continued to write fiction.

    In the two first parts of the novel Fire, the bard of Chinese youth described their lives and deeds during the first years of the war. He depicted in volume one their participation in the battle for Shanghai in the fall of 1937 and, after the retreat of the Chinese army, in the underground resistance against the Japanese. In volume two we see the youth group spreading propaganda for the war of resistance among the peasants near the front. At about the same time (in 1939-40) Pa Chin wrote the second and third parts of Turbulent Stream, the novels Spring and Autumn in which he portrayed the development of three young members of the Kao family into rebels and revolutionists and the destruction of those who submit to the cruel family authority. The two first volumes of Fire, the novel Spring and to a lesser extent the novel Autumn are imbued with an optimistic spirit. Undaunted by the series of defeats, Pa Chin believed in final victory because he believed in the fighting spirit of the Chinese people.

    During the last two years of the war, however, a mood of apathy and exhaustion permeated those parts of China occupied by the Japanese and ruled by the Kuomintang government, and this reflected also on Pa Chin. He was restless, unhappy and often sick. His restlessness expressed itself in his renewed philosophical quests and his interest in Christianity, although he remained an atheist. In the third volume of Fire he described the cooperation of young revolutionary atheists with Chinese Christians in the war. In contrast with Pa Chin's other novels, the protagonist of the third volume of Fire, a Christian minister, is not a young man. It is significant that he is presented as a very attractive figure. In this part of the novel Pa Chin again asserts his belief in victory and the possibility of all men of good will to work together. But streaks of sadness appear here more often than usual in Pa Chin's works and it has a sad ending. The good minister dies. The revolutionist who worked underground in Shanghai is betrayed and killed. His girl, who returns to Shanghai to avenge his death, fails in an attempt to assassinate a collaborator responsible for his death and also perishes. Moreover the novel shows a gallery of repulsive characters among the modern Chinese youth. Sad too is the charming novelette The Garden of Rest (1944), a psychological family story unrelated to the war.

    After the Japanese defeat in 1945 Pa Chin returned to Shanghai. He translated Kropotkin and other writers, wrote short stories, published a book of obituaries of his deceased friends, and finished two novels started during the last year of the war. One of them, Ward Number Four (1946) describes the terrible conditions in a wartime hospital and the vain attempts of an idealistic woman doctor to change them. This ward looks very much like a symbolic picture of Kuomintang China of that time.

    Another novel, The Cold Nights, along with Family is one of Pa Chin's masterpieces and ironically became the last novel he was destined to publish. The action takes place during the last years of the war. The protagonists, Wang Wen-hsuan and his wife, now in their thirties, had been idealists in their youth. Now they are completely absorbed in their personal affairs and the struggle for existence. Like so many other intellectuals in war time, they live in an atmosphere of privation and disease. Their family life is very unhappy, and Wen-hsuan's devoted and possessive mother further aggravates the situation. Finally the wife, a healthy and vivacious woman, leaves her sick husband. He dies soon after the Japanese surrender. Gloom penetrates the life of poor people at the end of the war. One of the last sentences of the novel is pronounced by a woman on the street who says, "Victory is for them, not for us. We have not made profit out of our country's misfortune. Victory does not bring us luck."

    This novel, more than any other written after 1943, reveals the unhappiness that took hold of Pa Chin at that time. After the war the situation in Kuomintang-ruled China went from bad to worse. The trend to the right in the government, the shameless corruption in the administration, the continued misery among the people, the constant terrorism against the dissenters--all these further alienated from the government even those intellectuals who did not share Pa Chin's condemnation of the capitalist regime. On the other hand the record of the Chinese Communists during the war was one of considerable achievement and presented a picture of integrity and dedication to the ideal of socialism which Pa Chin so cherished. The difference between these two images must have been of great importance when, after the Communist victory, he decided not to leave his country. Here again Pa Chin acted as a typical Chinese intellectual. The majority, including the major Chinese writers and many anarchists, did not emigrate. Pa Chin shared their fate also in the next twenty-odd years.

    During the first seventeen years after the establishment of the Chinese People's Republic, Pa Chin was accepted by its rulers. They knew that in spite of his past criticism of the Russian and Chinese Communists Pa Chin helped to create among the intellectuals an emotional climate which induced them to accept the Communist revolution. The revolutionists in his novels and short stories attacked not only Old China but also modern capitalism as "the systems obstructing the development of society and of human personality," as "the forces destroying love." Many of the moral values which Pa Chin inculcated into his readers were in keeping with Communist ideas: to sacrifice oneself for the cause, to live for others, to enjoy group living, to practice self-criticism. During the time of the Russian-Chinese honeymoon in the 1950s, Pa Chin also benefited by the friendly attitude toward him in the Soviet Union. His anti-Soviet articles and remarks published in the obscure anarchist journals were forgotten or forgiven. The Soviet critics evidently realized that Pa Chin's high respect for the nineteenth-century Russian revolutionists greatly increased the popularity of the Bolsheviks who were--rightly or wrongly --considered as their heirs.

    Pa Chin had to pay heavily for this acceptance, however. He was often criticised and many concessions were demanded of him. The new editions of his works were published only after thorough revision. He began by removing from his stories everything that revealed his characters' anarchist identities and even sympathies: the titles of the books they read, pictures on their walls, quotations from anarchist authors, mention of their names. Then he removed all traces of his own adherence to anarchism from his purely autobiographical works. Finally in 1958 he had to make an open break with his past, attributing his adherence to anarchism and admiration of Kropotkin to his "petty bourgeois feelings" and "lack of power of judgment."

    These changes have destroyed the historical value of his purely autobiographical works. The new expurgated editions no longer present a true portrait of a young Chinese intellectual of the 1920s and 1930s. The removal of anarchist traits from his works of fiction did not affect them that much: Pa Chin always preferred not to present his characters as anarchists. Only politically experienced readers could see their true identity. For average readers they were just revolutionaries, enemies of the establishment. But some of the concessions he had to make in the 1950s did hurt the artistic value of his stories, especially when he had to give them happy endings. Why did he make all these concessions? Why did he repudiate his "beloved anarchism," his teacher Kropotkin, his "spiritual mother" Emma Goldman? What had he to undergo when doing that?

    We have no way of knowing. But perhaps the following speculation can provide some clues. To begin with, there was a social revolution in China, an event he had advocated his whole life. What emerged as a result of it did not conform to his image of a free and happy society, but some features of the new life in China must certainly have met with his approval. He shared fully the condemnation of the Kuomintang regime so often used in Communist propaganda and was completely sincere when be related the stories of the hard life of the peasants and workers in the past. And he certainly was happy to see that the material life of the common people was constantly improving and that there was a new dignity in it after the revolution. There can be no doubt that he expressed his own ideas when joining in the attacks on the survival of the old family system. The criticism of "petty bourgeois intellectuals" and their selfishness also was not new to him. Maybe his desire to become an organic part of the new society was strengthened also by the fact that in post-revolutionary China the Communists set more value on ethics than they had before. And as to freedom, maybe he still hoped that it would not be restricted forever and that "future generations will see it," as he had said in 1930.

    He tried hard to become a disciplined member of the new society. Did he succeed?

    During the first seventeen years of the Chinese People's Republic Pa Chin was a respected "writer of the last generation." His old books in new expurgated editions sold well. A play based on Family was often performed. Two films were made of this novel, two more were based on Autumn and Cold Nights. He lived in Shanghai in comfortable circumstances with his wife, whom he married in 1944, and their two children. His readers continued to write to him. He occupied leading positions in the writers' and artists' organizations, often represented China at various international conferences, and was even a deputy in the National People's Congress. But was he happy?

    To be happy the writer has to write. Yes, he did write: short stories, essays, accounts of his travels, appeals for peace, commentaries on his works and he did editing and translations. "But I am not satisfied either by the quantity or by the quality of my works," he wrote in 1961. He could not but feel that nothing of significance had come from his pen since 1949. His stories were flat and he did not publish a single new novel--a literary genre in which he formerly excelled. "It is difficult to describe one's heroes in the imposed style," he said to the French writer Simone de Beauvoir in 1956. It was also obvious that he could not approve of all that he saw around him. He had misgivings and as soon as an opportunity arose he would voice them.

    In 1956-57, during the "Hundred Flowers Period" when Mao Tse-tung proclaimed a new era under the slogan "Let the hundred flowers bloom, let the hundred schools of thought contend," Pa Chin, like scores of other intellectuals, trustfully followed Mao's invitation to express his criticism. It was a loyal and constructive criticism inspired by a desire to improve the life in his country. But the flowers of criticism did not bloom long. They were not as red as Mao wanted, and the era of permissiveness came to an abrupt end. Pa Chin was severely scolded in the press for his temerity and, following the rules of the game, he admitted his mistakes, blaming them on his "feudal-bourgeois origin." But as soon as the new relaxation came in 1962, when the party seemed to tolerate and even promote a more creative and spontaneous style in literature, Pa Chin came out with a speech under the title "Courage and Sense of Responsibility of Writers." It was a strong protest against the literary bureaucrats and an admonition to writers to be fighters, to uphold the truth and their own vision of reality.

    During the Cultural Revolution (1966-68) Pa Chin was severely punished for these and previous expressions of his true opinions. The Cultural Revolution was perhaps really meant by Mao as an onslaught against the bureaucratism, inequality, and ossification which began to dominate life in China at that time, but in fact it hit the intellectuals hardest and Pa Chin was one of the victims. His books, together with the books of other writers of his generation and the works of Chinese classical literature, were removed from bookstores and libraries and in some cases even burned. Pa Chin was again criticised and compelled to criticise himself in an open meeting. A most vicious attack on him was launched by the Shanghai newspaper Wen-hui on February 26, 1968. Pa Chin was denounced as "the big literary tyrant" and "the oldest, most notorious anarchist in China." "In 1930," the newspaper said, "he had vigourously attacked the Soviet Union and the Bolshevik Party led by Stalin but his real target was the Chinese Communist Party ... he actually dared to point the spearhead of his attack on our most revered and beloved leader Chairman Mao. He really deserves to die ten thousand deaths for his crime ..." Pa Chin's attempts at criticism were recalled and used as proofs of his "counterrevolutionary anti-Maoist attitude." The attack on Pa Chin gave the authors of this article another opportunity to strike at those party leaders who were now declared enemies of Mao, and to accuse them of the desire to restore capitalism in China. They allowed Pa Chin to function as a "progressive old writer."

    A few months later the Red Guards carried into practice the threats contained in this article. These members of the new generation of Chinese youth whom Pa Chin loved so much ransacked the writer's house and destroyed his Chinese art objects as well as his library, which was said to contain one of the best collections of anarchist literature in the world. Similar outrages were perpetrated against hundreds and perhaps thousands of writers, professors and other intellectuals. Finally, on June 20, 1968, Pa Chin was dragged to the People's Stadium of Shanghai. Those present and those who watched the scene on television saw him kneeling on broken glass and heard the shouts accusing him of being a traitor and enemy of Mao. They also heard him break his silence at the end and shout at the top of his voice, "You have your thoughts and I have mine. This is the fact and you can't change it even if you kill me." This desperate cry speaks not only for Pa Chin. For a while Pa Chin was kept under virtual house arrest.

    Then, as rumor has it, this sick old man was "sent to labor for reeducation."

    But now the Cultural Revolution has abated. Pa Chin and some other intellectuals who survived the ordeal returned to their homes. It seems that now in China they have a desire to forget the hardships of the recent past. If Pa Chin's books again become accessible to Chinese readers, there is no doubt that they will be read.

    Olga Lang

    New York, 1972

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    Monday, November 12, 2007

    The Anarchist Nov 11

    There is A different reason to commemorate Nov 11 for anarchists, it was the day that the Haymarket Anarchists were hung in 1887. And like Sacco and Vanzetti they too were subject to nativist reactionary anti-immigrant hysteria and the anti-worker/anti-socialist fears of the Chicago ruling class.

    Today the same hysteria is used to justify the so called War on Terror.

    The labour and socialist movements globally usually commemorate their efforts to win the right to the eight hour day and the right to organize unions, on May Day.

    The date of their state sanctioned assassination often gets overlooked. And that day was November 11, 1887.

    11 November 2007 is the 120th anniversary of the execution of the anarchist Haymarket martyrs: George Engel, Adolf Fischer, Albert Parsons and August Spies. Is it just ancient history to today's anarchists?

    In November We Remember: The IWW & the Commemoration of Haymarket
    By Franklin Rosemont
    The 1886 Chicago Haymarket Bombing and the Rhetoric of Terrorism in America
    The Yale Journal of Criticism - Volume 15, Number 2, Fall 2002, pp. 315-344

    The Johns Hopkins University Press
    Jeffory A. Clymer - The 1886 Chicago Haymarket Bombing and the Rhetoric of Terrorism in America - The Yale Journal of Criticism 15:2 The Yale Journal of Criticism 15.2 (2002) 315-344

    The 1886 Chicago Haymarket Bombing and the Rhetoric of Terrorism in America Jeffory A. Clymer [Figures] On 4 May 1886, about two thousand Chicagoans gathered at Haymarket Square to protest against the city's police, who had shot and killed at least two striking workers outside the McCormick reaper factory on the previous afternoon. The demonstration was peaceful, and only a few hundred people remained when, late in the evening, 170 Chicago policemen suddenly arrived and demanded that the protesters disperse. Nonplused by the anticlimactic arrival of the police at the close of a peaceful rally, Samuel Fielden, the evening's last speaker, pointed out the meeting's non-violent nature in response to the peremptory dispersal order. At this point in the exchange, someone tossed a dynamite bomb into the police ranks. The explosion immediately killed Officer Mathias Degan, wounded several others, and prompted a cacophony of gunfire, most of it from police pistols. In the chaos, the police shot several of their own officers as well as many of the fleeing civilians. While the number of dead among the police rose to seven over the next few days, the actual number of casualties among the protesters, like the bomb thrower's identity, was never determined.

    READY FOR THE SCAFFOLD.
    Brave While Being Shrouded - Good-by to Fielden and Schwab.

    The deputies who were with the four during the half-hour before the processions was formed were greatly impressed with their courage and fortitude. About this time Parsons received a telegram from San Francisco, signed "Four Citizens." It ran as follows:

    Brave Parsons. Your name will live long after people will ask, "Who was Oglesby?"

    Parsons took a pencil from his pocket and indorsed it on the back, "A. R. Parsons, Nov. 11, 1887." and handed it to Bailiff Wilson B. Brainerd, saying: "I will make you a present of this as a relic."

    [four signature cards, clockwise]

    Anarchy is Libery!
    Adolph Fischer,
    Cook Co. Jail,
    Nov 11th '87.

    A. R. Parsons
    Liberty or Death
    Nov. 11 1887

    A Spies

    G. Engel

    11 November 1887

    Execution of the Haymarket Anarchists


    Illinois - The shadow of death, Will Chapin artist
    1887, November 12 New York : Frank Leslie's Illustrated Newspaper

    BG D23/709

    On 11 November 1887 the prison in Illinois is preparing for the execution of Parsons, Spies, Fischer, and Engel, the Haymarket anarchists. The Haymarket Affair started in May 1886 when a mass meeting was held in the Chicago Haymarket in the course of a strike for the eight-hour workday. When the police ordered the protest meeting to disperse, a bomb was thrown by an unknown person, killing several officers. Four anarchists were accused. The drawing in Frank Leslie's Illustrated Newspaper shows the scaffold, complete with a trap door. The balcony outside the cells was on the same level. At the back was a large box in which the hangman waited to release the rope for the trap door. At the execution Parsons could not be prevented from speaking his last words: "Let the voice of the people be heard!"



    Fischer, Adolf (1859-1887)

    "This is the happiest moment of my life."

    Adolf Fischer, a German anarchist, was a principal leader in the Chicago branch of the International Working People's Association, better known as the Black International. After organizing a walkout at the McCormick Harvester Works, gunfire broke out between anarchist supporters and police. Immediately, the Black International distributed a circular urging workers to "arm" themselves, assemble at Haymarket Square, and take "revenge." At the rally, Fischer and seven other anarchist leaders addressed the three thousand workers who showed up. After several hours of rather boring political oratory, the crowd became restless and most began to go home. Shortly thereafter, a police detachment arrived and ordered those who remained to disperse. The anarchist speakers objected, and someone tossed a bomb into the middle of the police ranks, killing one man and injuring about sixty others. The surviving police opened fire as did a number of anarchists and workers; another sixty men were injured or killed. The person who threw the bomb was never captured, but the anarchists who spoke at the rally were arrested and charged as accessories to murder. All were convicted. One was sentenced to fifteen years, the others to death. Fischer was hanged in November 1887. The Haymarket rioters have long-since become martyrs and heroes of international communism and anarchy, and leftist interpretations of the event abound.

    A similar scaffold pronouncement was made by George Eugel, another of the Haymarket anarchists, "Hurray for Anarchy! This is the happiest moment of my life."

    The Dramas of Haymarket, an online project produced by the Chicago Historical Society and Northwestern University. The Dramas of Haymarket examines selected materials from the Chicago Historical Society's Haymarket Affair Digital Collection, an electronic archive of CHS's extraordinary Haymarket holdings. The Dramas of Haymarket interprets these materials and places them in historical context, drawing on many other items from the Historical Society's extensive resources.

    Crowds and Power


    Eighty-five, bent and nearly blind, as poor as the day she arrived there more than a half-century earlier, Lucy Parsons addressed a rally in Chicago on November 11, 1937. It was the fiftieth anniversary of the day her husband, Albert Parsons, and three other anarchists were hanged by the State of Illinois for allegedly throwing a bomb in Haymarket Square at an open-air rally in May 1886, a rally called to condemn a brutal attack the previous day by police on striking workers at the McCormick Reaper Works. She was there to memorialize the Haymarket anarchists and to cry out against a more recent act of deadly violence, the "Memorial Day Massacre" that spring, when Chicago police shot ten men in the back who had gathered, along with thousands of others, to demand union recognition at Republic Steel, a bitterly antiunion corporation. For Lucy nothing had changed. Such savagery would continue, she told her listeners, until capitalism was overthrown. That was the nub of a conviction that had inspired her, her husband, their comrades and untold numbers of others all across late nineteenth-century America. They were alive in an age that, with the singular exception of the Civil War, was arguably the most protracted period of social violence in the country's history; one might even call it an undeclared second civil war following hard on the heels of the first.

    Learning From the Children Of the '80s -- the 1880s
    As soon as I began to read about events that happened outside of my lifetime, I learned about an era of essential revolution that put the 1960s to shame.

    Haymarket and memory

    Excerpted from James Green, "Remembering Haymarket: Chicago's Labor Martyrs and Their Legacy," in Taking History to Heart: The Power of the Past in Building Social Movements (Amherst: University of Massachusetts Press, 2000)

    Excerpt from the Prologue to Death in the Haymarket

    by James Green, Pantheon Books, 2006 Copyright James Green

    The Globalization of Memory: The Enduring Memory of Chicago’s Haymarket Martyrs around the World by James Green

    The Origins of May Day: A Story of Chicago, the First Labor Movement and the Bombing That Divided Gilded Age America

    We look at the origins of May Day with James Green, a professor of history and labor studies at the University of Massachusetts and the author of "Death in the Haymarket: A Story of Chicago, the First Labor Movement and the Bombing That Divided Gilded Age America."

    REMEMBERING HAYMARKET: May Day and the fight for eight hours
    Interview with James Green, author of Death in the Haymarket

    Haymarket Riot - Wikipedia, the free encyclopedia

    Remembering the Haymarket anarchists: a hundred years later

    American Experience | Chicago: City of the Century | Special Features: Eight Anarchists

    Anarchist Voices: An Oral History of Anarchism in America - Google Books Result

    Jo Labadie and His Gift to Michigan-Haymarket Affair

    Haymarket Square riot - Encyclopedia.com

    JSTOR: Of Saints and Sinners

    Radicals! An Analysis of The New York Times Articles On The Haymarket Affair

    NYT Archival facsimiles:

    JUDGE GARY TO TRY LUETGERT.;
    He Presided at the Haymarket Square Anarchists' Trials in Chicago

    THE CHICAGO ANARCHISTS.; COOK COUNTY GRAND JURY PURSUING THEIR INVESTIGATION.

    William Dean Howells (1837-1920), author, editor, and critic

    After the execution of the Haymarket radicals in 1887, which he risked his reputation to protest, Howells became increasingly concerned with social issues, as seen in stories such as "Editha" (1905) and novels concerned with race (An Imperative Duty, 1892), the problems of labor (Annie Kilburn, 1888), and professions for women (The Coast of Bohemia, 1893).

    Widely acknowledged during the late nineteenth and early twentieth centuries as the "Dean of American Letters," Howells was elected the first president of the American Academy of Arts and Letters in 1908, which instituted its Howells Medal for Fiction in 1915. By the time of his death from pneumonia on 11 May 1920, Howells was still respected for his position in American literature. However, his later novels did not achieve the success of his early realistic work, and later authors such as Sinclair Lewis denounced Howells's fiction and his influence as being too genteel to represent the real America.

    Kristin Boudreau, "Elegies for the Haymarket Anarchists," AL77 (June 2005), 319-347.

    The execution on 11 November 1887 of four of the eight men convicted for their parts in the Chicago Haymarket bombing the previous year led to a deluge of public responses. Though most of the first ones denounced the eight as "anarchists," in the following months daily newspaper "swelled"with elegiac poems memorizing the men. Howells, no longer a poet but now a prominent novelist, did not contribute directly to this outpouring, but he lent his support for the poems that spoke to the masses on a topic of such important social concern, and he also used the newspaper on the day after the execution when he wrote in a letter to the editor of the New York Tribunethat the multiple execution was an "'atrocious and irreparable wrong'" (342).


    Haymarket Photos -
    Rioting #1 - Rioting #2 - Counsel for the Defense - Prosecuting Attorneys - The Jury - The Haymarket Anarchists - Panic after Bomb - Haymarket Martyrs - Haymarket 5 Memorial (top) - Large Haymarket 5 Memorial (top) - Haymarket 5 Memorial (bottom) - Large Haymarket 5 Memorial (bottom) - Haymarket Memorial (top) - Haymarket Memorial (bottom) - Haymarket Memorial (b/w) - Small Martyrs #1 - Small Martyrs #2 - Police Monument Distant - Police Monument Close Up - Police Monument Side View - Police Monument Plaque - Haymarket Square Today - From the home of the labor movement to...


    http://dwardmac.pitzer.edu/anarchist_archives/haymarket/graphics/haymarketcol.jpg


    The Limits of Analogy: José Martí and the Haymarket Martyrs

    For Martí, the execution of the Haymarket anarchists marks the site of a national catastrophe that belies the myth of North American democracy. For years, in his critique of immigrants and radical ideologies in the labor movement, Martí had upheld the geopolitical teleology that stated that the U.S. was further along the path of liberty than Europe, which was weighed down by age-old divisions between rich and poor. Now, Martí collapsed the distinction and declared that the U.S. was no different than a monarchy (“Un drama terrible,” 796). In his initial reactions to Haymarket, Martí had celebrated the heroism of the police and demonized the European anarchists in terms similar to those found in the mainstream U.S. press. In “Un drama terrible,” however, he retells the story of what happened on May fourth in a way that was much more sympathetic to workers and anarchists. He indicts the police, the national media and the justice system for their lies and corruption. If before he had referred to the anarchists as beasts, now it was the Republic as a whole that has become savage like a wolf (795). Martí’s newfound solidarity with the working class, and his sympathetic representation of the anarchists he had previously rejected, results in a powerful identification with the working class, where a new community emerges out of the ruins of the Haymarket Affair.

    Individualist Anarchism v. Communist Anarchism and Libertarianism

    In America, the Haymarket incident and the assassination of President McKinley had a similar effect. The Haymarket incident occurred in 1886, in Chicago which was a stronghold of communist anarchism. A group of anarchists, most prominently Albert Parsons, held an open door labor meeting; as it began to break up police converged on the peaceful crowd. A bomb was thrown at the police who opened fire on the crowd. Seven demonstrably innocent men were arrested and tried: one committed suicide, four were hanged, two were subsequently pardoned. I don't have time to go into the Haymarket incident other than to point out three things: first, the men involved in the Haymarket affair were communist anarchists who openly advocated violence, which is not to say they were guilty of any crime or to reduce their status as anarchist martyrs. Second, the Haymarket incident and the public furor that followed it changed the public perception of anarchism by associating it firmly with violence.

    Third, individualist anarchists did not enthusiastically support the Haymarket martyrs. For example, although Benjamin Tucker condemned the State and recognized it as the true villain of the event, he criticized the Haymarket Seven for consciously promoting violence and he was reluctant to raise them to the status of anarchist heroes. In the July 31, 1886 issue of Liberty, he wrote: "It is because peaceful agitation and passive resistance are weapons more deadly to tyranny than any others that I uphold them ... brute force strengthens tyranny... War and authority are companions; peace and liberty are companions... The Chicago Communists I look upon as brave and earnest men and women. That does not prevent them from being equally mistaken." This reluctance on the part of individualist anarchists, whose stronghold was Boston, outraged other anarchists who began to refer to anyone who criticized the Haymarket martyrs as 'a Boston anarchist' regardless of where the critic lived. (Tucker's Liberty was published from Boston.)

    The assassination of President McKinley in 1901 by a self- professed anarchist who claimed to have been inspired by hearing Emma Goldman speak almost destroyed the anarchist movement. The deportations and hideous laws that followed were the most obvious repercussions. But perhaps as importantly, it absolutely cemented the association between violence and anarchism, all forms of anarchism. The movement declined sharply past the turn of the century. And individualist anarchism virtually died in 1908 when the offices of Tucker's Liberty and bookstore burnt to the ground.


    The Psychology of Political Violence

    Emma Goldman

    That every act of political violence should nowadays be attributed to Anarchists is not at all surprising. Yet it is a fact known to almost everyone familiar with the Anarchist movement that a great number of acts, for which Anarchists had to suffer, either originated with the capitalist press or were instigated, if not directly perpetrated, by the police.

    For a number of years acts of violence had been committed in Spain, for which the Anarchists were held responsible, hounded like wild beasts, and thrown into prison. Later it was disclosed that the perpetrators of these acts were not Anarchists, but members of the police department. The scandal became so widespread that the conservative Spanish papers demanded the apprehension and punishment of the gang-leader, Juan Rull, who was subsequently condemned to death and executed. The sensational evidence, brought to light during the trial, forced Police Inspector Momento to exonerate completely the Anarchists from any connection with the acts committed during a long period. This resulted in the dismissal of a number of police officials, among them Inspector Tressols, who, in revenge, disclosed the fact that behind the gang of police bomb throwers were others of far higher position, who provided them with funds and protected them.

    This is one of the many striking examples of how Anarchist conspiracies are manufactured.

    That the American police can perjure themselves with the same ease, that they are just as merciless, just as brutal and cunning as their European colleagues, has been proven on more than one occasion. We need only recall the tragedy of the eleventh of November, 1887, known as the Haymarket Riot.

    No one who is at all familiar with the case can possibly doubt that the Anarchists, judicially murdered in Chicago, died as victims of a lying, blood-thirsty press and of a cruel police conspiracy. Has not Judge Gary himself said: "Not because you have caused the Haymarket bomb, but because you are Anarchists, you are on trial."

    The impartial and thorough analysis by Governor Altgeld of that blotch on the American escutcheon verified the brutal frankness of Judge Gary. It was this that induced Altgeld to pardon the three Anarchists, thereby earning the lasting esteem of every liberty-loving man and woman in the world.

    When we approach the tragedy of September sixth, 1901, we are confronted by one of the most striking examples of how little social theories are responsible for an act of political violence. "Leon Czolgosz, an Anarchist, incited to commit the act by Emma Goldman." To be sure, has she not incited violence even before her birth, and will she not continue to do so beyond death? Everything is possible with the Anarchists.

    Today, even, nine years after the tragedy, after it was proven a hundred times that Emma Goldman had nothing to do with the event, that no evidence whatsoever exists to indicate that Czolgosz ever called himself an Anarchist, we are confronted with the same lie, fabricated by the police and perpetuated by the press. No living soul ever heard Czolgosz make that statement, nor is there a single written word to prove that the boy ever breathed the accusation. Nothing but ignorance and insane hysteria, which have never yet been able to solve the simplest problem of cause and effect.

    The Dawn-Light of Anarchy
    by Voltairine de Cleyre


    The events of May 4, 1886 were a major influence on the oratory of Voltairine de Cleyre. Following the execution of the Haymarket Martyrs on November 11, 1887, she gave an annual address to commemorate the date of their sacrifice. The following memorial speech was first delivered in Chicago on November 11, 1901. It was subsequently published in Free Society, a Chicago periodical, November 24, 1901. It is reprinted, along with her other Haymarket Memorial speeches, in The First Mayday: The Haymarket Speeches 1895-1910 (Cienfuegos Press, Over-the-water, Sanday, Orkney, KWI7 2BL, UK), 1980.

    Let me begin my address with a confession. I make it sorrowfully and with self-disgust; but in the presence of great sacrifice we learn humility, and if my comrades could give their lives for their belief, why, let me give my pride. Yet I would not give it, for personal utterance is of trifling importance, were it not that I think at this particular season it will encourage those of our sympathizers whom the recent outburst of savagery may have disheartened, and perhaps lead some who are standing where I once stood to do as I did later.

    This is my confession: Fifteen years ago last May when the echoes of the Haymarket bomb rolled through the little Michigan village where I then lived, I, like the rest of the credulous and brutal, read one lying newspaper headline, “Anarchists throw a bomb in a crowd in the Haymarket in Chicago”, and immediately cried out, “They ought to be hanged!” This, though I had never believed in capital punishment for ordinary criminals. For that ignorant, outrageous, blood-thirsty sentence I shall never forgive myself, though I know the dead men would have forgiven me, though I know those who loved them forgive me. But my own voice, as it sounded that night, will sound so in my ears till I die — a bitter reproach and shame. What had I done? Credited the first wild rumor of an event of which I knew nothing, and, in my mind, sent men to the gallows without asking one word of defense! In one wild, unbalanced moment threw away the sympathies of a lifetime, and became an executioner at heart. And what I did that night millions did, and what I said millions said. I have only one word of extenuation for myself and all those people — ignorance. I did not know what Anarchism was. I had never seen the word used save in histories, and there it was always synonymous with social confusion and murder. I believed the newspapers. I thought those men had thrown that bomb, unprovoked, into a mass of men and women, from a wicked delight in killing. And so thought all those millions of others. But out of those millions there were some few thousand — I am glad I was one of them — who did not let the matter rest there.

    I know not what resurrection of human decency first stirred within me after that — whether it was an intellectual suspicion that maybe I did not know all the truth of the case and could not believe the newspapers, or whether it was the old strong undercurrent of sympathy which often prompts the heart to go out to the accused, without a reason; but this I do know, that though I was no Anarchist at the time of the execution, it was long and long before that, that I came to the conclusion that the accusation was false, the trial a farce, that there was no warrant either in justice or in law for their conviction; and that the hanging, if hanging there should be, would be the act of a society composed of people who had said what I said on the first night, and who had kept their eyes and ears fast shut ever since, determined to see nothing and to know nothing but rage and vengeance. Till the very end I hoped that mercy might intervene, though justice did not; and from the hour I knew neither would nor ever could again, I distrusted law and lawyers, judges and governors alike. And my whole being cried out to know what it was these men had stood for, and why they were hanged, seeing it was not proven they knew anything about the throwing of the bomb.

    Little by little, here and there, I came to know that what they had stood for was a very high and noble ideal of human life, and what they were hanged for was preaching it to the common people — the common people who were as ready to hang them, in their ignorance, as the court and the prosecutor were in their malice! Little by little I came to know that these were men who had a clearer vision of human right than most of their fellows; and who, being moved by deep social sympathies, wished to share their vision with their fellows, and so proclaimed it in the market-place. Little by little I realized that the misery, the pathetic submission, the awful degradation of the workers, which from the time I was old enough to begin to think had borne heavily on my heart (as they must bear upon all who have hearts to feel at all), had smitten theirs more deeply still — so deeply that they knew no rest save in seeking a way out — and that was more than I had ever had the sense to conceive. For me there had never been a hope there should be no more rich and poor; but a vague idea that there might not be so rich and so poor, if the workingmen by combining could exact a little better wages, and make their hours a little shorter. It was the message of these men (and their death swept that message far out into ears that would never have heard their living voices) that all such little dreams are folly. That not in demanding little, not in striking for an hour less, not in mountain labor to bring forth mice, can any lasting alleviation come; but in demanding much — all — in a bold self-assertion of the worker to toil any hours he finds sufficient, not that another finds for him — here is where the way out lies. That message, and the message of others, whose works, associated with theirs, their death drew to my notice, took me up, as it were, upon a mighty hill, wherefrom I saw the roofs of the workshops of the little world. I saw the machines, the things that men had made to ease their burden, the wonderful things, the iron genii; I saw them set their iron teeth in the living flesh of the men who made them; I saw the maimed and crippled stumps of men go limping away into the night that engulfs the poor, perhaps to be thrown up in the flotsam and jetsam of beggary for a time, perhaps to suicide in some dim corner where the black surge throws its slime.

    I saw the rose fire of the furnace shining on the blanched face of the man who tended it, and knew surely as I knew anything in life, that never would a free man feed his blood to the fire like that.

    I saw swarthy bodies, all mangled and crushed, borne from the mouths of the mines to be stowed away in a grave hardly less narrow and dark than that in which the living form had crouched ten, twelve, fourteen hours a day; and I knew that in order that I might be warm — I, and you, and those others who never do any dirty work — those men had slaved away in those black graves, and been crushed to death at last.

    I saw beside city streets great heaps of horrible colored earth, and down at the bottom of the trench from which it was thrown, so far down that nothing else was visible, bright gleaming eyes, like a wild animal’s hunted into its hole. And I knew that free men never chose to labor there, with pick and shovel in that foul, sewage-soaked earth, in that narrow trench, in that deadly sewer gas ten, eight, even six hours a day. Only slaves would do it. I saw deep down in the hull of the ocean liner the men who shoveled the coal burned and seared like paper before the grate; and I knew that “the record” of the beautiful monster, and the pleasure of the ladies who laughed on the deck, were paid for with these withered bodies and souls.

    I saw the scavenger carts go up and down, drawn by sad brutes, driven by sadder ones; for never a man, a man in full possession of his selfhood, would freely choose to spend all his days in the nauseating stench that forces him to swill alcohol to neutralize it.

    And I saw in the lead works how men were poisoned; and in the sugar refineries how they went insane; and in the factories how they lost their decency; and in the stores how they learned to lie; and I knew it was slavery made them do all this. I knew the Anarchists were right — the whole thing must be changed, the whole thing was wrong — the whole system of production and distribution, the whole ideal of life.

    And I questioned the government then; they had taught me to question it. What have you done — you the keepers of the Declaration and the Constitution — what have you done about all this? What have you done to preserve the conditions of freedom to the people?

    Lied, deceived, fooled, tricked, bought and sold and got gain! You have sold away the land, that you had no right to sell. You have murdered the aboriginal people, that you might seize the land in the name of the white race, and then steal it away from them again, to be again sold by a second and a third robber. And that buying and selling of the land has driven the people off the healthy earth and away from the clean air into these rot-heaps of humanity called cities, where every filthy thing is done, and filthy labor breeds filthy bodies and filthy souls. Our boys are decayed with vice before they come to manhood; our girls — ah, well might john Harvey write:

    Another begetteth a daughter white and gold,
    She looks into the meadow land water, and the world
    Knows her no more; they have sought her field and fold
    But the City, the City hath bought her,
    It hath sold
    Her piecemeal, to students, rats, and reek of the graveyard mold.

    You have done this thing, gentlemen who engineer the government; and not only have you caused this ruin to come upon others; you yourself are rotten with debauchery. You exist for the purpose of granting privileges to whoever can pay most for you, and so limiting the freedom of men to employ themselves that they must sell themselves into this frightful slavery or become tramps, beggars, thieves, prostitutes, and murderers. And when you have done all this, what then do you do to them, these creatures of your own making? You, who have set them the example in every villainy? Do you then relent, and remembering the words of the great religious teacher to whom most of you offer lip service on the officially religious day, do you go to these poor, broken, wretched creatures and love them? Love them and help them, to teach them to be better? No: you build prisons high and strong, and there you beat, and starve, and hang, finding by the working of your system human beings so unutterably degraded that they are willing to kill whomsoever they are told to kill at so much monthly salary.

    This is what the government is, has always been, the creator and defender of privilege; the organization of oppression and revenge. To hope that it can ever become anything else is the vainest of delusions. They tell you that Anarchy, the dream of social order without government, is a wild fancy. The wildest dream that ever entered the heart of man is the dream that mankind can ever help itself through an appeal to law, or to come to any order that will not result in slavery wherein there is any excuse for government.

    It was for telling the people this that these five men were killed. For telling the people that the only way to get out of their misery was first to learn what their rights upon this earth were — freedom to use the land and all within it and all the tools of production — and then to stand together and take them, themselves, and not to appeal to the jugglers of the law. Abolish the law — that is abolish privilege — and crime will abolish itself.

    They will tell you that these men were hanged for advocating force. What! These creatures who drill men in the science of killing, who put guns and clubs in hands they train to shoot and strike, who hail with delight the latest inventions in explosives, who exult in the machine that can kill the most with the least expenditure of energy, who declare a war of extermination upon people who do not want their civilization, who ravish, and burn, and garrote, and guillotine, and hang, and electrocute — they have the impertinence to talk about the unrighteousness of force! True, these men did advocate the right to resist invasion by force. You will find scarcely one in a thousand who does not believe in that right. The one will be either a real Christian or a non-resistant Anarchist. It will not be a believer in the State. Nor, no; it was not for advocating forcible resistance on principle, but for advocating forcible resistance to their tyrannies, and for advocating a society which would forever make an end of riches and poverty, of governors and governed.

    The spirit of revenge, which is always stupid, accomplished its brutal act. Had it lifted its eyes from its work, it might have seen in the background of the scaffold that bleak November morning the dawn-light of Anarchy whiten across the world.

    So it came first — a gleam of hope to the proletaire, a summons to rise and shake off his material bondage. But steadily, steadily, the light has grown, as year by year the scientist, the literary genius, the artist, and the moral teacher, have brought to it the tribute of their best work, their unpaid work, the work they did for love. Today it means not only material emancipation, too; it comes as the summing up of all those lines of thought and action which for three hundred years have been making towards freedom; it means fullness of being, the free life.

    And I saw it boldly, notwithstanding the recent outburst of condemnation, notwithstanding the cry of lynch, burn, shoot, imprison, deport, and the Scarlet Letter A to be branded low down upon the forehead, and the latest excuse for that fond esthetic decoration “the button”, that for two thousand years no idea has so stirred the world as this — none which had such living power to break down the barriers of race and degree, to attract prince and proletaire, poet and mechanic, Quaker and Revolutionist. No other ideal but the free life is strong enough to touch the man whose infinite pity and understanding goes alike to the hypocrite priest and the victim of Siberian whips; the loving rebel who stepped from his title and his wealth to labor with all the laboring earth; the sweet strong singer who sang No master, high or low; the lover who does not measure his love nor reckon on return; the self-centered one who “will not rule, but also will not ruled be”; the philosopher who chanted the Over-man; the devoted woman of the people; aye, and these too — these rebellious flashes from the vast cloud-hung ominous obscurity of the anonymous, these souls whom governmental and capitalistic brutality has whipped and goaded and stung to blind rage and bitterness, these mad young lions of revolt, these Winkelrieds who offer their hearts to the spears.


    David Edelstadt

    “A great poet and one of the finest types of Anarchist that ever lived.”
    - Emma Goldman

    David Edelstadt was born on 9 May 1866 at Kaluga in Russia. He was deeply affected by the life of his father,enrolled by force in the Tsar’s army for 25 years. This type of practice carried out by the Russian army was often used against Jews. Whilst Russian was his mother tongue, Yiddish was his language of communication and propaganda. He used it from his emigration to the United States in 1882.

    He participated in the first Jewish anarchist group in New York, The Pioneers of Liberty ( Pionire der Frayhayt). The framing of the Chicago Haymarket Anarchists had led to its formation. The first dozen workers who set up the group were joined by Edelstadt and other gifted writers and speakers – Saul Yanovsky, Roman Lewis, Hillel
    Solotaroff, Moshe Katz, JA Maryson.

    All in their 20s, this group “displayed, apart from unusual literary and oratorical skills, a vigour and dynamic energy that made a powerful impression on the immigrants of the Lower East Side, the predominantly Jewish quarter of New York in which the Pioneers of Liberty were located” (Paul Avrich).

    Edelstadt and the others held meetings, sponsored rallies and raised funds to help the Haymarket Chicago anarchists being framed for murder. They organised a ball on the Lower East Side which raised $100 (quite a large sum then), which was sent to the families of the defendants. They began to spread anarchist propaganda among the Jewish immigrants, who were arriving in the States in increasing numbers. They set up a club on brought out literature in Yiddish, including a pamphlet on the Haymarket case.


    "Hurrah for anarchy!" - Anarchism: Its Philosophy and Scientific Basis

    Albert R. Parsons


    "Hurrah for anarchy!" These were the last words of two of the five anarchists hung by the state in 1887. They were murdered by the state because of their revolutionary politics, union organising and their role at the head of the strike movement for the eight hour day which started on May 1st, 1886. The nominal reason for their trial and murder was the bomb explosion which killed one of the policemen sent to break up an anarchist meeting on May 4th. The meeting was protesting the killing of a picket the day before by the police.

    The real reason for their deaths was their anarchism and role in the eight-hour day strikes which were rocking America. "Anarchism is on trail," proclaimed the state and a packed jury and biased judge ensured their conviction. Four anarchists were hung on November 11th, 1887 and another cheated the hangman by committing suicide. Three others has their sentences commuted to life imprisonment. Six years later, the new Governor of Illinois pardoned the Martyrs because of their obvious innocence, saying "the trail was not fair." By then, the May 1st had been adopted as international workers' day to commemorate the "Martyrdom of the Chicago Eight". May Day had been born.

    While the Haymarket events radicalised a whole generation of people to become anarchists, including Emma Goldman and Alexander Berkman, very little is known about the politics of the Chicago Anarchists. This is, in part, deliberate. How many times have Marxists talked about May Day and failed to mention the anarchism of the "labour leaders" involved? Or that the anarchists were union activists? In anarchist circles, there is little material written by the Martyrs available. Luckily, this has changed with the republication of Albert Parsons' book "Anarchism: Its Philosophy and Scientific Basis."

    Albert Parsons was the only native born American among the Martyrs. A former Confederate soldier, he became a socialist after the civil war. Soon seeing the pointlessness of the ballot box, he, like the rest of the Martyrs, turned to anarchism. Its direct action and union organising proving to be far more effective in the class war than the socialist strategy. He complied this book while in prison waiting for execution in order to explain the ideas of anarchism. And it succeeds.

    Thus we find Albert Parsons arguing that "anarchy is the social administration of all affairs by the people themselves; that is to say, self-government, individual liberty . . . the people . . . participate equally in governing themselves . . . the people voluntarily associate or freely withdraw from association; instead of being bossed or driven as now . . . The workshops will drop into the hands of the workers, the mines will fall to the mines, and the land and all other things will be controlled by those who posses and use them." For "wealth is power . . . The chattel slave of the past -- the wage slave of today; what is the difference? The master selected under chattel slavery his own slaves. Under the wage slavery system the wage slave selects his master" and he refused "equally to be a slave or the owner of slaves."

    Modern anti-capitalists have raised the slogan "the world is not for sale" and would, undoubtedly, agree with Parsons when he argued that the "existing economic system has placed on the markets for sale man's natural rights . . . A freeman is not for sale or for hire" While nowadays wage labour is commonplace, in 1880s America it was different. The first few generations of workers had just become wage slaves and hated it. Parsons spoke for them (and us!): "the wage system of labour is a despotism. It is coercive and arbitrary. It compels the wage worker, under a penalty of hunger, misery and distress . . . to obey the dictation of the employer. The individuality of the wage-worker . . . is destroyed by the wage-system. . . . Political liberty is possessed by those only who also possess economic liberty. The wage-system is the economic servitude of the workers."

    Yet the Martyrs were not just critics. They constantly stressed the positive and constructive aspects of their ideas. Michael Schwab, for example, argued that "Socialism . . .means that land and machinery shall be held in common by the people . . . Four hours' work would suffice to produce all that . . . is necessary for a comfortable living. Time would be left to cultivate the mind, and to further science and act . . . Some say it is un-American! Well, then, is it American to let people starve and die in ignorance? Is exploitation and robbery of the poor, American?" No, this was not meant to be a trick question!

    The Martyrs had, originally, been Marxists and this can be seen from some of the terminology used by the eight. Parsons quotes extensively from Marx's "Wage Labour and Capitol" as well as the "Communist Manifesto" when he discusses the development of capitalism in the United States and Europe. However, while they agreed with Marx's economic analysis of the system they rejected his ideas on how to get there. "Anarchism and socialism," wrote George Engell, "differ only in their tactics . . . Believe no more in the ballot, and use all other means at your command." Instead of elections they followed Bakunin and saw the labour movement as both the means of achieving anarchy and the framework of the free society. As Lucy Parsons (the wife of Albert) put it "we hold that the granges, trade-unions, Knights of Labour assemblies, etc., are the embryonic groups of the ideal anarchistic society . . . We ask for the decentralisation of power." For the Martyrs, working class people had to liberate themselves by their own efforts and using their own organisations. This is just as true today and is their most important legacy.

    They equally rejected the false notion of a "workers' state." "Anarchists," wrote Adolph Fischer, "hold that it is the natural right of every member of the human family to control themselves. If a centralised power -- government -- is ruling the mass of people . . . it is enslaving them." However, "every anarchist is a socialist but every socialist is not necessarily an anarchist . . . the communistic anarchists demand the abolition of political authority, the state . . . we advocate the communistic or co-operative methods of production." In the words of August Spies: "You may pronounce the sentence upon me, honourable judge, but let the world know that in A.D. 1886, in the State of Illinois, eight men were sentenced to death because they believed in a better future; because they had not lost their faith in the ultimate victory of liberty and justice!"

    The passion for justice and freedom which inspired the Martyrs comes through. They are utterly unapologetic for their activism and anarchism: "I say to you: 'I despise you. I despise your order; your laws, your force-propped authority.' HANG ME FOR IT!" (Louis Lingg). Equally, they did not try and hide their revolutionary ideas. They knew they faced class justice and knew that "only by force of arms can the wage slaves make their way out of capitalistic bondage" (Adolph Fischer). Yet the injustice meted out to the Chicago Eight failed to crush the labour or anarchist movements for obvious reasons. They were born from resisting capitalism and would remain as long as it does. As August Spies put it:

    "But, if you think that by hanging us, you can stamp out the labour movement -- the movement from which the downtrodden millions, the millions who toil and live in want and misery -- the wage slaves -- expect salvation -- if that is your opinion, then hang us! Here you tread upon a spark, but there, and there; and behind you, and in front of you, and everywhere, flames will blaze up. It is a subterranean fire. You cannot put it out."

    Unfortunately, the new edition lacks a modern introduction which could have summarised the events and their aftermath for a reader who is unaware of them. However, for someone who knows the general history of the Haymarket events and wants to read what the Martyrs thought and did then this book is essential reading. Moreover, it includes essays by Elisee Reclus, Dyer D Lum and C.L. James (anarchists whose works are extremely rare to find these days) as well as the original two articles by Kropotkin which became the pamphlet "Anarchist Communism: Its basis and principles."

    As such, it is a well rounded account of the ideas of the Chicago anarchists, why they became anarchists and their role in the events that created May Day. While undoubtedly dated, the book is essential reading for those interested in the ideas and history of anarchism. The Martyrs accounts of their lives and activism show why people have died fighting for a better future, for anarchy, far better than any pseudo-neutral history. As Michael Schwab wrote: "Anarchy is a dream, but only in the present. It will be realised." This book should inspire others to fight to realise that dream.

    "Hurrah for anarchy!" - Anarchism: Its Philosophy and Scientific Basis Albert R. Parsons University Press of the Pacific Honolulu, Hawaii ISBN: 1-4102-0496-5


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    Trial speeches of the Haymarket martyrs


    The Accused, the accusers: the famous speeches of the eight Chicago anarchists in court when asked if they had anything to say why sentence should not be passed upon them. On October 7th, 8th and 9th, 1886, Chicago, Illinois

    Contains addresses by August Spies, Michel Schwab, Oscar Neebe, Adolph Fischer, Louis Lingg, George Engel, Samuel Fielden, and Albert R. Parsons


    Haymarket Martyr Albert Parsons’s

    Last Words to His Wife

    The Chicago radicals convicted of the infamous May 4, 1886 Haymarket Square bombing in which one policeman was killed remained openly defiant to the end. In his final letter to his wife, written August 20, 1886 from the Cook County “Bastille” (jail), convicted Haymarket bombing participant Albert R. Parsons, an Alabama-born printer, admitted that the verdict would cheer “the hearts of tyrants,” but still optimistically predicted that “our doom to death is the handwriting on the wall, foretelling the downfall of hate, malice, hypocrisy, judicial murder, oppression, and the domination of man over his fellow-man.”


    Cook County Bastille, Cell No. 29,

    Chicago, August 20, 1886.

    My Darling Wife:

    Our verdict this morning cheers the hearts of tyrants throughout the world, and the result will be celebrated by King Capital in its drunken feast of flowing wine from Chicago to St. Petersburg. Nevertheless, our doom to death is the handwriting on the wall, foretelling the downfall of hate, malice, hypocrisy, judicial murder, oppression, and the domination of man over his fellowman. The oppressed of earth are writhing in their legal chains. The giant Labor is awakening. The masses, aroused from their stupor, will snap their petty chains like reeds in the whirlwind.

    We are all creatures of circumstance; we are what we have been made to be. This truth is becoming clearer day by day.

    There was no evidence that any one of the eight doomed men knew of, or advised, or abetted the Haymarket tragedy. But what does that matter? The privileged class demands a victim, and we are offered a sacrifice to appease the hungry yells of an infuriated mob of millionaires who will be contented with nothing less than our lives. Monopoly triumphs! Labor in chains ascends the scaffold for having dared to cry out for liberty and right!

    Well, my poor, dear wife, I, personally, feel sorry for you and the helpless little babes of our loins.

    You I bequeath to the people, a woman of the people. I have one request to make of you: Commit no rash act to yourself when I am gone, but take up the great cause of Socialism where I am compelled to lay it down.

    My children—well, their father had better die in the endeavor to secure their liberty and happiness than live contented in a society which condemns nine-tenths of its children to a life of wage-slavery and poverty. Bless them; I love them unspeakably, my poor helpless little ones.

    Ah, wife, living or dead, we are as one. For you my affection is everlasting. For the people, humanity. I cry out again and again in the doomed victim’s cell: Liberty! Justice! Equality!

    Albert R. Parsons.

    Source: Lucy Parsons, Life of Albert R. Parsons (Chicago: 1889), 211–212.

    See Also:Haymarket Martyr Louis Lingg Says Good-bye
    "I Am Sorry Not to Be Hung": Oscar Neebe and the Haymarket Affair
    "We ask it; we demand it, and we intend to have it": Printer Albert R. Parsons Testifies before Congress about the Eight Hour Day

    “A Healthy Public Opinion”: Terence V. Powderly Distances the Knights of Labor from the Haymarket Martyrs

    by Terence Powderly

    The Haymarket Affair, as it is known today, began on May 1, 1886 when a labor protester threw a bomb at police, killing one officer, and ended with the arrest of eight anarchist leaders, three of whom were executed and none of whom was ever linked to the bombing. Some labor organizations saw the executed men as martyrs and tried to rally support but in the end, the hanging of the Haymarket anarchists not only emboldened capitalists, it undercut labor unity. Knights of Labor leader Terence V. Powderly was desperate to distance his organization from the accused anarchists and maintain the order’s respectability. In this excerpt from his 1890 autobiography Powderly explained his decision three years earlier to keep mainstream labor out of the furor that surrounded the Haymarket Affair.


    I know that it may seem to be an arbitrary act on my part to rule a motion out of order, and did I not have excellent reasons for doing so I never would have availed myself of the privilege conferred upon me by virtue of the office I hold. To properly explain my reasons it will be necessary for me to take you back to the 1st of May, 1886, when the trade unions of the United States were in a struggle for the establishment of the eight-hour system. On that day was stricken to the dust every hope that existed for the success of the strike then in progress, and those who inflicted the blow claim to be representatives of labor. I deny their claim to that position, even though they may be workingmen. They represented no legitimate labor society, and obeyed the counsels of the worst foe this Order has upon the face of the earth to-day.

    We claim to be striving for the elevation of the human race through peaceful methods, and yet are asked to sue for mercy for men who scorn us and our methods—men who were not on the street at the Chicago Haymarket in obedience to any law, rule, resolution or command of any part of this Order; men who did not in any way represent the sentiment of this Order in placing themselves in the attitude of opposing the officers of the law, and who sneer at our every effort to accomplish results. Had these men been there on that day in obedience to the laws of this society, and had they been involved in a difficulty through their obedience to our laws, I would feel it to be my duty to defend them to the best of my ability under the law of the land, but in this case they were there to counsel methods that we do not approve of; and no matter though they have lost no opportunity to identify this Order with anarchy, it stands as a truth that there does not exist the slightest resemblance between the two.

    I warned those who proposed to introduce that resolution that I would rule it out of order, and that it would do harm to the condemned men to have it go out that this body had refused to pass such a resolution. I stated to them that I knew the sentiment of the men who came here, the sentiment of the order that sent them, and, knowing what that sentiment was, a resolution that in any way would identify this Order with anarchy could not properly represent that sentiment. You are not here in your individual capacity to act as individuals, and you cannot take upon yourselves to express your own opinion and then ask the Order at large to indorse it, for you are stepping aside from the path that your constituents instructed you to walk in.

    This organization, among other things, is endeavoring to create a healthy public opinion on the subject of labor. Each member is pledged to do that very thing. How can you go back to your homes and say that you have elevated the Order in the eyes of the public by catering to an element that defies public opinion and attempts to dragoon us into doing the same thing? The eyes of the world are turned toward this convention. For evil or good will the vote you are to cast on this question affect the entire Order, and extreme caution must characterize your action. The Richmond session passed a vote in favor of clemency, but in such a way that the Order could not be identified with the society to which these men belong, and yet thousands have gone from the Order because of it. I tell you the day has come for us to stamp anarchy out of the Order, root and branch. It has no abiding place among us, and we may as well face the issue here and now as later on and at another place. Every device known to the devil and his imps has been resorted to to throttle this Order in the hope that on its ruins would rise the strength of anarchy.

    During the year that has passed I have learned what it means to occupy a position which is in opposition to anarchy. Slander, vilification, calumny and malice of the vilest kind have been the weapons of the anarchists of America because I would not admit that Albert R. Parsons was a true and loyal member of the Knights of Labor. That he was a member is true, but we have had many members who were not in sympathy with the aims and objects of the order, and who would subordinate the Order to the rule of some other society. We have members, too, who could leave the Order for the Order’s good at any moment. Albert R. Parsons never yet counseled violence in obedience to the laws of Knighthood. I am told that it is my duty to defend the reputation of Mr. Parsons because he is a member of the Order. Why was not the obligation as binding on him? I have never lisped a word to his detriment either in public or private before. This is the first time that I have spoken about him in connection with the Haymarket riot, and yet the adherents of that damnable doctrine were not content to have it so; they accused me of attacking him, that I might, in denying it, say something in his favor. Why did Powderly not defend Parsons through the press since he is a Knight, and an innocent one? is asked. It is not my business to defend every member who does not know enough to take care of himself, and if Parsons is such a man he deserves no defense at my hands; but Parsons is not an ignorant man, and knows what he is doing. When men violate the laws and precepts of Knighthood, then no member is required to defend them. When Knights of Labor break the laws of the land in which they live, they must stand before the law the same as other men stand and be tried for their offenses, and not for being Knights.

    This resolution does not come over the seal of either Local or District Assembly. It does not bear the seal of approval of any recognized body of the Order, and represents merely the sentiment of a member of this body, and should not be adopted in such a way as to give it the appearance of having the approval of those who are not here to defend themselves and the Order against that hell-infected association that stands as a foe of the most malignant stamp to the honest laborer of this land. I hate the name of anarchy. Through its encroachments it has tarnished the name of socialism and caused men to believe that socialism and anarchy are one. They are striving to do the same by the Knights of Labor. This they did intentionally and with malice aforethought in pushing their infernal propaganda to the front.

    Pretending to be advanced thinkers, they drive men from the labor movement by their wild and foolish mouthings whenever they congregate, and they usually congregate where beer flows freely. They shout for the blood of the aristocracy, but will turn from blood to beer in a twinkling. I have no use for any of the brood, but am satisfied to leave them alone if they will attend to their own business and let this Order alone. They have aimed to capture this Order, and I can submit the proofs [here the documents were presented and read]. I have here also the expose of the various groups of anarchists of this country, and from them will read something of the aims of these mighty men of progress who would bring the greatest good to the greatest number by exterminating two-thirds of humanity to begin with. Possibly that is their method of conferring good.

    No act of the anarchists ever laid a stone upon a stone in the building of this Order. Their every effort was against it, and those who have stood in the front, and have taken the sneers, insults and ridicule of press, pulpit and orator in defense of our principles, always have had the opposition of these devils to contend with also. I cannot talk coolly when I contemplate the damage they have done us, and then reflect that we are asked to identify ourselves with them even in this slight degree. Had the anarchists their way this body would not be in existence to-day to ask assistance from. How do you know that the condemned men want your sympathy? Have they asked you to go on your knees in supplication in seeking executive clemency for them? I think not, and, if they are made of the stuff that I think they are, they will fling back in your teeth the resolution you would pass. I give the men who are in the prison cell at Chicago credit for being sincere in believing that they did right. They feel that they have struggled for a principle, and feeling that way they should be, and no doubt are, willing to die for that principle.

    Why, if I had done as they did, and stood in their place, I would die before I would sue for mercy. I would never cringe before a governor, or any other man, in a whine for clemency. I would take the consequences, let them be what they would. We may sympathize with them as much as we please, but our sympathies are due first to the Order that sent us here, and it were better that seven times seven men hang than to hang the millstone of odium around the standard of this Order in affiliating in any way with this element of destruction. If these men hang you may charge it to the actions of their friends [who have] strengthen[ed] the strands of the rope by their insane mouthings...

    Be consistent and disband as soon as you pass this resolution, for you will have no further use of any kind for another General Assembly. You have imposed upon your General Master Workman the task of defending the Order from the attacks of its enemies, and he feels that he is entitled to at least a small share of the credit for giving the Order its present standing. He has to the best of his ability defended the Order, but its friends will place in the hands of its enemies the strongest weapon that was ever raised against it if they pass this resolution. Of what avail for me to go before the public and assert that we are a law-abiding set of men and women? What will it avail for me to strive to make public opinion for the Order when, with one short resolution, you sweep away every vestige of the good that has been done, for, mark it, the press stands ready to denounce us far and wide the moment we do this thing?

    This resolution is artfully worded. Its sinister motive is to place us in the attitude of supporters of anarchy rather than sympathizers with men in distress, and it should be defeated by a tremendous majority. It is asserted that this does not amount to anything, and that it is not the intention to identify the Order at large with these men. No more barefaced lie was ever told. That resolution would never be offered if we did not represent so large a constituency, and if it passes twenty-four hours won’t roll over your heads until you see anarchists all over the land shouting that if these men are hanged the Knights of Labor will take revenge at the polls and elsewhere. In passing that resolution you place the collar of anarchy around your necks, and no future act of ours can take It off. If you sympathize with these unfortunate men, why do you lack the manhood to sign a petition for the commutation of their sentence, as individuals, and stand upon your own manhood, instead of sneaking behind the reputation and character of this great Order, which owes everything it has gained to having nothing to do with the anarchists? Pass this vote if you will, but I swear that I will not be bound by any resolution that is contrary to the best interests of the Order. You cannot pass a resolution to muzzle me, and I will not remain silent after the adjournment of this convention if it becomes necessary to defend the Order from unjust assaults as a result of the action taken.

    As an Order we are striving for the establishment of justice for industry. We are attempting to remove unjust laws from the statutes, and are doing what we can to better the condition of humanity. At every step we have to fight the opposition of capital, which of itself is sufficient to tax our energies to the utmost; but at every step we are handicapped by the unwarrantable and impertinent interference of these blatant, shallow-pated men, who affect to believe that they know all that is worth knowing about the conditions of labor, and who arrogate to themselves the right to speak for labor at all times and under all circumstances. That they are mouth-pieces is true, but they only speak for themselves, and do that in such a way as to alarm the community and arouse it to such a pitch of excitement that it insists upon the passage of restrictive legislation, which, unfortunately, does not reach the men whose rash language calls for its passage. Its effects are visited upon innocent ones who had no hand, act or part in formenting the discord which preceded the passage of the unjust laws.

    Our greatest trouble has always been caused by extremists who, without shadow of authority, attempted to voice the sentiments of this Order; and from this day forward I am determined that no sniveling anarchist will speak for me, and if he attempts it under shadow of this organization, then he or I must leave the Order, for I will not attempt to guide the affairs of a society that is so lacking in manhood as to allow the very worst element of the community to make use of the prestige it has gained to promote the vilest of schemes against society. I have never known a day when these creatures were not ready to stab us to the heart when our faces were turned toward the enemy of labor.

    It is high time for us to assert our manhood before these men throttle it, For Parsons and the other condemned men let there be mercy. I have no grudge against them. In fact, I would never trouble my head about them were it not for the welfare of this Order. Let us as individuals express our sorrow for their unhappy plight, if we will; but as an Order we have no right to do so. It is not the individuals who are in prison at Chicago that I speak against. It is the hellish doctrine which found vent on the streets of Chicago, and which, unfortunately for themselves, they have been identified with. No, I do not hate these men, I pity them; but for anarchy I have nothing but hatred, and if I could I would forever wipe from the face of the earth the last vestige of its doubledamned presence, and in doing so would feel that the best act of my life, in the interest of labor, had been performed.

    Source: Terence V. Powderly, Thirty Years of Labor, 1859–1889 (Philadelphia: T.V. Powderly, 1890).

    See Also:
    "His Act is Doublely Despicable": Albert Parsons Responds to His Condemnation by Terence V. Powderly


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