Communists From The United States

"We are in danger of forgetting that God is not only a comfort but a joy. He is the source of all pleasures; he is fun and laughter, and we are meant to enjoy him."

"She is incredibly articulate. She means what she says and she says what she means. Her metaphors are what make her poetry, and they ring true."

"America, which idealizes the rights of the individual above everything else, is in reality, a nation dominated by the social power of groups, classes, in-groups and cliques—both ethnic and religious. The individual in America has few rights that are not backed up by the political, economic and social power of one group or another. Hence, the individual Negro has, proportionately, very few rights indeed because his ethnic group (whether or not he actually identifies with it) has very little political, economic or social power (beyond moral grounds) to wield. Thus it can be seen that those Negroes, and there are very many of them, who have accepted the full essence of the Great American Ideal of individualism are in serious trouble trying to function in America."

"As a Negro American, I want to be free. I want equal opportunities, equal rights; I want to be accorded the same dignity as a human being and the same status as a citizen as any other American. This is my constitutional right. I want first-class, unconditional citizenship. I want it, and am entitled to it, now."

"Whether one agrees with the Communist Party or not, one must at least know the truth about it. One must not permit his ideas to be shaped by the hysteria which now passes as a "crusade against Communism." ... For example, the canard that every Communist has his pockets lined with "Moscow gold." If that were true, one could be sure that there would scarcely be any room in our party for workers. The capitalists, to whom gold is god of the universe, would crowd them out."

"In fact, the drive against the Communists is aimed, above all, against the labor movement."

"There is this... that must be admired about DuBois, Robeson, Ben Davis and others. They are not taking it lying down. Ben Davis is in prison... Robeson has sacrificed... DuBois has fought without let up for over half a century and at 85 be is determined as ever. Some day when truth gets a hearing, America, regardless of colour, we will honour them."

"Demands Ben Davis fought for, bans on biased textbooks and the lifting of bans on such books as authored by Mark Twain, Robert Louis Stevenson, Howard Fast and other outstanding writers; whose writings are feared. Davis urged restoration of progressive teachers to their posts and the exclusion of biased white supremacist and anti-Semitic instructors in our schools;"

"Who is loyal to America and its democratic traditions? James Byrnes: governor of South Carolina, who equates the role of the NAACP and KKK, correctly assailed by Thurgood Marshall as "fascist McCarthyism rampant with racism"? Or Ben Davis - whose eloquent voice against Jim Crow scathes Byrnes and all the racists even from behind prison bars? Yes, To Believe In Negro Freedom Means To Be Radical!"

"I became a member of the Party in January, 1933, in the heat of battle. At the time, I was serving as defense attorney for Angelo Herndon in Atlanta, Georgia, where Herndon, an eighteen-year-old Negro youth, had been framed on a charge of inciting to insurrection. ... Of what was Herndon "guilty"? He had led a demonstration of unemployed Negro and white workers to City Hall, had been found with a couple of Communist pamphlets in his possession, and possessed a firm and inspiringly defiant advocacy of the freedom of Negroes and of the liberation of the white masses from exploitation. The "dangerous" policy he then espoused as a Communist, was the unity of the Negroes in the South with the impoverished white workers and poor farmers."

"Why don’t you live for the people. Why don’t you struggle for the people. Why don’t you die for the people."

"We don’t think you fight fire with fire best; we think you fight fire with water best. We’re going to fight racism not with racism, but we’re going to fight with solidarity. We say we’re not going to fight capitalism with , but we’re going to fight it with socialism. We’ve stood up and said we’re not going to fight pigs and reactionary state’s attorneys like this and reactionary state’s attorneys like Hanrahan with any other reactions on our part. We’re going to fight their reactions with all of us people getting together and having an international proletarian revolution."

"is going through all types of physical and mental torture. But that’s alright, because we said even before this happened, and we’re going to say it after this and after I’m locked up and after everybody’s locked up, that you can jail revolutionaries, but you can’t jail the revolution. You might run a liberator like Eldridge Cleaver out of the country, but you can’t run liberation out of the country. You might murder a like , but you can’t murder freedom fighting, and if you do, you’ll come up with answers that don’t answer, explanations that don’t explain, you’ll come up with conclusions that don’t conclude, and you’ll come up with people that you thought should be acting like pigs that’s acting like people and moving on pigs. And that’s what we’ve got to do. So we’re going to see about Bobby regardless of what these people think we should do, because school is not important and work is not important. Nothing’s more important than stopping fascism, because fascism will stop us all."

"So we say—we always say in the that they can do anything they want to to us. We might not be back. I might be in jail. I might be anywhere. But when I leave, you’ll remember I said, with the last words on my lips, that I am a revolutionary. And you’re going to have to keep on saying that. You’re going to have to say that I am a proletariat, I am the people. I am not the pigs. You’ve got to make a distinction. And the people are going to have to attack the pigs. The people are going to have to stand up against the pigs. That’s what the Panthers are doing here. That’s what the Panthers are doing all over the world."

"You have to understand that people have to pay the price for peace. If you dare to struggle, you dare to win. If you dare not to struggle then god damn it, you don’t deserve to win. Let me say peace to you, if you’re willing to fight for it."

"If you ever think about me, and if you ain’t gonna do no revolutionary act, forget about me. I don’t want myself on your mind, if you’re not gonna work for the people. Like we always said, if you’re asked to make a commitment at the age of twenty and you say I don’t want to make that commitment only because of the simple reason that I’m too young to die, I wanna live a little bit longer—what you did is, you’re dead already."

"Papa Doc in Haiti hated everything white. Man, you couldn't put this white paper in front of Papa Doc's face. But, he moved all the white people out and he took over the oppression, he did. Because, no education. If the people had been educated, they'd have said we don't hate the muthafuckin' white people, we hate the oppressor, whether he be white, black, brown or yellow."

"There has to be an educational program - that's very important. As a matter of fact, it is so important to us that a person has to go through six weeks of our political education before he can consider himself a member of the party, able to even [run our] ideology for the party. Why? Because if they don't have an education, then, they're nowhere. You dig what I'm sayin'? They're nowhere; because they don't even know why they doin' what they doin'. You might get people caught up in the emotions of the movement. You understand me? You might get them caught up because they're poor and they want something. And then if he's not educated, they'll want more and before you know it, they'll be capitalist and before you know it we'll have negro imperialism."

"This system wants Fred Hampton’s tale to remain untold, his militant memory to fade, his life of service to black folks and the black revolutionary struggle to pass unknown. The media has covered up this recent history, but some remember; perhaps now you will too."

"The execution of Fred Hampton was the gravest domestic crime of the Nixon administration."

"Hampton was instrumental in forming links between the Panthers and organisations of working class Chinese people, whites, Puerto Ricans and Mexicans in what he dubbed the Rainbow Coalition."

"Whenever you feel the evil influence of the middle class muddling your soul, you'll say these two words and you'll be a free spirit again: "Isadora Duncan.""

"Poetry personified. She is not the Tenth Muse but all Nine Muses in one — and painting and sculpture as well."

"Isadora Duncan! … I feel that she dances a symbol of human, animal happiness as it should be, free from the unnatural trammels. Her great big thighs, her small head, her full solid loins, belly — clean, all clean — she dances away civilization's tainted brain vapors, wholly human and holy — part of God."

"The wind? I am the wind. The sea and the moon? I am the sea and the moon. Tears, pain, love, bird-flights? I am all of them. I dance what I am. Sin, prayer, flight, the light that never was on land or sea? I dance what I am. Roses, lovers, money, children, came to her in her life dance from California to Russia. When her dancing days were not yet over but almost come to an end, she died in a swift ride with a flame red scarf enwrapping her neck tighter and tighter."

"To seek in nature the fairest forms and to find the movement which expresses the soul of these forms — this is the art of the dancer. It is from nature alone that the dancer must draw his inspirations, in the same manner as the sculptor, with whom he has so many affinities. Rodin has said: "To produce good sculpture it is not necessary to copy the works of antiquity; it is necessary first of all to regard the works of nature, and to see in those of the classics only the method by which they have interpreted nature." Rodin is right; and in my art I have by no means copied, as has been supposed, the figures of Greek vases, friezes and paintings. From them I have learned to regard nature, and when certain of my movements recall the gestures that are seen in works of art, it is only because, like them, they are drawn from the grand natural source. My inspiration has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm, between gentleness and the soft breeze, and the like, and I always endeavour to put into my movements a little of that divine continuity which gives to the whole of nature its beauty and its life."

"I have closely studied the figured documents of all ages and of all the great masters, but I have never seen in them any representations of human beings walking on the extremity of the toes or raising the leg higher than the head. These ugly and false positions in no way express that state of unconscious Dionysiac delirium which is necessary to the dancer. Moreover movèments, just like harmonies in music, are not invented; they are discovered."

"She was a flame sheath of flesh made for dancing. She believed she ran into storm, rain, sun and became part of them and they were afterward woven in her dances."

"She suggested that the sculptor might probe the Greek spirit by studying modern dance. Antoine Bourdelle agreed. Capturing Duncan's appeal for a generation of sculptors, he likened the dancer to an "antique marble throbbing with eternity," who infused with life a classical sporty all but snuffed out by stale academicism."

"When she read my first book Visions and Revisions, she sent me so many red roses that they filled the little flat, but I was too nervous to go and see her. She has been one of the most thrilling sensations — but that is a wretched word to express it — of my whole existence. She has danced for me alone — with a beauty that makes the most beautiful young girls' dancing seem mere child's play. It was as though Demeter herself, the mater dolorosa of the ancient earth, rose and danced. Well, she has gone — and I enclose to you the red rose she gave to me as she went."

"Here was a great woman; a magnificent, generous, gallant, reckless, fated fool of a woman. There was never a place for her in the ranks of the terrible, slow army of the cautious. She ran ahead, where there were no paths."

"The dancing of Isadora Duncan is great symbolic art; now, when perhaps we have seen it for the last time, we must unhesitatingly re-affirm our conviction that it is one of the superlative artistic expressions of eternal spiritual glories. Her endowment is no mere talent for the consummation of exterior beauties; it is genius. She is a seer and a prophet, fulfilled of understanding and wisdom. The deep disease of the soul, its wasting, anemic illness since it ate of the weeds of prudery and went wandering on the hard roads of materialism, is known to her, and she has a great pity; and with devoted effort, through consecrating trials of toil and rejection, she has fitted herself to be a physician of the spirit. She brings us pure wine from an ancient vineyard, and she will not mingle with it any sharp strange bitters to sting our jaded taste. In her manner is nothing either of decadence nor of gigantic, splendid but agonising dramaturgy. She is of the company of those who have held to the slender infragible thread of the eternal tradition of beauty. And coming so, she startles our spiritual memories from a sleep of centuries. What glorious things she makes the soul remember! Once we were young, and the leaping blades of our desire striking the granite facts of life lit lively fires of wonder. We were simple, so that when the moving beauty of nature and the joy of each other's company stirred us to ecstasies, we sought free and natural expression; we danced — we danced as the movements of waves and branches, and as the exquisite beauties of our own bodies suggested. Such memories she evokes by her subtle gestures and movements, which are as the dancing of a leaf over the ground, as the drifting of mist over the still surface of a lake at dawn. The morning of time dawns upon our spirits again, and once more we have a sense that hears the gods. Watching her we see the soul of man moving in the dance of destiny; dreaming, hoping, aspiring, questioning; thrilling with desire and joy and melancholy, crushed, purged and raised again; the spirit of man enduring its trials and triumphing in the great adventure. This is the interpretation of life by the intuitive wisdom of genius, which is feeling confirmed by thought, and which understands that the ultimate of human apprehension is a mysticism impossible of interpretation save in symbolic art."

"The revival of the dance is significant of the abiding, though much forgotten, need of the world for its arts, and a proof of the strange immortality of the arts themselves. A few years ago several great dancers came to summon the world, who must have prepared through long periods separately and without a common plan; yet with the effectiveness of premeditated simultaneity they appeared, as it were in a company. And the response of a world still hungering, somewhat dimly, for the arts, was the welcome we give to an advent long desired. Fortunate were those whose introduction to this momentous movement came by way of the greatest of its exponents, Isadora Duncan. It was one of the great hours, of which we have but three or four in a lifetime, when we first saw her. In that hour we sensed the manifold meanings and implications of the dance; its ecstasies, inspirations, and healing beneficences, and its possibly unimaginable importance to the modern world."

"Her dances were hymns to freedom — of sensibility, of passion, of the transcendentally convinced and convincing Emersonian soul … Today it is hard to picture convincing interpretations of Joy, Hope, Immortality, the Soul. But at the turn of the century an American girl, incarnating these and more, coincided with historical promise."

"Isadora Duncan has not dealt with the dance intellectually, nor spiritually — but personally. The Age saw to that!"

"Perhaps the greatest personality who has ever devoted herself to developing the art of the dance … Her interests ranged over a wide field of activities. There was a time when she wished to initiate a reform of human life in its least details of costume, of hygiene, of morals. But gradually she came to concentrate her interest upon the dance. For her the dance is not merely the art which permits the spirit to express itself in movement; it is the base of a whole conception of life, a life flexible, harmonious, natural. In the development of the dance she found herself confronted by the dilemma which has just been alluded to. On the one hand was the limited technique of the ballet, on the other the unnatural contortions of the eccentric school. To return to the unconscious gesture of the people — that is to say, the crude, stereotyped gestures of the street — offered no way of escape. She found the solution in a return to the natural gesture of human life as represented in Greek art."

"In those moments where beauty and emotion fuse and climax, something of the immortal floats about the dancer; she wanders in a divine ray, in a mist where all works of art circle in unison with her."

""Come away! Her dancing says. Come out into the splendid perilous world! Come up on the mountain-top where the great wind blows! Learn to be young always! Learn to be incessantly renewed! Learn to live in the intemperate careless land of song and rhythm and rapture! Say farewell to the world you know and join the passionate spirits of the world’s history! Storm through into your dreams! Give yourself up to the frenzy that is in the heart of life, and never look back, and never regret! You shall become sweet and mad as a lover …"

"This great artist is no longer in our world. The sun has set: the cycle is finished. In her art and in her life Isadora Duncan seemed to be an incarnation of all the energies of Nature."

"The most interesting women in modern European history appear in the ranks of radical political movements. It is difficult to find conservative or traditional counterparts equal to Louise Michel, Emma Goldman, and Rosa Luxemburg. Even Isadora Duncan, creator of modern dance, flirted with communism. More thoughtful and articulate and certainly as politically active as any of these women is the lesser known Spanish anarchist, Federica Montseny. On asking what attracted these women to radical politics, one discovers in each a commitment to feminism. No person, not even Emma Goldman, explored this necessary relationship between feminist and socialist principles more provocatively than did Federica Montseny."

"It was never easy to coax Isadora Duncan into a photographer's studio. Like a wild and wise animal, she fled from those who sought to capture the essence of her — which was motion — by making her stand still."

"I have the right to choose the father of my own children," she declared, and then wrote to George Bernard Shaw: "Will you be the father of my next child? A combination of my beauty and your brains would startle the world," but he replied: "I must decline your offer with thanks, for the child might have my beauty and your brains."

"I shall never forget the first time I saw her come on to an empty platform to dance. … She came through some little curtains which were not much taller than herself — she came through and walked down to where a musician, his back to us, was seated at a large piano — he had just finished playing a short prelude by Chopin when in she came, and in some five or six steps was standing at the piano, quite still — you might have counted five or eight, and then there sounded the voice of Chopin in a second prelude or etude — it was played through gently and came to an end — she had not moved at all. Then one step back or sideways, and the music began again as she went moving on before, or after it. Only just moving — not pirouetting or doing any of the things which a Taglioni or a Fanny Elssler would have certainly done. She was speaking her own language, not echoing any ballet master, and so she came to move as no one had ever seen anyone move before. The dance ended, she again stood quite still. No bowing, no smiling — nothing at all. Then again the music is off, and she runs from it — it runs after her — for she has gone ahead of it. How is it that we know she is speaking her own language? We know it, for we see her head, her hands, gently active, as are her feet, her whole person. And if she is speaking, what is it she is saying? No one would ever be able to report truly, yet no one present had a moment's doubt. Only this can we say — that she was telling to the air the very things we long to hear; and now we heard them, and this sent us all into an unusual state of joy, and I sat still and speechless."

"All my muses in the theatre are movements seized during Isadora's flight; she was my principal source."

"Isadora Duncan's arms were not clichéd ketchup buddhas like those we're used to seein' in Hollywood & Co., but real floral contaminations, devils in the raw whose blood had sublimely turned to nitroglycerin, or some other "secret" substance even more deadly & dangerous than fire & poison, at the exact moment she discovered the dance."

"The harmony of music exists equally with the harmony of movement in nature. Man has not invented the harmony of music. It is one of the underlying principles of life. Neither could the harmony of movement be invented: it is essential to draw one’s conception of it from Nature herself, and to see the rhythm of human movement from the rhythm of water in motion, from the blowing of the winds on the world, in all the earth’s movements, in the motions of animals, fish, birds, reptiles, and even in primitive man, whose body still moved in harmony with nature…..All the movements of the earth follow the lines of wave motion. Both sound and light travel in waves. The motion of water, winds, trees and plants progresses in waves. The flight of a bird and the movements of all animals follow lines like undulating waves. If then one seeks a point of physical beginning for the movement of the human body, there is a clue in the undulating motion of the wave."

"But the dance of the future will have to become again a high religious art as it was with the Greeks. For art which is not religious is not art, is mere merchandise."

"And here I want to avoid a misunderstanding that might easily arise. From what I have said you might conclude that my intention is to return to the dances of the old Greeks, or that I think that the dance of the future will be a revival of the antique dances or even of those of the primitive tribes. No, the dance of the future will be a new movement, a consequence of the entire evolution which mankind has passed through. To return to the dances of the Greeks would be as impossible as it is unnecessary. We are not Greeks and therefore cannot dance Greek dances."

"The movement of the waves, of winds, of the earth is ever in the same lasting harmony. We do not stand on the beach and inquire of the ocean what was its movement of the past and what will be its movement of the future. We realize that the movement peculiar to its nature is eternal to its nature. The dancer of the future will be one whose body and soul have grown so harmoniously together that the natural language of that soul will have become the movement of the body."

"I could not adopt him so I married him. You know how wonderful he is, like all Russians. He starts reciting verse at two o'clock in the morning."