My Disillusionment in Russia, Emma Goldman [superbooks4u .TXT] 📗

intellectuals who, under one pretext or another, are systematically hounded and finally eliminated from Bolshevik institutions. The Communist “cells” in control of every classroom have created an atmosphere of distrust and suspicion in which real education cannot thrive.

It is true that the Bolsheviki have striven to carry education and culture into the Red Army and the villages. But here again the same conditions prevail. Communism is the State religion and, like all religions, it discourages the critical attitude and frowns upon independent inquiry. Yet without the capacity for parallelism and opportunity for verification education is valueless.

The Proletcult is the pet child of the Bolsheviki. Like most parents, they claim for their offspring extraordinary talents. They hold it up as the great genius who is destined to enrich the world with new values. Henceforth the masses shall no longer drink from the poisonous well of bourgeois culture. Out of their own creative impulse and through their own efforts the proletariat shall bring forth great treasures in literature, art, and music. But like most child prodigies, the Proletcult did not live up to its early promise. Before long it proved itself below the average, incapable of innovation, lacking originality, and without sustaining power. Already in 1920 I was told by two of the foremost foster-fathers of the Proletcult, Gorky and Lunacharsky, that it was a failure.

In Petrograd, Moscow, and throughout my travels I had occasion to study the efforts of the Proletcult. Whether expressed in printed form, on the stage, in clay or colour, they were barren of ideas or vision, and showed not a trace of the inner urge which impels creative art. They were hopelessly commonplace. I do not doubt that the masses will some day create a new culture, new art values, new forms of beauty. But these will come to life from the inner necessity of the people themselves, and not through an arbitrary will imposed upon them.

The mechanistic approach to art and culture and the idée fixe that nothing must express itself outside of the channels of the State have stultified the cultural and artistic expression of the Russian people. In poetry and literature, in drama, painting, and music not a single epic of the Revolution has been produced during five years. This is the more remarkable when one bears in mind how rich Russia was in works of art and how close her writers and poets were to the soul of the Russian people. Yet in the greatest upheaval in the world’s history no one has come forward with pen or brush or lyre to give artistic expression to the miracle or to set to music the storm that carried the Russian people forward. Works of art, like newborn man, come in pain and travail. Verily the five years of Revolution should have proved very rich spiritually and creatively. For in those years the soul of Russia has gone through a thousand crucifixions. Yet in this regard Russia was never before so poor and desolate.

The Bolsheviki claim that a revolutionary period is not conducive to creative art. That contention is not borne out by the French Revolution. To mention only the Marseillaise, the great music of which lives and will live. The French Revolution was rich in spiritual effort, in poetry, painting, science, and in its great literature and letters. But, then, the French Revolution was never so completely in the bondage of one dogmatic idea as has been the case with Russia. The Jacobins indeed strove hard to fetter the spirit of the French Revolution and they paid dearly for it. The Bolsheviki have been copying the destructive phases of the French Revolution. But they have done nothing that can compare with the constructive achievements of that period.

I have said that nothing outstanding has been created in Russia. To be exact, I must except the great revolutionary poem, “Twelve,” by Alexander Blok. But even that gifted genius, deeply inspired by the Revolution, and imbued with the fire that had come to purify all life, soon ceased to create. His experience with the Cheka (he was arrested in 1919), the terrorism all about him, the senseless waste of life and energy, the suffering and hopelessness of it all depressed his spirit and broke his health. Soon Alexander Blok was no more.

Even a Blok could not create with an iron band compressing his brain⁠—the iron band of Bolshevik distrust, persecution, and censorship. How far-reaching the latter was I realized from a document the Museum Expedition had discovered in Vologda. It was a “very confidential, secret” order issued in 1920 and signed by Ulyanova, the sister of Lenin and chief of the Central Educational Department. It directed the libraries throughout Russia to eliminate all non-Communist literature, except the Bible, the Koran, and the classics⁠—including even Communistic writings dealing with problems which were being “solved in a different way” by the existing regime. The condemned literature was to be sent to paper mills “because of the scarcity of paper.”

Such edicts and the State monopoly of all material, printing machinery, and mediums of circulation exclude every possibility of the birth of creative work. The editor of a little cooperative paper published a brilliant poem, unsigned. It was the cry of a tortured poet’s soul in protest against the continued terror. The editor was promptly arrested and his little shop closed. The author would probably have been shot had his whereabouts been known. No doubt there are many agonized cries in Russia, but they are muffled cries. No one may hear them or interpret their meaning. The future alone has the key to the cultural and artistic treasures now hidden from the Argus eyes of the Department of Education and the numerous other censorial institutions.

Russia is now the dumping ground for mediocrities in art and culture. They fit into the narrow groove, they dance attendance on the all-powerful political commissars. They live in the Kremlin and skim the cream of life, while the