A Russian Jewish immigrant at the age of 17, she moved by her own efforts from seamstress in a clothing factory to internationally known radical lecturer, writer, editor and friend of the oppressed. This book is a collection of her remarkably penetrating essays, far in advance of their time, originally published by the Mother Earth press which she founded.In the first of these essays, Anarchism: What It Really Stands For, she says, "Direct action, having proven effective along economic lines, is equally potent in the environment of the individual." In Minorities Versus Majorities she holds that social and economic well-being will result only through "the non-compromising determination of intelligent minorities, and not through the mass." Other pieces deal with The Hypocrisy of Puritanism; Prisons: A Social Crim and Failure; The Psychology of Political Violence—note the relevence of these themes to our own time; The Drama: A Powerful Disseminator of Radical Thought; Patriotism: A Menace to Liberty; and The Tragedy of Woman's Emancipation. A biographical sketch by Hippolyte Havel precedes the essays.Anarchism and Other Essays provides a fascinating look into revolutionary issues at the turn of the century, a prophetic view of the social and economic future, much of which we have seen take place, and above all, a glimpse into the mind of an extraordinary woman: brilliant, provocative, dedicated, passionate, and what used to be called "high-minded."Unabridged republication of the 3rd (1917) edition, with a new Introduction by Richard Drinnon. Frontispiece. xv + 271 pp. 5-3/8 x 8-1/2. Paperbound.

    As this collection confirms, he was one of our finest essayists as well. Gathered here in a single volume, these pieces reveal the complete range of this esteemed American writer and contain some of his best, funniest, and most caustic work. "English as She Is Taught," "What Is Man?," and "Letters to Satan" are among the seventy-seven essays, each featuring Twain's witty, vital, colorful style -- and reminding us why, nearly one hundred years after his death, he continues to be one of the most widely read and beloved of all American authors.

    A steadfast champion of the working man, family, and faith, Chesterton eloquently opposed materialism, snobbery, hypocrisy, and any adversary of freedom and simplicity in modern society.Culled from the thousands of essays he contributed to newspapers and periodicals over his lifetime, the critical works collected for this edition pulse with the author's unique brand of clever commentary. As readable and rewarding today as when they were written over a century ago, these pieces offer Chesterton's unparalleled analysis of contemporary ideals, his incisive critique of modern efficiency, and his humorous but heartfelt defense of the common man against trendsetting social assaults.

    A collection of verse from the discoverer and founder of Christian Science. From the Preface: The poems garnered up in this little volume were written at different periods in the life of the author, dating from her early girlhood up to recent years. They were not written with a view of making a book, each poem being the spontaneous outpouring of a deeply poetic nature and called forth by some experience that claimed her attention.

    Save for a slim volume of privately printed verse it was my first book. I worked hard on it. Fifteen years elapsed between its beginning and completion; it was twice published serially—written, rewritten and tre-written—before it reached its ultimate incarnation in book form.Confronted now with the opportunity to revise the text again, I find myself in the position of a surgeon who feels that the operation he is called upon to perform may perhaps harm more than it can help. Prudence therefore prevails over my passion for dissection: warned by eminent examples, I fear that any injection of my more mature and less cocksure consciousness into this book might impair its unity—that I “never could recapture the first fine careless rapture.”The text stands therefore as originally published save for a few verbal changes, and whatever reservations I have about it shall be stated in this preface. These are not many nor important: The Beautiful Necessity contains nothing that I need repudiate or care to contradict.Its thesis, briefly stated, is that art in all its manifestations is an expression of the cosmic life, and that its symbols constitute a language by means of which this life is published and represented. Art is at all times subject to the Beautiful Necessity of proclaiming the world order.In attempting to develop this thesis it was not necessary (nor as I now think, desirable) to link it up in so definite a manner with theosophy. The individual consciousness is colored by the particular medium through which it receives truth, and for me that medium was theosophy. Though the book might gain a more unprejudiced hearing, and from a larger audience, by the removal of the theosophic “color-screen,” it shall remain, for its removal now might seem to imply a loss of faith in the fundamental tenets of theosophy, and such an implication would not be true.. . .The one important influence that has operated to modify my opinions concerning the mathematical basis of the arts of space has been the discoveries of Mr. Jay Hambidge with regard to the practice of the Greeks in these matters, as exemplified in their temples and their ceramics, and named by him Dynamic Symmetry.In tracing everything back to the logarithmic spiral (which embodies the principle of extreme and mean ratios) I consider that Mr. Hambidge has made one of those generalizations which reorganizes the old knowledge and organizes the new. It would be only natural if in his immersion in his idea he overworks it, but Mr. Hambidge is a man of such intellectual integrity and thoroughness of method that he may be trusted not to warp the facts to fit his theories. The truth of the matter is that the entire field of research into the mathematics of Beauty is of such richness that wherever a man plants his metaphysical spade he is sure to come upon “pay dirt.” The Beautiful Necessity represents the result of my own prospecting; Dynamic Symmetry represents the result of his. If at any point our findings appear to conflict, it is less likely that one or the other of us is mistaken than that each is right from his own point of view. Be that as it may, I should be the last man in the world to differ from Mr. Hambidge, for if he convicted me of every conceivable error his work would still remain the greatest justification and confirmation of my fundamental contention—that art is an expression of the world order and is therefore orderly, organic; subject to mathematical law, and susceptible of mathematical analysis.