St. Tropez, [France,] July 12th, 1936 It is only two weeks since our beloved comrade Alexander Berkman passed away. Yet it seems an eternity to me. The blow his untimely death has struck me has left me completely shattered. I find it difficult to collect my thoughts. But I feel sure you will want to know all about Sasha's end. For have you not loved him all through the years? Sasha left a note which we found after we returned from his last resting place. It reads: "I don't want to live a sick man. Dependent. Forgive me Emmie darling. And you too Emma. Love to All. Help Emmie." signed, Sasha. I have two letters from comrade Berkman dated June 24th and 26th. He wrote while he did not feel strong enough to come to St. Tropez the 27th, my sixty... (From : Anarchy Archives.)
Jefferson City, MO, 29 June 1919, Darling, mine. There is so much, so much I want to write you. I scarcely know where to begin & where to let off. I will have to content myselfs with the most essential & leave the other when we meet - just three months from to day. My birth-day - like last year I spent it in bed. Not quite so ill, but in pain & discomfiture. The same thing I had 2 weeks ago & which I will probably have to endure during most of the Summer. As a result of my laying off a very funny thing happened. Funny only because I have so short a time in here. Other wise it would have been the beginning of a serious & bitter struggle. I have repeatedly written you how very decent Dr Mc Nearney has always been to me. As... (From : University of Berkeley.)
THE GERMAN DRAMA: GERHART HAUPTMANN LONELY LIVES Gerhart Hauptmann is the dramatist of whom it may be justly said that he revolutionized the spirit of dramatic art in Germany: the last Mohican of a group of four-Ibsen, Strindberg, Tolstoy, and Hauptmann-who illumined the horizon of the nineteenth century. Of these Hauptmann, undoubtedly the most human, is also the most universal. It is unnecessary to make comparisons between great artists: life is sufficiently complex to give each his place in the great scheme of things. If, then, I consider Hauptmann more human, it is because of his deep kinship with every stratum of life. While Ibsen deals exclusively with one attitude, Hauptmann embraces all, understands all, and portrays all, because nothing human is alien to him. Whether it be the struggle of the transition stage in " Lonely Lives," or the conflict between the Ideal and the Real in " The Sunken Bell," or the brutal background of poverty in...