EXCERPTS: 1883-1926 
From Works on Political, Social, and Cultural Criticism of Imaginative Literature
(with a special emphasis on the nature and role of propaganda)


(1883) “You may well think I am not here to criticize any special school of art or artists, or to plead for any special style, or to give you any instructions, however general, as to the practice of the arts. Rather I want to take counsel with you as to what hindrances may lie in the way towards making art what it should be, a help and solace to the daily life of all men…. Since I am a member of a Socialist propaganda I earnestly beg those of you who agree with me to help us actively, with your time and your talents if you can, but if not, at least with your money, as you can…. Help us now, you whom the fortune of your birth has helped to make wise and refined; and as you help us in our work-a-day business toward the success of the cause, instill into us your superior wisdom, your superior refinement, and you in your turn may be helped by the courage and hope of those who are not so completely wise and refined. Remember we have but one weapon against that terrible organization of selfishness which we attack, and that weapon is Union” (108-127). 

–William Morris, On Art and Socialism

(1885) “It is always bad for an author to be infatuated with his hero, and it seems to me that in this case [Minna Kautsky’s novel Old and New] you have given way somewhat to this weakness… I am not at all an opponent of tendentious poetry as such. The father of tragedy, Aeschylus, and the father of comedy, Aristophanes, were both decidedly tendentious poets, just as were Dante and Cervantes; and the main merit of Schiller’s Craft and Loves is that it is the first German political propaganda drama. The modern Russians and Norwegians, who are writing splendid novels, are all tendentious. But I think that the bias [thesis] should flow by itself from the situation and action, without particular indications [explicit display], and that the writer is not obliged to obtrude on the reader the future historical solutions of the social conflicts pictured. And especially in our conditions the novel appeals mostly to readers of bourgeois circles, that is, not directly related to us, and therefore a socialist-biased novel fully achieves its purpose, in my view, if by conscientiously describing the real mutual relations, breaking down conventional illusions about them, it shatters the optimism of the bourgeois world, although the author does not offer any definite solutions or does not even line up openly on any particular side…. And in Stefan you showed that you are able to view your heroes with that fine irony which demonstrates the power of the writer over his creation.”

–Frederick Engels, Letter to Minna Kautsky (1885), in Literature and Art [Marx and Engels], 1947 (also excerpted and translated somewhat differently by George Steiner in “Marxism and the Literary Critic,” 1958, in Language and Silence, 1967)

(1888) “I am far from finding fault with you for not having written a point-blank socialist novel, a ‘Tendenzroman’ as we Germans call it, to glorify the social and political views of the author. That is not at all what I mean. The more the opinions of the author remain hidden, the better for the work of art.”

–Frederick Engels, Letter to Margaret Harkness (excerpted by George Steiner in “Marxism and the Literary Critic,” 1958, in Language and Silence, 1967)

(1898) “This investigation has brought me to the conviction that almost all that our society considers to be art, good art, and the whole of art, far from being real and good art and the whole of art, is not even art at all but only a counterfeit of it…. In our society the difficulty of recognizing real works of art is further increased by the fact that the external quality of the work in false productions is not only no worse, but often better, than in real ones; the counterfeit is often more effective than the real, and its subject more interesting… There is one indubitable sign distinguishing real art from its counterfeit—namely, the infectiousness of art…”

–Leo Tolstoy, What is Art?

(1903) “ ‘The novel must not preach,’ you hear them say. As though it were possible to write a novel without a purpose, even if it is only the purpose to amuse. One is willing to admit that this savors a little of quibbling, for ‘purpose’ and purpose to amuse are two different purposes. But every novel, even the most frivolous, must have some reason for the writing of it, and in that sense must have a ‘purpose’. Every novel must do one of three things—it must tell something, (2) show something, or (3) prove something. Some novels do all three of these; some do only two; all must do at least one…. The third, and what we hold to be the best class, proves something, draws conclusions from a whole congeries of forces, social tendencies, race impulses, devotes itself not to a study of men but of man. In this class falls the novel with the purpose, such as ‘Les Miserables’. And the reason we decide upon this last as the highest form of the novel is because that, though setting a great purpose before it as its task, it nevertheless includes, and is forced to include, both the other classes…. [The novel] may be a great force, that works together with the pulpit and the universities for the good of the people, fearlessly proving that power is abused, that the strong grind the faces of the weak, that an evil tree is still growing in the midst of the garden, that undoing follows hard upon unrighteousness, that the course of Empire is not yet finished, and that the races of men have yet to work out their destiny in those great and terrible movements that crush and grind and rend asunder the pillars of the houses of the nations” (203-207).

–Frank Norris, The Responsibilities of the Novelist

(1905) “Literature must become Party literature…. Down with un-partisan littérateurs! Down with the supermen of literature! Literature must become a part of the general cause of the proletariat, ‘a small cog and a small screw’ in the social-democratic mechanism, one and indivisible—a mechanism set in motion by the entire conscious vanguard of the whole working class. Literature must become an integral part of the organized, methodical, and unified labours of the social-democratic Party.”

–Vladimir Lenin, “Party Organization and Party Literature,” in Novaia Jizn

(1926) “…all art is propaganda and ever must be, despite the wailing of the purists. I stand in utter shamelessness and say that whatever art I have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy. I do not care a damn for any art that is not used for propaganda."

–W.E.B. DuBois, African American Literary Criticism, 1773-2000 (Hazel Arnett Ervin, Ed.)



1927-1934                                                  EXCERPTS CONTENTS