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LAST DITCH OF DEMOCRACY - Majority Rights

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That old phrase about clarifying one’s intentions is not worked nearly<br />

enough. In trying to give the American people what they WANT, I mean<br />

WANT, no one can offer them blood and destruction. The sob stuff<br />

aimed at getting ’em into trenches is all based on NOT getting into the<br />

trenches. It is all based on how wrong it is for anyone to get into<br />

trenches. Which being the case, why not move DIRECT toward the<br />

goal? Why has so little been done in and FROM North America to stop<br />

the war or before that to prevent it, or at any rate to keep it from<br />

overflowing the whole of the earth?<br />

I gather that if I am to go on with these talks, I shall have gradually more<br />

to say about letters and less about international politics. I might even say<br />

a word or two about Joyce, but before I get onto that subject, I shall one<br />

of these days read you a letter from Mensdorff, Count Mensdorff<br />

Dietrichstein-Pouilly, containing a few ideas on peace, and how to attain<br />

it, written in Vienna back in 1928. Just to show how long it takes to get<br />

ideas into action. Then again they asked me here a couple of weeks ago<br />

what I thought about one or two American writers, handin’ me samples.<br />

And I wrote out a couple of comments, which I will also read you one<br />

night, if the spring advances, and rain lays off and the spirit of man takes<br />

on a little normality.<br />

You probably still think I am joking about those cinema records of<br />

Japanese plays. I am not. You spend millions a year on education. Young<br />

men go to colleges to get education. You spend MONEY and time to get<br />

education. I am telling you how to get some. I have knocked ’round<br />

Europe for 30 years, I have seen some fairly good dancing, I have heard<br />

some music, Mozart, Janequin. I have even been paid for writing down<br />

my opinions on music. As to dancing, Russian or whatever, I have never<br />

seen anything that could touch the movement of the tennin in the<br />

Hagormo dance that Tami Koumé did for me in his London studio 25<br />

years ago. And as to music, a couple of bars of modern Japanese film<br />

play, after 25 years, hit me straight in the midriff. You couldn’t mistake

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