The right to vote, or equal civil rights, may be good demands, but true emancipation begins neither at the polls nor in courts. It begins in woman's … - Emma Goldman

The dominant, almost general, idea of revolution — particularly the Socialist idea — is that revolution is a violent change of social conditions through which one social class, the working class, becomes dominant over another class, the capitalist class. It is the conception of a purely physical change, and as such it involves only political scene shifting and institutional rearrangements. Bourgeois dictatorship is replaced by the "dictatorship of the proletariat" — or by that of its "advance guard," the Communist Party. Lenin takes the seat of the Romanovs, the Imperial Cabinet is rechristened Soviet of People's Commissars, Trotsky is appointed Minister of War, and a labourer becomes the Military Governor General of Moscow. That is, in essence, the Bolshevik conception of revolution, as translated into actual practice.

It has often been suggested to me that the Constitution of the United States is a sufficient safeguard for the freedom of its citizens. It is obvious that even the freedom it pretends to guarantee is very limited. I have not been impressed with the adequacy of the safeguard. The nations of the world, with centuries of international law behind them, have never hesitated to engage in mass destruction when solemnly pledged to keep the peace; and the legal documents in America have not prevented the United States from doing the same. Those in authority have and always will abuse their power. And the instances when they do not do so are as rare as roses growing on icebergs. Far from the Constitution playing any liberating part in the lives of the American people, it has robbed them of the capacity to rely on their own resources or do their own thinking. Americans are so easily hoodwinked by the sanctity of law and authority. In fact, the pattern of life has become standardized, routinized, and mechanized like canned food and Sunday sermons. The hundred-percenter easily swallows syndicated information and factory-made ideas and beliefs. He thrives on the wisdom given him over the radio and cheap magazines by corporations whose philanthropic aim is selling America out. He accepts the standards of conduct and art in the same breath with the advertising of chewing gum, toothpaste, and shoe polish. Even songs are turned out like buttons or automobile tires — all cast from the same mold.

Those who are placed in positions which demand the surrender of personality, which insist on strict conformity to definite political policies and opinions, must deteriorate, must become mechanical, must lose all capacity to give anything really vital. The world is full of such unfortunate cripples. Their dream is to “arrive,” no matter at what cost. If only we would stop to consider what it means to “arrive,” we would pity the unfortunate victim. Instead of that, we look to the artist, the poet, the writer, the dramatist and thinker who have “arrived,” as the final authority on all matters, whereas in reality their “arrival” is synonymous with mediocrity, with the denial and betrayal of what might in the beginning have meant something real and ideal. The “arrived” artists are dead souls upon the intellectual horizon. The uncompromising and daring spirits never “arrive.” Their life represents an endless battle with the stupidity and the dullness of their time. They must remain what Nietzsche calls “untimely,” because everything that strives for new form, new expression or new values, is always doomed to be untimely.