An Anarchist Woman

NEW YORK DUFFIELD & COMPANY 1909
Copyright, 1909, by Duffield and Company
The best government is that which makes itself superfluous.
Goethe
It is possible that in fifty years people now called anarchists will have in America as respectable a place as they now occupy in France. When we are more accustomed to social thought, we shall not regard those who radically differ from us, as mad dogs or malevolent idiots. We may, indeed, still look on them as mistaken, but what now seems to us their insanity or peculiar atrociousness will vanish with our growing understanding and experience. When we become less crude in civilisation, they will seem less crude to us. When, with growing culture, we see things more nearly as they are, the things we see, including the anarchists, will seem more sympathetic.
This book is not an attempt to justify any person or set of persons. It is not a political or economic pamphlet. It represents an effort to throw light on what may be called the temperament of revolt; by portraying the mental life of an individual, and incidentally of more than one individual, I have hoped to make more clear the natural history of the anarchist; to show under what conditions, in connection with what personal qualities, the anarchistic habit of mind arises, and to point out, suggestively, rather than explicitly, the nature, the value, and the tragic limitation of the social rebel.

When I first met the heroine of this tale, Marie, she was twenty-three years old, yet had lived enough for a woman of more than twice her age; indeed, few women of any age ever acquire the amount of mental experience possessed by this factory hand and servant girl. She had more completely translated her life into terms of thought than any other woman of my acquaintance. She had been deeply helped to do this by a man of strange character, with whom she lived. She had also been deeply helped by vice and misery. The intensity of her nature showed in her anæmic body and her large eyes, dark and glowing, but more than all in the way she had of making everything her own, no matter from what source it came. Everything she said, or wrote, or did, all fitted into her personality, had one note, her note. But perhaps the most intense quality of all was—and is—this never-failing though gracefully manifested energy, resulting in unity of character and temperament in expression. To keep everything in tone is a quality of art; it is also a sign of great, though not always obvious, energy.