It is impossible for art, or any of the higher creative activities, to flourish under any system which requires that the artist shall prove his competence to some body of authorities before he is allowed to follow his impulse. Any really great artist is almost sure to be thought incompetent by those among his seniors who would be generally regarded as best qualified to form an opinion. And the mere fact of having to produce work which will please older men is hostile to a free spirit and to bold innovation. Apart from this difficulty, selection by older men would lead to jealousy and intrigue and back-biting, producing a poisonous atmosphere of underground competition. The only effect of such a plan would be to eliminate the few who now slip through owing to some fortunate accident. It is not by any system, but by freedom alone, that art can flourish.
There are two ways by which the artist could secure freedom under Socialism of the right kind. He might undertake regular work outside his art, doing only a few hours' work a day and receiving proportionately less pay than those who do a full day's work. He ought, in that case, to be at liberty to sell his pictures if he could find purchasers. Such a system would have many advantages. It would leave absolutely every man free to become an artist, provided he were willing to suffer a certain economic loss. This would not deter those in whom the impulse was strong and genuine, but would tend to exclude the dilettante. Many young artists at present endure voluntarily much greater poverty than need be entailed by only doing half the usual day's work in a well-organized Socialist community; and some degree of hardship is not objectionable, as a test of the strength of the creative impulse, and as an offset to the peculiar joys of the creative life.
The other possibility[58] would be that the necessaries of life should be free, as Anarchists desire, to all equally, regardless of whether they work or not. Under this plan, every man could live without work: there would be what might be called a "vagabond's wage," sufficient for existence but not for luxury. The artist who preferred to have his whole time for art and enjoyment might live on the "vagabond's wage"—traveling on foot when the humor seized him to see foreign countries, enjoying the air and the sun, as free as the birds, and perhaps scarcely less happy. Such men would bring color and diversity into the life of the community; their outlook would be different from that of steady, stay-at-home workers, and would keep alive a much-needed element of light- heartedness which our sober, serious civilization tends to kill. If they became very numerous, they might be too great an economic burden on the workers; but I doubt if there are many with enough capacity for simple enjoyments to choose poverty and free- dom in preference to the comparatively light and pleasant work which will be usual in those days.
By either of these methods, freedom can be preserved for the artist in a socialistic commonwealth— far more complete freedom, and far more widespread, than any that now exists except for the possessors of capital.
But there still remain some not altogether easy problems. Take, for example, the publishing of books. There will not, under Socialism, be private publishers as at present: under State Socialism, presumably the State will be the sole publisher, while under Syndicalism or Guild Socialism the Federation du Livre will have the whole of the trade in its hands. Under these circumstances, who is to decide what MSS. are to be printed? It is clear that opportunities exist for an Index more rigorous than that of the Inquisition. If the State were the sole publisher, it would doubtless refuse books opposed to State Socialism. If the Federation du Livre were the ultimate arbiter, what publicity could be obtained for works criticising it? And apart from such political difficulties we should have, as regards literature, that very censorship by eminent officials which we agreed to regard as disastrous when we were considering the fine arts in general. The difficulty is serious, and a way of meeting it must be found if literature is to remain free.
Kropotkin, who believes that manual and intellectual work should be combined, holds that authors themselves should be compositors, bookbinders, etc. He even seems to suggest that the whole of the manual work involved in producing books should be done by authors. It may be doubted whether there are enough authors in the world for this to be possible, and in any case I cannot but think that it would be a waste of time for them to leave the work they understand in order to do badly work which others could do far better and more quickly. That, however, does not touch our present point, which is the question how the MSS. to be printed will be selected. In Kropotkin's plan there will presumably be an Author's Guild, with a Committee of Management, if Anarchism allows such things. This Committee of Management will decide which of the books submitted to it are worthy to be printed. Among these will be included those by the Committee and their friends, but not those by their enemies. Authors of rejected MSS. will hardly have the patience to spend their time setting up the works of successful rivals, and there will have to be an elaborate system of log-rolling if any books are to be printed at all. It hardly looks as if this plan would conduce to harmony among literary men, or would lead to the publication of any book of an unconventional tendency. Kropotkin's own books, for example, would hardly have found favor.
The only way of meeting these difficulties, whether under State Socialism or Guild Socialism or Anarchism, seems to be by making it possible for an author to pay for the publication of his book if it is not such as the State or the Guild is willing to print at its own expense. I am aware that this method is contrary to the spirit of Socialism, but I do not see what other way there is of securing freedom. The payment might be made by undertaking to engage for an assigned period in some work of recognized utility and to hand over such proportion of the earnings as might be necessary. The work undertaken might of course be, as Kropotkin suggests, the manual part of the production of books, but I see no special reason why it should be. It would have to be an absolute rule that no book should be refused, no matter what the nature of its contents might be, if payment for publication were offered at the standard rate. An author who had admirers would be able to secure their help in payment. An unknown author might, it is true, have to suffer a considerable loss of comfort in order to make his payment, but that would give an automatic means of eliminating those whose writing was not the result of any very profound impulse and would be by no means wholly an evil.
Probably some similar method would be desirable as regards the publishing and performing of new music.
What we have been suggesting will, no doubt, be objected to by orthodox Socialists, since they will find something repugnant to their principles in the whole idea of a private person paying to have certain work done. But it is a mistake to be the slave of a system, and every system, if it is applied rigidly, will entail evils which could only be avoided by some concession to the exigencies of special cases. On the whole, a wise form of Socialism might afford infinitely better opportunities for the artist and the man of science than are possible in a capitalist community, but only if the form of Socialism adopted is one which is fitted for this end by means of provisions such as we have been suggesting.
3. Possibility of Appreciation.—This condition is one which is not necessary to all who do creative work, but in the sense in which I mean it the great majority find it very nearly indispensable. I do not mean widespread public recognition, nor that ignorant, half-sincere respect which is commonly accorded to artists who have achieved success. Neither of these serves much purpose. What I mean is rather understanding, and a spontaneous feeling that things of beauty are important. In a thoroughly commercialized society, an artist is respected if he makes money, and because he makes money, but there is no genuine respect for the works of art by which his money has been made. A millionaire whose fortune has been made in button-hooks or chewing-gum is regarded with awe, but none of this feeling is bestowed on the articles from which his wealth is derived. In a society which measures all things by money the same tends to be true of the artist. If he has become rich he is respected, though of course less than the millionaire, but his pictures or books or music are regarded as the chewing-gum or the button- hooks are regarded, merely as a means to money. In such an atmosphere it is very difficult for the artist to preserve his creative impulse pure: either he is contaminated by his surroundings, or he becomes embittered through lack of appreciation for the object of his endeavor.