Upton Sinclair

Upton Sinclair

Summary

Portrait of Upton Sinclair Upton Sinclair The spokesman's secretary (1926)

And he goes on, “Yes Miss Riggs,” he says, “it would mean riot and red revolution. You can go and ask any of them Bolshivikis if there is anything they would like better than to have the American people get the idea that the Man they have got for Spokesman is a poor little Feller with carroty hair and a sallow skin that suffers from constitutional timidity and has got where He is by always waiting for His mind to be made up for Him—just you ask them Bolshivikis and hear them whoop with delight.”
“Mr. Edgerton,” I says, “you must know I have never met no Bolshivikis and don’t never expect to.”
Source: Gutenberg

Portrait of Upton Sinclair Upton Sinclair The spokesman's secretary (1926)

WHO OWNS YOU, AND WHY?
“MAMMONART” examines art and literature as instruments of propaganda and repression, employed by ruling classes of the community; or as weapons of attack, employed by new classes rising into power.
“MAMMONART” challenges the great ones now honored by critical authority and asks to what extent they are servants of ruling-class prestige and instruments of ruling-class safety.
“MAMMONART” asserts that mankind is today under the spell of utterly false conceptions of what art is and should be; of utterly vicious and perverted standards of beauty and dignity in all the arts.
Source: Gutenberg

Get perspective with Kwize: daily news enlightened by great literature