108 Mujeres Libres qtd. in Laura Ruiz Eugenio and Gregori Siles Molina “Aportaciones de Mujeres Libres (1936–1939) desde la educación para la inclusión de las mujeres obreras y campesinas,” in El largo camino hacia una educación inclusiva, Vol. 2, eds. María Reyes Berruezo Albéniz and Susana Conejero López (Pamplona, Spain: Universidad Pública de Navarra, 2009): 343; Cimine, Lee libros anarquistas y serás un hombre (1936–1938).
109 Domingos Ribeiro Filho, “O veneno literário,” Renascença: arte e pensamento 1.3 (Apr. 1923): 8. Interestingly, Ribeiro Filho’s anxiety is focused on female readers—he is writing in the pages of Maria Lacerda de Moura’s journal—who are especially imperiled by reading novels that “extol the beauties of the shop window and the sentiments of the seraglio.” The identification of consumerism at once with lasciviousness and femininity is not alien to this line of anarchist argument.
110 Georges Duveau, La vie ouvrière en France, sous le second empire (Paris: Gallimard, 1946), 471. It must be said that Tolain also fulminates a good deal against the moral “depravity” supposedly taught by these novels.
111 Jules Vallès, “Les Victimes du Livre,” Les Réfractaires (Paris: G. Charpentier, 1881), 160, 162–163, 171–172.
112 Liu Shifu qtd. in P. Chan, Liu Shifu, 64, trans. Chan’s; Statio qtd. in Vittorio Frigerio, “La Vérité par la fiction,” Belphégor 9.1 (February 2010).
113 Charles Hotz, L’Art et le Peuple (Paris: Groupe de propagande par la brochure, 1924), 22; Shin Chae-ho qtd. in Song Chae-So, “The Changes of Tanjae’s Thought Seen in ‘The Dream Sky’ and ‘The War of the Dragons,’” Korea Journal 20.12 (December 1980): 20; Camillo Berneri, “La novela de folletón,” Almanaque de la Novela Ideal (Barcelona: Publicaciones de “La Revista Blanca,” 1928), 83–84.
114 See, for instance, Paul Goodman’s 1963 essay “Television: The Continuing Disaster,” in Drawing the Line: The Political Essays of Paul Goodman (New York: Free Life Editions, 1977), 99–103; or George Bradford’s (a.k.a. David Watson’s) 1984 piece, “Media: Capital’s Global Village,” in Reinventing Anarchy, Again, 258–271.
115 Peter Lamborn Wilson, “Amoral Responsibility,” Science Fiction EYE 8 (Winter 1991): 55.
116 Stuart Christie, My Granny Made Me an Anarchist: The Cultural and Political Formation of a West Scotland “Baby Boomer” (Hastings, UK: Christie Books, 2002), 85.
117 Shin Chae-ho, “Declaration of the Korean Revolution,” trans. Dongyoun Hwang, in Anarchism: A Documentary History of Libertarian Ideas, Vol. 1, 375.
118 Ali Nematollahy, “Jules Vallès and the Anarchist Novel,” Nineteenth-Century French Studies 35.3–4 (Spring–Summer 2007): 575.
119 Edouard Rothen, “Littérature,” in L’Encyclopédie anarchiste, 1295.
120 Peter Kropotkin, Ideals and Realities in Russian Literature (New York: A.A. Knopf, 1915), 298–299.
121 Gustav Landauer, Shakespeare: Dargestellt in Vorträgen (Frankfurt am Main: Rütten & Loening, 1920); Bernard Lazare, L’Écrivain et l’Art Social (Béarn: Bibliothèque de l’Art Social, 1896), 13–14.
122 Paul Goodman, “The Present Plight of a Man of Letters,” in Criticism and Culture: Papers of the Midwest Modern Language Association 2, ed. Sherman Paul (Iowa City: Midwest Modern Language Association, 1972), 6.
123 Pierre Quillard, L’Anarchie par la littérature (Paris: Édicions du Fourneau, 1993), 11, 13–14.
124 Félix Martí-Ibañez, “La Cultura en el nuevo orden revolucionario,” Documentos Históricos 1.1 (October 1937): 12.
125 Candace Falk, “Forging Her Place: An Introduction,” Emma Goldman: A Documentary History of the American Years, Vol. 1: Made for America, 1890–1901 (Berkeley: University of California Press, 2003), 46.
126 Clara E. Lida, for instance, distinguishes between what she calls “anarquismo literario” (with the emphasis on the “literary”) and “literatura anarquista” (with the emphasis on the “anarchist”). See Lida, “Literatura anarquista y anarquismo literario,” Nueva Revista de Filología Hispánica 19.2 (1970): 360–381.
127 If Vittorio Frigerio is right to say that this “appropriation and use of texts and writers from outside the movement” constituted a kind of “diver[sion] of the symbolic capital of official literature and science for its own purposes” (“La Vérité par la fiction”), then the sexist values inherent in the evaluations forming such a list might reflect that formation of symbolic capital—already massively skewed towards male writers—as much as the (by no means inconsiderable) residual sexism in the anarchist movement and its media apparatuses. It also presents a striking contrast to the gender balance among ordinary militants who wrote for anarchist publications: here, women’s participation is notable. Indeed, Lida asserts that “the presence of women who contributed to the anarchist press was much higher than that of other socialist movements of the time” (“Discurso e imaginario en la literatura anarquista,” Filología 29.1–2 [1996]: 123).
128 Some of these writers made more or less equivocal gestures toward anarchism; Wilde went so far as to declare his political preference for anarchism in response to Jules Huret’s famous survey. However, none were integrated into any anarchist organization or movement per se.
129 Ming K. Chan and Arif Dirlik, Schools into Fields and Factories: Anarchists, the Guomindang, and the National Labor University in Shanghai, 1927–1932 (Durham: Duke University Press, 1991), 87.
130 Stephen Filler, Chaos From Order: Anarchy and Anarchism in Modern Japanese Fiction, 1900–1930 (Diss., Ohio State University, 2004), 4, 216–217.
131 Marcella Bencivenni, Italian American Radical Culture in New York City: The Politics and Arts of the Sovversivi, 1890–1940 (Diss., City University of New York, 2003), 121; Flávio Luizetto, “O recurso da ficção: um capítulo da história do anarquismo no Brasil,” in Libertários no Brasil: Memória, Lutas, Cultura, ed. Antônio Arnoni Prado (São Paulo: Editora Brasilense, 1986), 131; Boaventura, “A Ficção Anarquista,” 79–92. Boaventura