Max Eastman Quotes

A smile is the universal welcome.

It is the ability to take a joke, not make one, that proves you have a sense of humor.

Living well is the best revenge.If opportunity doesn't knock, build a door.

The defining function of the artist is to cherish consciousness.

History is not an escalator.

Humor is the instinct for taking pain playfully.

It seems obvious to me now – though I have been slow, I must say, in coming to the conclusion – that the institution of private property is one of the main things that have given man that limited amount of free-and-equalness that Marx hoped to render infinite by abolishing this institution. Strangely enough Marx was the first to see this. He is the one who informed us, looking backwards, that the evolution of private capitalism with its free market had been a precondition for the evolution of all our democratic freedoms. It never occurred to him, looking forward, that if this was so, these other freedoms might disappear with the abolition of the free market.

I wonder how many revolutions will be required before grown-up people learn not to say to children, 'I had those same ideas when I was your age.

Just prior to that, Henry Ford had instigated operations that used the principles of Frederick Winslow Taylor to promote efficiency in his automobile factories—as did Lenin to advance his super-population in 1920. As extraordinary as it might sound, the name Henry Ford became well known throughout Russian villages in the 1920s—better known, in fact, than the names of many party leaders. Lenin had imported Ford Motor Company tractors in large numbers after the revolution. Peasants affectionately called these tractors “Fordzonishkas” (they also were said to have named their children after Ford in the early years of the Soviet era!), and the terms fordizatsiya and teilorizatsiya (Fordization, Taylorization) were used in Soviet universities in the 1920s. 13 And it was exactly this effect, the mechanizing of Russia, thanks to American industrial thought, that Zamyatin so fiercely satirized in his novel. Indeed, in 1922, Max Eastman, defender of the revolution in Russia, said, “I feel sometimes as though the whole modern world of capitalism and Communism and all were rushing toward some enormous efficient machine-made doom of the true values of life.”14

Weston, having been born in Chicago, was raised with typical, well-grounded, mid-western values. On his 16th birthday, his father gave him a Kodak camera with which he started what would become his lifetime vocation. During the summer of 1908, Weston met Flora May Chandler, a schoolteacher who was seven years older than he was. The following year the couple married and in time they had four sons. Weston and his family moved to Southern California and opened a portrait studio on Brand Boulevard, in the artsy section of Glendale, California, called Tropico. His artistic skills soon became apparent and he became well known for his portraits of famous people, such as Carl Sandburg and Max Eastman. In the autumn of 1913, hearing of his work, Margrethe Mather, a photographer from Los Angeles, came to his studio, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, intimate relationship. Both Weston and Mather became active in the growing bohemian cultural scene in Los Angeles. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common. Weston expanded his horizons but tried to keep his affairs with other women a secret. As he immersed himself further into nude photography, it became more difficult to hide his new lifestyle from his wife. Flora became suspicious about this secret life, but apparently suffered in silence. One of the first of many women who agreed to model nude for Weston was Tina Modotti. Although Mather remained with Weston, Tina soon became his primary model and remained so for the next several years. There was an instant attraction between Tina Modotti, Mather and Edward Weston, and although he remained married, Tina became his student, model and lover. Richey soon became aware of the affair, but it didn’t seem to bother him, as they all continued to remain good friends. The relationship Tina had with Weston could definitely be considered “cheating,” since knowledge of the affair was withheld as much as possible from his wife Flora May. Perhaps his wife knew and condoned this new promiscuous relationship, since she had also endured the intense liaison with Margrethe Mather. Tina, Mather and Weston continued working together until Tina and Weston suddenly left for Mexico in 1923. As a group, they were all a part of the cozy, artsy, bohemian society of Los Angeles, which was where they were introduced to the then-fashionable, communistic philosophy.

Great straight lines make great punch lines. Never have the character say something that wasn’t perfectly natural just to get to a great punch line I had waiting. He taught me to throw out even my finest jokes if they in any way halted or slowed the narrative; to always begin at the beginning and go right to the end of the sketch, never to write a scene out of sequence, never to write when you’re not feeling well because the material will reflect the lack of energy and health. Never to be competitive. Always root for the success of your contemporaries, as there’s room for everybody. And most important, he taught me to trust my own judgment. No matter who tried to tell me what’s funny, or what isn’t, or what I should be doing, I was to go with my own judgment. Unless of course the person was him, because he fancied himself a gifted teacher on a subject that many tried to explain and analyze from Freud to Henri Bergson to Max Eastman and have come up empty. And he was a great teacher. He imbued in me a confident quality when it came to comedy, and this firm point of view has helped me enormously.

Dogs laugh, but they laugh with their tails. - Max Eastman