Chapter IX: The Class Lie

In the stage of economic evolution where the savage exchanges a fish for a cocoanut, the balance of advantage in the trade may be equal. The fisherman may need the cocoanut as badly as the cocoanut-gatherer needs the fish. But as soon as we come to the stage where tokens are accepted, there begins a shifting of the balance of advantage; for the reason that the seller comes to specialize in the selling of one thing, whereas the more complex the society, the more different things the buyer must buy, and so he remains an amateur as to each. Moreover, the sellers learn to combine; they form partnerships, firms, corporations, alliances, leagues, associations, parties, classes; the buyer, on the other hand, remains unorganized and helpless. He is the consumer, who takes what he can get; he is the proletarian, who has only his chains to lose; he is that plaything of the competitive process, that jest of the trader through the ages, the general public. “The public be damned,” said a great seller of railway transportation, and his phrase has become the corner-stone of capitalist civilization.

Nineteen hundred years ago a revolutionary economist remarked, “To him that hath shall be given; while from him that hath not shall be taken away even that which he hath.” And this economic process is one which tends continually to accelerate, multiplying itself by geometrical progression. In present-day society, the sellers are nearly all organized, while labor is only ten per cent organized, and the ultimate consumer is not organized at all. We have thus the combination of a monopoly price with a competitive wage, and the surplus wealth of the world is drawn by automatic process into the hands of a small class. The world’s selling power is now vested in combinations of capital, called “trusts,” which present themselves in the aspect of enormous fortresses of lies.

Merely to give a catalogue of the various trade-lies embodied in the daily operations of such a “trust” would require a volume. There are so many kinds of lies that no one man can know them all. There are lies carried in the heads and embodied in the practice of petty chiefs of departments. There are lies so generally accepted and conventionalized that the very liars do not know them as such, and are amazed and wounded in the feelings when their attention is called to the truth. There are lies so complicated that highly trained lawyers have been paid millions of dollars to contrive them. There are lies so cleverly hidden that it would take the restoring of tons of burned account-books to prove them. There are lies so blazoned forth on billboards and in newspapers that they have become part of the daily thought of the people, and have given new words and phrases to the language.

So comes the next stage in the evolution of the trade-lie. The owners of trusts and combinations unite into parties, classes and governments for the defense of their gains. They combine and endow and perpetuate their trade-lies, making them into systems and institutions; and so we have the Lie Wholesale, the Lie Sublimated, the Lie Traditional, the Lie Classical; we have the Lie become Religion, Philosophy, History, Literature, and Art.

Turn back to Chapter II, and read the list of the six great art lies; you may now understand who made them and why. Lie Number One, the Art for Art’s Sake lie, the notion that the end of art is in the art work, is a trade lie of the art specialist, the effort of a sacred caste to maintain its prestige and selling price. Lie Number Two, the lie of Art Snobbery, the notion that art is for the chosen few, and outside the grasp of the masses, is the same. Lie Number Three, the lie of Art Tradition, the notion that new artists must follow old models, is a self-protective device of those in power. Lie Number Four, the lie of Art Dilettantism, the notion that the purpose of art is entertainment and diversion, is a device of the culturally powerful to weaken and degrade those upon whom they prey; just as the creatures of the underworld get their victims drunk before they rob them. Lie Number Five, the lie of the Art Pervert, the notion that art has nothing to do with moral questions, is the same. Lie Number Six, the lie of Vested Interest, is the sum of all the other lies, of all the infinite cruelties of predatory, class-controlled culture.

The sarcastic critic will say that I make the artist an extremely knavish and dangerous person. My answer is that he may be, and frequently is, an amiable and guileless child. His knaveries are class knaveries, collective cruelties, conventions and attitudes to life which have been produced as automatic reactions to economic forces; the individual acquires them with no more conscious thought than is involved in the assimilation of his food. Ogi lies and pretends, he cheats, robs and murders, imaginatively speaking, by the same instincts that cause him to blink his eyes in a bright light.