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Comrades: A Story of Social Adventure in California

From Wikipedia, the free encyclopedia

Comrades: A Story of Social Adventure in California
Title page of the first edition of Comrades.
AuthorsThomas Dixon, Jr.
LanguageEnglish
PublisherDoubleday, Page & Company[1]
Publication date
1909[1]
Pages319[1]

Comrades: A Story of Social Adventure in California is a 1909 novel by Thomas Dixon, Jr. It deals with the establishment of a socialist commune on a Californian island and its subsequent unraveling. Widely reviewed, it was later adapted as a play and as a film.

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When movies weave tales of government conspiracies, elaborate heists, or mind-bending time travel, audiences know that not every twist or turn will be spelled out in detail. But sometimes, a film goes too far, introducing unclear plot points, breaking their won rules, or simply hoping viewers won�t think too hard about what they�ve just seen. Here are ScreenRant's 10 Movie Plot Holes and Paradoxes. 10 Movie Plot Holes & Paradoxes Inception Inception takes a leap into fantasy with its science of �dreams within dreams,� but sets out some clear rules. For instance, it�s explained that the sensation of falling will cause any sleeping person to snap wide awake. The rule is put to use in the film's climax, as the team of heroes descends through multiple layers of dreams, ending at an arctic fortress. Their only way out? Using synchronized �kicks� to pull them back to the real world, one dream at a time. But hold on: the final sequence of drops defies the earlier rule, showing that a kick inside of a dream will snap the person out of it: the collapsing fortress first, then the elevator stopping in the dream above. Some confused editing may be to blame for breaking the film's simplest rule. But if that�s the case, what reason would there have been to blow up the fortress at all? Back to the Future � Part 3 In Back to the Future, time travel requires two things: a flux capacitor, and enough gas to hit 88 miles per hour. But when Doc Brown's and his DeLorean time machine are struck by lightning at the end of the second movie, he winds up stranded in the year 1885. That's ok, because he has a plan: send Marty a letter with directions to find and repair the stashed car, so he can rescue him from the past. Marty does just that in the next film, but ends up tearing a gas line, emptying the car�s tank. With no gas stations in the Old West, the pair�s fortunes go from bad to worse. But we have to ask: why wouldn�t Doc just retrieve gasoline from the DeLorean he'd recently stashed in the mine? Even if its tank was ALSO empty, running an engine on kerosene would surely be easier than building a time machine. In fact, California�s oil rush meant gasoline would have been available - and since it was considered a worthless by-product at the time, it would�ve been cheap, too. Ocean�s Eleven The film is essentially one big lead-up to a brilliant heist, stealing money out from under a casino owner�s nose. When the vault is broken into, the thieves demand that bags of cash be carried out by the hotel�s own security � but when the money is tracked by the casino�s men, an explosion reveals the money was never there in the first place. Meanwhile, the thieves - disguised as a SWAT team - descend to the vault with bags in hand, leaving more worthless fliers behind, and walking millions of dollars out of the casino personally. The only problem is that when stars Matt Damon and George Clooney first broke into the vault, they did so empty-handed. So where did the x-marked bags filled with fake cash come from? Fortunately, director Steven Soderbergh even admitted there's no explanation, so don't bother looking for one. The Lost World: Jurassic Park While the first Jurassic Park proved dinosaurs and man don�t mix, the sequel went a step further, bringing the creatures off of their remote island, and back to the mainland. Things go wrong immediately, as a ship carrying an adult T-Rex violently crashes into its port. The crew is revealed to have fallen victim to the island�s dinosaurs, moments before the ship�s cargo hold is opened, and the T-Rex escapes. But what actually killed the crew? It turns out a scene was planned in which a pack of raptors boards the vessel as it leaves the island, but it was left out of the finished film. 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Plot summary

Colonel Worth, a Confederate veteran, lives in San Francisco, California with his guardian Elena and his son Norman.[2] At the outset of the novel, Col. Worth talks about the Battle of Manila of the Spanish–American War in the Philippines, especially Admiral George Dewey's damage done to the Spanish fleet.[2] Meanwhile, his guardian and son go to a socialist meeting.[2] Indeed, his son Norman becomes infatuated with Barbara Bozenta, a socialist figure, and hosts a socialist meeting at Col. Worth's country house near Berkeley on July 4, American Independence Day.[2] The meeting is canceled when Norman attempts to put up the Red Flag as opposed to the American flag.[2]

Worth buys the island of Ventura for his son Norman.[2] Located off the coast of Santa Barbara, it is meant for Norman to establish a socialist commune there.[2] When his socialist friends fail to work, law and order needs to be restored.[2] However, Comrades Herman and Catherine Wolf take over as heads of the commune, and sentence Norman to work in the stables, under the threat of the lash.[2] Productivity falls as workers know they must work nine hours a day, and thus work slowly.[2] When Norman finds a way to find gold on the beach, the device is stolen by Wolf.[2] Wolf's wife Catherine then leaves for Santa Barbara, deeming family life to be too capitalistic.[2]

Eventually, Norman reaches out to his father and to the Governor of California, who liberate the island.[2] The Red flag is replaced with the American flag.[2]

Main themes

The book deals with the Bolshevik threat to the United States.[3] It has been described as 'a treatise against communism' by biographer Anthony Slide.[2]

Critical reception

A review published in The New York Times on February 6, 1909, suggested the characters were badly portrayed.[2] In April 1909, critic H.L. Mencken criticized the novel, describing it as 'intolerably amateurish' and a 'stupid quasi-novel.'[4] He added, 'towards the end the very badness of the book began to exercise a nefarious fascination.'[4] He concluded that the novel was a reflection of 'every weakness, fault, misdemeanor known to prose fiction, from incredible characterization to careless proofreading, and from preposterous dialogue to trashy illustrations.'[4]

Reviewer R. E. Bisbee in the July 1909 issue of Arena suggested the caricature of socialism made Dixon come across as an 'irrational teller of tales.'[2] More recently, biographer Anthony Slide criticized the novel, saying 'the writing appears as rushed as the novel's conclusions.'[2] He went on to add that the character were 'not sufficiently drawn out.'[2]

The novel has been compared to 1984 and Animal Farm by George Orwell in its ability to show the ineptitude of socialism.[2] However, Slide suggests it is a parody of the socialist novels of Upton Sinclair.[2] Moreover, it has been suggested that the character of Barbara Bozenta was based on anarchist Emma Goldman.[5]

Theatrical and cinematic adaptations

The novel was adapted as a play entitled The Red Dawn.[2] However, the characters have different names and the plot varies slightly.[2] Its first performance took place on August 6, 1919, at the 39th Street Theatre in New York City.[2]

Furthermore, the novel was adapted into a film in 1919.[3] It was entitled Bolshevism on Trial.[2] The film strayed from the plot of the novel, as it was set in Palm Beach, Florida as opposed to San Francisco.[2]

References

  1. ^ a b c HathiTrust: Comrades
  2. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z Anthony Slide, American Racist: The Life and Films of Thomas Dixon, Louisville, Kentucky: University Press of Kentucky, 2004, pp. 127-141 [1]
  3. ^ a b Cary D. Wintz, 'Introduction', in Thomas Dixon, The Clansman: An Historical Romance of the Ku Klux Klan, M.E. Sharpe, 1941 , p. xv [2]
  4. ^ a b c H.L. Mencken, 'The Way to Happiness,' in H.L. Mencken's Smart Set Criticism, Regnery Gateway, 1987, p. 158 [3]
  5. ^ Laura Hapke, Labor's Text: The Worker in American Fiction, New Brunswick, New Jersey: Rutgers University Press, 2001, p. 150 [4]

External links

This page was last edited on 4 June 2023, at 09:58
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