ideas. A better understanding and appreciation were now beginning to
manifest themselves.

The arrival in America of the English Anarchist, John Turner, induced
Emma Goldman to leave her retirement. Again she threw herself into
her public activities, organizing an energetic movement for the
defense of Turner, whom the Immigration authorities condemned to
deportation on account of the Anarchist exclusion law, passed after
the death of McKinley.

When Paul Orleneff and Mme. Nazimova arrived in New York to acquaint
the American public with Russian dramatic art, Emma Goldman became
the manager of the undertaking. By much patience and perseverance
she succeeded in raising the necessary funds to introduce the Russian
artists to the theater-goers of New York and Chicago. Though
financially not a success, the venture proved of great artistic
value. As manager of the Russian theater Emma Goldman enjoyed some
unique experiences. M. Orleneff could converse only in Russian, and
"Miss Smith" was forced to act as his interpreter at various polite
functions. Most of the aristocratic ladies of Fifth Avenue had not
the least inkling that the amiable manager who so entertainingly
discussed philosophy, drama, and literature at their five o'clock
teas, was the "notorious" Emma Goldman. If the latter should some
day write her autobiography, she will no doubt have many interesting
anecdotes to relate in connection with these experiences.

The weekly Anarchist publication, FREE SOCIETY, issued by the Isaak
family, was forced to suspend in consequence of the nation-wide fury
that swept the country after the death of McKinley. To fill out the
gap Emma Goldman, in co-operation with Max Baginski and other