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FREEDOMWAYS     THIRD QUARTER 1969

Like Malcolm X, Jones pleads with his people to come together as a whole; with their common strength: "DO NOT ALLOW YOURSELF TO BE SEPARATED from your brothers and sisters or your culture. This is what makes us think we are weak. But we are not weak."18

In one of his last essays, "The Revolutionary Theatre," the reader can better understand why Jones has chosen to carry out his role as a revolutionary using his art as a weapon. For in this essay, "revolutionary theatre," can just as easily be substituted for "revolutionary poet," prose writer or plastic artist. The author proclaims that "The Revolutionary Theatre" must attempt to destroy all that must be destroyed. And it "must Accuse and Attack because it is a theatre of victims." "The Revolutionary Theatre," according to Jones, must be propaganda, for people who have not yet seen the glory of their blackness need propaganda as much as they need food. The language of the Revolutionary Theatre must be the language of the people who need to be moved into action; and it must be real in relating to all Black people. Jones' declaration for The Revolutionary Theatre is a declaration of the most militant young Black writers of today:

We will scream and cry, murder, run through the streets in agony, if it means some soul will be moved, moved to actual life understanding of what the world is, and what the world ought to be. We are preaching virtue and feeling, and a natural sense of the self in the world. All men live in the world, and the world ought to be a place for them to live.19

Because the white man has done little to change his concept of believing that he has supremacy over the darker brothers of the world, Jones is one to emphatically urge the coming of his downfall. If, according to Jones, the white man refuses to accept the new Black militancy, and the new militancy of the Third World nations, then the white man will die in his blindness:

The white man will not change, but he will be changed by the force of world spirit--into ashes. . . . The white man is in love with the past, with dead things, and soon he will become one. He is in love with the past because it is in the past that he really exists . . . He cannot possibly exist in the future, or even in the present.20

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