ABSTRACT
At various points during the nineteenth century, the relationship between the most progressive tendencies in literature and the arts and anarchistic tendencies in politics and reform was very close. Tucker in particular was fond of Ibsen, ranking him with Stirner and Proudhon as one of "the three great Anarchistic figures that stood preeminent in the literature of the nineteenth century". Reformers should demand the utter abolition of Comstockism, not in the name of classical literature, but in the name of liberty, which is higher than any literature. Municipal support of theatres was obviously an example of state promotion of culture and thus taboo to anarchists. While this manifestation of a laissez-faireapproach to culture might please modern critics of the National Endowment of the Arts, the individualist anarchists' vehement opposition to censorship, even of obscenity, clearly would not. At best an egoist, and certainly no anarchist, Nietzsche was admired by individualist anarchists primarily for his corrosive attacks on conventional morality.
