For nearly thirty years the powerful propaganda machines of Stalinism worked furiously to expunge Trotsky's name from the annals of the revolution, or to leave it there only as the synonym for arch-traitor. To the present Soviet generation, and not only to it, Trotsky's life-story is already like an ancient Egyptian sepulchre which is known to have contained the body of a great man and the record, engraved in gold, of his deeds; but tomb-robbers and ghouls have plundered and left it so empty and desolate that no trace is found of the record it once contained. The work of the tomb-robbers has, in this present instance, been so persistent that it has strongly affected the views even of independent Western historians and scholars.

[Jürgen Habermas' obituary to friend and philosopher, Richard Rorty]One small autobiographical piece by Rorty bears the title 'Wild Orchids and Trotsky.' In it, Rorty describes how as a youth he ambled around the blooming hillside in north-west New Jersey, and breathed in the stunning odour of the orchids. Around the same time he discovered a fascinating book at the home of his leftist parents, defending Leon Trotsky against Stalin. This was the origin of the vision that the young Rorty took with him to college: philosophy is there to reconcile the celestial beauty of orchids with Trotsky's dream of justice on earth. Nothing is sacred to Rorty the ironist. Asked at the end of his life about the 'holy', the strict atheist answered with words reminiscent of the young Hegel: 'My sense of the holy is bound up with the hope that some day my remote descendants will live in a global civilization in which love is pretty much the only law.

Stalin was always exceptional, even from childhood. We have relied on Trotsky’s unrecognizably prejudiced portrait for too long. The truth was different. Trotsky’s view tells us more about his own vanity, snobbery and lack of political skills than about the early Stalin.

The intoxication with the theatre, with its limelight, costumes, and masks, and with its passions and conflicts, accords well with the adolescence of a man who was to act his role with an intense sense of the dramatic, and of whose life it might indeed be said that its very shape had the power and pattern of classical tragedy.

The local liberal press, much molested by the censorship, had its courageous and skilful writers such as VM Doroshevich, the master of that semi-literary and semi-journalistic essay at which Bronstein himself was one day to excel.

Wherever he went he left footprints so firm that nobody could later efface or blur them, not even he himself, when on rare occasions he was tempted to do so.