In the autumn of 1901, a self-taught anarchist named Leon Czolgosz stepped up to President William McKinley at the Pan-American Exposition in Buffalo and fired two shots into his abdomen. Czolgosz and Emma Goldman had never met. They exchanged no letters, plotted no conspiracy, and shared no secret handshake. Yet Goldman’s fiery lectures and essays—denouncing government, capitalism, and the “rulers” who oppressed the working class—had lodged in Czolgosz’s mind like shrapnel. He attended one of her speeches, absorbed the anarchist literature she championed, and later told interrogators her words helped convince him that McKinley represented the enemy. Goldman, arrested and questioned, refused to condemn the assassin outright. In her essay “The Tragedy at Buffalo,” she framed Czolgosz not as a monster but as a symptom of a diseased society.
Neither knew the other personally. Together, they helped inspire a generation of radicals to view political violence as a legitimate reply to perceived injustice. The Haymarket Affair of 1886—where four anarchists were hanged after a bombing at a labor rally Goldman saw as a travesty—had already radicalized her. Her rhetoric, in turn, radicalized others. The result was not revolution but a backlash: stricter immigration laws, expanded secret policing, and a cultural association of anarchism with terror. Rational policy—gradual reform, democratic debate, constitutional order—became the enemy.
More than a century later, the pattern repeats with eerie familiarity. We now live amid “batteries” of activist journalists and commentators whose output functions less as reporting than as ideological accelerant. Their work does not directly order violence, any more than Goldman ordered Czolgosz to shoot. Yet it cultivates a worldview in which political opponents are not mistaken but evil, not wrong but existential threats deserving whatever fate befalls them. The targets today are different, but the mechanism is the same: lone actors, marinated in grievance, acting on a steady drip of dehumanizing rhetoric.
Consider the recent record. Donald Trump survived two assassination attempts during his 2024 campaign—one in Butler, Pennsylvania, where a bullet grazed his ear, and another weeks later in Florida. Then, in September 2025, Charlie Kirk—co-founder of Turning Point USA and a vocal conservative voice—was assassinated by sniper fire while speaking at Utah Valley University. The shooter, 22-year-old Tyler James Robinson, left a note expressing his intent and acted alone. Investigators found no grand conspiracy, just a young man steeped in the online and media ecosystem that had framed Kirk and Trump as avatars of oppression, fascism, or whatever the current vocabulary of outrage demands. These were not spontaneous crimes. They were downstream of a cultural current that treats conservative figures as legitimate prey.
Who today plays Emma Goldman’s role? The archetype is no longer a single immigrant orator lecturing in union halls. It is the networked activist-journalist—podcasters, Substackers, cable commentators, and social-media influencers—who command far larger audiences than Goldman ever dreamed of. They do not call themselves anarchists; many cloak their work in the language of “social justice,” “accountability,” or “resistance.” Their output is slicker, algorithmic, and endlessly amplified. The common thread is the same moral certainty Goldman possessed: the system is irredeemable, the other side is irredeemable, and therefore any blow struck against it is, if not praiseworthy, at least understandable. They do not pull triggers, but they load the cultural magazine.
The more uncomfortable question is whether intelligence agencies—particularly the CIA and its successors—have had any hand in “mass producing” such figures. History offers precedents for skepticism. Operation Mockingbird, the Cold War-era program in which the Agency cultivated relationships with journalists to shape domestic and foreign narratives, is well-documented. The CIA has admitted to using media assets for propaganda and has never fully foresworn the practice. Yet the leap from “the Agency influenced reporters to push anti-communist stories in the 1950s” to “the Agency today engineers radical left-wing journalists to provoke right-wing assassinations” is enormous and unsupported by credible evidence. Conspiracy theorists have long filled that gap with claims of MKUltra-style mind control or “deep state” social engineering, but those narratives collapse under scrutiny. Lone actors have always existed; the internet simply supercharges their grievances faster than any government handler could. Blaming a shadowy cabal risks the same intellectual shortcut the anarchists once took: if the world is too complex and ugly to explain through ordinary human folly, malice, and ideology, then there must be a hidden director pulling strings.
Still, the lesson from Goldman and Czolgosz endures. Ideas have consequences. When journalism abandons the pursuit of truth for the manufacture of righteous fury, it does not merely “oppose rational policy”—it corrodes the very possibility of rational policy. It tells impressionable minds that debate is futile and violence is expressive. The proper response is not censorship or conspiracy-mongering. It is relentless insistence on evidence, proportion, and the distinction between disagreement and demonization. Until journalists—on every side—relearn that distinction, we should expect more Czolgoszes: isolated, radicalized, and convinced that the next shot will finally make the oppressors listen.
The tragedy is not that Goldman and Czolgosz never met. It is that their example still meets new disciples every day.