front cover of The Communist Party in Maryland, 1919-57
The Communist Party in Maryland, 1919-57
Vernon L. Pedersen
University of Illinois Press, 2001
This rare grass-roots account of American communism traces the rise and fall of Maryland's Communist Party from the time of the Russian Revolution to the McCarthy era. Drawing on sources including the central archives of the Communist Party of the United States of America, recovered from remote storage in Siberia in 1993, Vernon L. Pedersen presents a sharp challenge to revisionist views of American communism as a benign domestic movement detached from Soviet interests.
 
Bolsheviks in Baltimore charts the uneven transformation of Baltimore's fledgling Communists into underground revolutionaries in the 1920s. Pedersen documents the mercurial careers of local organizers, their devotion to the Soviet cause, and their efforts to convert the Party from a hodgepodge of ethnic groups to an effective instrument of class interests. He also tracks the public's changing perception of the Communists, from amused unconcern to alarm, and details how the Ober antisubversive law and the HUAC hearings of the 1950s dismantled the Party from without while planting seeds of paranoia that destroyed it from within.
 
Behind the public fear of a Communist conspiracy against the U.S. government, Pedersen finds a party fractured by conflicting agendas, ineffectual leadership, and unstable membership. However, he also uncovers new evidence that Communists in the United States, acting on Soviet orders, used their influence in unions and front groups to sway American foreign policy in ways that benefited the Soviet Union. He documents the consolidation of an espionage apparatus in Baltimore and demonstrates that while espionage activities may have involved only a few individuals, all Party members shared an attitude of willing support for the activities of the Soviet Union that made these covert practices possible.
 
Paying tribute to the fervor and the effort dedicated by the Maryland Communists, often at the expense of their own physical and financial well-being, to a cause that ultimately failed them, Bolsheviks in Baltimore assesses an ambiguous legacy of admirable social vision, haphazard international conspiracy, and fierce internal conflict.
 
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front cover of In Contempt
In Contempt
Defending Free Speech, Defeating HUAC
Ed Yellin and Jean Fagan Yellin
University of Michigan Press, 2022
“YOU ARE HEREBY COMMANDED to be and appear before the Committee on Un-American Activities of the House of Representatives of the United States, or a duly appointed subcommittee thereof, on February 10 (Monday), 1958, at ten o’clock a.m. at City Council Chambers, City Hall, Gary, Indiana, then and there to testify touching matters of inquiry committed to said committee, and not to depart without leave of said committee.”

So began a decade of hardship for Ed and Jean Yellin and their three young children as the repressive weight of the U.S. government, caught up in the throes of McCarthyism, crashed down upon their careers, their daily household budget, and their relationships to colleagues, neighbors, and their country. In Contempt is a faithful, factual testament to the enduring quality of patriotic dissent in our evolving democracy—and a loving reconstruction of what it meant to be labeled “unAmerican” for defending the Constitution.
 
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Legacy of a False Promise
A Daughter's Reckoning
Margaret Fuchs Singer
University of Alabama Press, 2009
The compelling story of a teenage girl caught up in the throes of the McCarthy era.

Margaret Fuchs was thirteen in June 1955 when she learned that her parents had been Communists while working for the U.S. government in the 1930s and '40s. This book chronicles the years during which her parents were exposed and her father was subpoenaed before the House Un-American Activities Committee. Eventually he named names, and subsequently lost his job as a law professor at American University, and was blacklisted from teaching ever again. Legacy of a False Promise also details the author's quest as an adult to learn whether or not her parents ever spied for the Soviet Union.

Based on eight years of research using family records, FBI files, American University archives, personal interviews, and the recently declassified Venona cables, Legacy of a False Promise offers unique insights into the McCarthy Era. Most "red-diaper babies" who have written on the subject had parents who refused to give in to HUAC's demands. Singer's work instead recounts the shame and series of betrayals that her father's decision to name names brought to her family. Furthermore, it explores the campaign of the liberal anti-Communist movement to publicize its political position while defending a fired ex-Communist professor, the nature and activities of secret Communist underground cells, and the motivation of New Deal government workers who spied for the Soviets.

This is a poignant meditation on family secrets, father-daughter relationships in times of crisis, teenage loneliness in the midst of trauma, and the effects of parents' actions on the lives of their children. It also serves as a timely reminder of the dangers of sacrificing civil liberties in the name of national security.



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front cover of Paul Robeson and the Cold War Performance Complex
Paul Robeson and the Cold War Performance Complex
Race, Madness, Activism
Tony Perucci
University of Michigan Press, 2012

Actor and singer Paul Robeson's performances in Othello, Show Boat, and The Emperor Jones made him famous, but his midcentury appearances in support of causes ranging from labor and civil rights to antilynching and American warmongering made him notorious. When Robeson announced at the 1949 Paris Peace Conference that it was "unthinkable" for blacks to go to war against the Soviet Union, the mainstream American press declared him insane. 
 
Notions of Communism, blackness, and insanity were interchangeably deployed during the Cold War to discount activism such as Robeson's, just a part of an array of social and cultural practices that author Tony Perucci calls the Cold War performance complex. Focusing on two key Robeson performances---the concerts in Peekskill, New York, in 1949 and his appearance before the House Committee on Un-American Activities in 1956---Perucci demonstrates how these performances and the government's response to them are central to understanding the history of Cold War culture in the United States. His book provides a transformative new perspective on how the struggle over the politics of performance in the 1950s was also a domestic struggle over freedom and equality. The book closely examines both of these performance events as well as artifacts from Cold War culture---including congressional documents, FBI files, foreign policy papers, the popular literature on mental illness, and government propaganda films---to study the operation of power and activism in American Cold War culture.

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front cover of Unfriendly Witnesses
Unfriendly Witnesses
Gender, Theater, and Film in the McCarthy Era
Milly S. Barranger
Southern Illinois University Press, 2008

Unfriendly Witnesses: Gender, Theater, and Film in the McCarthy Era examines the experiences of seven prominent women of stage and screen whose lives and careers were damaged by the McCarthy-era “witch hunts” for Communists and Communist sympathizers in the entertainment industry: Judy Holliday, Anne Revere, Lillian Hellman, Dorothy Parker, Margaret Webster, Mady Christians, and Kim Hunter.

The effects on women of the anti-Communist crusades that swept the nation between 1947 and 1962 have been largely overlooked by cultural critics and historians, who have instead focused their attention on the men of the period. Author Milly S. Barranger looks at the gender issues inherent in the investigations and at the destructive impact the investigations had on the lives and careers of these seven women—and on American film and theater and culture in general.

Issues of gender and politics surface in the women’s testimony before the committeemen, labeled “unfriendly” because the women refused to name names. Unfriendly Witnesses redresses the absence of women’s histories during this era of modern political history and identifies the enduring strains of McCarthyism in postmillennial America.

Barranger recreates the congressional and state hearings that addressed the alleged Communist influence in the entertainment industry and examines in detail the cases of these seven women, including the appearance of actress Judy Holliday before the committee of Senator Pat McCarran, who aimed to limit the immigration of Eastern Europeans; actress Anne Revere and playwright Lillian Hellman, appearing before the House Un-American Activities Committee, sought the protections of the Fifth Amendment with different outcomes; of writer Dorothy Parker, who testified before a New York state legislative committee investigating contributions to “front” groups; and of director Margaret Webster, before Senator Joseph McCarthy’s subcommittee, whose aim was the indictment of Senator J. William Fulbright and the U.S. State Department. None escaped subsequent blacklisting, denial of employment, and notations in FBI files that they were threats to national security.

Unfriendly Witnesses is enhanced by nine illustrations and extensive excerpts from Red Channels: The Report of Communist Influence in Radio and Television, originally published in 1950 at the height of the Red Scare, and which listed 151 allegedly subversive writers, directors, and performers. Barranger includes the complete entries from Red Channels for the seven women she discusses, which include the “subversive” affiliations that prompted the women’s interrogation by the government.

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