[Marxism] RE: Swans release: August 15, 2005

Louis Proyect lnp3 at panix.com
Mon Aug 15 08:30:13 MDT 2005


>Sounds like Louis might need that few days off he was talking about on
>Saturday.  Let Les handle the tongue-lashing duties for a couple days.
>
>Fred

If comrades want to read one of Charles Marowitz's better efforts, try this:

http://www.swans.com/library/art11/cmarow24.html

Defenders Of The Witch Hunt
R. & A. Radosh's Red Star Over Hollywood
by Charles Marowitz
Book Review

Radosh, Ronald and Allis; Red Star Over Hollywood: The Film Colony's Long 
Romance With The Left, Encounter Books, 2005, ISBN: 1-893-55496-1, 292 
pages (hardcover), $25.95

(Swans - August 1, 2005)   A few years back, when I was being interviewed 
for a position at The New School in New York, the conversation drifted 
around to the McCarthy years. My interviewer asked whether during that 
troubled period I had ever been "investigated by the Committee." Had I been 
able to answer in the affirmative, he implied, it would haven been a strong 
mark in my favor. Had I been forced into exile, unemployment, and penury as 
a result of having my political convictions publicly put into question, it 
would have been a glowing qualification.

As it happens, I was too young to have been sucked into the moral quicksand 
of those times but I was forcibly struck by the fact that victimization 
would have considerably increased my chances of getting the job. Whether I 
had been a Communist spy working in the employ of the Kremlin or just a 
bleeding heart liberal didn't really matter. Just having been roughed up by 
aggressive members of the House Un-American Activities Committee (HUAC), 
would have conferred distinction. The victims of the past, it was suddenly 
made clear to me, had become the martyrs of the present. The cloud of 
distrust that once hovered over their heads had turned into halos.

In the 1950s, having been a friendly witness before HUAC was tantamount to 
being a traitor to the working class. Those that were coerced into "naming 
names" were permanently scarred. When, in 1999, Elia Kazan, the most 
notorious of all the "cooperative witnesses" was awarded a Lifetime 
Achievement award by the Academy of Motion Picture Arts & Sciences, he was 
given the stony, silent treatment by many in that audience and outraged 
articles followed in the wake of the event. Nothing in Kazan's astonishing 
artistic achievements, not On The Waterfront, A Streetcar Named Desire, nor 
the staging of Death of a Salesman could possibly counteract the label of 
"traitor" which stalwarts of the Left had pinned on him.

(clip)

--

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