9. MIDDLE-CLASS AMERICA TRIUMPHANT
|
| AUTHORITARIANISM AS THE NEW THREAT |
Authoritarianism as the new threat. It seemed as if Americans had fought in the
recent war to destroy the authoritarian regimes of Germany, Italy and Japan
only to have those threats to the peace and prosperity of the larger world
replaced by a new authoritarian regime: Stalin's Soviet Russia. Great concern developed within Middle America that there was some
kind of global historical trend that seemed to be pushing civilization in this
direction. And that concern increased
enormously with the publishing in 1949 of the English author George Orwell's book, 1984, which
portrayed a world in which the very thought process of the world's people had
been taken over – thanks to fast-rising modern technology – by "Big
Brother."



Thus
this same concern hit America as it considered its own labor movement –
conducting (in the early post-war years) labor strikes and strife that looked
way too much like those labor maneuverings that had brought Communism to power
in Soviet-dominated Eastern Europe.
And also there were the numerous American
intellectuals who, during the Great Depression, had loudly identified
themselves as strongly anti-Capitalist and pro-Socialist. Where did they stand on such matters
today? Where were their loyalties now to
be found in this post-war world?
| AMERICAN INTELLECTALS UNDER SUSPICION |
Tough labor leader, John
L. Lewis,
receiving the stare of a rich lady
HUAC hearings of those accused of
having ... or having had ...
Communist associations
Hollywood stars (Lauren Bacall
and Humphrey Bogart in the
lead)
descend on the Capitol to
lodge their note of protest
against HUAC's proceedings – 1947

Screen Actors Guild president
Ronald Reagan
testifying before HUAC – 1947

U.S. State Department official Alger Hiss taking the oath before the HUAC
Whittaker Chambers accuses
Alger Hiss of passing information
to the Soviets

Richard Nixon (left) , who
headed up the HUAC investigation
of Alger Hiss (right)
as a Soviet agent planted
high within the
American foreign policy-making machine
Julius and Ethel Rosenberg after their conviction
McCarthy cultivates a Red Scare.
At this point a loud, accusatory voice in the U.S. Senate became even
louder, as Senator Joseph McCarthy in early 1950 began whipping
up American fury at this "treachery in high places." McCarthy accused (without any
specific details) the American diplomatic corps broadly, then the American
civilian government in general, and then finally, by 1954, even the US
military, of being loaded with Communists who were secretly subverting America. With this, the Red Scare was whipped up so as to
turn in every direction.
American intellectuals fight back. The Red Scare hit especially hard America's intellectuals
– who were known to have "fancy ideas" about the need for social
reform – ideas which seemed overly critical, even unpatriotic, even treasonous,
to fiercely patriotic middle-class Vets. The Vets therefore were (with McCarthy's help) easily led to believe that this class
of intellectuals formed a conspiratorial group seeking to overthrow the nation
and everything it stood for. Needless to
say, the intellectuals did all that they could do to fight back – though it had
to be done cautiously, very cautiously.
[1]Actually, in the opening of the Russian archives after the collapse of
the Soviet Union in the early 1990s, it was confirmed that in fact both White
and Hiss had been spying for Stalin.
[2]Again, with the fall of the Soviet Union, it was finally revealed that
indeed the Rosenbergs (or at least Julius Rosenberg) too had been spying for
the Soviets.
ARTHUR MILLER'S PLAY, THE CRUCIBLE
Elia Kazan – Broadway and
Hollywood director
His testimony before the
House Un-American Activities
Committee in 1952 lost him the friendship of a number of
the intellectual
community, including importantly his
close friend Arthur Miller
[3]At that point the play became required reading in most high school
American literature courses across the country, helping to turn young Americans
away from their nation’s cultural roots founded deeply in Puritan Christianity.
Actually, the play would not do well when it first
came out. But in the 1960s, when America
found itself moving into a whole new cultural realm, the play would finally
find a very enthusiastic audience.[3]

Eisenhower's America
Miles
H. Hodges