9. MIDDLE-CLASS AMERICA TRIUMPHANT
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| 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."
Panic
set in as Americans considered the possibility that this might be happening
right there in America, right there under their own eyes, subtly manipulating
the thought processes of vulnerable people into authoritarian compliance. That seemed to have been the very pattern of
Communism's spread through East Europe.
And it seemed to be part of the ideological fires that burned within
Western Europe's labor movement as well.
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 |
[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.
This
matter turned itself into extensive social paranoia on the part of Middle America, met on the other hand
by the scorn and disgust against Middle America on the part of
Intellectual America. When actors began
to be blacklisted and refused roles in Hollywood's world (ultimately some 300
individuals were blacklisted, including even famous actors), Hollywood
protested that this kind of authoritarianism was what America itself was
supposed to be combating – not embracing.
Then
when senior U.S. Treasury official Harry Dexter White (who was a key
figure at the 1944 Bretton Woods Conference setting up the new United Nations)
and Alger Hiss (a top State Department advisor
at the Yalta meeting designing the post-war world) were accused of being spies
for Soviet Russia, America lined itself up into two opposing camps. Intellectuals were convinced that this was
only a form of witch-hunting on the part of unenlightened individuals from the
American Middle Class – simply resentful of these individuals because of their
highly talented backgrounds (the highly educated White, for instance, was a
product of Columbia, Stanford and Harvard University educations – and Hiss was a Johns Hopkins University
and Harvard Law School Graduate).
Particular resentment by intellectuals was aimed toward the
freshman Congressman and HUAC member Richard Nixon, who refused to relent in his
investigation of Hiss... which eventually led to the
conviction and imprisonment of this polished diplomat – to the dismay of Hiss's
fellow intellectuals.[1]
Also,
when suspicions turned towards some of America's scientific community – whom
Americans had assumed possessed the highest integrity of all people – the
nation was shocked. Intelligence work
had cracked the Soviet code and discovered that nuclear scientist Klaus Fuchs
was a Soviet spy. He in turn named David
Greenglass and Julius and Ethel Rosenberg as spying for the Soviets while
helping to develop America's nuclear weapons.
There
were others as well, accused and ultimately convicted of spying in the early
1950s, though only Julius and Ethel Rosenberg were executed – despite the huge
international call for clemency (they claimed innocence to the end).[2]
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.
ARTHUR MILLER'S PLAY, THE CRUCIBLE
[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.
In a
not-too-subtle way, this challenged deeply not only the mindset of 1950s Middle America, but also even more
deeply the very Puritan-Christian cultural
foundations that Miller (and numerous intellectuals) were certain was behind
this Middle-American paranoia.
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]

Go on to the next section: Eisenhower's America
Miles
H. Hodges