I have learned to hate all traitors, and there is no disease that I spit on more than treachery… Aeschylus


They look commonplace like pictures of your father or grandfather. They are for the most part in business suits and while a few may have pretensions to an elegance that belies their treachery most have an off the rack, if not rumpled, appearance. There are no horns growing out of their foreheads and no red stars or armbands decrying their comradeship with Stalin. Like black adders posing as garden snakes they are all the more deadly for it. The harm they have done to this nation – and that their successors continue to do – is like the worm in wood and Ann Coulter may have put it best when she said, Whether they are defending the Soviet Union or bleating for Saddam Hussein, [leftists] are always against America. They are either traitors or idiots, and on the matter of America’s self-preservation, the difference is irrelevant.

Alger Hiss : why he chose treason  Christina Shelton ; an introduction by Richard Pipes  New York : Threshold Editions, 2012  Hardcover. 1st ed. and printing. xvii, 330 p. : ill. ; 25 cm. Includes bibliographical references and index. Clean, tight and strong binding with clean dust jacket. No highlighting, underlining or marginalia in text. VG/VG

In 1948, former U.S. State Department official Alger Hiss was accused of being a Soviet spy. Because the statute of limitations on espionage had run out, he was convicted only of perjury. Decades later archival evidence surfaced confirming the accusations: a public servant with access to classified documents had indeed passed crucial information to the Soviets for more than a decade.

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Unwilling to acknowledge the inconvenient truth many American leftists still consider Hiss an iconic figure — an innocent victim accused of unsubstantiated crimes. They prefer to focus on the bankrupt collectivist ideals Hiss stood for, rather than confront the reality of a man who systemically and methodically betrayed his country in a life that displayed equal parts of cunning and cowardice.

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Former U.S. Intelligence analyst Christina Shelton employs an in-depth knowledge of Soviet intelligence affairs as well as recently released Hungarian and KGB archival material to shine a fresh light on one of the most famous U.S. espionage cases. The story is dramatic, but Shelton’s analysis goes beyond sensationalism as she explores both the ideological motivation behind Hiss’s behavior and the lasting influence it has had on U.S. foreign policy.

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Hollywood party : how communism seduced the American film industry in the 1930s and 1940s  Kenneth Lloyd Billingsley  Rocklin, CA : Forum, c 1998  Hardcover. 1st ed. and printing. xvii, : ill. ; 24 cm. Includes bibliographical references (p. 320-342) and index. Clean, tight and strong binding with clean dust jacket. No highlighting, underlining or marginalia in text. VG/VG

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In the fall of 1997 some of the biggest names in show business filled the Motion Picture Academy theater in Beverly Hills for Hollywood Remembers the Blacklist, a lavish production worthy of an Oscar telecast. In song, film, and live performances by stars such as Billy Crystal, Kevin Spacey, and John Lithgow, the audience relived a time some fifty years before, when, as the story has always been told, courageous writers and actors stood firm against a witch-hunt and blacklist that wrecked lives and destroyed careers. Left untold that night, and ignored in books and films for more than half a century, was a story not so politically correct but vastly more complex and dramatic.

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In Hollywood Party the complete story finally emerges, backdropped by the great upheavals of our time and with all the elements of a thriller—wrenching plot twists, intrigue, betrayal, violence, corruption, misguided passion, and lost idealism.

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Using long neglected information from public records, the personal files of key players, and recent revelations from Soviet archives, Kenneth Lloyd Billingsley uncovers the Communist Party’s strategic plan for taking control of the movie industry during its golden age, a plan that came perilously close to success. He shows how the Party dominated the politics of the movie industry during the 1930s and 1940s, raising vast sums of money from unwitting liberals and conscripting industry luminaries into supporting Stalinist causes.

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In riveting detail, the shameful truth unfolds: Communist writers, actors, and directors, wealthy beyond the dreams of most Americans, posture as proletarian wage slaves as they try to influence the content of movies.

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From the days of the Popular Front through the Nazi-Soviet Pact and beyond World War II, they remain faithful to a regime whose brutality rivaled that of Hitler’s Nazis. Their plans for control of the industry a shambles by the mid-1950s, the Party nonetheless succeeded in shaping the popular memory of those days.

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By chronicling what has been left on the cutting-room floor, from “back story” to aftermath, Hollywood Party changes those perceptions forever.

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