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186 / Notes34. Hills, Alice Neel, 53. Rahv’s “sidekick” was William Philips, whose pseudonym wasWallace (not Lionel) Phelps.35. Belcher and Belcher, Collecting Souls, 158.36. Solman was instrumental in keeping Neel on the WPA and in obtaining several exhibitionsfor her at the ACA gallery.37. Caroline Ware, Greenwich Village, 1920–1930, A Comment on American Civilizationin the Post-War Years (Boston: Houghton Mif„in, 1935), 5.38. Ibid., 85.39. Ibid., 235–40.40. Ibid., 424.41. Writing in 1935, Malcolm Cowley observed that the Lost Generation “had enjoyedthe beneƒts of the revolt against gentility, and its ƒnal limitations are revealed intheir careers. They had been liberated from the narrow standards that developed ata certain stage of American middle-class society. But a principal result of this liberationhad been to uproot them, to cut them off from the daily hopes and worries oftheir communities . . . They still saw the world as middle-class people . . . [T]heywere still as politically powerless as almost all the members of their class . . . [Theyounger novelists of the post-1930 generation, on the other hand,] were dealingwith textile or waterfront strikes or the struggles of the tenant farmers. It seems to methat no great new writers have as yet emerged . . . Yet there is promise everywhere.”Malcolm Cowley, “Postscript,” in After the Genteel Tradition (Carbondale and Edwardsville:Southern Illinois University Press, 1936, 1964), 178–79.42. Alan M. Wald, The New York Intellectuals: The Rise and Decline of the Anti-StalinistLeft from the 1930s to the 1980s (Chapel Hill and London: University of NorthCarolina Press, 1987).43. “Books: Wineskin into Giant” (review of Putnam’s translation of Don Quixote),Time, October 3, 1949, 76–77; “Milestones,” Time, January 30, 1950. In France inthe 1920s, Putnam published translations of Rabelais, Pirandello, and Cocteau.Later, in 1947, he would write his own account of the Lost Generation, Paris WasOur Mistress: Memoirs of a Lost and Found Generation. Neel’s anecdotal history, asquoted in Hills, gets the dates of the last decade of his life wrong.44. Samuel Putnam, “Marxism and Surrealism,” Art Front 3/4 (March 1937), 11–12.45. “Max White,” in W. J. Burke and Will K. Howe, eds., American Authors and Books(New York: Crown Publishers, 1972), 451.46. Neel made two subsequent portraits of White, one in 1939, the other in 1961,where he sheds his proletarian guise.47. Joseph Mitchell, Joe Gould’s Secret (New York: Viking, 1965), 1–12 passim.48. For a description of the ƒrst-person narrative project see “Text From Federal Writers’Project,” in Harlem: Photographs by Aaron Siskind, 1932–1940, Ann Banks, ed.(Washington, D.C.: National Museum of American Art, 1990), 5–6.49. The project’s ambitious scope, far beyond that of the Writers’ Project, so intriguedMitchell that he felt it was his duty to assure that the Oral History was preserved andpublished. What followed was a cat and mouse game that ended after Gould’s dementeddeath in Pilgrim State Hospital on Long Island in 1957. Seven years later,Mitchell confessed that he had examined what little was extant and found there