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Notes / 191from the 1930s through the Cold War Era,” Ph.D. dissertation, Boston University,1994, 151.17. Telephone conversation with Nancy Stewart, Information Resources Division, FBI,May 24, 1995.18. Ibid., 87.19. Donald Drew Egbert, Socialism and American Art (Princeton: Princeton UniversityPress, 1967), 126.20. V. J. Jerome, Culture in a Changing World: A Marxist Approach, (New York: NewCentury Publishers, 1947), 46.21. Ibid., 90–91.22. She told Pat Hills the following story: “After V. J. Jerome came out of the LewisburgFederal Penitentiary I went to his home. He told the story of how he went intoLewisburg, and they gave him the mattress of Remington who was murdered byother prisoners because he was a Communist. They said to him: ‘Here, take thisbloody mattress . . . and mind your P’s and Q’s.’” Patricia Hills, Alice Neel (NewYork: Harry N. Abrams, 1983), 87.23. Irving Howe, the editor of Dissent, called it “unin„uential,” and Paul Buhle describedit as “hard to read and hardly worth the effort.” (Paul Buhle, Marxism in the UnitedStates: Remapping the History of the American Left (London: Verso, 1987), 198.24. “The Editors” (Samuel Sillen), “Preface for Today,” Masses & Mainstream 1/1(March 1948), 3–4.25. In the May 1949 issue, for instance, the well-known Soviet author Alesander A. Fadeyevcalled for a literature whose narratives charted an inevitable progress towardthe socialist state: “What is socialist realism? Socialist realism is the ability to presentlife in its development . . . The characters in these books and plays . . . in theireveryday, ordinary and yes creative activity . . . do not drift, they anticipate the morrowand bring it nearer.” Alexander A. Fadeyev. “Our Road to Realism,” Masses &Mainstream 2/5 (May 1949), 56.26. Charles Humboldt, “Communists in Novels: II,” Masses & Mainstream 2/7 (July1949), 64.27. The Marxist group was put off as well by his hypocrisy: the dogmatist collectedmodern art.28. Interview with Annette Rubinstein, September 17, 1993.29. Annette Rubinstein, “The Cultural World of the Communist Party: An HistoricalOverview,” in Michael E. Brown, et al., eds., New Studies in the Politics and Cultureof U.S. Communism (New York: Monthly Review Press, 1993), 157, 159.30. Alice Neel, “Editors,” Masses & Mainstream 8/7 (July 1955), 62–63.31. For example, in his “Open Letter to Soviet Painters,” in the April 1956 issue ofMasses & Mainstream, David Alfaro Siqueiros stated bluntly what Neel had phrasedobliquely. Speaking as a member of the Communist Party since 1923, Siqueiros arguedthat “Realism . . . cannot be a ƒxed formula, an immutable law . . . Realismcan only be a means to ever progressing creativity.” Having lost sight of that essentialprinciple, Soviet art perpetuated “representational styles already passé, for examplethe styles employed in American advertising at the beginning of the century.”David Alfaro Siqueiros, “Open Letter to Soviet Painters,” Masses & Main-