i-xxii Front matter.qxd - Brandeis Institutional Repository

Notes / 195designed to jolt the reader out of complacency. Gold: “They told me to love mycountry, America. / But where is America? . . . America, I cannot worship yourMoney god / This monster whose heart is a Ford Car / Whose brain is a cheap HollywoodMovie / Whose cities are mad mechanical nightmares.” Mike Gold, “120Million,” in 120 Million (New York: International Publishers, 1929), 191. Ginsberg:“Moloch whose mind is pure machinery! Moloch whose blood is runningmoney! Moloch whose ƒngers are ten armies!” Allen Ginsberg, “Howl,” in CollectedPoems, 1947–1980 (New York: Harper & Row, 1984), 131.72. For a comparison of Gold and Ginsberg see Dickstein, “The Tenement and theWorld,” 71–72.73. Hills, Alice Neel, 118–19.74. Michael Gold, “The Happy Corpse,” in “Spring in the Bronx,” Masses & Mainstream5/7 (July 1952), 17.75. From the eulogy by Hank Starr, Daily World, June 21, 1974.76. He was also a member of the American Society for the Study of the German DemocraticRepublic, which once owned the portrait. Newsletter for the American Societyfor the Study of the German Democratic Republic 1/1 (October 1979). Neelarchives, Neel Arts, New York City.77. Anthony Tommasini, “A Critic’s Creed: Plug Yourself and Your Fellow Americans,”New York Times, August 21, 1994.78. Lawrence Alloway, “The Renewal of Realist Criticism,” Art in America 68/7(September 1981), 110.79. May Stevens, “The Non-Portrait Work of Alice Neel,” Women’s Studies, an InterdisciplinaryJournal (London, 1978), 64.80. Moses would die the year after the portrait was completed, but Raphael would outliveNeel by three years.81. Barbaralee Diamonsteen, Inside New York’s Artworld (New York: Rizzoli, 1979),374.82. Milton Brown, “Interview with Raphael Soyer,” 38.83. Unlike Neel, he avoided the male nude, which he confessed embarrassed him. Diamonsteen,Inside, 379.84. Brown, “Interview,” 65.85. Letter from Gus Hall to Neel, February 5, 1982. Neel correspondence, Neel Arts,New York City.86. Michael Riley, “Proƒle: Last of the Red-Hot Believers,” Time, September 9, 1991.87. Benny Andrews and Rudolf Baranik, eds., “Foreword,” The Attica Book (New York:The Black Emergency Cultural Coalition and Artists and Writers Protest Againstthe War in Vietnam, 1972).88. Stevens, “The Non-Portrait Work of Alice Neel.”89. Interviews with Rudolph Baranik and May Stevens, New York City, March 5, 1991and October 12, 1993. The artists do not claim credit for their support of Neel, butthe credit is unquestionably due.90. Appropriately enough, Neel’s art appeared ƒrst in an anthology of literature: JerreMangione, The Federal Writers Project, 1935–1943, The Dream and the Deal(Boston and Toronto: Little, Brown, 1972), which was illustrated with her portraits