Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
Abraham Lincoln School,
73,
80aesthetics: black folk culture,
14–15; class consciousness in,
72; Cold War,
253; CP,
62–68,
101–7; documentary,
54–59,
62; politics of,
10–11; shift from social realism to conservative modernist,
211.
See also specific artists and writersAfrican American Exhibition of the Art of the American Negro,
69African American literature and culture: L. Brown view of,
45; communism compatibility with,
11; FBI obsession with,
233; history,
10–13; marginalization,
11; principal venues for,
11–12,
17; spying on literary left,
31–32Alabama Sharecroppers Union,
13American Contemporary Art Gallery,
74American Negro Labor Congress,
228American Negro Writer and His Roots, The (
Roots volume),
31–32,
311n14; J. A. Davis preface to,
239–40,
244–46; left-wing speeches edited out of,
242–49;Redding’s contribution to,
255–56
AMSAC conference (First Conference of Negro Writers),
29,
31–32,
239–65,
245,
247,
248; aftermath,
264–65; black liberals vs. Left at,
253–60; CIA-black-writer relations and,
249–53; CIA funding of,
32,
243,
263; conservatism,
244,
257; Hansberry’s keynote address at,
260–64; Hughes attendance at,
241–42,
248; ideological battle enacted at,
241,
309n4; integrationist stance,
253–54;participants and political spectrum of,
241,
242,
244; photograph archive,
248,
263–64; reconstruction of,
240–41; Redding and,
244,
255–57; social protest term in,
257; topics covered in,
245.
See also American Negro Writer and His Roots, Theanticommunism: Catholic Church,
1–2; Left dissent dispelled by,
190; 1950s race, religion, and Cold War,
1–7; UPWA and,
236apartheid, in South Africa,
7–8,
21,
139Armstrong, Louis,
65,
229art,
69,
118–20; Black Arts Movement,
240,
257; CP control of,
101–7,
283n25,
283n28,
290n43; DeCarava on black culture and,
289n34; modernism conflict with Left views of,
72; politically correct,
290n43; shift to abstraction in,
74,
286n9; social protest tradition discouraged in,
210–11; WPA dismissal of socially relevant,
290n51.
See also abstract art;
modernism, stylistic;
socialist realismartists and writers, left-wing black,
12; CP hard line and,
283n25; FBI FOIA files on,
22–24; progressive,
101–2; reason for five chosen,
25; representational choices of,
21–22,
108–9,
184–85,
189–90,
225–26,
307n28.
See also Left;
writers, black;
specific artists and writersassimilation, black nationalism vs.,
253Attorney General’s List of Subversive Organizations (AGLOSO),
256
“Ballad of Freedom Train, The” (Hughes),
57Baltimore Afro-American,
62
Barnwell, Andrea,
81,
109black activism: as communism and dissent,
4,
257n6; CP-supported organizations,
6black culture: CIA control of,
250,
310n8; DeCarava on art and,
289n34; mainstream publications as ignoring,
16;
Masses & Mainstream and,
35–36; pathology, view of,
35–36,
60.
See also specific artist and writers;
specific publications;
specific topicsblack folk culture,
38,
46–47; aesthetic value of,
14–15; Left problematizing of “folk” constructions,
299n37Black History Month,
278n2black internationalism,
230–31; black militancy spurred by,
7; L. Brown and,
45; Alice Childress,
131; civil rights movement focus and,
7–8black labor, CP interest in rural South,
276n10black liberals: AMSAC conference pitting Left against,
253–60; race liberalism of,
190blacklist, black,
15–17,
289n33; ANT and,
134; Alice Childress on,
124,
129; New Criticism lack of reference to,
11; uncovering,
23Black Metropolis (Cayton),
6,
76
black nationalism,
298n24; assimilation vs.,
253; international dimension of,
230–31,
237; shift to civil rights movement and,
286n8.
See also specific works;
specific writersBlack Popular Front,
4,
11,
12,
25,
31,
80,
82,
234; abstraction’s politics vs. aesthetics of,
116–18; Chicago,
80,
166–71,
300n4;CP alliances and,
275n4; New York,
93; 1950s race radicalism and,
17–22,
277n19; periodization,
6,
17,
295n5;socialist realism demands by,
177.
See also Committee for the Negro in the Arts;
Harlem Left Frontblack radicalism,
206; dueling radicalisms concept,
215,
224,
228; 1950s Black Popular Front and race radicalism,
17–22,
277n19; White’s time in Chicago’s,
75–79“Blueprint for Negro Writing” (R. Wright),
13–14,
307n26Brooks, Gwendolyn: black nationalism of,
175,
201–2; in Chicago Black Popular Front,
166–71,
300n4; colleagues,
166–67,
173; Conroy and,
193–96; conversion narrative,
175–76,
301n10,
302n11; early poetry,
171–74,
300n5; erasure,
174–76,
301n9; evidence of,
176–78; FBI and,
23,
169; feminist essay by,
28,
178–82,
302n13; “ghetto pastoral” critique of,
182,
207;Gloster’s praise of,
40; Kent’s biography of,
168,
280n11; Kreymborg’s review of,
173–74,
300n6,
301n8; leftist politics of,
12,
28–29,
39,
165–203,
170,
194,
254,
300n1,
303n32; letter to
Negro Digest from,
304n34; modernism of,
172,
173,
177,
183,
188–89,
198; on “oneness,”
203; poem eulogizing F. L. Brown,
31; prizes awarded,
178,
195,
200–201,
202; queer reading of “A Lovely Love,”
199,
303n33;working-class fiction of other writers compared to,
184–85.
See also Bean Eaters, The;
Maud MarthaBrotherhoods of Color: Black Railroad Workers and the Struggle for Equality(Arnesen),
55–56
Brown, Frank London,
10,
12,
205–37; aesthetic and political overview for,
29–31; Brooks’s poem eulogizing,
31;Chicago
Defender writing of,
232–37;Cold War speech of,
234; death of fourth child,
305n11; essays and reviews published by,
35–36; FBI FOIA files on,
23,
30,
207,
214–21,
217–19,
231–32,
236; FBI interview with,
220–21; illness and death,
30–31; interracial cooperation represented by,
225–26,
307n28; leftist affiliations,
207,
228,
232,
233–34,
237,
306n18; as “left winger,”
237,
308n40;Maxwell on,
231; nationalism of,
224–25; newborn infant during Trumbull explosions,
209; parents,
30,
217; posthumously published novel of,
210;radical politics of,
206; social protest tradition and,
213,
223,
224; Till trial covered by,
306n20; UPWA mass demonstrations and,
226–27,
306n20; R. Wright and,
223.
See also Trumbull ParkBrown, Lloyd L.,
12,
13,
15,
25,
33–68;African American literature imagined by,
45; at AMSAC conference,
245,
246; childhood,
46–47; close friendships,
36; communist characters,
37–38; CP affiliation,
26,
47–49,
67–68,
283n32; on Cruse,
297n22; FBI encounter with,
33,
34,
35,
36; FBI FOIA files on,
33,
34,
35,
48; as
Freedom ghostwriter,
297n21;incarceration of,
47,
48–49; on jazz,
50; W. Jones defense organized by,
48–49; as
Masses & Mainstream editor,
35–36,
44–45; mentor of,
66,
283n27; modernism debate over works of,
62–68,
283n26,
283n31; modernist experimentations of,
49–54,
52;
Native Son response of,
59–60,
281n22;
Phylon symposium response of,
38–39,
42,
44–45; psychoanalysis, distrust of,
64,
282n23; Robeson and,
36; trial of,
48,
281n17; unpublished novel by,
279n8; R. Wright contrasted with,
46.
See also Iron City;
“Which Way for the Negro Writer?”Brown-Guillory, Elizabeth,
132
“Candle in a Gale Wind, A” (Alice Childress),
128–29,
295n7Canfield Fisher, Dorothy,
59–60Catholic Universe Bulletin,
2
Catlett, Elizabeth,
25,
73,
80,
286n6; CP membership,
268,
269,
312n3; White and,
86,
89Central Intelligence Agency (CIA):AMSAC conference funded by,
32,
243,
263; AMSAC funding by,
249–50,
252,
264–65,
310nn9–10; black writers and AMSAC relationship with,
249–53;culture control by,
250,
310n8; Mayfield’s complicity with,
265; R. Wright volume financed by,
271,
312n5Charles White: Beauty and Strength,
27,
108
Chicago,
208–9; Abraham Lincoln School in,
73,
80; Black Popular Front,
80,
166–71,
300n4; black radicalism in,
75–79;
Defender,
80,
221,
232–37; public housing project in,
29; T-1 to T-20,
218–19,
237Chicago Negro Left Front,
165Childress, Alice,
12,
15,
29,
123–64,
151,
163; aesthetics and overview,
27–28; AMSAC funding query,
264;birth and early years,
132–35; black internationalism of,
131; blacklisted,
124,
129; CNA involvement,
126,
130,
135–36; CPUSA affiliation ambiguity,
126–27; divorce,
135;Douglass and,
145; essays,
128–30,
131,
140–41,
295n7; FBI FOIA file on,
23,
125,
126–27,
132;
Freedom column,
27,
135,
140–43; Friedan and,
295n8; gender issues treated by,
158; Hughes criticized by,
130–31,
295n10; Hughes novel adapted and produced by,
92,
297n17; interracialism and,
149–50,
158–59,
298n27; C. Jones and,
143–44,
297nn18–19; leftist politics,
123–24,
129,
148,
294nn1–22,
295n8; Left legacies of,
157–59; marriage and daughter,
133,
296n11; Mildred stories of,
141–43,
146,
156,
297n17; modernism and,
164; Neel and,
24,
160–64; Neel’s portrait of,
123,
162,
163–64; reconstructing leftist past of,
127–32; Robeson and,
124,
130,
142;
Roots volume omission of,
246.
See also Gold Through the Trees;
Wedding Bandcitizenship, race invisibility as basis of,
42civil rights movement:
Brown v. Board of Education impact on,
18–19,
277n18;class consciousness,
56; coalitionism,
206; communism associated with,
2–4,
275n6; CP use of,
251; global perspective of,
296n16; internationalist focus of,
7–8; shift to black nationalism and,
286n8; Southern,
146–47; war against,
4,
276n8.
See also race radicalismCleveland, NNLC convention in,
7–9,
8Cold War,
234; aesthetics,
253; African American literary history, absence of,
10; cultural amnesia promoted during,
174,
213,
240; ideologies,
2–3,
186,
188–91,
245; Left pressured by,
256–57,
311n16;1950s race, religion, and,
1–7; rise of abstraction during,
293n51; scholarship,
3–4,
275n1;
Trumbull Park as text of black,
205–8,
304n1; white imaginary of,
3–4“Comintern Resolution on the Negro Question in the United States, The,”
5,
13,
222,
307nn24–25Committee for the Negro in the Arts (CNA),
16,
74,
92,
121,
286n7,
303n26; Alice Childress and,
126,
130,
135–36; First Constitutional Convention,
289n34; founding members of,
91; New York,
89–93communism: African American literary culture compatibility with,
11; black activism as dissent and,
4,
257n6; blacks attraction to,
3–7; civil rights activism associated with,
2–4,
275n6; conversion narrative,
175–76,
271,
301n10,
302n11; interracialism and,
156,
157; journals and publications,
16;left artists representation of,
22; racial discrimination belief linked with,
43; Trumbull Park and,
236–37.
See also anticommunism;
specific artists and writers;
specific organizationsCommunist International Comintern,
5Communist Party (CP): abstract art campaigned against by,
101–7; aesthetics of,
62–68,
101–7; alliances of,
275n4; anti-discrimination campaigns of,
5;art control by,
101–7,
283n25,
283n28,
290n43; art critics,
103; artist members of,
12; black membership in,
275n10;black organizations supported by,
6; black presidential candidates from,
55;blacks’ separation from,
270; civil rights movement used by,
251; formalism rejected by,
99–100; form preferred over abstraction,
117; Hemingway on,
293n51;Khrushchev revelations,
67,
283n32; modernism antipathy and rightward shift of,
286n9; philosophical alliance with, portrayed,
81; in Pittsburgh,
48;politically correct art demanded by,
290n43; Progressive Party as aligned with,
215; Red Chicago and,
75;Southern black labor interest of,
276n10; Unemployed Councils,
5–6; Young Communist League,
47.
See also black nation thesis;
specific artists and writersCommunist Party of the United States of America (CPUSA),
58,
126–27,
228,
292n49; black nation thesis as central tenet of,
46Confidential Informant of Known Reliability,
23Congress for Cultural Freedom (CCF),
249Congress of Industrial Organizations (CIO),
79,
207containment model, Lukin’s proposed combination of emergence and,
304n1Contribution of the Negro to Democracy in America, The (C. White),
73,
85
Crispus Attucks Old Folks Home,
46Cultural Front, The (Denning),
62
Dawn of Life (White),
108–9
Dearborn Real Estate Board,
234demonstrations: Cleveland airline ticket center,
9; March uprising,
119; against Senate Internal Security Committee,
218–20; against Trumbull Park mobs,
227; UPWA,
226–27Du Bois, Shirley Graham,
145,
146Du Bois, W. E. B.,
36,
39,
56,
90,
92,
146,
163; arrest of,
11; Hughes and,
213–14;petition to UN led by,
7,
17–18,
277n15
Ellison, Ralph,
11,
13,
35,
36,
39,
172; CP representation of,
280n13; as only modernist black writer,
62; short story on railroad by,
56.
See also Invisible Manemergence model, proposed combination of containment and,
304n1“End to the Neglect of the Problems of the Negro Woman, An” (C. Jones),
144,
180eulogy: Brooks poem about F. L. Brown as,
31; in
Iron City,
57,
281n21Exodus 1 Black Moses (White),
105,
105–6
Fair Employment Practices Committee (FEPC),
9Federal Arts Project,
177Federal Bureau of Investigation (FBI),
12,
97; black activism stopped by,
4; Brooks and,
23,
169; F. L. Brown interviewed by,
220–21; L. Brown encounter with,
33,
34,
35,
36; censorship not referenced by New Criticism,
11; Confidential Informant of Known Reliability,
23;
Gold Through the Trees report,
135–36; Hansberry’s play investigated by,
214; obsession with black literary production,
233; Security Index,
131;
Trumbull Park intertextuality with,
222–31; war on positive portrayals of blacks,
276n8; White tracked by,
95,
96.
See also Freedom of Information ActFine Arts Project (FAP),
79–81Fire in a Canebrake: The Last Mass Lynching in America (Wexler),
59
First Constitutional Convention, CNA,
289n34Five Great American Negroes (White),
82
Florence (Alice Childress),
27–28,
92
“For a Negro Theatre” (Alice Childress),
129–30formalism, CP rejection of,
99–100Frederick Douglass Lives Again (White),
118
Freedom,
15–16,
91,
124; Alice Childress column in,
27,
135,
140–43; Cruse’s attack on,
297n22;
Defender contrasted with,
235; distribution,
297n20; feminism and,
145; Marxist feminists writing in,
28–29;publication period and contributions,
144–45; P. Robeson column in,
144–45,
297n21; successor to,
146
Freedom of Information Act (FOIA) files,
22–24,
294n4; on F. L. Brown,
23,
30,
207,
214–21,
217–19,
231–32,
236; on L. Brown,
33,
34,
35,
48; on Alice Childress,
23,
125,
126–27,
132; inaccuracies and deletions in,
25,
278n27; on P. Marshall,
214; unreliability of,
25; on White,
95,
97,
98,
118,
122
“Ghost at the Quincy Club, The” (Brooks),
199–200Gold Through the Trees (Alice Childress),
21,
27,
28,
124,
128; FBI report on,
135–36;Martinsville section of,
138–39,
140; music in,
138,
296n15; Tubman scene in,
136–37,
140
Hansberry, Lorraine,
16,
25,
28–29,
91,
136;at AMSAC conference,
242–43,
247,
248,
258; AMSAC keynote address,
260–64;as associate editor of
Freedom,
145; CP membership of,
258; FBI FOIA files on,
23; FBI review of play by,
214; C. Jones and,
143; media critiqued by,
261–62Harlem Writers’ Guild,
16,
260Harriet Tubman (White),
118
Hearst, William Randolph,
51Hero Ain’t Nothin’ but a Sandwich, A (Alice Childress),
124
history, African American literature and culture,
10–13homosexuality and bisexuality,
158–59House Un-American Activities Committee (HUAC),
3,
4,
11,
36,
159,
295n10; black intellectuals targeted by,
22–23;
Freedom under attack of,
297n22; in 1950,
42; Pittsburgh target of,
47,
48; racism subtext of,
142; UPWA disruption of hearings,
306n19; Whites summoned to,
95Hughes, Langston,
11,
13,
37,
39,
92,
138–39,
200; at AMSAC conference,
241–42,
248; F. L. Brown praised by,
213; Brown’s
Iron City and,
36–37,
49; censorship of,
213–14; Alice Childress criticism of,
130–31,
295n10; W. E. B. Du Bois, and,
213–14; Hoover’s view of poems by,
23–24; McCarthy and,
36,
213–14;
Phylon symposium response of,
40; railroad poem by,
57
Illinois Federal Art Project,
69Information Agency, U.S.,
18interracialism: F. L. Brown interracial solidarity,
225–26,
307n28; Alice Childress and,
149–50,
158–59,
298n27; communism and,
156,
157; in films,
155; interracial marriage,
152,
299n31; racial integration and,
150–51Iron City (L. Brown),
22,
308n33;documentary scenes in,
54–59; dream sequence at end of,
64–65; eulogy in,
57,
281n21; gender positions in,
282n24; Hughes and,
36–37,
49; leftist cultural forms relation to,
53–54; Living Newspapers and modernist experimentation in,
49–54,
52,
57; lynching story in,
57–59; modernist revisions,
54–57;
Native Son battle with,
26,
59–61;
Native Son dialogue with,
38,
53–54; Pittsburgh “hell” as basis for,
47–48; protagonists in,
38; railroad story in,
54–57
I Was a Communist for the FBI,
48
Jenkins, Welborn Victor,
281n21Johnson, Bennett,
75,
206Just a Little Simple (Hughes), Alice Childress production of,
92,
297n17
Kelley, Robin D. G.,
14–15Killens, John O.,
16,
25,
112,
146;
Roots volume omission of opening remarks by,
246;
Wedding Band criticized by,
148–50,
153
LeFalle-Collins, Lizzetta,
285n5Left: abstractionists viewed by,
101,
102; in African American literary history,
10–13;AMSAC conference pitting black liberals against,
253–60; anticommunism to dispel dissent from,
190; artist and writer relationships with,
24–25; artistic representations,
21–22,
189–90,
225–26,
307n28; black-Left tensions,
243; L. Brown on international writers of,
45; Chicago Negro Left Front,
165;civil rights movement shift of,
146–48;Cold War pressures on,
256–57,
311n16;cultural amnesia and erasure of,
174,
240; discursive marks of,
178; downplaying of associations with,
80–81; educational institutions,
16; “folk” constructions problematized by,
299n37; gender consciousness of,
282n24; institutional support offered by,
15–17; interracial alliances of,
156;
Iron City relation to cultural forms of 1930s,
53–54; list of other figures aligned with,
25; literary modernism of,
26; literary venues of,
11–12,
17; modernism conflict with,
72; New Criticism disillusionment with,
276n9; new scholarship on,
267–68; New York CNA and black,
89–93; publications,
21–22;
Roots volume editing out of,
242–49; spying on literary,
31–32; World War II boost to,
6–7.
See also artists and writers, left-wing black;
feminists;
specific artists and writers“Leftist Orator in Washington Park / Pleasantly Punishes the Gropers”(Brooks),
193,
196–98“Legacy of Willie Jones, The” (L. Brown),
65literary criticism, education in,
10Literary Times Prize,
194,
195Lost Promise of Civil Rights, The(Goluboff),
18
marriage, interracial,
152,
299n31.
See also specific artists and writersMarx, Karl,
79,
128; Jones, C., and,
143Marxism,
290n43; Alice Childress homegrown,
132–35;
Iron City ending in light of,
65; Kaiser critique of,
63Masses & Mainstream,
16–17,
27,
89,
95,
279n8; L. Brown as editor of,
35–36,
44–45; Humboldt’s departure from,
286n9; “The Legacy of Willie Jones” in,
65; 1951 list of published writers in,
278n2; White as editor of,
85,
90; White’s 1953–1954 portfolio published by,
108–15,
111,
292n49
“Massive Resistance in the Urban North: Trumbull Park, Chicago, 1953–1966”(Hirsch),
208–9Maud Martha (Brooks),
22,
28,
182–87,
203;Cold War culture and,
188–91;
Native Son and,
184,
187,
302n16; social realism countered by,
177,
302n16
Maxwell, William J.,
11,
23,
30,
215,
220; on F. L. Brown,
231; on FBI,
233; on Hoover,
23,
294n4Mayfield, Julian,
5,
12,
25,
176–77,
233,
269–73; at AMSAC,
258–59; AMSAC funding and,
264–65; CIA complicity,
265; CP membership of,
243,
258,
269,
312n18; files on,
23; violence depicted by,
21; R. Wright contrasted with,
271–72McPherson, James Alan,
56media, Hansberry’s critique of,
261–62methodology, portrait,
24–25Mexico, White and Catlett trip to,
86Midlo Hall, Gwendolyn,
268Mississippi, secret war on race in,
55“Mississippi Mother” (Brooks),
172modernism, stylistic: abstraction and,
74,
286n9; CP antipathy to,
286n9; Left views of art conflict with,
72; Living Newspapers and,
49–54,
52,
57; shift from social realism to conservative,
211; social modernists,
164.
See also specific artists and writers;
specific worksMora, Francisco (Pancho),
89,
268Movement, The: Documentary of a Struggle for Equality (Hansberry),
243
Myth Maker, The (F. L. Brown),
210
National Association for the Advancement of Colored People (NAACP),
208,
299n32;
An Appeal to the World petition of,
7,
17–18,
277n15;
The Crisis magazine of,
42; Hollywood pressured by,
276n8;McCarthy criticism of,
43; Scottsboro Boys stance of,
276n10; Youth Council,
168National Maritime Union (NMU),
85,
90National Negro Congress (NNC),
80,
180National Negro Labor Council (NNLC),
7–9,
8Native Son (R. Wright),
277n11; Baldwin objections to,
281n22; L. Brown response to,
59–60,
281n22;
Iron City battle with,
26,
59–61;
Iron City in dialogue with,
38,
53–54;
Maud Martha and,
184,
187,
302n16
“Negro Character in American Literature to Contemporary Writers” (L. Brown),
64Negro in American Life, The,
18
Negro People’s Popular Front,
80Negro People’s Theatre Group,
78New Jersey Evening Times,
87
New Negro, The (Locke),
72,
76
New York City, black Left and CNA in,
89–93Norton Anthology of African American Literature,
10–11,
68
Of Human Bondage (Maugham),
189
One-Third of a Nation,
51,
52
oppositional culture, black folk culture for creating,
15
packinghouse exceptionalism,
305n5Patterson, William,
58,
80,
90Permanent Subcommittee on Investigations,
23petitions, to UN:
An Appeal to the World(NAACP),
7,
17–18,
277n16;
We Charge Genocide (Robeson and Patterson),
7,
58–59Phylon symposium,
19,
22,
25–26,
39,
278n22; citizenship and race invisibility angle of,
42; on integration,
41; Kent’s criticism of,
280n11; racism represented in,
41; writer responses to,
39–42,
44–45
Pittsburgh,
Iron City as influenced by “hell” in,
47–48politics: of aesthetics,
10–11; integrationist poetics and,
253–54,
259–60; politically correct art,
290n43.
See also specific artists and writers;
specific political partiespresidential candidates, on CP ticket,
55public housing project, in Chicago,
29
race: Cold War dictates on representations of,
189–90; invisibility,
42; liberalism,
190,
253–60; 1950s Cold War, religion and,
1–7; secret war on, 1931–1934,
55; universality concept,
19,
44,
190,
255,
280n11; vital center position on,
43,
280n12race discourse, individual success stories,
150,
298n29race radicalism, Black Popular Front and 1950s,
17–22,
277n19racial integration,
309n3; Cold War ideologies regarding,
2–3,
186; interracial relationships and,
150–51; into mainstream,
258; as passing for white,
41; in schools,
272; Trumbull Park as target for,
208racism: communism linked to,
43; CP anti-discrimination campaigns and,
5;educational,
76; HUAC subtext of,
142; liberal anti-,
190;
Phylon symposium writers on,
41; psychoanalysis of,
20,
60,
64,
278n23,
282n23railroad, in
Iron City,
54–57Raisin in the Sun (Hansberry),
214,
243
Redding, J. Saunders,
39,
40,
246,
254,
265,
309n6; AMSAC conference and,
244,
255–57; L. Brown modernism upheld by,
62,
63,
67,
283n26;
Roots volume submission,
255–56“Rise of Maud Martha, The” (Brooks),
28Robeson, Paul,
9,
11,
39,
42–43,
73,
90; L. Brown and,
36; Alice Childress and,
124,
130,
142;
Freedom column of,
144–45,
297n21; Poitier and,
134; UN petition presented by,
58; Washington Park concert by,
303n26.
See also Freedom
Salt of the Earth (film),
95–96
scholarship: Cold War,
3–4,
275n1; new,
267–68.
See also specific artists and writersSchool of the Art Institute, Chicago’s,
76–77schools: Chicago’s Abraham Lincoln School,
73,
80; Mexican school of artistic expression,
73–74,
79,
82,
84,
86,
285n5; Myrdal School,
63; racial integration in,
272Scottsboro Limited (Hughes),
138–39
Selected Poetry (Hughes),
37
Senate Internal Security Committee,
30,
218–20Sixth World Congress of the Comintern,
13Smethurst, James,
11,
48,
62,
260,
265,
305n6; on Brooks,
165,
177; on F. L. Brown,
229; on L. Brown,
68; on White,
111Smith, Ferdinand,
6,
85,
90Smith, Shawn Michelle,
248Smith, William Gardner,
39Smith and McCarran laws,
9,
16social protest tradition: AMSAC conference meanings and use of term,
257; F. L. Brown and,
213,
223,
224; as exhausted mode,
210–11social realism,
101,
103,
116,
290n51; Brooks’s countering of,
177,
302n16; shift to conservative modernist aesthetics,
211; socialist realism distinguished from,
290n43Société Africaine de Culture (SAC),
239Sojourners for Truth and Justice,
16Sojourner Truth (White),
103,
104
South African Defiance Campaign,
28,
140“Southern Lynching” (Brooks),
171Southern Negro Youth Movement,
4Speak Now Against the Day: The Generation Before the Civil Rights Movement(Egerton),
59
spycraft, literary left and,
31–32State Department: racism narrative of,
41; state-sponsored segregation,
19strikes, Lesnow Shirt Factory in Pittsburgh,
47
“Theme and Variation” (Hayden),
280n10Those Other People (Alice Childress),
158–59
Trouble in Mind (Alice Childress),
28,
124
Trumbull Park (F. L. Brown),
29–30,
304n1; as black Cold War text,
205–8,
304n1; black vernacular in,
222; dueling radicalisms in,
215,
224,
228; idea for,
208; intertextuality of FBI files and,
222–31;
Invisible Man contrasted with,
229,
307n30; music in,
222,
223,
229,
307n27,
307n31; plot and autobiographical basis of,
208–10; reverse surveillance of,
231–32; reviews of,
212–13
Twelve Million Black Voices (Wright),
112
Unemployed Artists Group,
79–80Unemployed Councils, CP,
5–6United Nations (UN):
An Appeal to the World petition to,
7,
17–18,
277n16;
We Charge Genocide petition to,
7,
58–59unlabeled future view,
39,
44
violence, artist representations of racial,
21vital center, racial position term,
43,
280n12Vital Center, The (Schlesinger),
280n12
war: against black railroad workers in Mississippi,
55–56; against civil rights movement,
4,
276n8; FBI, on positive portrayals of blacks,
276n8; Left boosted by World War II,
6–7; Mississippi secret, against race,
55.
See also Cold WarWashington, Booker T.,
255We Charge Genocide (Robeson and Patterson),
7,
58–59
Wedding Band: A Love/Hate Story in Black and White (Alice Childress),
124,
146–56,
149,
296n13; black nationalists’ revile of,
148–49,
298n24; controversial nature of,
298n24; interracial marriage laws and,
152,
299n31; Killens criticism of,
148–50,
153; year and context for setting of,
299n32
“Which Way for the Negro Writer?” (L. Brown),
25–26,
35–45; as
Phylon symposium response,
38–39,
42,
44–45;publishing of,
42; R. Wright portrayal of black culture criticized in,
60White, Charles,
8,
9,
12,
69–122,
91,
104,
293n53; aesthetics change and criticism of,
101–7,
291nn44–45; anti-Left sentiments,
115; on artist as lone figure,
121; artistic crisis and dilemma,
86,
107,
110; artistic shift,
108–9,
120–21,
291n44; Barrett-White discussion of,
285n4; birth and parents,
75,
287n11; in California,
118–22; in Chicago’s black radical renaissance,
75–79; Christmas cards received by,
122,
294n60; class consciousness aesthetic,
72; communist association of,
26–27,
75,
109,
286n10,
291n47; CP association discontinued by,
118; death,
75; drawings by,
86–89,
105,
105–15,
111; in East Berlin,
94–101; exhibitions,
69,
74,
86; on FAP,
69; on FAP work of,
79–81; FBI FOIA file on,
23,
95,
97,
98,
118,
122; FBI tracking of,
95,
96; on form,
117–18; interview with Otis student,
119–20; Left alignment of,
15,
71–75,
81,
286n6; Locke influence on,
76; as
Masses & Mainstream editor,
85,
90; Mexican school influence on,
73–74,
79,
82,
84,
86,
285n5; modernism in works of,
71–72,
78–79,
88,
284n2; New York black Left renaissance and,
89–93; 1943–1949,
85–86; 1953–1954 portfolio,
108–15;1960s interview with,
120; portraits of historical figures,
73; reputation,
73–74; second marriage,
89–90; socialist realism and,
100–103; working class as subject and audience of,
108–9; WPA membership,
26–27,
79–81.
See also History of the Negro Press, A;
Techniques Used in the Service of Struggle“Why Negro Women Leave Home”(Brooks),
28,
178–82Williams, William Carlos,
174Wixon, Douglas (Conroy biographer),
193Works Progress Administration (WPA),
26–27,
77,
290n43; Federal Theatre Project,
43,
51; Fine Arts Project,
79–81;Living Newspapers of,
49–54,
52,
57; socially relevant art dismissed by,
290n51World Youth and Student Festival for Peace,
94Wright, Richard,
3,
11,
13–14,
35,
38,
112,
167,
196,
303n28,
307n26,
312n5; F. L. Brown and,
223; L. Brown contrasted with,
46; CIA-financed volume of,
271,
312n5; Gloster on,
40; Mayfield contrasted with,
271–72; naturalism,
253,
257–58; “Which Way for the Negro Writer?” as critique of,
60; writers’ group founded by,
80.
See also Native Sonwriters, black: L. Brown on leftist,
45; CIA and,
249–53; Cold War dictates on race representations by,
189–90; ignoring of,
277n11;
Masses & Mainstream list of,
278n2; as missing from
New York Times book reviews,
45;
Phylon questionnaire responses of,
39–42,
44–45; publications’ lack of reviews for,
311n17.
See also African American literature and culture;
artists and writers, left-wing black
Year of Jubilee (L. Brown),
279n8
Ye Shall Inherit the Earth (White),
108–9
Young Communist League,
47