Second-generation Stalinist

Yesterday we met the late Claud Cockburn, a propaganda tool of Stalin’s who passed himself off as a legitimate journalist.

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Alexander Cockburn

Cockburn had three sons, all of whom became journalists of varying degrees of legitimacy. The oldest, Alexander – born in 1941 and educated, like his father, at Keble College, Oxford – was, more than his brothers, the keeper of their father’s flame and the follower in his footsteps. Which is to say that he routinely wrote columns celebrating his father’s legacy, shamelessly repeated his father’s flagrant lies, and himself made a career of defending Stalin, the Soviet Union, and, later, post-Soviet Russia.

Presumably because he was the son of such an illustrious, well-connected hack, Alex Cockburn made his name quickly, going straight from Oxford to the Times Literary Supplement and New Statesman and then – after relocating, in familiar British-journalist fashion, to the U.S. – to the Village Voice, then The Nation. In the 1990s he co-founded the loony-left rag CounterPunch, of which he served as co-editor until his death in 2012. When he died, Cockburn, like many another Communist, was given a thorough whitewash in the New York Times and other mainstream media, which memorialized him as a brilliantly crusading journalist and honorable liberal truth-teller.

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Irving Howe

In fact there was nothing liberal about him. As Harold Meyerson wrote after Cockburn’s death, a “contempt for liberals and social democrats was a hallmark” of his work; he “took particular pleasure in calumniating” anti-Communist socialists such as George Orwell and Irving Howe, because their “democratic scruples” threatened Cockburn’s own “claim to radical rectitude (not to mention communism’s claim to socialist legitimacy).” In short, he was the very tintype of his dad.

As with his father, Alex’s politics were always of a piece: ardently pro-Soviet, anti-American, anti-Israeli, and – not to mince words about it – unapologetically anti-Semitic. One of the things that made CounterPunch distinctive, as it happens, was that he actually allowed into its pages – which were mostly populated by far-left nuts – the occasional piece by a far-right nut who shared his own virulent Jew-hatred.

Exactly how anti-Semitic was he? This anti-Semitic: in 2009 he ran an article by Alison Weir accusing Israel of kidnapping Palestinians in order to harvest their organs for transplant.

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Josef Stalin

As for his devotion to Stalin, we’ll quote Meyerson again: “Alex never ceased casting Stalin in the best light possible, consistently downplaying the number of Russians (including virtually all the original Bolsheviks) who died by his hand.” He defended Stalin’s signing of the Nazi-Soviet Pact. He blamed postwar totalitarianism in Eastern Europe on the Cold War – in other words, on the West, rather than on Stalin, who’d actually imposed the totalitarianism. Though firmly opposed to the U.S. invasion of Afghanistan, he defended the USSR’s earlier incursion into that country. He also applauded the fact that the USSR had stolen America’s nuclear secrets, “thus ending the US monopoly on Armageddon, and in my view making the world a safer place.” In fact, the U.S. monopoly had lasted four years, long enough for the U.S. to have exploited that monopoly in the same way Hitler or Stalin would have done in a heartbeat – namely, by using it to subdue the entire planet.

Reviewing Trumbo

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Bryan Cranston as Dalton Trumbo

Directed by Jay Roach and written by John McNamara, the movie Trumbo came out last November to widespread acclaim – especially for Bryan Cranston‘s performance as blacklisted Hollwood screenwriter Dalton Trumbo.  Cranston is nominated for an Oscar; both he and Helen Mirren, who plays gossip columnist Hedda Hopper, were nominated for Golden Globes.

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The real Dalton Trumbo

When Trumbo first came out, we spent a few days on this site pondering, and questioning, the way it presents its protagonist. As we noted at the time, Trumbo and other members of the so-called Hollywood Ten were all Communists. Trumbo, like virtually every other Hollywood movie ever made about the blacklist, tries to pretend that being a Communist was (or is) pretty much the same as being a Democrat or a liberal. Not really. Trumbo and his friends were devotees and disciples of an extremely illiberal fella named Joseph Stalin. They were his devotees and disciples in precisely the same way that Nazis were devotees and disciples of another fella named Adolf Hitler. Stalin, like Hitler, was a totalitarian dictator. The only substantial difference between them was that Stalin reigned much longer and killed a lot more people.

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Joe Neumaier

It’s utterly ridiculous to have to make these obvious points. Any middle-school student should know all this stuff, and feel insulted at any suggestion that they don’t. But as the reviews of Trumbo make clear, many people in positions of influence are totally clueless about the reality of Communism. One movie reviewer after another has hailed Trumbo as (to quote Joe Neumaier in Time) a “vital lesson in democracy,” and its Communist protagonist as nothing less than a hero of democracy. Indeed, many of the reviewers who haven’t praised Trumbo have still praised Trumbo. Or, more specifically, praised his “ideals.”

Here, for example, is Joanna Connors in the Cleveland Plain Dealer: “Besides being a gifted writer he was an outspoken champion of workers’ rights and socialist ideals.” This about a man who defended the Gulag, the Nazi-Soviet Pact, the Moscow show trials – in short, every monstrous crime against humanity Stalin ever committed.

In the New Orleans Times-Picayune, Mike Scott laments that Communist is “still a dirty word today.” And in the Toronto Star, Peter Howell actually calls Trumbo “a principled member of the Communist Party.” (Yes, he was devoted to the “principles” of the Communist Party in the same way that Hitler was devoted to the “principles” of Nazism.) Howell also refers to “the rebellious Hollywood Ten,” as if they were a bunch of admirably iconoclastic individuals rather than a group of lockstep ideological fanatics taking orders from a mass-murdering foreign government.

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Cranston, with Helen Mirren as Hedda Hopper

One baffling feature of many of the reviews of Trumbo is that even as they acknowledge that Dalton Trumbo and his fellow Communist screenwriters were Communists, they use the term “Red Scare,” which implies that Trumbo & co.’s Communism existed only in the heated imaginations of Hedda Hopper, John Wayne, and others – whose principled anti-Communism the movie treats with nothing but vicious mockery, even as it treats D.T.’s Communism with respect and admiration. 

“Trumbo,” writes Ty Burr in the Boston Globe, “brings what Lillian Hellman dubbed ‘scoundrel time’ into sharp relief.” Burr’s reference to Hellman and to Scoundrel Time, one of that horrible old Stalinist’s notoriously mendacious “memoirs,” leads us to wonder whether Burr knows anything whatsoever about Hellman, one of the great moral scoundrels in American literary history, or, more broadly, about American Stalinism. Burr refers to the writers and directors who came to be demonized as the Hollywood Ten.” No, they weren’t “demonized”: they were identified as Communists – as men who had sworn to help bring down American democracy in the service of murderous totalitarianism – and that was precisely what they were. Yet Burr buys the film’s attempt to sell them as heroes, and buys its presentation of John Wayne and other anti-Communists as “ogre[s].”

More to come.