McCarthyism: When history is just a vibe

When journalists talk about the McCarthy era they rarely cite nonfiction books. After smugly declaring that "McCarthy never caught a spy", they name drop Arthur Miller and his play The Crucible.

Although it is ostensibly about the Salem witch trials, we all know [nudge, nudge, wink, wink] that it is about a different, more recent witch hunt.

Though highly lauded, the play is really nothing more than competent agitprop. Like all such works it blends facts with plausible lies to obscure the truth and promote a Big Lie. It is a case study in mendacity and self-glorification.

It is a mark of our low, dishonest age that The Crucible is treated as a serious study of the "Red Scare" and that Miller is held up as some sort of moral guide.

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A litany of lies and evasions

Robert Warshow eviscerated the play and Miller's pretensions when it was first staged. As he pointed out, the playwright seems to say much while he actually understands very little of the events he is mining for his little exercise in propaganda.

The 'universality' of Mr. Miller's play belongs neither to literature nor to history, but to that journalism of limp erudition which assumes that events are to be understood by referring them to categories, and which is therefore never at a loss for a comment. Just as in Death of a Salesman Mr. Miller sought to present 'the American' by eliminating so far as possible the 'non-essential' facts which might have made his protagonist a particular American, so in The Crucible he reveals at every turn his almost contemptuous lack of interest in the particularities -- which is to say, the reality -- of the Salem trials.

OK, so The Crucible has nothing to tell us about the Salem witch trials. All the smart people know Miller wasn't really writing about 1692 Massachusetts -- his concerns were more contemporary.

Unfortunately, Miller is no better at addressing those concerns.

For let us indeed not be misled. Mr. Miller has nothing to say about the Salem trials and makes only the flimsiest pretense that he has. The Crucible was written to say something about Alger Hiss and Owen Lattimore, Julius and Ethel Rosenberg, Senator McCarthy, the actors who have lost their jobs on radio and television, in short the whole complex that is spoken of, with a certain lowering of the voice, as 'the present atmosphere.' And yet not say anything about that either.

This transmutation -- to write about "McCarthyism" by writing about Salem -- represents the foundational deceit of Miller's play. Leave aside the vast differences between a tiny 17th century frontier village and a giant 20th century superpower. All the smart people in 1953 knew witches did not exist. Miller wants us to think the same is true of the communists. Yet he, himself, had spent years in the movement, had seen their methods, and had even wrote for their publications.

Miller wrote The Crucible after the conviction of the Rosenbergs. He believed them innocent; we now know they were guilty. So, on that account alone, we have to acknowledge that the play was born out of literal disinformation. That is not entirely Miller's fault.* This misperception on his part may have been understandable in 1953.

But what should we say of the teachers and journalists who continue to promote the play as a window into the world of the "Red Scare"? They know -- or should know -- that there really were communist spies in Washington and communist cells in Hollywood.

Nicholas von Hoffman:

Point by point, Joe McCarthy got it all wrong and yet was still closer to the truth than those who ridiculed him.

"The present atmosphere" that was Miller's target had less to do with "popular hysteria" and much more to do with serious threats to our nation and culture.

*It must be noted, however, that until his last days, Miller always minimized Stalinist crimes and downplayed the Party's influence in Hollywood and New York's theater scene.