I Married A Communist

In an eloquent novel set against the turbulent backdrop of the McCarthy era, radio actor Iron Rinn, an idealistic Communist, marries beautiful actress Eva Frame, but their private relationship becomes a national scandal when Eva publicly betrays her husband's politics to a gossip columnist. 150,000 first printing.

Radio actor Iron Rinn (born Ira Ringold) is a big Newark roughneck blighted by a brutal personal secret from which he is perpetually in flight. An idealistic Communist, a self-educated ditchdigger turned popular performer, a six-foot six-inch Abe Lincoln look-alike, he marries the nation's reigning radio actress and beloved silent-film star, the exquisite Eve Frame (born Chava Fromkin). Their marriage evolves from a glamorous, romantic idyll into a dispiriting soap opera of tears and treachery. And with Eve's dramatic revelation to the gossip columnist Bryden Grant of her husband's life of "espionage" for the Soviet Union, the relationship enlarges from private drama into national scandal. Set in the heart of the McCarthy era, the story of Iron Rinn's denunciation and disgrace brings to harrowing life the human drama that was central to the nation's political tribulations in the dark years of betrayal, the blacklist, and naming names. I Married a Communist is an American tragedy as only Philip Roth could write it.

The second novel of Roth’s eloquent American trilogy, set in the tempestuous McCarthy era - a brilliant successor to American Pastoral I Married a Communist charts the rise and fall of Ira Ringold, an American roughneck who begins life as a ditchdigger in 1930s New Jersey, becoming a big-time radio hotshot in the 1940s. In his heyday as a star - and as a zealous, bullying supporter of 'progressive' political causes - Ira marries Hollywood's beloved leading lady, Eve Frame. Their glamorous honeymoon is short-lived, however, and it is the publication of Eve's scandalous bestselling expose that identifies Ira as 'an American taking his orders from Moscow'. In this story of cruelty, betrayal, and savage revenge, anti-Communist fever pollutes national politics and infects the relationships of ordinary Americans; friends become deadly enemies, parents and children tragically estranged, lovers blacklisted and felled from vertiginous heights. ‘Quintessential Philip Roth’ Sunday Telegraph

This new biography of the controversial, influential, and prize-winning American novelist Philip Roth, a writer with an international reputation for inventive, original novels from Portnoy's Complaint to American Pastoral and The Plot Against America, is based on new access to archival documents and new interviews with Roth's friends and associates.

It is 1998, the year in which America is whipped into a frenzy of prurience by the impeachment of a president, and in a small New England town, an aging classics professor, Coleman Silk, is forced to retire when his colleagues decree that he is a racist. The charge is a lie, but the real truth about Silk would have astonished his most virulent accuser. Coleman Silk has a secret. But it's not the secret of his affair, at seventy-one, with Faunia Farley, a woman half his age with a savagely wrecked past--a part-time farmhand and a janitor at the college where, until recently, he was the powerful dean of faculty. And it's not the secret of Coleman's alleged racism, which provoked the college witch-hunt that cost him his job and, to his mind, killed his wife. Nor is it the secret of misogyny, despite the best efforts of his ambitious young colleague, Professor Delphine Roux, to expose him as a fiend. Coleman's secret has been kept for fifty years: from his wife, his four children, his colleagues, and his friends, including the writer Nathan Zuckerman, who sets out to understand how this eminent, upright man, esteemed as an educator for nearly all his life, had fabricated his identity and how that cannily controlled life came unraveled. Set in 1990s America, where conflicting moralities and ideological divisions are made manifest through public denunciation and rituals of purification, The Human Stain concludes Philip Roth's eloquent trilogy of postwar American lives that are as tragically determined by the nation's fate as by the "human stain" that so ineradicably marks human nature. This harrowing, deeply compassionate, and completely absorbing novel is a magnificent successor to his Vietnam-era novel, American Pastoral, and his McCarthy-era novel, I Married a Communist.

"The ugly wife is a treasure at home" is not just an idle expression in China. For centuries, Chinese marriage involved matchmakers, child brides, dowries, and concubines, until the People's Republic of China was established by Mao Zedong and his Communist Party in 1949. Initially encouraging citizens to reject traditional arranged marriages and instead wed for love, the party soon spurned "the sin of putting love first," fearful that romantic love would distract good Communists from selflessly carrying out the State's agenda. Under Mao the party established the power to approve or reject proposed marriages, dictate where couples would live, and even determine if spouses would live together. By the 1960s and 1970s romantic love became a counterrevolutionary act punishable by "struggle sessions" or even imprisonment. The importance of Chinese sons, however, did not wane during Mao's thirty-year regime. As such, in a world where nobody spoke of love, 99 percent of young women still married. The Ugly Wife Is a Treasure at Home draws the reader into the world of love in Communist China through the personal memories of those who endured the Cultural Revolution and the generations that followed. This collection of intimate and remarkable stories gives readers a rare view of Chinese history, social customs, and Communism from the perspective of today's ordinary citizens.

Looking at Philip Roth's writing life as a "book of voices," Debra Shostak listens in on the conversations that this prominent American novelist has conducted with himself and his times over forty years and twenty-four books. She finds that while Roth frequently shifts perspectives, he repeatedly returns to interrelated questions of cultural history, literary history, and, especially, selfhood.

Who is Matt Cvetic? Hero? Scoundrel? Mole? The man who loosely provided the inspiration for the B-Grade cult movie I Was a Communist for the FBI had a life that was marred by alcoholism, damaged expectations, and greed. Cvetic, at the request of the FBI, joined a Pittsburgh branch of the CPUSA in 1943. He became one of many plants in the Party during that decade and gained the nickname &"Pennsylvania&’s most significant mole.&" However, because of his erratic behavior, the FBI fired him in 1950, at which time he surfaced and suddenly became a celebrity through his testimony before the HUAC hearing. Journalist Richard Rovere described Cvetic as a &"kept witness,&" a term that fits those who &"made a business of being witnesses,&" thereby &"befouling due process.&" Cvetic was the subject of a multipart series in the Saturday Evening Post. The articles bordered on fiction, but they gave Cvetic the national exposure he needed to secure a screen deal. Warner Brothers bought the story, made the movie, and enhanced Cvetic&’s celebrity as pop icon. In the mid&–1950s, Cvetic was discredited as a witness by the courts. His career ended and he found a new niche on the Radical Right, yet he died in 1962 after years of fighting to uphold his image with the media. Today Cvetic&’s image is dimly remembered as he continues to fight &"the Red Menace&" on late-night television. Leab juxtaposes Cvetic&’s real life with his reel life. He chronicles his fall from grace, yet admits that Cvetic&’s life offers fascinating and useful insights into the creation, merchandising, and distribution of a reckless professional witness. Leab also writes about Cvetic&’s life prior to his involvement with the FBI, his glory days, and shows that there is much to be learned from the story of an &"anti-Communist icon.&"