Arthur Schlesinger, Jr., The Vital Center: The Politics of Freedom (Boston:
Houghton Mifflin, 1949), ix.
3. Lionel Trilling, The Liberal Imagination: Essays on Literature and Society
(New York: Viking, 1950), xv.
4. Leslie Fiedler, "Hiss, Chambers, and the End of Innocence" in The
Collected Essays of Leslie Fiedler (New York: Stein and Day, 1971), 1:24.
5. On the role of anti-Stalinist intellectuals in the establishment and consol-
idation of the postwar settlement, see in particular Andrew Ross, No Respect:
Intellectuals and Popular Culture (New York: Routledge, 1989), 42-64. See also
Thomas Hill Schaub, American Fiction in the Cold War (Madison: University of
Wisconsin Press, 1991), 3-24. Although both of these studies make important
contributions to our understanding of American culture in the era of the Cold
War, they overlook the homophobia of anti-Stalinist intellectuals and its role in
the management and containment of opposition to the postwar settlement.
6. I remain unconvinced by the argument that the United States won the
Cold War or that the recent collapse of the Soviet Union vindicates the narra-
tive of containment underpinning U.S. foreign policy since World War II. For
an example of this argument, see Arthur Schlesinger, "The Radical," New York
Review of Books 11 February 1993, 3-8. Schlesinger's essay is a review of George
Kennan's recently published book, Around the Cragged Hill: A Personal and
Political Philosophy, and his description of Kennan as a radical indicates the
continuing distortion of his perception of the Cold War. Schlesinger remains
unwilling to acknowledge that geopolitical concerns were used to justify the
stifling of dissent in the United States. Because I do not believe that the United
States can legitimately claim that it won the Cold War, I have limited the focus
of this book to the domestic politics of Cold War liberals. My assumption is
that the geopolitical concerns they expressed in their writings were primarily a
cover for their anxieties about the emergence of competing constructions of
7. Even those critics who have avoided adopting a strictly psychoanalytic
approach to Hitchcock's films have shown little or no interest in situating them