YU Professor is Famous

As a communist apologist...oh well

From OpinionJournal (Jan '06)

"To plow through the evidence for the millionth time: While the trial of the Rosenbergs was flawed by technical improprieties, their crimes are not uncertain or unresolved. Julius Rosenberg, with Ethel as his accomplice, was the head of a sophisticated spy network that deeply penetrated the American atomic program and relayed top secrets to Stalin's Kremlin. In his memoirs Nikita Khrushchev noted that the Rosenbergs "vastly aided production of our A-bomb." Joyce Milton and Ronald Radosh wrote a damning account of their activities in "The Rosenberg File" (1983). And the Rosenbergs' guilt was corroborated by the 1995 declassification of the Venona documents, thousands of decrypted KGB cables intercepted by the National Security Agency in the 1940s.

The notion that anyone would today deny their fundamental complicity in Soviet subversion is extraordinary, almost comically so. But comedy was not quite the mentality at the Rosenberg event. "Ambiguity is the key word, I think," said Mr. Doctorow, regarding our understanding of the past, though in this instance ambiguous is precisely what it is not.

Mr. Kushner argued the Rosenbergs were "murdered, basically." Mr. Doctorow went further, explaining that he wanted to use their circumstances to tell "a story of the mind of the country." It was a mind, apparently, filled with loathing and paranoia--again, never mind the truth of the charges against the Rosenbergs or other spies of the time. "The principles of the Cold War had reached absurdity," he continued. "We knew that the Russians were no threat, but we wanted to persuade Americans to be afraid" and so impose "a Puritan, punitive civil religion." Pronounced Mr. Kushner: "Our failure to come to terms with a brutal past, our failure to open up the coffins and let the ghosts out, has led to our current, horrendous situation."

The enduring artistic influence of the Rosenberg case, then, seems to be primarily allegorical. Guilt and innocence drop away (rather, guilt is converted to virtue) and the Rosenbergs are made into victims of "American fascism," to use Ethel Rosenberg's own phrase. Or to borrow the exquisite formulation of the scholar-apologist Ellen Schrecker, the Rosenbergs were guilty only of "nontraditional patriotism."