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[on Dalton Trumbo] There is no question that [he] had talent for much greater literary work than the film work that he produced. The reason he never did what he could have done was this obsession of his with making money and living in a grand manner. I never knew what made it necessary for him to have both a house on Beverly Drive and a ranch that he had to build a road to get to.

I consider now that my article - by what I have come to agree was a one-sided, non-dialectical treatment of complex issues - could not... contribute to the development of left-wing criticism and creative writing.

I also read the Marxist classics. I still think it to be the noblest set of ideals ever penned by man... Where else in political literature do you find thinkers saying that we were going to end all forms of human exploitation? Wage exploitation, exploitation of women by men, the exploitation of people of color by white peoples, the exploitation of colonial countries by imperialist countries. And Marx spoke of the fact that socialism will be the kingdom of freedom, where man realizes himself in a way that humankind has never seen before. This was an inspiring body of literature to read.

It has been my conclusion for some time that much of the left-wing artistic activity - both creative and critical - has been restricted, narrowed, turned away from life, sometimes made sterile - because the atmosphere and thinking of the literary left-wing had been based upon a shallow approach... I have come to believe that the accepted understanding of art as a weapon is not a useful guide, but a straitjacket. I have felt this in my own works and viewed it in the works or others. In order to write at all, it has long since become necessary for me repudiate it and abandon it.

When I joined the Communist movement in 1935 it was based upon the belief that mankind's future was to be found there. Certainly, millions who joined it the world over, like myself, didn't join it for profit. There was nothing to be gained out of joining it: It could be time-consuming. It could prevent you from reading a number of books that you wanted to read or go to a number of films because you were doing other things. But there was a belief that you were working with others toward making the world a better place to live in.

There is currently in vogue a thesis pronounced by Dalton Trumbo which declares that everyone during the years of blacklist was equally a victim. This is factual nonsense and represents a bewildering moral position... Adrian Scott was the producer of the notable film Crossfire in 1947 and Edward Dmytryk was its director. Crossfire won wide critical acclaim, many awards and commercial success. Both of these men refused to co-operate with the HCUA. Both were held in contempt of the HCUA and went to jail. When Dmytryk emerged from his prison term he did so with a new set of principles. He suddenly saw the heavenly light, testified as a friend of the HCUA, praised its purposes and practices and denounced all who opposed it. Dmytryk immediately found work as a director, and has worked all down the years since. Adrian Scott, who came out of prison with his principles intact, could not produce a film for a studio again until 1970. He was blacklisted for 21 years. To assert that he and Dmytryk were equally victims is beyond my comprehension.