As World War II wound down in 1945 and the cold war heated up, the skilled trades that made up the Conference of Studio Unions (CSU) began a tumultuous strike at the major Hollywood studios. This turmoil escalated further when the studios retaliated by locking out CSU in 1946. This labor unrest unleashed a fury of Red-baiting that allowed studio moguls to crush the union and seize control of the production process, with far-reaching consequences.

This engrossing book probes the motives and actions of all the players to reveal the full story of the CSU strike and the resulting lockout of 1946. Gerald Horne draws extensively on primary materials and oral histories to document how limited a "threat" the Communist party actually posed in Hollywood, even as studio moguls successfully used the Red scare to undermine union clout, prevent film stars from supporting labor, and prove the moguls' own patriotism.

Horne also discloses that, unnoticed amid the turmoil, organized crime entrenched itself in management and labor, gaining considerable control over both the "product" and the profits of Hollywood. This research demonstrates that the CSU strike and lockout were a pivotal moment in Hollywood history, with consequences for everything from production values, to the kinds of stories told in films, to permanent shifts in the centers of power.

When Where the Wild Grape Grows was published in 2005 by the University of Massachusetts Press, it was the first book-length critical study of Dorothy West. Since then, the publication of more volumes on West and her circle testify to popular and academic interest in under-represented artists of the Harlem Renaissance, many of whom appeared first in West’s literary magazine, Challenge (1934-1937). Challenge included poems by West’s cousin Helene Johnson as well as by her friends Lucia Mae Pitts, Waring Cuney, Pauli Murray, Grace Walker, Mae Cowdery, Marcia Prendergast, and Bessie Calhoun Bird. West also published work by her romantic partner Marian Minus and by Juanita DeShields (the first Black Canadian graduate of McGill University) and the Trinidadian author Alfred Mendes. She included artwork by Mildred Jones and journalism by Eslanda Robeson and Dorothy Peterson. In addition to her editorial activities, West corresponded with important African American musicians including Maud Cuney Hare, Alberta Hunter, and Henry T. Burleigh, and with sculptors Augusta Savage and Richmond Barthé. Just as West mentored others, she was encouraged by such academic luminaries as Columbia Professors Blanche Colton Williams and Dorothy Scarborough, and by the controversial novelist Erskine Caldwell.

The new Introduction to Wild Grape will include fresh research on these individuals, many of whom formed part of West’s social and artistic circle. Lucia Pitts, for example, was a poet who served in the famous WAC (Women’s Army Corps) 6888th Battalion. The work of Marian Minus and Mae Cowdery has received critical attention recently and they also merit closer investigation. The Boston writer and musicologist Maud Cuney Hare was an artistic mentor to West; her cousin Waring Cuney was a close friend: both will receive more attention in the paperback edition. The artist Mildred Jones accompanied West and twenty other young African Americans to Russia in 1932 as participants in an ultimately aborted propaganda film on race relations in America; Jones studied with the important Russian Modernist painter Aleksandr Deyneka.

The original edition of Wild Grape cites two stories about West’s Russian experiences (penned under the pseudonym Mary Christopher in 1934), “Room in Red Square” and “Russian Correspondence,” but the volume does not include the actual stories. The stories are interesting because they shed light on West’s unrequited romance with Langston Hughes and her relationships with other members of the group, and they offer a unique perspective on daily life in the U.S.S.R. Both stories will be published in the new edition, along with a detailed discussion of new research about West’s visit to Russia.

A third uncollected story, “Cook” (1934), written by West under the pseudonym Jane Isaac will also be included. This story is extremely important to West’s oeuvre and her artistic development; it includes characters, themes, tropes, and plot lines that she expanded and developed in her two novels, The Living Is Easy (1948) and The Wedding (1995).

Since 2005, new material has been added to the West archive in Harvard’s Schlesinger Library. The section of Wild Grape devoted to West’s correspondence will include additional unpublished letters which underscore West’s dedication to African American art and culture.

The book includes the Benson-West family tree in Appendix II. Several scholars have expressed appreciation for this information which has not been published elsewhere; the chart will be updated to include the birth of several of West’s descendants.

When Where the Wild Grape Grows was published in 2005 by the University of Massachusetts Press, it was the first book-length critical study of Dorothy West. Since then, the publication of more volumes on West and her circle testify to popular and academic interest in under-represented artists of the Harlem Renaissance, many of whom appeared first in West’s literary magazine, Challenge (1934-1937). Challenge included poems by West’s cousin Helene Johnson as well as by her friends Lucia Mae Pitts, Waring Cuney, Pauli Murray, Grace Walker, Mae Cowdery, Marcia Prendergast, and Bessie Calhoun Bird. West also published work by her romantic partner Marian Minus and by Juanita DeShields (the first Black Canadian graduate of McGill University) and the Trinidadian author Alfred Mendes. She included artwork by Mildred Jones and journalism by Eslanda Robeson and Dorothy Peterson. In addition to her editorial activities, West corresponded with important African American musicians including Maud Cuney Hare, Alberta Hunter, and Henry T. Burleigh, and with sculptors Augusta Savage and Richmond Barthé. Just as West mentored others, she was encouraged by such academic luminaries as Columbia Professors Blanche Colton Williams and Dorothy Scarborough, and by the controversial novelist Erskine Caldwell.

The new Introduction to Wild Grape will include fresh research on these individuals, many of whom formed part of West’s social and artistic circle. Lucia Pitts, for example, was a poet who served in the famous WAC (Women’s Army Corps) 6888th Battalion. The work of Marian Minus and Mae Cowdery has received critical attention recently and they also merit closer investigation. The Boston writer and musicologist Maud Cuney Hare was an artistic mentor to West; her cousin Waring Cuney was a close friend: both will receive more attention in the paperback edition. The artist Mildred Jones accompanied West and twenty other young African Americans to Russia in 1932 as participants in an ultimately aborted propaganda film on race relations in America; Jones studied with the important Russian Modernist painter Aleksandr Deyneka.

The original edition of Wild Grape cites two stories about West’s Russian experiences (penned under the pseudonym Mary Christopher in 1934), “Room in Red Square” and “Russian Correspondence,” but the volume does not include the actual stories. The stories are interesting because they shed light on West’s unrequited romance with Langston Hughes and her relationships with other members of the group, and they offer a unique perspective on daily life in the U.S.S.R. Both stories will be published in the new edition, along with a detailed discussion of new research about West’s visit to Russia.

A third uncollected story, “Cook” (1934), written by West under the pseudonym Jane Isaac will also be included. This story is extremely important to West’s oeuvre and her artistic development; it includes characters, themes, tropes, and plot lines that she expanded and developed in her two novels, The Living Is Easy (1948) and The Wedding (1995).

Since 2005, new material has been added to the West archive in Harvard’s Schlesinger Library. The section of Wild Grape devoted to West’s correspondence will include additional unpublished letters which underscore West’s dedication to African American art and culture.

The book includes the Benson-West family tree in Appendix II. Several scholars have expressed appreciation for this information which has not been published elsewhere; the chart will be updated to include the birth of several of West’s descendants.