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Writers and World War II.(Volumes I and II) Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 The rW iters' War Board: Writers and World War II.(volumes I and II). Robert Thomas Howell Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Howell, Robert Thomas, "The rW iters' War Board: Writers and World War II.(volumes I and II)." (1971). LSU Historical Dissertations and Theses. 1927. https://digitalcommons.lsu.edu/gradschool_disstheses/1927 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 7 1 - 2 0 , 5 9 9 HOWELL, Robert Thomas, 1944- THE WRITERS' WAR BOARD: WRITERS AND WORLD WAR II. (VOLUMES I AND II.) The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 History, modern University Microfilms, A XEROX Company , Ann Arbor, Michigan 0 1971 ROBERT THOMAS HOWELL ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE WRITERS' WAR BOARD: WRITERS AND WORLD WAR II VOLUME I A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agriculture and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Rl Thomas Howell B.A., Louisiana College, 1964 M.A., Louisiana State University, 1966 January, 1971 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS The author wishes to thank, first. Dr. Burl Noggle not only for his direction of this dissertation, but also for his constant interest in the subject of this study. He also wishes to thank his mother, Mrs. Hazel Howell, for her invaluable assistance in every phase of this study from its beginning to its completion. Finally, he wishes to thank D. J. W., who asked not to be mentioned, but whose constant encouragement and inspiration made possible the completion of this work and cannot be left unacknowledged. 1 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Page ACKNOWLEDGMENTS....................... il ABSTRACT ................................................. V CHAPTER I. THE BEGINNINGS AND THE BACKGROUND.......... 1 II. THE MEMBERS OF THE B O A R D ....................... 13 III. MODUS OPERANDI .................................. 50 IV. COOPERATION WITH GOVERNMENT AGENCIES ........... 105 V. ARMED SERVICES, 1942 - 1943 .................. 154 VI. ARMED SERVICES, 1944 - 1945 .................. 186 VII. THE NATURE OF THE E N E M Y ......................... 214 VIII. HATE THINE ENEMY .................................. 249 VOLUME II IX. WHAT TO DO WITH GERMANY ......................... 271 X. THE FATE OF JAPAN AND GERMANY..................... 319 XI. RACIAL TOLERANCE ............................... 363 XII. INTERNATIONAL COOPERATION..... ....... 409 XIII. POST-WAR RELIEF, UNITY, AND ORGANIZATION .... 445 XIV. CONCLU S I O N........................................ 493 iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Page NOTE ON SOURCES...................................... 514 SELECTED BIBLIOGRAPHY ................................ 518 APPENDIX ............................................ 544 I. WRITERS' WAR BOARD MEMBERS ................. 545 II. WRITERS' WAR BOARD ADVISORY COUNCIL MEMBERS . 546 III. THE POSITION OF THE WRITERS' WAR BOARD ON THE GERMAN PR O B L E M .......................... 54 8 VITA................................................... 554 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT The Writers' War Board was a group of professional writers organized in New York shortly after the United States entered World War II. Originally intended as a small, part- time group whose membership would lend personal assistance to the Treasury Department, in early 1942 under the leader­ ship of Rex Stout it quickly developed into a clearing house designed to mobilize writing talent throughout the nation in support of the war effort. It became a quasi-official agency of the government, receiving a subsidy from public funds, but retaining some independence as a private organization as well. During the war the WWB served as both a direct and an indirect propaganda agency. The members themselves and individuals closely associated with them produced magazine articles, newspaper stories, stage shows, and radio broadcasts containing blatant and subtle propaganda messages. The board stimulated the production of a great deal more propaganda by innumerable contacts with writers, editors, publishers, and show producers and by periodic suggestions to writers Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. throughout the country as to useful propaganda messages which their material should contain. To carry out this program the members of the war board constantly utilized their profes­ sional contacts inside the various communications media. Propaganda by the WWB supported the campaigns insti­ gated and approved by the government, as well as policies which the group advocated in its role as a private agency. For the government, the board maintained a close liaison with the official propaganda agency, the Office of War Information. Through the OWI it cooperated with the war activities of most agencies of the government, particularly the Treasury Department, the Office of Civilian Defense, and the Office of Price Administration. The New York writers devoted especial attention to assisting the armed forces in their problems of morale and recruiting. Much of the group's help went to the Army, the Army Air Force, and the newly organized women's divisions of the military. As a private agency, the board consistently pursued three main goals; to convince the country of the malignant nature of the enemy, to promote racial tolerance and racial equality, and to persuade Americans of the necessity for international cooperation and even world federation in the post-war era. The board's hard-line anti-German stand, vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. which included the open advocacy of hatred for the German enemy and the belief that all Germans were completely re­ sponsible for that country's activities in wartime, involved it in the greatest controversy of its existence. Most of the group's activities ceased simultaneously with the end of the war, though a strictly private successor group, the Writers' Board, continued some functions until early 1946. Although the WWB can be compared with other official and unofficial propaganda groups in the United States, it constituted a unique organization without a real predecessor. Furthermore, the group represents the best instance of the organized use of writing abilities in a war effort in American history. The existence of the WWB has gone practically un­ noticed in American history texts. This study is almost entirely based on the hitherto unused papers of the group in the Library of Congress. These voluminous records docu­ ment the vast range and volume of the board's activities. Vll Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER I THE BEGINNINGS AND THE BACKGROUND On the morning of Sunday, December 7, 1941, Japanese planes attacked the American naval fleet at Pearl Harbor and propelled the United States into World War II as an active military participant, ^ o days later, a series of events began which led to the formation of the Writers' War Board. As the enormity of the war ahead became clearer, Julian Street, Jr., an official in the Treasury Department with connections in the literary world, suggested to Secretary of the Treasury Henry Morganthau, Jr., that the assistance of prominent authors would be useful in forth­ coming bond drives. Morganthau approved the idea, and Street telephoned actor-playwright Howard Lindsay, presi­ dent of the Authors' League of America. He asked Lindsay what the Authors' League could do to assist the Treasury Department. Lindsay informed him that the Authors' League was prohibited by charter and constitution from engaging in any activities except those dealing directly with the professional activities of writers. 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Lindsay felt, however, that many writers outside his organization might well want to participate, and he asked his friend and collaborator, Russel Crouse, to serve on a special committee to assist the Treasury Department. Crouse was willing but preferred not to head the group. He agreed to become a member provided the chairman be Rex Stout, a writer already outspoken on public affairs. Lindsay then contacted Stout who accepted the chairmanship, stipulating that, among other things, the committee be completely autonomous, without any ties either to the Authors' League or any other organization, and that it be given full responsibility
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