Lillian Hellman now knows the truth, but who will pray for her soul?

I've been waiting for this one for a long time kiddies. You will have to bear with me because this may take all day.

Today is the 100th anniversary of the birth of Lillian Hellman. Lillian was a secular Jew, (whatever the hell that means) a profoundly ignorant Stalinist stooge, a whore, and the most overrated playwright in the history of the English language, if not in all of Christendom.


First, here's a basic biography. The photo on this page reminds me of Ayn Rand. I'm sure neither female would appreciate that.

Here's a list of her "major" works.

Here's a review of a Hellman biography first published on April 10, 1987 in National Review. This sums up the idiot cow's career perfectly. I offer a few choice tidbits for your consideration:

LILLIAN HELLMAN was the Stalinists'dreamgirl. A pathological liar, she became the exemplar of truth to liberal society. A physical coward, she played the bold heroine. Avaricious herself, she flayed American society for its "materialism.' A despiser of liberals, she became the liberals' darling. She never really criticized the Soviets. Except Khrushchev, that is, whom she detested for questioning Statlin. In 1967 she finally admitted that Stalin had committed "sins.' But she was not against sinning: During a 1966 trip to Moscow, she startled even her official Soviet hosts by telling a little story about Stalin's being asked by Averell Harriman to order his troops to behave when they entered Germany. She related with relish that Stalin had laughed and said he doubted "men who had been fighting for years could be kept from rape and loot.'

She developed a "muscular,' terseprose style, derivative of the Hemingway-Hammett school, that in its faked minimalism concealed almost everything, yet evoked cheers from the literati for its clean honesty. It was the perfect style for a high-toned liar.

What Miss Hellman accomplishedwith her life was not trivial. It was a massive con job that swept the country, leaving many victims in its wake. Wright describes his fear of what she could do to his book: "Hellman, when feeling besieged, could hurl lethal thunderbolts into various power centers, causing any manner of short circuits.' He writes of "the cruelty, the bullyings, the attempts to get people fired, the discrediting falsehoods, the blackmailings.' Most of Miss Hellman's greatest fame came when her dramatic abilities had ebbed and she began her series of memoirs. These had two intentions: 1) making Miss Hellman into the Pasionaria of American letters and 2) resurrecting the honor of American Communism while destroying the credibility of anti-Communist liberals.

Earlier demolitions of sections of the fraudulent memoirs had been done by Martha Gellhorn, Mary McCarthy, Sidney Hook, Irving Howe, Hilton Kramer, and Samuel McCracken. Wright finishes the job. "Julia' is simply the most disgraceful of all the Hellman cons: borrowing the real life of a brave American resistance fighter in Vienna (Muriel Gardiner Buttinger) to make herself look good (a mission to Nazi Berlin to deliver cash to "Julia'). There is startling new information about how Miss Hellman cheated the two daughters of Dashiell Hammett: She purchased the rights to Hammett's estate, which he had left to his daughters, for a pauper's payment ($2,000), pretending she wanted to help the children, and kept the money it brought in--well over a quarter of a million dollars--for herself.

If she had not been a communist, she would have been labeled a psychopath, not a genius.

Miss Hellman's was a life of privilege,self-indulgence, no personal risks, constant fornication so frenetic it apparently included several lovers at a time (she betrayed Hammett--whom she betrayed her husband, Arthur Kober, for--many times over), and a Hollywood salary of $2,500 a week by the age of thirty. The memoirs surely arose out of the loss of Hammett (whom she really loved in her way), the boredom of chasing after pretty young men in her unattractive old age, and the awareness of a life skirted. The result was a series of invented accounts of heroic forays in Loyalist Spain and Nazi Germany, of incredible courage, generosity, and virtue. And Miss Hellman was one fierce Stalinist. She left much of her $4-million estate to a trust fund for "Marxist' scholars. Her hatred of America and democracy--that fierce anger that endeared her to so many--extended to innumerable victims who came face to face with her, especially underlings. One author told Wright after her death, "I judge people by the number of corpses they leave behind, and Lillian left a lot of corpses.' Wright notes, "The numbers of such Hellman casualties, the walking wounded, were large.'

Here's the summation of her rotten life:

The Left, no matter how much powerit has attained in the media and in American cultural life, still feels the need to be victimized and besieged. John Hess wrote in The Nation of "necrophiles' who are "dedicated to exhuming and again destroying . . . martyrs. . . . A hack newly come to this metier is now urinating on the grave of Lillian Hellman. It is a vain and foolish as well as disgusting deed.' Hess was so upset he could not pronounce Wright's name. He had reason to be angry: This new estimation of Lillian Hellman is one more nail in the coffin of the Left as a moral force.


From her first play The Children's Hour (1934), which would never have been noticed had it not been for its titillation factor (charges of lesbianism at a girls' school) to The Little Foxes (1939), with its overwrought treatment of a southern family's conflicts (compare this to anything written by Tennessee Williams), to her pathetic musical version of Candide (scored by the pathetic sodomite-hating sodomite Leonard Bernstein) which she was "driven" to produce by the machinations of the evil anti-commie right who blacklisted her fat ass, Hellman was nothing but a hack who sold her soul to Leninist-Stalinism for fame and fortune.

In a word, she was a typical totalitarian. She hated freedom except for her own freedom to do as she pleased, regardless of the harm done to anyone who came in contact with her. She hated America, the exemplar of freedom. She hated the free market except when she needed it to make a buck or two.

She was never an artist.
She was a vile moron.
She was a willing tool Stalin and his mass murderers used to exterminate millions of innocents.

Just try to imagine all the truly talented individuals who had their lives destroyed by this bitch and her ilk.

Want to read about Our Heroine's brave testimony before the House Un-American Activities Committee? Want to read about how she stabbed Elia Kazan in the back? Both are here.