Below is an excerpt from the texts of the Communist Control Act of 1954. Note that membership in the Communist party could be discerned from the accused person's having knowledge of the purpose of the evil organization. Juries were instructed by this act (it established guidelines as to what was criminal behavior) not to limit themselves to evidence such as a current membership card. Here we go:
"In determining membership or participation in the Communist party of in any other organization defined in this act, or knowledge of the purpose or objective of such party or organization, the jury, under instructions from the court, shall consider evidence, if presented, as to whether the accused person...
... 8. Has written, spoken, or in any other way communicated by signal, semaphore, sign, or in any other form of communication, orders, directives, or plans of the organization...
12. Has indicated by word, action, conduct, writing, or in any other way a willingness to carry out in any manner and to any degree the plans, designs, objectives, or purposes of the organization;
13. Has in any other way participated in the activities, planning, actions, objectives, or purposes of the organization."


"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'"
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for
