Tag Archives: Uncle Sam

Speaking of Raising Taxes

Speaking of Raising Taxes
Uncle Sam and Marriner S. Eccles discussing their conflicting views on taxes and economic policy

According to the business cycle, economic activity is in a cycle that is both necessary and inevitable. The business cycle consists of expansion which is defined by increased output, employment, and profit, followed by contraction which includes decreased input, growing unemployment, and profit losses (Sherman, 2014). It is commonly accepted that this cycle contributes to the progression of a capitalist economy. Another key characteristic of the cycle is the belief that in a free market economy the government should limit its intervention and just let the cycle play out naturally. However, the Great Depression was a severe and unprecedented contraction period that lasted longer than expected, and the absence of the natural forces that led toward recovery called for government intervention in the form of expansionary fiscal policies (May, 2004).

The Great Depression started in 1929 for the United States, leaving devastating effects around the globe lasting throughout the 1930’s. When  Franklin D. Roosevelt became president in 1933 he immediately took action implementing the New Deal, which involved several federal programs that stimulated financial reforms and regulations. Although the New Deal’s purpose was to ignite the economy, many of the programs and reforms proposed never came to fruition due to the conflicting views in Congress. Those conflicting views were a commonality during the Great Depression and often were expressed through political cartoons.

On March 18, 1937, John Knott’s Speaking of Raising Taxes was published in the Dallas Morning News; during that time the United States was still consumed with the Great Depression and its ramifications.  Depicted in the cartoon, Marriner S. Eccles was appointed as the head of the Federal Reserve Board,  under Franklin D. Roosevelt’s administration. The supplemental editorial Eccles Explains, provided context for the cartoon. It stated that Eccles intended to balance the budget through an increase in taxes (“Eccles Explains”, 1937). This new tax proposal was part of a contractionary policy that would make it possible to balance the budget, which was at a deficit of 26.4 billion dollars (“1937 United States Budget”), at the cost of allowing the recession to continue. An alternative to this proposal was an expansionary policy that called for deficit spending and tax cuts in order to boost the economy onto a path towards recovery from the recession.

Speaking of Raising Taxes, depicted Eccles saying, “This is no money at all. Uncle.” in addition to holding a paper in his hand that reads “higher taxes to balance budget”. Sitting in front of him is Uncle Sam who’s saying, “Why not cut expenses and stop borrowing?” while clutching one of the many stacks of money lying around him labeled “record income tax returns.” Knott’s cartoon illustrates Eccles, the chairman of the federal reserve board, in a quandary with the Uncle Sam in trying to figure out the best means for restructuring the country in recovery from the Great Depression.

Before being appointed as chairman of the Fed, Eccles was assistant to Treasury Secretary Henry Morgenthau Jr. Prior to going into politics, Eccles made his own conclusions as to what caused the Great Depression. His suggestions revolved around the concept that to keep a sound economy there must be constant movement of money. By this, he meant that instead of having money just sitting under large corporations and the rich, that money should be distributed among the lower income groups. This concept was similar to the idea of famous economist John Maynard Keynes and what is now known as Keynesian Economics. Keynesian Economics calls for expansionary policy in times of recession. (May, 2004) Keynesianism generally recommends countercyclical policies. For example, in order to suppress inflation, the government can increase taxes or reduce outlays.

Within the cartoon, Knott illustrates opposing views through a discussion between Eccles and Uncle Sam. In this case, Uncle Sam represents both the national government and the American people. Eccles stating, “This is no money at all. Uncle ” justified his proposal of higher taxes. The stacks of money lying around Uncle Sam labeled, “record income tax returns” represented what the outcome of what Uncle Sam said. With taxes being cut from such high rates the returns would be massive, revealing why Uncle Sam is clutching a stack of money. Taxpayers would then be able to spend their new disposable income and boost growth in the economy. The recurrence of the dilemma on whether to choose an expansionary policy or contractionary policy is inevitable as the economy is constantly changing.  



Works Cited

“1937 United States Budget.” Rate Limited, federal-budget.insidegov.com/l/39/1937.

Amadeo, Kimberly. “Deficit Spending Is Out of Control. Here’s Why.” The Balance, 2 May 2017, www.thebalance.com/deficit-spending-causes-why-it-s-out-of-control-3306289.

“Eccles Explains.” The Dallas Morning News, 18 March 1937.

MAY, DEAN L. “Keynesian Economics.” Encyclopedia of the Great Depression, edited by Robert S. McElvaine, vol. 1, Macmillan Reference USA, 2004, pp. 539-541. Gale Virtual Reference Library, go.galegroup.com/ps/i.do?p=GVRL&sw=w&u=txshracd2598&v=2.1&it=r&id=GALE%7CCX3404500304&asid=55eeb9551783fd782464aa2fc29212f7. Accessed 8 Nov. 2017.

“Marriner Stoddard Eccles.” Encyclopedia of World Biography, 2nd ed., vol. 22, Gale, 2004, pp. 160-162. Gale Virtual Reference Library, go.galegroup.com/ps/i.do?p=GVRL&sw=w&u=txshracd2598&v=2.1&it=r&id=GALE%7CCX3404708008&asid=2c560e98f0e4272451e86080b7aa4db2. Accessed 8 Nov. 2017.

Sherman, Howard J. The Business Cycle. Growth and Crisis under Capitalism. Princeton: Princeton University Press, 2014. Web. Retrieved 9 Nov. 2017, from https://www.degruyter.com/view/product/452516


Can’t You Spare a Nickel More

Can't You Spare a Nickel More
A cotton planter in tattered clothing is being given a measly ten cent loan by a much wealthier looking Uncle Sam. Knott emphasizes not only the strains placed on cotton farmers, but also the inadequacy of the payments received.

Can’t You Spare a Nickel More

John Francis Knott – October 20, 1933

The political cartoon, “Can’t You Spare a Nickel More,” was created by John Francis Knott and published in the Dallas Morning News on October 20, 1933. It depicts the cotton planters of the United States with regards to the Great Depression, Franklin D. Roosevelt’s New Deal, and the economic aspects that accompanied it. The cartoon reveals the economic issues faced by the United States and the twenty million cotton planters depicted in the image. Knott’s cartoon highlights the negative effects that the U.S. government and its New Deal policies – such as the Agricultural Adjustment Administration, the Agricultural Adjustment Act, and the Commodity Credit Corporation – had on cotton planters nationwide. These negative effects included the acreage reduction’s failure to raise crop prices, the tenant farming system’s lack of productivity, the Texas Cotton Acreage Control Law of 1931, and the overall economic incongruities which were created.

The Great Depression spanned from the late 1920s to the late 1930s. While the depression was most known for its negative effects on American society and the crash of the stock market, it was also associated with the sharp decline of profitable cotton prices; this was devastating due to the increased agriculture during that time period. Therefore, it was important for farmers and cotton planters to get back into business. In 1933, the U.S. government created a program that financially helped farmers for lowering cotton acreage, which reduced supply and thus created higher prices. The program, known as the New Deal, brought about interesting changes to the agricultural aspect of the nation – it constituted the Agricultural Adjustment Administration which called for a forty percent cotton acreage reduction and the Commodity Credit Corporation which provided a ten cent loan for each pound of cotton as long as planters promised to reduce its acreage in the following year (Golay 204).

“Can’t You Spare a Nickel More” depicts stress on the cotton planter’s face as well as Uncle Sam’s (Knott 2). These difficult times created a bleak outlook for the nation along with its twenty million cotton planters. Even after the Agricultural Adjustment Administration enforced an acreage reduction on cotton, thirteen million bales remained to sustain the world demand for the rest of the year. This countered the goal of raising the price of crops. In addition to this issue, the tenant farming system – a system in which tenant farmers contributed their own land and labor for capital resulted in wastefulness and inefficiency. It caused trouble for the South’s traditional cash crop and created conflicts between planters and tenants due to its many internal economic problems (Hawkins).

The accompanying article, “The Price of Cotton,” explains the cartoon’s exchange of ten cents profoundly; it questions the unfairness of lending of ten cents per pound of cotton rather than fifteen cents and explicitly states that the discrepancy is inadequate (“The Price of Cotton”). The Texas Cotton Acreage Control Law of 1931 further emphasized the strains placed upon cotton farmers by requiring that the amount of cotton planted in 1932 and 1933 could not surpass thirty percent of that of the preceding year (Jasinski). The synthesis of these two sources develops the notion that the combination of reduced cotton acreage and lowered payment to cotton farmers only created an increasing lack of sustenance as well as an overall miserable lifestyle.

The humor in this cartoon is evident in the distinct contrast between the two parties depicted and their relation to the underlying meaning of the image. Despite the fact that the wealthier man is not explicitly labeled as Uncle Sam, it can be inferred based on the combination of the cartoon, the article, and knowledge of American popular culture. While the man representing the twenty million cotton planters of the U.S. is illustrated in tattered clothing with a grim expression, the man who appears to be Uncle Sam handing him the ten cent loan looks stern yet well dressed which emphasizes the economic gap as well as the issues which were created by the loans and cotton reduction (Knott 2). The prominent issue that Knott’s cartoon focuses on is the unfair loans given to the cotton planters by the government. The cartoon focuses attention on the twenty million cotton planters receiving a ten cent loan which insinuates that the planters are not receiving sufficient funds for their duties, thus creating a cycle of internal and external economic incongruities.


Works Cited

(1) “The Price of Cotton.” Editorial. The Dallas Morning News [Dallas, Texas] 20 Oct. 1933, sec. 2: 2. Print.

(2) Golay, Michael. America 1933: The Great Depression, Lorena Hickok, Eleanor Roosevelt, and the Shaping of the New Deal. New York: Free, 2013. Print.

(3) Hawkins, Van. “Cotton Industry.” The Encyclopedia of Arkansas History & Culture. N.p., n.d. Web. 27 Oct. 2015.

(4) Jasinski, Laurie E. “Texas Cotton Acreage Control Law of 1931-32.” N.p., n.d. Web. 06 Nov. 2015. 

(5) Knott, John. “Can’t You Spare a Nickel More.” Cartoon. The Dallas Morning News [Dallas, Texas] 20 Oct. 1933, sec. 2: 2. Print.

(6) Novak, James L., James W. Pease, and Larry D. Sanders. Agricultural Policy in the United States: Evolution and Economics. London: Routledge, 2015. Print.


The Gold Standard of Politicking

Seated man (labeled Congress) playing a fiddle (labeled partisan politics) and an angry Uncle Sam standing and pointing out that the world is on fire and is experiencing distress to the seated man.
Knott’s depiction of an incompetent Congress fiddling around, and a furious Uncle Sam gesturing to the rest of the world burning.

Renowned for his critical illustrations of early twentieth century United States politics, John Francis Knott fueled debate on American policy through his work with the Dallas Morning News. The vast majority of Knott’s career as a political cartoonist consisted of criticizing the government on a plethora of issues ranging from welfare to war (Perez). In his cartoon “No Time for Fiddling!” Knott humorously denounces Congress, through symbolic images, for squandering valuable time over frivolous partisan politics instead of mobilizing to save the American economy during the onset of the Great Depression.

Knott’s piece, published December 15th, 1931, contains various symbols, each one conveying a unique concern of the times: the bearded man representing righteousness and action, the flames representing an imminent threat, the fiddle representing partisan politicking, and the sitting man representing an incompetent Congress. Through these symbols, Knott creates a symphony of critiques, which scolds Congress for their petty antics.

Uncle Sam, the man standing and aggressively gesturing to the flame-ridden world, represents American pride and strength. Used initially for war recruitment ads, Uncle Sam became associated with America’s call to action and impending threats (“The Most Famous Poster”). Knott utilizes this well-known American symbol to rhetorically attack the United States Congress, calling it to action to address and acknowledge the “WORLD’S DISTRESS.”

The accompanying editorial article titled “The Gold Standard” addresses the economic state of the world, and countries’ suffering due to reluctance to depart from the gold standard. It emphasizes that the United States is currently in a severe financial depression, later called the Great Depression, and continues on to request action from Congress to solve the economic suffering experienced by the world. Additionally, the departure off the gold standard by select countries (e.g. Japan, countries of the United Kingdom, Argentina) destabilized trade in regions since these countries were now trading in deflated currencies, which resulted in a significant negative impact on foreign economies (“The Gold Standard”). Beginning with Black Tuesday, the U.S. stock market crash of 1929, America spiraled into economic turmoil along with the rest of the world. The general consensus of historians blames the downward spiral primarily on Congress, which at the time was not willing or able to engage in some sort of expansionary fiscal policy or depart from the gold standard (Smiley).

Knott’s visualization displays Congress as a rotund geezer slouching on a chair with a fiddle, labeled “partisan politics,” in his hand. The large man has a look of both anger and frustration on his face while confronted by Uncle Sam. Clearly, Knott’s physical representation of Congress serves to associate the politicians with languidness, incompetence, and ignorance. The cartoon serves as critical commentary on the lack of bipartisan action in Congress during 1931, when the members of Congress were split almost evenly between the two major political parties, Republican and Democratic (“72nd Congress”). Republican policy, primarily characterized by its isolationist view on foreign policy and disdain towards governmental intervention, essentially acted as a catalyst for the Great Depression (“Republican Party Platform of 1928″). The debate regarding individualism versus intervention played a key role in the Great Depression, since it was individualism, supported by the Republicans, that led to the Great Depression, and intervention, supported by the Democrats, which brought the economy out of the Great Depression.

The fiddle, labeled “partisan politics,” generates most of the humor in the cartoon. The term “fiddling around” alludes to the colloquial phrase, “fiddling while Rome burns.” The phrase is a reference to a rumor that the Roman Emperor Nero played a lyre while Rome burned (“fiddle while Rome burns”). Knott draws a parallel, underscoring the point that in 1931 Congress was fiddling with partisan politics while the world was on the brink of destruction. Additionally, Knott lampoons Congress by drawing it as a plump old fogy, who appears to be clueless. The negative connotations created by the countenance and physique of Congress effectively delivers the point that Congress was absent-minded and only capable of fiddling around instead of acting.

“No Time for Fiddling!” serves as a vessel both to criticize a self-interested and ineffectual Congress and to draw attention to the chaos and despair of the world around them. A progressive agenda was eventually passed under a new Democratic majority and FDR’s New Deal shortly after, but only because of critics like John Francis Knott was the American public informed enough to move towards reform (Smiley). Although Knott’s cartoon wasn’t enough to prevent the Great Depression, it will forever remain a part of important critical discourse through the Dallas Morning News.

Works Cited:

“72nd Congress (1931 – 1933).” History, Art & Archives, U.S. House of Representatives. n.d. Web. 25 Oct 2015.

“fiddle while Rome burns.” Cambridge Idioms Dictionary, 2nd ed.. 2006. Cambridge University Press. 4 Nov 2015.

Knott, John F. “No Time for Fiddling!” Cartoon. The Dallas Morning News[Dallas] 15 Dec. 1931: n.pag. Dolph Briscoe Center for American History. Web. 25 Oct. 2015.

Perez, Joan Jenkins. “Knott, John Francis.” Handbook of Texas Online. Demand  Media, 15 June 2010. Web. 25 Oct 2015.

“Republican Party Platform of 1928.” The American Presidency Project. Peters, Woolley, n.d. Web. 25 Oct 2015.

Smiley, Gene. “Great Depression.” The Concise Encyclopedia of Economics. 2008. Library of Economics and Liberty. Web. 25 Oct 2015.

“The Gold Standard.”  Editorial. The Dallas Morning News [Dallas] 15 Dec. 1931: n.pag. Dolph Briscoe Center for American History. Web. 25 Oct. 2015.

“The Most Famous Poster.” American Treasures of the Library of Congress. Demand Media, n.d. Web. 25 Oct 2015.

There Ain’t No Such Animal

Uncle Sam as he passes by the "Germanese Twins"
Uncle Sam as he passes by the “Germanese Twins”

There Ain’t  No Such Animal

John Knott ~ December 28, 1931

World War I was an enormous global conflict that completely altered the geopolitical landscape and changed the way the world thought about war. Many societies, including the United States, were astonished by the unprecedented death toll that occurred due to advances in weapons, machines, and trench warfare. The introduction of tanks, the automatic gun, and use of chemical weapons, such as tear gas, led to horrors that had never been seen before. With a generation of young men killed and injured due to the Great War, society was left changed, and the United States’s view of the contributing factors and aftermath of this war were broadcast throughout the nation in newspapers. In the political cartoon There Aint No Such Animal, by John Knott from the December 28, 1931 issue of the Dallas Morning News, we see a satirical and politically biting interpretation of the controversial war reparations brought upon Germany by the Allied powers.

Following World War I, at the Paris Peace conferences, the Allied powers had to decide what punishments to divvy out to the Central powers. The Allied powers decided to force the defeated Central powers to pay reparations. However, the other Central powers could not pay reparations because many countries were bankrupt and their governments had broken apart, such as the dissolution of Austro-Hungary and the Ottoman Empire. Therefore, Germany was forced to take sole responsibility for World War I and for the reparations. Many countries recognized there were other contributing factors to World War I and believed the reparations would be too harsh, which would lead to geo-political and economic consequences in the future (Webb, 786). However, France believed Germany deserved to pay all these reparations due to France’s destruction at the hands of German troops. The debate over reparations was a point of contention throughout the Paris peace conferences. Germany had to pay thirty-three billion US dollars to the Allied powers in 1931, which is the equivalent of five hundred and sixteen billion dollars in 2015 (Webb, 793-4). The Allied powers should have had the foresight to see that these penalties were too harsh and would ultimately lead to further tragedy, such as World War II.

In the political cartoon, There Aint No Such Animal, we see Uncle Sam passing a store front acknowledging, yet walking away from the ‘Germanese twins’.  The title of the cartoon alludes to the idea that this colossal amount of debt and reparations had never been seen before because no war resolution had ever resulted in such large reparations directed at one country. As we see Uncle Sam peering into a window, in shock at the two fat twins, and he is trying to wave at them. Yet, the twins look back angrily through the window. Germany was angry because America was one of the countries that contributed to the reparations, and the German people believed the reparations were unfair and humiliating to their country. The twin’s size illustrates that Germany had a large war debt. Uncle Sam’s facial reaction alludes to the American people’s guilt of Germany’s financial situation. The ‘Germanese twins’ represent the massive war debts and the one hundred and thirty-two billion gold marks of war reparations that Germany had to pay (Taussig, 37-8). Knott employs the use of humor through his characterizations of the two global superpowers. The emblem of Uncle Sam is supposed to demonstrate American military heroism, yet here Uncle Sam shies away from his own actions. The large size of the twins and their angry expressions are literal in demonstrating Germany’s large debts and reparations and their anger about said debts and reparations, and Knott illustrates the humiliation and reduction of Germany as a country by placing the twins behind a glass window. The glass window allows others to ignore their plight and their accountability.

The Basel Report opinion article that is paired with the cartoon explains the economic consequences of Germany’s war debts and reparations. The article states that economists in over eleven nations believed that Germany was unable to pay these reparations due to their “declining business, departures from the gold standard, tariff bars, and heavy interest charges on loans and credits” (The Basel Report).  Another issue set forth in the article is that taxes could not be raised to pay the reparations. There was growing fear that Germany’s economic crisis could start a global economic decline. In the cartoon, we see Uncle Sam shying away from the twins, but also staring at them in fear of what troubles they could bring. The issue that the war debts and reparations were part of the same issue and could not be separated is demonstrated in the cartoon by representing them as twins. Basel asks, “If war debts due us cannot be met in full, they should be reduced. Why worry over the loss of driblets, when billions of dollars are being lost annually through the continuance of hard times and unemployment?” (The Basel Report). Clearly the reparations were not the answer to global economic repair, and many people found the reparations to be ridiculous and humiliating, as the cartoon illustrates.

Ultimately, these reparations were unjust and shortsighted because they forced Germany into a financial crisis from which they could not recover. As world renowned economist John Keynes said this was a ‘Carthinagian’ solution that ultimately led to the complete destruction of Germany’s economy and political system. The economic collapse and degradation of the ineffective Weimar Republic led to poor quality of life, rampant poverty, and desperation in Germany that ultimately led the German people to alternatives like the Nazi party to save the country from total disaster.

Works Cited

Bradley, Megan. “Reparations.” The Encyclopedia of Political Science. Ed. George Thomas          Kurian. Vol. 5. Washington, DC: CQ Press, 2011. 1459-1460. Gale Virtual Reference              Library. Web. 5 Nov. 2015.

Knott, John. “There Ain’t No Such Animal.” Cartoon. Dallas Morning News 28 Dec. 1931, 89th ed. Print.

Taussig, F. W.. “Germany’s Reparation Payments”. The American Economic Review 10.1 (1920): 33–49.

“The Basel Report.” Editorial. Dallas Morning News 28 Dec. 1931, 89th ed., sec. 1: 4. Print.

Webb, Steven B.. “Fiscal News and Inflationary Expectations in Germany After World War I”. The Journal of Economic History 46.3 (1986): 769–794.


Tea for Two


John Francis Knott – November 20, 1933

The political cartoon as viewed above is a direct reference to the sudden change in decision by Russia to eagerly collaborate in diplomatic relations with America. In order to understand the humor within the image, one must be aware of the historical evidence of the October Revolution (also commonly known as Red October) of 1917.

Vladimir Lennon, Leon Trotsky, and other Bolshevik Party members let the October Revolution in hopes of creating what is now known as the basis of Soviet Russia (Trotsky).  Soon after the removal of Russia’s government and installation of the new, they refused to honor their debts to the United States as well as seize American property located in Russia (US Department of State).  For the subsequent 17 years, America, as well as other foreign countries refused to interact with or recognize Russia as a country until years later. America also became the last Western country to identify Russia as a country. Meanwhile, Russia continued what it had been doing before the new Soviet government took over which was continue trade relations and act as if nothing ever happened, after all, what happened in Russia was not a problem the United States had to handle.  In the early-mid 20th century, the United States was well-known to steer clear of intervening in the issues of other countries unless provoked by attack. Otherwise, The U.S. only focused on its own internal problems.

The political cartoon is accompanied with the article titled, “Normal Relations Resumed” which gives a semi-bias opinion of the situation.  While the information is presented in a factual and objective manner, the author uses some words that indicate favoritism in one direction. For example, Knott adds in a few adjectives such as “great” before “Nation” when describing the importance of Russia being on friendly terms with America.  Also, at points, the author bears his excitement through his choice of words: “renewed once again the friendly relations that had existed for so long between the United States and Russia” (Knott).

Throughout the article, there is an indication of opinion on how the author praises Roosevelt’s action for “recognizing Russia” (Knott). One can easily acknowledge the author’s support for Roosevelt who lists all the pros of becoming in good terms with Russia, but the risks are not mentioned.  The picture mirrors this idea through Uncle Sam and Joseph Stalin.

The humor found in the cartoon itself is a satirical reference to the situation on how both countries see each other once they decided to have diplomatic relations.  The two drinking tea is a symbolism for friendship as its common to invite someone over for a drink, lunch, dinner, etc., when the two are old friends or wanting to get to know one another.  The people displayed on the picture are not so much a reference to the historical figures, but how the people of both countries reacted in such a friendly way towards each other in the aftermath.

It is important to note their physical appearances and gestures such as the certainty in their direct eye contact with one another.  Uncle Sam is leaning forward smiling with his tea cup raised almost as if he is about to give a toast.  Stalin, however, is much more stiff and it is uncertain whether he is smiling. This reflects the author’s perspective where he places much emphasis on how Americans see the new relationship (optimistic), but he fails to mention how Russia feels about America. Thus in the art he is uncertain how to portray Stalin (again, representation of Russia) and thus gives him a stiff pose that can be perceived in different ways.

Overall the scene depicts the two countries in the form of men who are drawn as carefree characters considerate and compassionate to one another. It makes fun of the fact that the countries can seem to be oblivious of the past and willing to let bygones be bygones.

Works Cited:

BUDNITSKII, OLEG. “October Manifesto.” Encyclopedia of Russian History. Ed. James R. Millar. Vol. 3. New York: Macmillan Reference USA, 2004. 1087-1088. Gale Virtual Reference Library. Web. 30 Nov. 2014.

Knott, John Francis. “Normal Relations Resumed.” Dallas Morning News[Dallas] 20 Nov. 1933: 2. Infoweb.newsbank. Web. 21 Oct. 2014.

RABINOWITCH, ALEXANDER. “October Revolution.” Encyclopedia of Russian History. Ed. James R. Millar. Vol. 3. New York: Macmillan Reference USA, 2004. 1088-1096. Gale Virtual Reference Library. Web. 30 Nov. 2014.

RABINOWITCH, ALEXANDER. “October Revolution.” Encyclopedia of Russian History. Ed. James R. Millar. Vol. 3. New York: Macmillan Reference USA, 2004. 1088-1096. Gale Virtual Reference Library. Web. 30 Nov. 2014.

“Trotsky, Leon.” International Encyclopedia of the Social Sciences. Ed. David L. Sills. Vol. 16. New York: Macmillan, 1968. 155-158. Gale Virtual Reference Library. Web. 30 Nov. 2014.

United States. Government. Historian. Recognition of the Soviet Union, 1933 – 1921–1936 – Milestones – Office of the Historian. N.p., n.d. Web. 20 Nov. 2014.