"One explanation for the neglect of women's part in shaping The Masses and its content may lie in an image of the magazine constructed by its chroniclers. Indeed, the extent to which historians have neglected discussion of Masses women is quite remarkable. Daniel Aaron, in his Writers on the Left (1961), devotes some twenty pages to The Masses. He deals with Eastman, Dell, and Reed at considerable length, while mentioning the founding members Inez Haynes Irwin and Mary Heaton Vorse in a single line. Even more remarkable is Irving Howe's introduction to William L. O'Neill's 1966 Masses anthology, Echoes of Revolt. While O'Neill himself does include a representative selection of work by Masses women in the anthology, Howe achieves the remarkable feat of writing his entire introduction without mentioning a single female contributor. Howe concludes resoundingly: "For who among us... would not change places with the men of The Masses in their days of glory?" More recent histories redress the balance somewhat-notably Judith Schwartz's study of women of the Greenwich Village Heterodoxy club, many of whose members had ties with The Masses, and Art for The Masses, Rebecca Zurier's 1987 anthology of the work of Masses artists. Nancy Cott's frequent allusions to Masses women in The Grounding of Modern Feminism (1987) indicate how very central to that grounding, to the shaping of turn-of-the-century feminist discourse, Masses women were. But in many imaginations, The Masses remains the project of Max Eastman, Floyd Dell, John Reed (journalist), Art Young, and Charles Winter."