When news broke that the CIA had colluded with literary magazines to produce cultural propaganda throughout the Cold War, a debate began that has never been resolved. The story continues to unfold, with the reputations of some of America's best-loved literary figures-including Peter Matthiessen, George Plimpton, and Richard Wright-tarnished as their work for the intelligence agency has come to light.
Finksis a tale of two CIAs, and how they blurred the line between propaganda and literature. One CIA created literary magazines that promoted American and European writers and cultural freedom, while the other toppled governments, using assassination and censorship as political tools. Defenders of the ""cultural"" CIA argue that it should have been lauded for boosting interest in the arts and freedom of thought, but the two CIAs had the same undercover goals, and shared many of the same methods: deception, subterfuge and intimidation.
Finks demonstrates how the good-versus-bad CIA is a false divide, and that the cultural Cold Warriors again and again used anti-Communism as a lever to spy relentlessly on leftists, and indeed writers of all political inclinations, and thereby pushed U.S. democracy a little closer to the Soviet model of the surveillance state.
By:
Joel Whitney
Imprint: OR Books
Country of Publication: United States
Dimensions:
Height: 209mm,
Width: 139mm,
Spine: 33mm
Weight: 363g
ISBN: 9781944869526
ISBN 10: 1944869522
Pages: 352
Publication Date: 01 March 2018
Audience:
General/trade
,
ELT Advanced
Format: Paperback
Publisher's Status: Active
Table of Contents INTRODUCTION: A Lit'r'y Coup 1 Graduates 2 The Responsibility of Editors 3 Pasternak, the CIA, and Feltrinelli 4 The Paris Review Goes to Moscow 5 Did the CIA Censor Its Magazines? 6 James Baldwin's Protest 7 Into India 8 The US Coup in Guatemala 9 Cuba: A Portrait by Figueres, Plimpton, Hemingway, Garcia Marquez, Part 1 10 Cuba: A Portrait by Plimpton, Hemingway and Garcia Marquez, Part 2 11 Tools Rush In: Pablo Neruda, Mundo Nuevo and Keith Botsford 12 The Vital Center Cannot Hold 13 Blowback CODA Afghanistan ACKNOWLEDGMENTS SOURCES ENDNOTES INDEX
JOEL WHITNEY's writing has appeared in The New York Times, The New Republic, The San Francisco Chronicle, The Baffler, New York Magazine, and The Sun, among others. His essays have twice been designated as Notable in Best American Essays, and he received a 2017 PEN/Nora Magid Award for Editing for his work on Guernica, which he co-founded. For his poetry, which has appeared in The Paris Review, The Nation, and Agni, he is a recipient of the Discovery Prize awarded by the 92nd Street Y and The Nation. He lives in Brooklyn, where he is at work on a novel.
Reviews for Finks: How the C.I.A. Tricked the World's Best Writers
Praise for Finks Another odd episode steps out from the Cold War's shadows. Riveting. --Kirkus Reviews (starred review) Listen to this book, because it talks in a very clear way about what has been silenced. --John Berger, author of Ways of Seeing and winner of the Man Booker Prize With Finks, Joel Whitney vividly brings to life the early days of the Cold War, when key American literary figures were willing to secretly do the bidding of the nation's spymasters. --James Risen, author of Pay Any Price: Greed, Power and Endless War A deep look at that scoundrel time when America's most sophisticated and enlightened literati eagerly collaborated with our growing national security state. Finks is a timely moral reckoning. --David Talbot, founder of Salon and author of The Devil's Chessboard: Allen Dulles, the CIA and the Rise of America's Secret Government An illuminating read and a cautionary tale about the potential costs--political and artistic--of accommodating power.--Ben Wizner, ACLU Director of Speech, Privacy and Technology Project
