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03512aam a2200433Ii 4500 001 6F2469AC2EFD11E7A97D5AD2DAD10320 003 SILO 005 20190815012642 008 160626s2016 nyuaf b 001 0 eng d 020 $a 9781682190241 020 $a 1682190242 020 $a 1944869131 020 $a 9781944869137 040 $a BTCTA $b eng $e rda $c BTCTA $d YDXCP $d BDX $d NUI $d IAD $d XYZ $d OQX $d ZNS $d IGA $d EYM $d VP@ $d TXWBR $d EAU $d OCLCO $d SILO 041 0 $a eng 043 $a n-us--- 082 04 $a 327.1273 $2 23 100 1 $a Whitney, Joel, $c (Journalist), $e author. 245 10 $a Finks : $b how the CIA tricked the world's best writers / $c Joel Whitney. 246 30 $a How the CIA tricked the world's best writers 250 $a First trade printing. 264 1 $a New York : $b OR Books, $c [2016] 300 $a 329 pages, 11 unnumbered pages of plates : $b illustrations ; $c 22 cm 504 $a Includes bibliographical references and index. 505 0 $a Introduction: A lit'r'y coup -- Graduates -- The responsibility of editors -- Pasternak, the CIA, and Feltrinelli -- The Paris Review goes to Moscow -- Did the CIA censor its magazines? -- James Baldwin's protest -- Into India -- The US coup in Guatemala -- Cuba: a portrait by Figueres, Plimpton, Hemingway, GarciÌa MaÌrquez, part 1 -- Cuba: a portrait by Plimpton, Hemingway and GarciÌa MaÌrquez, part 2 -- Tools rush in: Pablo Neruda, Mundo Nuevo and Keith Botsford -- The vital center cannot hold -- Blowback -- Coda: Afghanistan. 520 $a "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. Finks is 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."--Publisher description. 610 10 $a United States. $b Central Intelligence Agency $x History $y 20th century. 610 10 $a United States. $b Central Intelligence Agency $x Influence. 650 0 $a Propaganda $z United States $x History $y 20th century. 650 0 $a Politics and culture $z United States. 650 0 $a Freedom and art $x Political aspects $z United States. 650 0 $a Cultural policy $z United States. 650 0 $a American propaganda $x History. 651 0 $a United States $x Cultural policy. 941 $a 3 952 $l OVUX522 $d 20180117035057.0 952 $l USUX851 $d 20170802030527.0 952 $l CAPH522 $d 20170719010248.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=6F2469AC2EFD11E7A97D5AD2DAD10320Initiate Another SILO Locator Search