Who Paid the Piper?

Who Paid the Piper? The CIA and the Cultural Cold War (U.S. title The Cultural Cold War: The CIA and the World of Arts and Letters) is a 1999 book by Frances Stonor Saunders. The book discusses the mid-20th century Central Intelligence Agency efforts to infiltrate and co-opt artistic movements in order to combat political influence from the Soviet Union and expand American political influence,[1] with much funding going through the Congress for Cultural Freedom.[2] In Dissent Jeffrey C. Isaac wrote that the book is a "widely discussed retrospective on post-Second World War liberalism that raises important questions about the relationships between intellectuals and political power."[3]

Title

The British edition, titled, Who Paid the Piper? The CIA and the Cultural Cold War was published in London in that year by Granta.[4] The American edition, titled The Cultural Cold War: The CIA and the World of Arts and Letters, was published in 2000 by The New Press.[5] Josef Joffe, in a book review written for The New York Times, described the American title as being "more neutral".[2] Paul Roazen, in the The Sewanee Review, described the British title as being "more provocative".[6]

Contents

Saunders concluded that the activities of the U.S. were equivalent with those of the Soviet Union.[7]

Mary Carroll of Booklist described the book as having a "European point of view".[8] William and Hilda Baumol, in their book review, wrote that Saunders "generally avoids explicit judgments, seeking to be dispassionate in her account."[9] James Gow of King's College, London stated that Saunders had a negative tone towards the CIA activities and a "churlish attitude".[4]

Reception

The book received media attention after its 1999 release, and The New York Times, Organization of American Historians 2000, Arthur Schlesinger Jr., and other former CCF participants focused attention on the book after its American release.[10] Left-wing publications such as Monthly Review and The Nation gave the book a positive reception, while right-wing publications such as The American Spectator and National Interest gave the book a negative reception.[3] The book won the Guardian First Book Award.[11][12]

Individual reviews

Edward Said wrote that the book is "a major work of investigative history, an extremely valuable contribution to the all-important post-World War Two record" and that "the gist of her argument about Abstract Expressionism and its uses as propaganda is correct, if not wholly original".[13] He added that some of the information in the book is not "complete" or "fully accurate", in particular the chapter discussing the CIA infiltrating organizations.[13]

The Baumols concluded that the book has a lot of detail which is not necessary for Saunders' arguments and repetition that "gives the reader a sense of wallowing through a dense landscape, looking for the fascinating nuggets of history that are certainly there."[14] The Baumols argued that, based on the contents of the book, the CIA had a "surprisingly benign" impact, in contradiction with what they believed Saunders would conclude,[9] and that the book "suggests that [the CIA's] role in the arts was considerably less damaging than might reasonably have been feared."[14]

Paul Buhle of Brown University described Who Paid the Piper? as being the "most spectacular" book recently released about the involvement of CIA and intellectuals; Buhle stated that compared to Freiheit in der Offensive? by Michael Hochgeschwender, Who Paid the Piper? has fewer footnotes but more "charisma" and "verve".[10]

Gow wrote that even though the author had a negative attitude towards the CIA activities, the book has a "triumph" since "she shows men like [CIA employee Tom Braden, who headed the program] to have been unsung heroes of the Cold War, as well as masters of art in both cultural warfare and cultural appreciation."[4]

Jeffrey C. Isaac criticized the book, saying that it was "shrill" and with a "prosecutorial tone," that it had arguments without "nuance," that it did not "grapple in a serious way with the ideas that were the chief currency of those it purports to study", and that it did not consider the importance and the need to secure "liberal values and institutions".[3]

Jeremy Isaacs in The Spectator wrote that the book has portions that are humorous, citing reactions to figures who learned that they were subsidised by the CIA. He concluded that it was a "hammer-blow of a book".[15]

Joffe criticised the book for equating the U.S. propaganda efforts with those from the USSR in a "a strident anti-anti-Communism that refuses to accord the Western cause the moral worth it deserves, considering the wares the totalitarians were hawking."[2] He characterized the book as having "careless sourcing" and "ad hominem slurs".[2]

Roazen described the book as "highly readable" and "fascinating".[6]

References

Notes

  1. ↑ Petras, James. "The CIA and the Cultural Cold War Revisited" (Archive). Monthly Review. November 1, 1999. Retrieved on April 18, 2015.
  2. 1 2 3 4 Joffe, Josef. "America's Secret Weapon" (Archive). The New York Times. April 23, 2000. Retrieved on April 18, 2015.
  3. 1 2 3 Isaac, p. 29.
  4. 1 2 3 Gow, p. 848.
  5. ↑ Troy, Thomas M. Jr. (Directorate of Intelligence). "The Cultural Cold War: The CIA and the World of Arts and Letters" (Archive; book review). Central Intelligence Agency. Retrieved on April 18, 2015.
  6. 1 2 Roazen, p. cxii.
  7. ↑ Draper, p. 17. "Stonor Saunders herself argues that in funding the Congress, the United States government put itself into a position very similar to that of its Soviet counterpart."
  8. ↑ Carroll, p. 1506.
  9. 1 2 Baumol and Baumol, p. 73.
  10. 1 2 Buhle, p. 1153.
  11. ↑ "Books: Guardian First Book Award: Who Paid the Piper: The CIA and the Cultural Cold War, by Frances Stonor Saunders." (Guardian Saturday Pages). The Guardian, Sept 25, 1999, p.11.
  12. ↑ "The Guardian First Book Award." The Guardian. Friday August 27, 1999. p. 10.
  13. 1 2 Said, Edward (1999). "Hey, Mister, you want dirty book?". London Review of Books. 21 (19): 54–56. (Archive) - Paid access needed for entire article. Archived link includes excerpt and letters to the editor discussing this review, including one from Saunders.
  14. 1 2 Baumol and Baumol, p. 75.
  15. ↑ Isaacs.

Further reading

  1. Romano, Carlin. "Cold-War Cultural Tactics Should Be a Hot Topic." The Chronicle of Higher Education, March 3, 2006, Vol.52(26)
  2. Sharlet, Jeff. "Tinker, writer, artist, spy: intellectuals during the Cold War." The Chronicle of Higher Education, March 31, 2000, Vol.46(30), p.A19(2)
  3. Wreszin, Michael. "The Cultural Cold War: The CIA and the World of Arts and Letters.(Review)" Reviews in American History, Dec, 2000, Vol.28(4), p. 607-614

External links

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