Frances Stonor Saunders

Frances Stonor Saunders, a British historian of the Central Intelligence Agency (CIA), wrote in The Cultural Cold War: The CIA and the World of Arts and Letters that the Ford and Rockefeller Foundations were “conscious instruments of covert US policy, with directors and officers who were closely connected ...

As the British historian Frances Stonor Saunders writes in her essay on the subject, “Where on Earth Are You?,” delivered as a London Review of Books ... Her new book, elegantly translated by Susan Bernofsky and set in contemporary Berlin, tells the story of a recently retired classics professor named ...

At the heart of Steve Slick's September 26 review of my book Finks: How the CIA Tricked the World's Best Writers, lies an unstated riddle: When do democratic ... Almost in the same breath as he claims that the CIA rarely censored, Mr. Slick praises Frances Stonor Saunders's book Who Paid the Piper?

Hillary Clinton's recent appearance at the Times/HSBC/Waterstones-sponsored Cheltenham Literary Festival, where she urged the west to "get tough" on Putin, Russia and its media outlets, was proof once again that these UK "festivals" have little to do with promoting great writing, but quite a lot to do with ...

“No, I was expecting to explain my book in the age of Hillary,” he said. “I still don't have a vocabulary for Trump.” But there is no escaping the timeliness of Whitney's book, which came out a couple of weeks before Trump's inauguration. When OR Books sent a notice about it last autumn, I instantly called its ...

In 2012, the same year McEwan's novel appeared, the writer and editor Joel Whitney published an article in Salon about the CIA's ties to The Paris Review. .... Where Whitney's book is reckless and unsatisfying, Patrick Iber's Neither Peace nor Freedom: The Cultural Cold War in Latin America is measured, ...

The book burnings? The crematoria? For what were these files, these endless lists and card indexes, if not the pennies for feeding the gas meters? ..... It was from these lectures that most of his books would spring, yet it was a slow start for one of the most promising scholars of his generation; in his ...

The book burnings? The crematoria? For what were these files, these endless lists and card indexes, if not the pennies for feeding the gas meters? ..... It was from these lectures that most of his books would spring, yet it was a slow start for one of the most promising scholars of his generation; in his ...

At some point, Pasternak took Berlin into his study, where he thrust a thick envelope into Berlin's hands and said: 'My book, it is all there. ... Indeed, a few days after his stirring all-nighter, he returned to Peredelkino, determined to rescue the author from his own intentions – Pasternak, he believed, was flirting ...

For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the ...

James Petras is the author of thirty-six books and several hundred refereed articles. His most recent book is The Left Strikes Back (Boulder, CO: Westview Press, 1998). Frances Stonor Saunders, Who Paid the Piper: The CIA and the Cultural Cold War (London: Granta Books), £20. This book provides a ...

Frances Stonor Saunders's new book offers not so much a solution to it, as an attempt to state it in all its complexity – an attempt, that is, to enter into the mind of someone who was abnormally irrational, but never simply insane. Intense religious feeling played a large part in the story. Violet was an enthusiast ...

Frances Stonor Saunders's new book offers not so much a solution to it, as an attempt to state it in all its complexity – an attempt, that is, to enter into the mind of someone who was abnormally irrational, but never simply insane. Intense religious feeling played a large part in the story. Violet was an enthusiast ...

The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted ...