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Who Paid the Piper?

January 01, 1970

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 using funds that were mostly channelled through the Congress for Cultural Freedom and the Ford Foundation. The aim of these efforts was to combat the political influence of the Soviet Union and expand American political influence.[1][2] Saunders concluded that by entangling the state in "free" artistic expression, the CIA undermined America's moral position in comparison to the Soviet Union.[3] 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."[4]

Who Paid the Piper?
AuthorFrances Stonor Saunders
LanguageEnglish
Publication date
1999

The British edition, titled Who Paid the Piper? The CIA and the Cultural Cold War, was published in 1999 by Granta Books (London).[5] 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.[6] 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 Sewanee Review, described the British title as being "more provocative".[7]

Saunders concluded that the activities of the U.S. were similar to those of the Soviet Union.[8][3]

Content edit

Saunders writes that the CIA secretly subsidised the European tours of the Boston Symphony Orchestra and the films 1984 and Animal Farm. It paid for the publication of thousands of books, including by the publisher Frederick A. Praeger and Yugoslav dissident Milovan Djilas. It financed the Partisan Review and The Kenyon Review. Saunders focuses on the creation, activities, and downfalls of the Congress for Cultural Freedom and its the journal Encounter. The book describes how the CIA set up fake foundations and used established bodies such the Ford Foundation and the Rockefeller Foundation, to hide its funding of the Congress for Cultural Freedom and its other covert activities.[6]

Among the books published and distributed with the help of the CIA, Saunders mentions translations of T.S. Eliot’s poems, Boris Pasternak’s Doctor Zhivago and Machiavelli’s The Prince.[9]

Reception edit

The book received media attention after its publication 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.[4] The book won the Guardian First Book Award.[11][12]

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". He said that "[t]he dispiriting truth it reveals, or confirms, is that few of 'our' major intellectual and cultural figures resisted the blandishments of the CIA".[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 organisations.[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,[15] 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."[5]

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".[4]

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".[16]

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".[7]

Mary Carroll of Booklist described the book as having a "European point of view".[17] William and Hilda Baumol, in their book review, wrote that Saunders "generally avoids explicit judgments, seeking to be dispassionate in her account."[15] James Gow of King's College, London stated that Saunders had a negative tone towards the CIA activities and a "churlish attitude".[5]

Reviewing the book for Studies in Intelligence, former CIA official historian Thomas M. Troy Jr. wrote "Saunders deserves praise for presenting opposing views" and that she did "a fine job in recounting the intriguing story of how the CIA worked with existing institutions", but added that the book "has some major shortcomings" and "contains some silly mistakes and some real gaffes". Troy stated that Saunders "repeatedly returns to the theme that the CIA injured the cause of intellectual freedom by clandestinely supporting (oh, irony of ironies!) champions of intellectual freedom." Touching on what he perceived to be the books shortcomings, he wrote "despite Saunders's assertions that the CIA undermined intellectual freedom, she does not present any examples of people whose intellectual growth was stunted or impaired because of the Agency's programs" and mentioned that she failed to substantial discuss Soviet actions during the Cold War that would have helped readers to understand those of the CIA. While taking issue with the book's content and conclusions, Troy summarized "I highly enjoyed and strongly recommend her book".[6]

See also edit

References edit

  • Baumol, William (New York University Center for Applied Economics); Baumol, Hilda (Consultants in Industry Economics, Princeton, New Jersey). "Frances Stonor Saunders (ed.): The Cultural Cold War: The CIA and the World of Arts and Letters." Journal of Cultural Economics, 2001, Vol.25(1), pp. 73–75.
  • Buhle, Paul (Brown University). "The Cultural Cold War: The CIA and the World of Arts and Letters." Journal of American History, Dec, 2001, Vol.88(3), p. 1152(2).
  • Carroll, Mary. "The Cultural Cold War: The CIA and the World of Arts and Letters.(Review)(Brief Article)." Booklist, April 15, 2000, Vol.96(16), p. 1505-1506.
  • Draper, Roger. "Summer Books: Secrets of State" (review of The Cultural Cold War). The New Leader, May/June 2000, Vol.83(2), p. 15-16.
  • Gow, James (King's College, London). "Who Paid the Piper? The CIA and the Cultural Cold War" (book review). International Affairs (Royal Institute of International Affairs 1944-). 1 October 1999, Vol.75(4). Available at JSTOR.
  • Isaac, Jeffrey C. (Indiana University). "Rethinking the cultural cold war.(The Cultural Cold War: The CIA and the World of Arts and Letters)(Book Review)." Dissent, Summer, 2002, Vol.49(3), p. 29(38)
  • Isaacs, Jeremy. "The CIA and the Cultural Cold War.(Review)." The Spectator, 17 July 1999, Vol.283, p. 32(2).
  • Roazen, Paul. "Literary politics in the Cold War.(The Cultural Cold War: The CIA and the World of Arts and Letters)(Book Review)" The Sewanee Review, Fall, 2002, Vol.110(4), p.cxii-cxv.

Notes edit

  1. ^ Petras, James. "The CIA and the Cultural Cold War Revisited" (). Monthly Review. November 1, 1999. Retrieved on April 18, 2015.
  2. ^ a b c d Joffe, Josef. "America's Secret Weapon" (Archive). The New York Times. April 23, 2000. Retrieved on April 18, 2015.
  3. ^ a b 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."
  4. ^ a b c Isaac, p. 29.
  5. ^ a b c Gow, p. 848.
  6. ^ a b c Troy Jr., Thomas M. (2002). . Studies in Intelligence. 46 (1). Washington, D.C.: Central Intelligence Agency: Center for the Study of Intelligence. Archived from the original on June 13, 2007. Retrieved May 29, 2020.
  7. ^ a b Roazen, p. cxii.
  8. ^ Saunders, p. 129. "With this kind of commitment, the CIA was effectively acting as America's Ministry of Culture."
  9. ^ Bunch, Sonny (2 November 2021). "The CIA funded a culture war against communism. It should do so again". Washington Post. Retrieved 7 September 2023.
  10. ^ a b 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, September 25, 1999, p.11.
  12. ^ "The Guardian First Book Award." The Guardian. Friday August 27, 1999. p. 10.
  13. ^ a b 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. ^ a b Baumol and Baumol, p. 75.
  15. ^ a b Baumol and Baumol, p. 73.
  16. ^ Isaacs.
  17. ^ Carroll, p. 1506.

Further reading edit

  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
  4. Saunders, Frances Stonor. "Modern art was CIA 'weapon'" (Archive). The Independent. Sunday 22 October 1995.

External links edit

  • Chapter One (Archive) - Posted at The New York Times
  • Presentation by Saunders at the U.S. National Archives and Records Administration, May 23, 2000

January 01, 1970
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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 using funds that were mostly channelled through the Congress for Cultural Freedom and the Ford Foundation The aim of these efforts was to combat the political influence of the Soviet Union and expand American political influence 1 2 Saunders concluded that by entangling the state in free artistic expression the CIA undermined America s moral position in comparison to the Soviet Union 3 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 4 Who Paid the Piper AuthorFrances Stonor SaundersLanguageEnglishPublication date1999 The British edition titled Who Paid the Piper The CIA and the Cultural Cold War was published in 1999 by Granta Books London 5 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 6 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 Sewanee Review described the British title as being more provocative 7 Saunders concluded that the activities of the U S were similar to those of the Soviet Union 8 3 Contents 1 Content 2 Reception 3 See also 4 References 5 Notes 6 Further reading 7 External linksContent editSaunders writes that the CIA secretly subsidised the European tours of the Boston Symphony Orchestra and the films 1984 and Animal Farm It paid for the publication of thousands of books including by the publisher Frederick A Praeger and Yugoslav dissident Milovan Djilas It financed the Partisan Review and The Kenyon Review Saunders focuses on the creation activities and downfalls of the Congress for Cultural Freedom and its the journal Encounter The book describes how the CIA set up fake foundations and used established bodies such the Ford Foundation and the Rockefeller Foundation to hide its funding of the Congress for Cultural Freedom and its other covert activities 6 Among the books published and distributed with the help of the CIA Saunders mentions translations of T S Eliot s poems Boris Pasternak s Doctor Zhivago and Machiavelli s The Prince 9 Reception editThe book received media attention after its publication 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 4 The book won the Guardian First Book Award 11 12 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 He said that t he dispiriting truth it reveals or confirms is that few of our major intellectual and cultural figures resisted the blandishments of the CIA 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 organisations 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 15 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 5 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 4 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 16 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 7 Mary Carroll of Booklist described the book as having a European point of view 17 William and Hilda Baumol in their book review wrote that Saunders generally avoids explicit judgments seeking to be dispassionate in her account 15 James Gow of King s College London stated that Saunders had a negative tone towards the CIA activities and a churlish attitude 5 Reviewing the book for Studies in Intelligence former CIA official historian Thomas M Troy Jr wrote Saunders deserves praise for presenting opposing views and that she did a fine job in recounting the intriguing story of how the CIA worked with existing institutions but added that the book has some major shortcomings and contains some silly mistakes and some real gaffes Troy stated that Saunders repeatedly returns to the theme that the CIA injured the cause of intellectual freedom by clandestinely supporting oh irony of ironies champions of intellectual freedom Touching on what he perceived to be the books shortcomings he wrote despite Saunders s assertions that the CIA undermined intellectual freedom she does not present any examples of people whose intellectual growth was stunted or impaired because of the Agency s programs and mentioned that she failed to substantial discuss Soviet actions during the Cold War that would have helped readers to understand those of the CIA While taking issue with the book s content and conclusions Troy summarized I highly enjoyed and strongly recommend her book 6 See also editCIA and the Cultural Cold War Michael JosselsonReferences editBaumol William New York University Center for Applied Economics Baumol Hilda Consultants in Industry Economics Princeton New Jersey Frances Stonor Saunders ed The Cultural Cold War The CIA and the World of Arts and Letters Journal of Cultural Economics 2001 Vol 25 1 pp 73 75 Buhle Paul Brown University The Cultural Cold War The CIA and the World of Arts and Letters Journal of American History Dec 2001 Vol 88 3 p 1152 2 Carroll Mary The Cultural Cold War The CIA and the World of Arts and Letters Review Brief Article Booklist April 15 2000 Vol 96 16 p 1505 1506 Draper Roger Summer Books Secrets of State review of The Cultural Cold War The New Leader May June 2000 Vol 83 2 p 15 16 Gow James King s College London Who Paid the Piper The CIA and the Cultural Cold War book review International Affairs Royal Institute of International Affairs 1944 1 October 1999 Vol 75 4 Available at JSTOR Isaac Jeffrey C Indiana University Rethinking the cultural cold war The Cultural Cold War The CIA and the World of Arts and Letters Book Review Dissent Summer 2002 Vol 49 3 p 29 38 Isaacs Jeremy The CIA and the Cultural Cold War Review The Spectator 17 July 1999 Vol 283 p 32 2 Roazen Paul Literary politics in the Cold War The Cultural Cold War The CIA and the World of Arts and Letters Book Review The Sewanee Review Fall 2002 Vol 110 4 p cxii cxv Notes edit Petras James The CIA and the Cultural Cold War Revisited Archive Monthly Review November 1 1999 Retrieved on April 18 2015 a b c d Joffe Josef America s Secret Weapon Archive The New York Times April 23 2000 Retrieved on April 18 2015 a b 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 a b c Isaac p 29 a b c Gow p 848 a b c Troy Jr Thomas M 2002 The Cultural Cold War The CIA and the World of Arts and Letters Studies in Intelligence 46 1 Washington D C Central Intelligence Agency Center for the Study of Intelligence Archived from the original on June 13 2007 Retrieved May 29 2020 a b Roazen p cxii Saunders p 129 With this kind of commitment the CIA was effectively acting as America s Ministry of Culture Bunch Sonny 2 November 2021 The CIA funded a culture war against communism It should do so again Washington Post Retrieved 7 September 2023 a b Buhle p 1153 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 September 25 1999 p 11 The Guardian First Book Award The Guardian Friday August 27 1999 p 10 a b 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 a b Baumol and Baumol p 75 a b Baumol and Baumol p 73 Isaacs Carroll p 1506 Further reading editRomano Carlin Cold War Cultural Tactics Should Be a Hot Topic The Chronicle of Higher Education March 3 2006 Vol 52 26 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 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 Saunders Frances Stonor Modern art was CIA weapon Archive The Independent Sunday 22 October 1995 External links editChapter One Archive Posted at The New York Times Presentation by Saunders at the U S National Archives and Records Administration May 23 2000 Retrieved from https en wikipedia org w index php title Who Paid the Piper 3F amp oldid 1223398619, wikipedia, wiki, book, books, library,

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