360:, 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".
310:
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
281:
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." The Baumols argued that, based on the
326:
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." He characterized the book as having "careless
277:
and its uses as propaganda is correct, if not wholly original". He said that "he dispiriting truth it reveals, or confirms, is that few of 'our' major intellectual and cultural figures resisted the blandishments of the CIA". He added that some of the information in the book is not "complete" or
306:
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 to have been unsung heroes of the Cold War, as well as masters of art in both cultural warfare and cultural appreciation."
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contents of the book, the CIA had a "surprisingly benign" impact, in contradiction with what they believed
Saunders would conclude, and that the book "suggests that role in the arts was considerably less damaging than might reasonably have been feared."
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85:
and expand
American political influence. Saunders concluded that by entangling the state in "free" artistic expression, the CIA undermined America's moral position in comparison to the Soviet Union. In
273:
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
916:
323:
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".
565:
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."
347:". William and Hilda Baumol, in their book review, wrote that Saunders "generally avoids explicit judgments, seeking to be dispassionate in her account." James Gow of
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766:) - Paid access needed for entire article. Archived link includes excerpt and letters to the editor discussing this review, including one from Saunders.
855:
1100:
711:"Books: Guardian First Book Award: Who Paid the Piper: The CIA and the Cultural Cold War, by Frances Stonor Saunders." (Guardian Saturday Pages).
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as being the "most spectacular" book recently released about the involvement of CIA and intellectuals; Buhle stated that compared to
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Roazen, Paul. "Literary politics in the Cold War.(The
Cultural Cold War: The CIA and the World of Arts and Letters)(Book Review)"
878:
1139:
444:
230:
1154:
237:, and other former CCF participants focused attention on the book after its American release. Left-wing publications such as
925:
396:
369:
74:
466:). "Rethinking the cultural cold war.(The Cultural Cold War: The CIA and the World of Arts and Letters)(Book Review)."
178:. Saunders focuses on the creation, activities, and downfalls of the Congress for Cultural Freedom and its the journal
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184:. The book describes how the CIA set up fake foundations and used established bodies such the Ford Foundation and the
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Saunders, p. 129. "With this kind of commitment, the CIA was effectively acting as
America's Ministry of Culture."
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liberalism that raises important questions about the relationships between intellectuals and political power."
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Carroll, Mary. "The
Cultural Cold War: The CIA and the World of Arts and Letters.(Review)(Brief Article)."
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efforts to infiltrate and co-opt artistic movements using funds that were mostly channelled through the
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394:). "Frances Stonor Saunders (ed.): The Cultural Cold War: The CIA and the World of Arts and Letters."
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Among the books published and distributed with the help of the CIA, Saunders mentions translations of
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Presentation by
Saunders at the U.S. National Archives and Records Administration, May 23, 2000
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Wreszin, Michael. "The
Cultural Cold War: The CIA and the World of Arts and Letters. (Review)"
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stated that Saunders had a negative tone towards the CIA activities and a "churlish attitude".
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Saunders concluded that the activities of the U.S. were similar to those of the Soviet Union.
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Jeffrey C. Isaac wrote that the book is a "widely discussed retrospective on post-
829:
Sharlet, Jeff. "Tinker, writer, artist, spy: intellectuals during the Cold War."
390:
Center for Applied Economics); Baumol, Hilda (Consultants in Industry Economics,
1022:
894:
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270:
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158:. It paid for the publication of thousands of books, including by the publisher
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980:
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Saunders writes that the CIA secretly subsidised the European tours of the
442:). "Who Paid the Piper? The CIA and the Cultural Cold War" (book review).
249:
gave the book a positive reception, while right-wing publications such as
418:
339:
125:, described the American title as being "more neutral". Paul Roazen, in
81:. The aim of these efforts was to combat the political influence of the
1071:
676:"The CIA funded a culture war against communism. It should do so again"
453:
407:). "The Cultural Cold War: The CIA and the World of Arts and Letters."
104:
820:
Romano, Carlin. "Cold-War Cultural Tactics Should Be a Hot Topic."
994:
610:"The Cultural Cold War: The CIA and the World of Arts and Letters"
456:
448:(Royal Institute of International Affairs 1944-). 1 October 1999,
334:
Roazen described the book as "highly readable" and "fascinating".
109:
The Cultural Cold War: The CIA and the World of Arts and Letters
62:
The Cultural Cold War: The CIA and the World of Arts and Letters
898:
475:
Isaacs, Jeremy. "The CIA and the Cultural Cold War.(Review)."
223:
The book received media attention after its publication and
425:
Draper, Roger. "Summer Books: Secrets of State" (review of
131:, described the British title as being "more provocative".
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and the need to secure "liberal values and institutions".
1145:
Non-fiction books about the Central Intelligence Agency
303:
has fewer footnotes but more "charisma" and "verve".
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gave the book a negative reception. The book won the
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Who Paid the Piper? The CIA and the Cultural Cold War
56:
Who Paid the Piper? The CIA and the Cultural Cold War
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520:. November 1, 1999. Retrieved on April 18, 2015.
422:, April 15, 2000, Vol.96(16), p. 1505-1506.
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508:The CIA and the Cultural Cold War Revisited
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69:. The book discusses the mid-20th century
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343:described the book as having a "European
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413:, Dec, 2001, Vol.88(3), p. 1152(2).
231:Organization of American Historians 2000
1101:American Committee for Cultural Freedom
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107:(London). The American edition, titled
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599:
589:
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490:, Fall, 2002, Vol.110(4), p.cxii-cxv.
7:
628:Center for the Study of Intelligence
748:"Hey, Mister, you want dirty book?"
400:, 2001, Vol.25(1), pp. 73–75.
14:
832:The Chronicle of Higher Education
823:The Chronicle of Higher Education
726:"The Guardian First Book Award."
730:. Friday August 27, 1999. p. 10.
674:Bunch, Sonny (2 November 2021).
119:, in a book review written for
16:Book by Frances Stonor Saunders
1:
1160:Congress for Cultural Freedom
926:Congress for Cultural Freedom
397:Journal of Cultural Economics
370:CIA and the Cultural Cold War
75:Congress for Cultural Freedom
608:Troy Jr., Thomas M. (2002).
299:by Michael Hochgeschwender,
99:The British edition, titled
852:Modern art was CIA 'weapon'
841:Reviews in American History
826:, March 3, 2006, Vol.52(26)
717:, September 25, 1999, p.11.
624:Central Intelligence Agency
410:Journal of American History
111:, was published in 2000 by
103:, was published in 1999 by
71:Central Intelligence Agency
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296:Freiheit in der Offensive?
864:. Sunday 22 October 1995.
790:Baumol and Baumol, p. 73.
778:Baumol and Baumol, p. 75.
144:Boston Symphony Orchestra
848:Saunders, Frances Stonor
622:(1). Washington, D.C.:
615:Studies in Intelligence
541:America's Secret Weapon
357:Studies in Intelligence
354:Reviewing the book for
162:and Yugoslav dissident
67:Frances Stonor Saunders
29:Frances Stonor Saunders
1140:1999 non-fiction books
1096:Abstract expressionism
753:London Review of Books
440:King's College, London
349:King's College, London
275:Abstract Expressionism
252:The American Spectator
235:Arthur Schlesinger Jr.
186:Rockefeller Foundation
1155:CIA-funded propaganda
445:International Affairs
427:The Cultural Cold War
392:Princeton, New Jersey
160:Frederick A. Praeger
65:) is a 1999 book by
20:Who Paid the Piper?
1117:Who Paid the Piper?
1106:Anti-Stalinist left
1079:Transition Magazine
462:Isaac, Jeffrey C. (
388:New York University
301:Who Paid the Piper?
291:Who Paid the Piper?
21:
884:The New York Times
550:The New York Times
487:The Sewanee Review
464:Indiana University
267:First Book Award.
226:The New York Times
166:. It financed the
128:The Sewanee Review
122:The New York Times
1127:
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945:Michael Josselson
808:Carroll, p. 1506.
386:Baumol, William (
375:Michael Josselson
258:National Interest
175:The Kenyon Review
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94:Second World War
44:Publication date
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683:. Retrieved
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1023:Mundo Nuevo
875:Chapter One
685:7 September
271:Edward Said
207:Machiavelli
155:Animal Farm
117:Josef Joffe
1134:Categories
933:Key people
381:References
329:ad hominem
289:described
246:The Nation
212:The Prince
195:’s poems,
193:T.S. Eliot
1016:Der Monat
988:Encounter
981:Cuadernos
450:Vol.75(4)
219:Reception
181:Encounter
1051:Quadrant
746:(1999).
419:Booklist
364:See also
340:Booklist
331:slurs".
264:Guardian
77:and the
35:Language
1072:Tilanne
1044:Preuves
1009:Minerva
879:Archive
856:Archive
799:Isaacs.
764:Archive
638:May 29,
545:Archive
512:Archive
469:Dissent
138:Content
89:Dissent
38:English
1120:(1999)
25:Author
1058:Quest
1002:Hiwar
995:FORVM
495:Notes
457:JSTOR
687:2023
640:2020
255:and
243:and
205:and
172:and
152:and
149:1984
48:1999
858:).
854:" (
850:. "
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317:in
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199:’s
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115:.
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