The C.I.A., worried that the public might be too
influenced by Orwell's pox-on-both-their-houses
critique of the capitalist humans and Communist
pigs, dispatched agents to buy the film rights
to "Animal Farm" from his widow to make its message
more overtly anti-Communist.
Rewriting the end of "Animal Farm" is just one
example of the often absurd lengths to which the
C.I.A. went, as recounted in a new book, "The
Cultural Cold War: The C.I.A. and the World of
Arts and Letters" (The New Press) by Frances Stonor
Saunders, a British journalist. Published in Britain
last summer, the book will appear here next month.
Traveling first class all the way, the C.I.A. and
its counterparts in other Western European nations
sponsored art exhibitions, intellectual conferences,
concerts and magazines to press their larger
anti-Soviet agenda.
She also shows how the C.I.A. bankrolled some of the
The C.I.A., worried that the public might be too
influenced by Orwell's pox-on-both-their-houses
critique of the capitalist humans and Communist
pigs, dispatched agents to buy the film rights
to "Animal Farm" from his widow to make its message
more overtly anti-Communist.
Rewriting the end of Animal Farm is just one
example of the often absurd lengths to which the
C.I.A. went, as recounted in a new book, The
Cultural Cold War: The C.I.A. and the World of
Arts and Letters" (The New Press) by Frances Stonor Saunders, a British journalist.
Published in Britain last summer, the book will appear in North America next
month.
Traveling first class all the way, the C.I.A., and
its counterparts in other Western European nations,
sponsored art exhibitions, intellectual conferences,
concerts and magazines to press their larger
anti-Soviet agenda.
She also shows how the C.I.A. bankrolled some of the
earliest exhibitions of Abstract Expressionist painting
outside of the United States to counter the Socialist
Realism being advanced by Moscow.
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