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© 2016 Joel Whitney
Published for the book trade by OR Books in partnership with Counterpoint Press.
Distributed to the trade by Publishers Group West All rights information: rights@orbooks.com
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage retrieval system, without permission in writing from the publisher, except brief passages for review purposes.
First trade printing 2016
Cataloging-in-Publication data is available from the Library of Congress.
A catalog record for this book is available from the British Library.
Text design by Under|Over. Typeset by AarkMany Media, Chennai, India.
10 9 8 7 6 5 4 3 2 1
ebook ISBN 9781944869267
TABLE OF CONTENTS
INTRODUCTION A Lit’r’y Coup
1 Graduates
2 The Responsibility of Editors
3 Pasternak, the CIA, and Feltrinelli
4 The Paris Review Goes to Moscow
5 Did the CIA Censor Its Magazines?
6 James Baldwin’s Protest
7 Into India
8 The US Coup in Guatemala
9 Cuba: A Portrait by Figueres, Plimpton, Hemingway, García Márquez, Part 1
10 Cuba: A Portrait by Plimpton, Hemingway and García Márquez, Part 2
11 Tools Rush In: Pablo Neruda, Mundo Nuevo and Keith Botsford
12 The Vital Center Cannot Hold
13 Blowback
CODA Afghanistan
ACKNOWLEDGMENTS
SOURCES
ENDNOTES
INDEX
If you speak for the wolf, speak against him as well.
—Aleksandr Solzhenitsyn
INTRODUCTION
A LIT’R’Y COUP
Where else but in Eden could we find our freedom only by losing it. . .
—Richard Howard, Lining Up
In early 1966, Harold “Doc” Humes, one of the founders of The Paris Review, wrote a well-intentioned ultimatum to George Plimpton, another founder. Having left it to Plimpton to run the famous magazine long before, Humes was floundering. Living in London, where his wife Anna Lou had left him over the holidays, he was dogged by bouts of extreme paranoia and convinced that he was under surveillance. According to Anna Lou, he believed that the bedposts in his London home recorded whatever he said, and that the recordings were then played directly for Queen Elizabeth.
Yet in his March 1966 letter to Plimpton, he was clear and reasonable, writing that Peter Matthiessen, another Paris Review founder, had just visited London and had told Humes an astonishing story. During his stay, Matthiessen had admitted that “The Paris Review was originally set up and used as a cover for [Matthiessen’s] activities as an agent for the Central Int ............

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