How the CIA Played Dirty Tricks With Culture如何中央情报局发挥肮脏伎俩与文化

By LAURENCE ZUCKERMAN由劳伦斯朱克曼
New York Times纽约时报

Many people remember reading George Orwell’s ”Animal Farm” in high school or college, with its chilling finale in which the farm animals looked back and forth at the tyrannical pigs and the exploitative human farmers but found it ”impossible to say which was which.”许多人还记得读奥威尔的"动物农庄" ，在高中或大学，其寒蝉总决赛，其中耕畜往前发展，并提出了在暴虐的猪和人剥削农民，但发现它"不可能说哪是哪"

That ending was altered in the 1955 animated version, which removed the humans, leaving only the nasty pigs.这结束是变造的，在1955年的动画版本，其中去掉了人，只留下了恶劣的影响。 Another example of Hollywood butchering great literature?另一个例子是好莱坞拔毛伟大文学？ Yes, but in this case the film’s secret producer was the Central Intelligence Agency.是的，但在这种情况下，电影的制片人的秘密被中央情报机关工作。

The CIA, it seems, was worried that the public might be too influenced by Orwell’s pox-on-both-their-houses critique of the capitalist humans and Communist pigs.中央情报局，似乎是担心公众可能太受奥维尔的痘上都-其-房子批判资本主义对人类和共产猪。 So after his death in 1950, agents were dispatched (by none other than E. Howard Hunt, later of Watergate fame) to buy the film rights to ”Animal Farm” from his widow to make its message more overtly anti-Communist.所以他去世之后，在1950年，代理商，分赴（莫过于霍华德亨特，后来的水门名利） ，以购买电影的权利， "动物农庄" ，由他的遗孀作出自己的信息，更公然反共产主义。

Rewriting the end of ”Animal Farm” is just one example of the often absurd lengths to which the CIA went, as recounted in a new book, ”The Cultural Cold War: The CIA and the World of Arts and Letters” (The New Press) by Frances Stonor Saunders, a British journalist.重写年底"动物农庄" ，只是其中一个例子，就是人们常说的荒谬长度而中央情报局每到一地，作为回忆，在一本新书中， "文化冷战：中央情报局和世界的艺术和文学" （即新的新闻） ，由弗朗西斯stonor桑德斯，一名英国记者。 Published in Britain last summer, the book will appear here next month.发表在英国，去年夏天，这本书将出现在这里下个月。

Much of what Ms. Stonor Saunders writes about, including the CIA’s covert sponsorship of the Paris-based Congress for Cultural Freedom and the British opinion magazine Encounter, was exposed in the late 1960’s, generating a wave of indignation.不少是女士stonor桑德斯描写，其中包括美国中央情报局的秘密赞助，总部设在巴黎的国会文化自由和英国舆论杂志遇到的，是暴露在六十年代后期的发展，生成波的愤慨。 But by combing through archives and unpublished manuscripts and interviewing several of the principal actors, Ms. Stonor Saunders has uncovered many new details and gives the most comprehensive account yet of the agency’s activities between 1947 and 1967.但梳理档案和未发表的手稿和面试几个主要演员，女士stonor桑德斯已经破获了许多新的细节，并给出了最全面的帐户，但该机构的活动， 1947年和1967年。

This picture of the CIA’s secret war of ideas has cameo appearances by scores of intellectual celebrities like the critics Dwight Macdonald and Lionel Trilling, the poets Ted Hughes and Derek Walcott and the novelists James Michener and Mary McCarthy, all of whom directly or indirectly benefited from the CIA’s largesse.这张照片的美国中央情报局的秘密战争的想法有他出现，由数十名知识分子名人一样，批评者德怀特麦克唐纳和莱昂内尔trilling ，诗人特德休斯和德里克女和小说家詹姆斯michener和玛丽麦卡锡，他们都直接或间接地得益于中央情报局的largesse 。 There are also bundles of cash that were funneled through CIA fronts and several hilarious schemes that resemble a ”Spy vs. Spy” cartoon more than a serious defense against Communism.也有捆现金被漏斗通过中央情报局战线和几个搞笑的计划，类似于"间谍对间谍"的漫画更比一个严重防御对抗共产主义。 Traveling first class all the way, the CIA and its counterparts in other Western European nations sponsored art exhibitions, intellectual conferences, concerts and magazines to press their larger anti-Soviet agenda.旅行头等舱所有的路，美国中央情报局和其对应的其它西欧国家主办的艺术展览，智力会议，音乐会和杂志的记者，他们较大的反苏议程。 Ms. Stonor Saunders provides ample evidence, for example, that the editors at Encounter and other agency-sponsored magazines were ordered not to publish articles directly critical of Washington’s foreign policy.女士stonor桑德斯提供了充分的证据，例如，编辑在遇到与其他机构主办的杂志被命令不得发表文章，直接批评美国的外交政策。 She also shows how the CIA bankrolled some of the earliest exhibitions of Abstract Expressionist painting outside of the United States to counter the Socialist Realism being advanced by Moscow.她还说明了美国中央情报局bankrolled一些最早的展览，抽象表现主义绘画在美国以外的国家来反社会主义现实主义被先进的，由莫斯科。

In one memorable episode, the British Foreign Office subsidized the distribution of 50,000 copies of ”Darkness at Noon,” Arthur Koestler’s anti-Communist classic.在一个令人难忘的插曲，英国外交办公室资助的分配50000本的"黑暗的中午， "亚瑟凯斯特勒的反共产主义经典之作。 But at the same time, the French Communist Party ordered its operatives to buy up every copy of the book.但在同一时间内，法国共产党责令其操作工购买了每一个副本的图书。 Koestler received a windfall in royalties courtesy of his Communist adversaries.凯斯特勒收到了意料之外的版税出于礼貌，他的共产主义敌人。

As it turns out, ”Animal Farm” was not the only instance of the CIA’s dabbling in Hollywood.不过现在看来， "动物农庄" ，是不是唯一的，例如在美国中央情报局涉足好莱坞。 Ms. Stonor Saunders reports that one operative who was a producer and talent agent slipped affluent-looking African-Americans into several films as extras to try to counter Soviet criticism of the American race problem.女士stonor桑德斯报告说，一个手术的人是一个生产者和人才代理下滑富有前瞻性的非洲裔美国人分成几个电影演员，设法对付苏联的批评，美国的种族问题。

The agency also changed the ending of the movie version of ”1984,” disregarding Orwell’s specific instructions that the story not be altered.该机构还改变了结局电影版的" 1984年" ，不顾奥维尔的具体指示说故事，不能有任何改变。 In the book, the protagonist, Winston Smith, is entirely defeated by the nightmarish totalitarian regime.在这本书中，主角的，温斯顿史密斯，完全是败在恶梦般的极权主义政权。 In the very last line, Orwell writes of Winston, ”He loved Big Brother.” In the movie, Winston and his lover, Julia, are gunned down after Winston defiantly shouts: ”Down with Big Brother!”在很最后防线，奥威尔写的温斯顿， "他热爱老大哥" ，在电影中，温斯顿和他的爱人，朱莉娅，是枪杀后，温斯顿公然高喊： "打倒老大哥" ！

Such changes came from the agency’s obsession with snuffing out a notion then popular among many European intellectuals: that East and West were morally equivalent.这种变化，来自该机构的痴迷与snuffing出一个概念，那么受欢迎，许多欧洲知识分子：东方和西方在道德上相等的。 But instead of illustrating the differences between the two competing systems by taking the high road, the agency justified its covert activities by referring to the unethical tactics of the Soviets.而是说明两国间的分歧竞争制度，采取高道，该机构有理由它的隐蔽活动，是指以不道德的手法，苏联人。

”If the other side can use ideas that are camouflaged as being local rather than Soviet-supported or -stimulated, then we ought to be able to use ideas camouflaged as local ideas,” Tom Braden, who ran the CIA’s covert cultural division in the early 1950’s, explained years later. "如果对方可以利用的想法是伪装的，因为被当地而非苏联支持或刺激的，那么我们应该能够利用伪装的理念作为本地的想法， "汤姆（ Braden ，谁然中央情报局的秘密文化师我国早在1950年的解释，年后的事。 (In one of the book’s many amusing codas, Mr. Braden goes on in the 1980’s to become the leftist foil to Patrick Buchanan on the CNN program ”Crossfire.”) （在一本书中的许多有趣codas先生（ Braden下去，在20世纪80年代成为左派衬托帕特里克布坎南对美国有线电视新闻网节目"交火" ） 。

The cultural cold war began in postwar Europe, with the fraying of the wartime alliance between Washington and Moscow.文化随着冷战的开始，在二战后的欧洲，随着磨损的战时联盟，华盛顿和莫斯科之间。 Officials in the West believed they had to counter Soviet propaganda and undermine the wide sympathy for Communism in France and Italy.官员在西自认有对付苏联的宣传和破坏广泛同情共产主义，在法国和意大利。

An odd alliance was struck between the CIA leaders, most of them wealthy Ivy League veterans of the wartime Office of Strategic Services and a corps of largely Jewish ex-Communists who had broken with Moscow to become virulently anti-Communist.很奇怪的同盟关系，在两者之间中央情报局领导人，他们大多是有钱人常春藤联盟的退伍军人战时办公室战略服务，并总队在很大程度上犹太人的前共产党员，他们打破了与莫斯科成为virulently反共产主义。 Acting as intermediaries between the agency and the intellectual community were three colorful agents who included Vladimir Nabokov’s much less talented cousin, Nicholas, a composer.代理中介机构之间和知识界三个丰富多彩代理商，当中包括弗拉基米尔纳博科夫的少得多人才表姐，尼古拉斯，是作曲家。

The CIA recognized from the beginning that it could not openly sponsor artists and intellectuals in Europe because there was so much anti-American feeling there.中情局承认，从一开始就知道它不能公开赞助艺术家和知识分子在欧洲，因为有这么多的反美情绪。 Instead, it decided to woo intellectuals out of the Soviet orbit by secretly promoting a non-Communist left of democratic socialists disillusioned with Moscow.相反，它决定向胡知识分子脱离苏联的轨道，暗中推动一个非共产主义留下的民主社会主义者幻灭了莫斯科。

Ms. Stonor Saunders describes how the CIA cleverly skimmed hundreds of millions of dollars from the Marshall Plan to finance its activities, funneling the money through fake philanthropies it created or real ones like the Ford Foundation.女士stonor桑德斯描述如何中央情报局巧妙地掠过了数亿美元，从马歇尔计划，以资助其活动，他们得逞，这笔钱是通过假慈善它创造或以假乱真像福特基金会。

”We couldn’t spend it all,” Gilbert Greenway, a former CIA agent, recalled. "我们可能不会花这一切， "吉尔伯特绿色通道，一名前中央情报局特工回忆。 ”There were no limits, and nobody had to account for it. "有没有额度限制，也没有人曾交代。 It was amazing.”这是了不起的" 。

When some of the CIA’s activities were exposed in the late 1960’s, many artists and intellectuals claimed ignorance.当一些中央情报局的活动暴露在六十年代后期，许多艺术家和知识分子声称无知。 But Ms. Stonor Saunders makes a strong case that several people, including the philosopher Isaiah Berlin and the poet Stephen Spender, who was co-editor of Encounter, knew about the CIA’s role.但女士stonor桑德斯提出了强烈的情况下，一些人，包括哲学家以赛亚柏林和诗人斯蒂芬富豪，他们共同主编的遭遇，知道中情局的角色。

”She has made it very difficult now to deny that some of these things happened,” said Norman Birnbaum, a professor at the Georgetown University Law School who was a university professor in Europe in the 1950’s and early 1960’s. "她说得很艰难，现在要否认一些这类事情发生，说： "诺曼birnbaum ，教授，他在乔治城大学法学院的一位大学教授在欧洲，在20世纪50年代和60年代初。 ”And she has placed a lot of people living and dead in embarrassing situations.” " ，而她寄予了很多人的生活和死亡的尴尬情况" 。

Still unresolved is what impact the campaign had and whether it was worth it.仍未解决的是什么样的影响运动了，它到底是值得的。 Some of the participants, like Arthur M. Schlesinger Jr., who was in the OSS and knew about some of the CIA’s cultural activities, argue that the agency’s role was benign, even necessary.一些与会者一样，阿瑟施莱辛格米小，他们是在OSS和知道的一些中央情报局的文化活动结合起来，争辩说，该机构的作用是良性的，甚至是必要的。 Compared with the coups the CIA sponsored in Guatemala, Iran and elsewhere, he said, its support of the arts was some of its best work.相对于政变中央情报局赞助了在危地马拉，伊朗和其他地方，他说，它支持艺术，是它的一些最好的作品。 ”It enabled people to publish what they already believed,” he added. "这使人们发表什么，他们已经相信， "他补充说。 ”It didn’t change anyone’s course of action or thought.” "它并没有改变任何人的行动过程或思想" 。

But Diana Josselson, whose husband, Michael, ran the Congress for Cultural Freedom, told Ms. Stonor Saunders that there were real human costs among those around the world who innocently cooperated with the agency’s front organizations only to be tarred with a CIA affiliation when the truth came out.但戴安娜乔斯尔森，其丈夫迈克尔，然国会文化自由，告诉女士stonor桑德斯说，有真正的人力成本，其中包括在世界各地的人天真地配合该机构的掩护组织不但要tarred与中央情报局无党派人士当真相出来。 The author and other critics argue that by using government money covertly to promote such American ideals as democracy and freedom of expression, the agency ultimately stepped on its own message.作者和其他批评者认为，用政府的钱，暗地里以促进这种美国理想，因为民主和自由的表达，该机构最终踏上自己的讯息。

”Obviously it was an error, and a rather serious error, to allow intellectuals to be subsidized by the government,” said Alan Brinkley, a history professor at Columbia University. "很显然，这是一个错误的，是比较严重的错误，让知识分子必须由政府补贴，说： "艾伦布林克利，历史学教授在哥伦比亚大学。 ”And when it was revealed, it did undermine their credibility seriously.” "时，据透露，但它的确损害其公信力严重" 。

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