The CIA
An Imperial History
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- 7,99 €
Beschreibung des Verlags
'Gripping history that also informs the present' Sunday Times
'Fascinating . . . Wilford writes engagingly with a telling eye for colourful detail' The Spectator
'A spectacular achievement . . . I loved it' Dominic Sandbrook
How the CIA became an instrument of a new covert empire both in America and overseas.
In 1947, the United States created the CIA to analyse foreign intelligence, but within a few years the Agency was engaged in other operations - bolstering pro-American governments, overthrowing nationalist leaders, and surveilling domestic dissent - before transforming during the Cold War.
Drawing on decades of research, celebrated intelligence historian Hugh Wilford shows how the Agency created a new Western empire, as successive US presidents used the covert powers of the Agency to hide overseas interventions from postcolonial foreigners and anti-imperial Americans alike. Even the CIA's post-9/11 global hunt for terrorists was haunted by the ghosts of empires past.
Original, and gripping, The CIA tells how America adopted unaccountable power and created a new imperial order.
PUBLISHERS WEEKLY
Historian Wilford (America's Great Game) argues in this vibrant account that the CIA came into being as a continuation of European imperial ambition. The CIA's early, Ivy League–educated leadership "shared British values," Wilford writes, and fancied themselves adventurers in the mold of T.E. Lawrence and Kim, Rudyard Kipling's romantic portrait of the British Raj. (A bizarre number of early CIA agents were nicknamed "Kim.") Founded in 1947 and freed from the wartime goals of its predecessor the OSS, the CIA latched onto fighting communism as its raison d'être—a so-called anti-imperialist effort that was carried out with supreme imperialist flair, Wilford contends, as the agency sought to prove America was "the rightful heir to European modernity." Wilford structures his argument around profiles of prominent agents, including Kermit "Kim" Roosevelt, architect of the CIA's 1953 Iranian coup, who constantly played "Luck Be a Lady Tonight" from Guys and Dolls in the lead-up to the operation, and James Angleton, an obsessive orchid-growing loner and modernist literary scholar who went nearly insane trying to shake out the agency's communist moles. The book is full of such striking character portraits, as Wilford evocatively suggests that the CIA's tendency to overthrow foreign governments emerged from paranoia and personality defects among its leadership. This eye-opening slice of American history should not be missed.
