C’est dur de ne pas sembler distant à la Maison-Blanche. Certaines lettres que je lis le soir me brisent le coeur, d’autres me motivent, mais les caméras ne sont pas là pour le filmer. Obama
Dans l’imaginaire de ma génération, il y a la conquête de l’Ouest et Hollywood. Il y a Elvis Presley, qu’on n’a peut-être pas l’habitude de citer dans ces murs, mais, pour ma génération, il est universel ! Il y a Duke Ellington, il y a Hemingway. Il y a John Wayne, il y a Charlton Heston. Il y a Marilyn Monroe, Rita Hayworth. Il y a aussi Armstrong, Aldrin, Collins réalisant le plus vieux rêve de l’Homme le jour où des Américains ont marché sur la lune, l’Amérique était universelle et chacun voulait être de cette aventure. Nicolas Sarkozy (devant le Congrès americain, novembre 2007)
As I have said before, it is difficult to think of any single act that would do more to restore America’s soft power than the election of Obama to the presidency.Joseph Nye (June 2008)
Mais au fait qu’est-ce que le soft power ? On peut trouver des ancêtres à l’idée formulée dans les années Clinton : la guerre « pour le cœur et l’esprit » de toutes les Nations engagée par Woodrow Wilson, ou la « diplomatie publique » chère à Eisenhower, cette action internationale de promotion des États-Unis et de l’idéologie occidentale libérale par médias interposés qui fut si typique de la guerre froide. Mais quand le doyen Joseph Nye formule pour la première fois le concept de soft power en 1991 dans un livre au titre significatif (Bound to lead), il a quelque chose de plus précis en tête et qui suppose le rayonnement du modèle politique, économique, culturel et technologique des U.S.A. Il s’agit d’amener le reste du monde à partager leur point de vue, sans recourir à la carotte ni au bâton. Par un savant dosage de l’attraction (l’image des USA et notamment sa culture), de la persuasion (par la conversion à ses valeurs politiques) et enfin d’une action diplomatique où la recherche de la légitimité et du soutien des autres États tient une grande part. Cette politique s’appuie sur la capacité de doser aide et négociation, incitation et coopération jusqu’à amener d’autres États à coopérer avec les USA, moitié sous la pression de leur opinion convertie aux valeurs US moitié sous l’incitation d’une diplomatie US soucieuse des formes et des susceptibilités. Dans son esprit, le tout coïncide peu ou prou avec le sens de l’histoire où les USA jouent une fonction avant-gardiste.
Soyons clairs : dans soft power, il y a pouvoir (au sens le plus classique : la probabilité d’obtenir d’autrui un comportement conforme à vos désirs). Sa pratique consiste moins à être sympathique et « respectueux » (des diversités, de l’écologie, des sensibilités, des cultures…) qu’à être efficace en économisant les moyens de la puissance. Ce pourrait bien être l’art de faire coïncider les intérêts des USA avec les désirs des autres, au sens où l’idéologie est la représentation mentale d’une position et d’intérêts particuliers sous forme de vérités universelles. François-Bernard Huyghe
In order to encourage openness we had to be secret. Tom Braden
If that’s art, then I’m a Hottentot. President Truman
I am just a dumb American who pays taxes for this kind of trash. Congressman
They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world. The Independent
Regarding Abstract Expressionism, I’d love to be able to say that the CIA invented it just to see what happens in New York and downtown SoHo tomorrow! (…) But I think that what we did really was to recognise the difference. It was recognised that Abstract Expression- ism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was. And that relationship was exploited in some of the exhibitions. (…) In a way our understanding was helped because Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another.
Matters of this sort could only have been done at two or three removes, so that there wouldn’t be any question of having to clear Jackson Pollock, for example, or do anything that would involve these people in the organisation. And it couldn’t have been any closer, because most of them were people who had very little respect for the government, in particular, and certainly none for the CIA. If you had to use people who considered themselves one way or another to be closer to Moscow than to Washington, well, so much the better perhaps. The US government now faced a dilemma. This philistinism, combined with Joseph McCarthy’s hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s. To resolve this dilemma, the CIA was brought in. Donald Jameson (former CIA case officer)
We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do, and what you must paint, which was what was going on in the Soviet Union. I think it was the most important division that the agency had, and I think that it played an enormous role in the Cold War.
It was very difficult to get Congress to go along with some of the things we wanted to do – send art abroad, send symphonies abroad, publish magazines abroad. That’s one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret.
If this meant playing pope to this century’s Michelangelos, well, all the better: « It takes a pope or somebody with a lot of money to recognise art and to support it. And after many centuries people say, ‘Oh look! the Sistine Chapel, the most beautiful creation on Earth!’ It’s a problem that civilisation has faced ever since the first artist and the first millionaire or pope who supported him. And yet if it hadn’t been for the multi-millionaires or the popes, we wouldn’t have had the art. We would go to somebody in New York who was a well-known rich person and we would say, ‘We want to set up a foundation.’ We would tell him what we were trying to do and pledge him to secrecy, and he would say, ‘Of course I’ll do it,’ and then you would publish a letterhead and his name would be on it and there would be a foundation. It was really a pretty simple device. Tom Braden (former CIA man)
Et nous qui croyions qu’Obama avait inventé le soft power!
Pollock, Motherwell, de Kooning, Rothko, Encounter, plus de 800 journaux, magazines et organismes d’information publique, l’Animal Farm de George Orwell, jazzmen americains, recitals d’opera, le Boston Symphony Orchestra, Hollywood, l’edition, les auteurs des celebres guides touristiques Fodor, the Congress for Cultural Freedom, tournees internationales d’expositions (« Advancing American Art », the State Department, 1947) …
Nouvelle déception et consternation dans la blogosphere progressiste …
Au lendemain de la déroute du siecle de leur poulain …
Et a l’heure ou nos pilleurs d’archives militaires en pleine guerre se mettent a présent a dédouaner le cowboy Bush lui-meme de ses « mensonges » sur les ADM de Saddam et meme a denoncer les chiffres bidonnés de nos torchonnistes (109 000 au lieu de 650 000 pour l’Irak, soit pas moins de 600%!)…
Cette reconfirmation, retrouvée dans un article de the Independent d’il y a 15 ans :
Non seulement l’art, ca sert ausi a faire la guerre …
Mais Obama n’aurait pas inventé le soft power!
Qui daterait en fait du tout début de la Guerre froide en 1947 …
Et aurait été inventé par … la CIA!
Qui, non contente d’espionner et de fomenter des troubles dans la patrie du socialisme en soutenant ou exfiltrant des dissidents, allait jusqu’a se meler d’art et d’art d’avant-garde !
Et pas seulement de littérature ou d’art soviétique (comme la publication du roman ayant permis a Boris Pasternak d’obtenir son prix Nobel).
Mais aussi, sans compter nos propres syndicats et centres de recherches, d’art américain dont les anciens Ivy-leaguers dont elle était truffée organisaient et financaient, via l’équivalent américain du Komintern et de musées et millionnaires comme Nelson Rockefeller, expositions et tournées mondiales.
Y compris, contre l’inculture du président Truman lui-meme et le farouche antiaméricanisme et prosovietisme des artistes en question (ses propres « idiots utiles » en quelque sorte – mais pour la bonne cause), secretement …
Et tout ca pour démontrer la prétendue superiorité, sur la patrie du social-réalisme qui elle financait nos Picasso, d’un soi-disant Monde libre et de son auto-proclamée « free enterprise painting »….
Revealed: how the spy agency used unwitting artists such as Pollock and de Kooning in a cultural Cold War
Frances Stonor Saunders
The Independent
22 October 1995
For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art – including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko – as a weapon in the Cold War. In the manner of a Renaissance prince – except that it acted secretly – the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.
The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art – President Truman summed up the popular view when he said: « If that’s art, then I’m a Hottentot. » As for the artists themselves, many were ex- com- munists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.
Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.
The existence of this policy, rumoured and disputed for many years, has now been confirmed for the first time by former CIA officials. Unknown to the artists, the new American art was secretly promoted under a policy known as the « long leash » – arrangements similar in some ways to the indirect CIA backing of the journal Encounter, edited by Stephen Spender.
The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.
The next key step came in 1950, when the International Organisations Division (IOD) was set up under Tom Braden. It was this office which subsidised the animated version of George Orwell’s Animal Farm, which sponsored American jazz artists, opera recitals, the Boston Symphony Orchestra’s international touring programme. Its agents were placed in the film industry, in publishing houses, even as travel writers for the celebrated Fodor guides. And, we now know, it promoted America’s anarchic avant-garde movement, Abstract Expressionism.
Initially, more open attempts were made to support the new American art. In 1947 the State Department organised and paid for a touring international exhibition entitled « Advancing American Art », with the aim of rebutting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: « I am just a dumb American who pays taxes for this kind of trash. » The tour had to be cancelled.
The US government now faced a dilemma. This philistinism, combined with Joseph McCarthy’s hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s. To resolve this dilemma, the CIA was brought in.
The connection is not quite as odd as it might appear. At this time the new agency, staffed mainly by Yale and Harvard graduates, many of whom collected art and wrote novels in their spare time, was a haven of liberalism when compared with a political world dominated by McCarthy or with J Edgar Hoover’s FBI. If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.
Until now there has been no first-hand evidence to prove that this connection was made, but for the first time a former case officer, Donald Jameson, has broken the silence. Yes, he says, the agency saw Abstract Expressionism as an opportunity, and yes, it ran with it.
« Regarding Abstract Expressionism, I’d love to be able to say that the CIA invented it just to see what happens in New York and downtown SoHo tomorrow! » he joked. « But I think that what we did really was to recognise the difference. It was recognised that Abstract Expression- ism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was. And that relationship was exploited in some of the exhibitions.
« In a way our understanding was helped because Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another. »
To pursue its underground interest in America’s lefty avant-garde, the CIA had to be sure its patronage could not be discovered. « Matters of this sort could only have been done at two or three removes, » Mr Jameson explained, « so that there wouldn’t be any question of having to clear Jackson Pollock, for example, or do anything that would involve these people in the organisation. And it couldn’t have been any closer, because most of them were people who had very little respect for the government, in particular, and certainly none for the CIA. If you had to use people who considered themselves one way or another to be closer to Moscow than to Washington, well, so much the better perhaps. »
This was the « long leash ». The centrepiece of the CIA campaign became the Congress for Cultural Freedom, a vast jamboree of intellectuals, writers, historians, poets, and artists which was set up with CIA funds in 1950 and run by a CIA agent. It was the beach-head from which culture could be defended against the attacks of Moscow and its « fellow travellers » in the West. At its height, it had offices in 35 countries and published more than two dozen magazines, including Encounter.
The Congress for Cultural Freedom also gave the CIA the ideal front to promote its covert interest in Abstract Expressionism. It would be the official sponsor of touring exhibitions; its magazines would provide useful platforms for critics favourable to the new American painting; and no one, the artists included, would be any the wiser.
This organisation put together several exhibitions of Abstract Expressionism during the 1950s. One of the most significant, « The New American Painting », visited every big European city in 1958-59. Other influential shows included « Modern Art in the United States » (1955) and « Masterpieces of the Twentieth Century » (1952).
Because Abstract Expressionism was expensive to move around and exhibit, millionaires and museums were called into play. Pre-eminent among these was Nelson Rockefeller, whose mother had co-founded the Museum of Modern Art in New York. As president of what he called « Mummy’s museum », Rockefeller was one of the biggest backers of Abstract Expressionism (which he called « free enterprise painting »). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows.
The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members’ board of the museum’s International Programme. John Hay Whitney, who had served in the agency’s wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA’s International Organisations Division, was executive secretary of the museum in 1949.
Now in his eighties, Mr Braden lives in Woodbridge, Virginia, in a house packed with Abstract Expressionist works and guarded by enormous Alsatians. He explained the purpose of the IOD.
« We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do, and what you must paint, which was what was going on in the Soviet Union. I think it was the most important division that the agency had, and I think that it played an enormous role in the Cold War. »
He confirmed that his division had acted secretly because of the public hostility to the avant-garde: « It was very difficult to get Congress to go along with some of the things we wanted to do – send art abroad, send symphonies abroad, publish magazines abroad. That’s one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret. »
If this meant playing pope to this century’s Michelangelos, well, all the better: « It takes a pope or somebody with a lot of money to recognise art and to support it, » Mr Braden said. « And after many centuries people say, ‘Oh look! the Sistine Chapel, the most beautiful creation on Earth!’ It’s a problem that civilisation has faced ever since the first artist and the first millionaire or pope who supported him. And yet if it hadn’t been for the multi-millionaires or the popes, we wouldn’t have had the art. »
Would Abstract Expressionism have been the dominant art movement of the post-war years without this patronage? The answer is probably yes. Equally, it would be wrong to suggest that when you look at an Abstract Expressionist painting you are being duped by the CIA.
But look where this art ended up: in the marble halls of banks, in airports, in city halls, boardrooms and great galleries. For the Cold Warriors who promoted them, these paintings were a logo, a signature for their culture and system which they wanted to display everywhere that counted. They succeeded.
* The full story of the CIA and modern art is told in ‘Hidden Hands’ on Channel 4 next Sunday at 8pm. The first programme in the series is screened tonight. Frances Stonor Saunders is writing a book on the cultural Cold War.
Covert Operation
In 1958 the touring exhibition « The New American Painting », including works by Pollock, de Kooning, Motherwell and others, was on show in Paris. The Tate Gallery was keen to have it next, but could not afford to bring it over. Late in the day, an American millionaire and art lover, Julius Fleischmann, stepped in with the cash and the show was brought to London.
The money that Fleischmann provided, however, was not his but the CIA’s. It came through a body called the Farfield Foundation, of which Fleischmann was president, but far from being a millionaire’s charitable arm, the foundation was a secret conduit for CIA funds.
So, unknown to the Tate, the public or the artists, the exhibition was transferred to London at American taxpayers’ expense to serve subtle Cold War propaganda purposes. A former CIA man, Tom Braden, described how such conduits as the Farfield Foundation were set up. « We would go to somebody in New York who was a well-known rich person and we would say, ‘We want to set up a foundation.’ We would tell him what we were trying to do and pledge him to secrecy, and he would say, ‘Of course I’ll do it,’ and then you would publish a letterhead and his name would be on it and there would be a foundation. It was really a pretty simple device. »
Julius Fleischmann was well placed for such a role. He sat on the board of the International Programme of the Museum of Modern Art in New York – as did several powerful figures close to the CIA.
Voir aussi:
Les défis diplomatiques de Barack Obama
Election d’Obama : le retour du soft power ?
François-Bernard Huyghe
Affaires strategiques info
1er novembre 2008
Si un lexicographe analysait les millions de mots qui déferlent sur les médias en plein orgasme obamaniaque, il classerait sans doute comme les plus fréquents et significatifs : espoir, changement, diversité, modernité, rêve américain… De leur côté, les Américains qui font la fête, des ghettos jusqu’à Wall Street, sont sincèrement persuadés que « le monde va de nouveau nous aimer », comme si leur choix leur restituait une innocence perdue et rendait au pays l’attraction qu’il n’aurait jamais dû perdre.
Ils auront d’ailleurs raison pendant quelques semaines ou quelques mois, le temps d’un état de grâce planétaire que pourraient entretenir déclarations ou gestes symboliques, comme la fermeture de la prison de Guantanamo ou le retour de quelques boys.
Parmi les admirateurs européens d’Obama, il en est sans doute qui découvriront à propos du Moyen-Orient, de la présence de l’Otan en Afghanistan ou de l’Iran, que l’élu de leur cœur n’est pas tout à fait sur la ligne qu’ils espéraient. Et qu’il demandera beaucoup à des alliés qui n’auront plus à lui opposer la litanie des fautes originelles de Bush (guerre d’Irak, refus de signer le protocole de Kyoto, unilatéralisme…).
Pour le dire en termes plus galants, les politologues s’interrogent sur le retour du « soft power » américain (les méthodes « hard » chères aux néo-conservateurs ayant échoué avec une évidence difficile à contester). Mais au fait qu’est-ce que le soft power ? On peut trouver des ancêtres à l’idée formulée dans les années Clinton : la guerre « pour le cœur et l’esprit » de toutes les Nations engagée par Woodrow Wilson, ou la « diplomatie publique » chère à Eisenhower, cette action internationale de promotion des États-Unis et de l’idéologie occidentale libérale par médias interposés qui fut si typique de la guerre froide. Mais quand le doyen Joseph Nye formule pour la première fois le concept de soft power en 1991 dans un livre au titre significatif (Bound to lead), il a quelque chose de plus précis en tête et qui suppose le rayonnement du modèle politique, économique, culturel et technologique des U.S.A. Il s’agit d’amener le reste du monde à partager leur point de vue, sans recourir à la carotte ni au bâton. Par un savant dosage de l’attraction (l’image des USA et notamment sa culture), de la persuasion (par la conversion à ses valeurs politiques) et enfin d’une action diplomatique où la recherche de la légitimité et du soutien des autres États tient une grande part.
Cette politique s’appuie sur la capacité de doser aide et négociation, incitation et coopération jusqu’à amener d’autres États à coopérer avec les USA, moitié sous la pression de leur opinion convertie aux valeurs US moitié sous l’incitation d’une diplomatie US soucieuse des formes et des susceptibilités. Dans son esprit, le tout coïncide peu ou prou avec le sens de l’histoire où les USA jouent une fonction avant-gardiste. Ainsi pour Nye « La bonne nouvelle est que les tendances sociales de l’âge de l’information globale contribuent à façonner un monde qui sera davantage en sympathie avec les valeurs américaines à long terme. » . En somme, être moderne, branché et « global » impliquait d’être proaméricain.
Depuis, la façon de penser la politique extérieure comme un dosage entre soft et hard power, entre l’attractif et le coercitif, est depuis devenue un lieu commun du débat politique outre-Atlantique. Il serait, du reste, caricatural d’assimiler soft à démocrate et hard à républicain : Nye lui-même insiste sur le fait que les nécessités du temps exigent un mélange des deux, et il baptise « smart power » l’heureux mélange. Et sur ce point, Obama pourrait être son disciple.
Soyons clairs : dans soft power, il y a pouvoir (au sens le plus classique : la probabilité d’obtenir d’autrui un comportement conforme à vos désirs). Sa pratique consiste moins à être sympathique et « respectueux » (des diversités, de l’écologie, des sensibilités, des cultures…) qu’à être efficace en économisant les moyens de la puissance. Ce pourrait bien être l’art de faire coïncider les intérêts des USA avec les désirs des autres, au sens où l’idéologie est la représentation mentale d’une position et d’intérêts particuliers sous forme de vérités universelles.. Cela marche souvent. Rappelons-nous le discours du président Sarkozy devant le Congrès US le 7 novembre 2007 : « Dans l’imaginaire de ma génération, il y a la conquête de l’Ouest et Hollywood. Il y a Elvis Presley, qu’on n’a peut-être pas l’habitude de citer dans ces murs, mais, pour ma génération, il est universel ! Il y a Duke Ellington, il y a Hemingway. Il y a John Wayne, il y a Charlton Heston. Il y a Marilyn Monroe, Rita Hayworth. Il y a aussi Armstrong, Aldrin, Collins réalisant le plus vieux rêve de l’Homme le jour où des Américains ont marché sur la lune, l’Amérique était universelle et chacun voulait être de cette aventure. »
Notre président qui a lui-même présenté Obama comme « son copain » pourrait donc être un des plus réceptifs à cette politique. Et il ne sera pas le seul.
Obama le grand communicateur s’est montré exceptionnellement brillant pour incarner et attirer. Mais la politique étrangère ne consiste pas seulement à conquérir des « territoires mentaux », elle suppose aussi de trancher et d’agir contre. Il se pourrait que les temps soient un peu durs pour une politique soft.
François-Bernard Huyghe, chercheur associé à l’IRIS et auteur de « Maîtres du faire croire. De la propagande à l’influence » (Vuibert). Il anime par ailleurs le blog http://www.huyghe.fr
Voir enfin:
Donald F.B. Jameson; Handled Russian Defectors for CIA
Adam Bernstein
Washington Post
September 11, 2007
Donald F.B. « Jamie » Jameson, 82, a branch chief in the Central Intelligence Agency’s directorate of operations who was highly regarded for his work handling Russian defectors and other Soviet covert operations, died Sept. 5 at Holy Cross Hospital. He had complications of a stroke in March.
Until retiring in 1973, Mr. Jameson spent more than 20 years working for the CIA. He was « one of the most experienced defector recruiters and handlers within the agency, » according to journalist Tom Mangold’s 1991 book, « Cold Warrior, » about the CIA under James J. Angleton, the much-discredited chief of counterintelligence.
In Mangold’s account, Mr. Jameson criticized Angleton’s handling of KGB defector Anatoly M. Golitsin, who in the early 1960s was considered a major CIA asset. Golitsin eventually sent the agency on a highly destructive hunt for an alleged Soviet mole within its own ranks.
Mr. Jameson suggested Golitsin « needed to be stepped on, » to rein in his requests for money and access to Washington’s power elite. Angleton and his staff blocked that judgment and soon removed Mr. Jameson as Golitsin’s case officer.
From 1962 to 1969, Mr. Jameson headed the branch in charge of Soviet bloc covert action. His branch encouraged dissidents behind the Iron Curtain and helped smuggle banned books to and from the Soviet Union and its satellite countries.
He also helped arrange for the defection of Svetlana Alliluyeva, daughter of former Soviet dictator Joseph Stalin, and the English-language publication of her book « Twenty Letters to a Friend » (1967).
Mr. Jameson retired as special adviser to the Soviet bloc division chief and became a writer and consultant on international finance and politics.
Donald Fenton Booth Jameson, whose great-uncle was Pulitzer Prize-winning novelist Booth Tarkington, was an Indianapolis native. He graduated in 1945 from the U.S. Naval Academy in Annapolis and spent the end of World War II in the Pacific.
He received a master’s degree in international relations from Columbia University, and, fluent in Russian, he was recruited to the CIA to enlist and train agents to infiltrate the Soviet Union.
In 1999, he told U.S. News & World Report that many of his recruits were used as observers to watch troop movements. Still others had assignments to collect leaves and frogs near plutonium processing centers so U.S. scientists could test the samples for chemicals.
Most of the agents failed to work at all, he said. Some were caught and sent to the gulag, and others disappeared. In retrospect, he told the magazine, « Ours was a very large effort that produced virtually no results useful to intelligence. »
In 1955, Mr. Jameson interrogated an East German defector whom he later suspected of carrying the polio virus. Mr. Jameson received treatment at polio centers, but his limbs weakened substantially by the 1980s, and he was effectively a paraplegic.
He was an Ashburn resident, and his memberships included the Cosmos Club and the Army and Navy Club. He also belonged to Le Cercle, a foreign policy think tank established during the Cold War that reportedly included senior politicians, diplomats and intelligence agents worldwide.
His marriage to Barbara Nixon Jameson ended in divorce.
Survivors include his wife of 38 years, Lisa Rodman Jameson of Ashburn; a son from his first marriage, Jeremy Jameson of Houston; three children from his second marriage, Margaret Jameson and Thomas Jameson, both of New York City, and Alexander Jameson of Washington; and a sister.

Publié par jcdurbant 

Il me semble voir toute la destinée de l’Amérique renfermée dans le premier Puritain qui aborda sur ses rivages, comme toute la race humaine dans le premier homme. Tocqueville








La destruction de l’URSS fut la plus grande catastrophe géopolitique du siècle. 