The hidden history of the FBI and its hundred-year war against terrorists, spies, and anyone it deemed subversive—including even American presidents. NEW YORK TIMES BESTSELLER • NOW A SHOWTIME ORIGINAL DOCUMENTARY SERIES “Turns the long history of the FBI into a story that is as compelling, and important, as today’s headlines.”—Jeffrey Toobin, author of American Heiress Enemies is the first definitive history of the FBI’s secret intelligence operations, from an author whose work on the Pentagon and the CIA won him the Pulitzer Prize and the National Book Award. We think of the FBI as America’s police force. But secret intelligence is the Bureau’s first and foremost mission. The FBI’s secret intelligence and surveillance techniques have created a tug-of-war between national security and civil liberties, a tension that strains the very fabric of a free republic. Enemies is the story of how presidents have used the FBI to conduct political warfare—and how it has sometimes been turned against them. And it is the story of how the Bureau became the most powerful intelligence service the United States possesses. Named One of the Best Books of the Year by The Washington Post, New York Daily News, and Slate “Pulitzer Prize–winning author Tim Weiner has written a riveting inside account of the FBI’s secret machinations that goes so deep into the Bureau’s skulduggery, readers will feel they are tapping the phones along with J. Edgar Hoover. This is a book that every American who cares about civil liberties should read.” —Jane Mayer, author of Dark Money “Outstanding.” — The New York Times “Absorbing . . . a sweeping narrative that is all the more entertaining because it is so redolent with screw-ups and scandals.” — Los Angeles Times “Fascinating.” — The Wall Street Journal “Important and disturbing . . . with all the verve and coherence of a good spy thriller.” —The New York Times Book Review “Exciting and fast-paced.” — The Daily Beast

2017 Reprint of 1925 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition software. Although admired by D. H. Lawrence, this modern classic went generally unnoticed during the years after its publication in 1925. Yet it is "a fundamental book, essential if one proposes to come to terms with American literature" (Times Literary Supplement). William Carlos Williams was not a historian, but he was fascinated by the texture of American history. Beginning with Columbus's discovery of the Indies and moving on through Sir Walter Raleigh, Cotton Mather, Daniel Boone, George Washington, Ben Franklin, Aaron Burr, Edgar Allan Poe, and Abraham Lincoln, Williams found in the fabric of familiar episodes new shades of meaning and configurations of character. He brought a poetic imagination to the task of reconstructing a live tradition for Americans, and what results is one of the finest works of prose to have been penned by any writer of the twentieth century.

National Bestseller * One of the year's most acclaimed works of nonfiction A BEST BOOK OF THE YEAR: New York Times, Washington Post, New Yorker, Chicago Tribune, Kirkus, New York Post, Fast Company From legendary historian Adam Hochschild, a "masterly" (New York Times) reassessment of the overlooked but startlingly resonant period between World War I and the Roaring Twenties, when the foundations of American democracy were threatened by war, pandemic, and violence fueled by battles over race, immigration, and the rights of labor The nation was on the brink. Mobs burned Black churches to the ground. Courts threw thousands of people into prison for opinions they voiced--in one notable case, only in private. Self-appointed vigilantes executed tens of thousands of citizens' arrests. Some seventy-five newspapers and magazines were banned from the mail and forced to close. When the government stepped in, it was often to fan the flames. This was America during and after the Great War: a brief but appalling era blighted by lynchings, censorship, and the sadistic, sometimes fatal abuse of conscientious objectors in military prisons--a time whose toxic currents of racism, nativism, red-baiting, and contempt for the rule of law then flowed directly through the intervening decades to poison our own. It was a tumultuous period defined by a diverse and colorful cast of characters, some of whom fueled the injustice while others fought against it: from the sphinxlike Woodrow Wilson, to the fiery antiwar advocates Kate Richards O'Hare and Emma Goldman, to labor champion Eugene Debs, to a little-known but ambitious bureaucrat named J. Edgar Hoover, and to an outspoken leftwing agitator--who was in fact Hoover's star undercover agent. It is a time that we have mostly forgotten about, until now. In American Midnight, award-winning historian Adam Hochschild brings alive the horrifying yet inspiring four years following the U.S. entry into the First World War, spotlighting forgotten repression while celebrating an unforgettable set of Americans who strove to fix their fractured country--and showing how their struggles still guide us today.

Countless school children have recited the opening line of Poe's The Raven: "Once upon a midnight dreary, while I pondered, weak and weary..." But Poe is valued not only for his poetry. He was also a prolific writer of short stories, the creator of two literary forms that readers everywhere enjoy--the detective story and the horror thriller.

In this riveting account of the explosive relationship between Robert F. Kennedy and J. Edgar Hoover, renowned journalist and author Burton Hersh sets their highly publicized clashes in the context of Joe Kennedy's ongoing manipulation of Congress and his children's careers, and his lifelong connections to organized crime. Theirs was a unique triumvirate, marked by conflict and betrayal, and culminating in a near-Shakespearean tragedy. Based on compelling new research, and told in gripping anecdotal style, Hersh chronicles the complex relationship between the two antagonists, from their early brushes during the McCarthy years to their controversial deaths.

A fascinating and timely biography of J. Edgar Hoover from a Sibert Medalist. "King, there is only one thing left for you to do. You know what it is. . . . You better take it before your filthy, abnormal, fraudulent self is bared to the nation.” Dr. Martin Luther King received this demand in an anonymous letter in 1964. He believed that the letter was telling him to commit suicide. Who wrote this anonymous letter? The FBI. And the man behind it all was J. Edgar Hoover, the FBI's first director. In this unsparing exploration of one of the most powerful Americans of the twentieth century, accomplished historian Marc Aronson unmasks the man behind the Bureau- his tangled family history and personal relationships; his own need for secrecy, deceit, and control; and the broad trends in American society that shaped his world. Hoover may have given America the security it wanted, but the secrets he knew gave him — and the Bureau — all the power he wanted. Using photographs, cartoons, movie posters, and FBI transcripts, Master of Deceit gives readers the necessary evidence to make their own conclusions. Here is a book about the twentieth century that blazes with questions and insights about our choices in the twenty-first. Back matter includes an epilogue, an author’s note, source notes, a bibliography, and an index.

In The American People: Volume 2: The Brutality of Fact , Larry Kramer completes his radical reimagining of his country’s history. Ranging from the brothels of 1950s Washington, D.C., to the activism of the 1980s and beyond, Kramer offers an elaborate phantasmagoria of bigoted conspiracists in the halls of power and ordinary individuals suffering their consequences. With wit and bite, Kramer explores (among other things) the sex lives of every recent president; the complicated behavior of America’s two greatest spies, J. Edgar Hoover and James Jesus Angleton; the rise of Sexopolis , the country’s favorite magazine; and the genocidal activities of every branch of our health-care and drug-delivery systems. The American People: Volume 2 is narrated by (among others) the writer Fred Lemish and his two friends—Dr. Daniel Jerusalem, who works for America’s preeminent health-care institution, and his twin brother, David Jerusalem, a survivor of a Nazi concentration camp who was abused by many powerful men. Together they track a terrible plague that intensifies as the government ignores it and depict the bold and imaginative activists who set out to shock the nation’s conscience. In Kramer’s telling, the United States is dedicated to the proposition that very few men are created equal, and those who love other men may be destined for death. Here is a historical novel like no other—satiric and impassioned and driven by an uncompromising moral and literary vision.

"Historian Jonathan Ned Katz uncovers the forgotten story of radical lesbian feminist Eve Adams, and her long-lost book Lesbian Love. Born Chawa Zloczewer into a Jewish family in Poland, Eve Adams emigrated to the United States in 1912, took a new name, befriended anarchists, sold radical publications, and ran lesbian-and-gay-friendly speakeasies in Chicago and New York. Then, in 1925, Adams risked all to write and publish a book titled Lesbian Love. Adams's bold activism caught the attention of the young J. Edgar Hoover and the US Bureau of Investigation, leading to her surveillance and arrest. Adams was convicted of publishing an obscene book and of attempted sex with a policewoman sent to entrap her. Adams was jailed and then deported back to Europe, and ultimately murdered by Nazis in Auschwitz. In The Daring Life and Dangerous Times of Eve Adams, acclaimed historian Jonathan Ned Katz has recovered the extraordinary story of an early, daring activist. Carefully distinguishing fact from fiction, Katz presents the first biography of Adams, and the publisher reprints the long-lost text of Adams's rare, unique book Lesbian Love."--Publisher's website.

The nine essays gathered here pursue the provocative implications of Toni Morrison's claim that no early American writer was more important than Poe in shaping a concept of "American Africanism," an image of racialized blackness destined to haunt the Euro-American imagination. As contributors to this volume reveal, Poe's response to the "shadow" of blackness--like his participation in the cultural construction of whiteness--was both problematic and revealing. Born in Boston but raised mostly in Richmond, surrounded by the practices of slaveholding culture, Poe seems to have shared notions of racial hierarchy and Anglo-Saxon supremacy pervasive on both sides of the Mason-Dixon line. That he promulgated racist stereotypes in depicting black servants--his Jupiters and Pompeys--cannot be denied; that he complicated these stereotypes with veiled, subversive implications, however, gives his fiction peculiar relevance to the task of historicizing racial attitudes in antebellum culture. Was Poe an unabashed proslavery apologist, a careerist who avoided racial politics, a "gradualist" who hoped slavery would just disappear, or an ideological chameleon? Were Poe's views on race extreme or unusual? Overtly, in tales such as "The Gold-Bug," "The Journal of Julius Rodman," and The Narrative of Arthur Gordon Pym, and covertly in such works as "The Black Cat" and "Hop-Frog," Poe alternately caricatured and demonized the racial Other, yet he often endowed such figures with shrewdness and resourcefulness, at times portraying their defiance as inevitable and even understandable. In Romancing the Shadow, leading interpreters of nineteenth-century American literature and culture debate Poe's role in inventing the African of the white imagination. Their readings represent an array of positions, and while they reflect some consensus about Poe's investment in racialized types and tropes, they also testify to the surprising ways that race embedded itself in his work--and the diverse conclusions that can be drawn therefrom.

Creative nonfiction, also known as narrative nonfiction, liberated journalism by inviting writers to dramatize, interpret, speculate, and even re-create their subjects. Lee Gutkind collects twenty-five essays that flourished on this new ground, all originally published in the journal he founded, Creative nonfiction, now celebrating its tenth anniversary. Lauren Slater is a therapist in the institution where she was once a patient. John Edgar Wideman reacts passionately to the unjust murder of Emmett Till. Charles Simic tells of wild nights with Uncle Boris. John McPhee creates a rare, personal, album quilt. Terry Tempest Williams speaks on the decline of the prairie dog. Madison Smartt Bell invades Haiti. Many of the writers are crossing genres--from poetry and fiction to nonfiction--symbolic of Creative nonfiction's scope and popularity. A cross section of the famous and those bound to become so, this collection is a riveting experience highlighting the expanding importance of this dramatic and exciting new genre. A tenth anniversary collection of twenty-five narrative essays originally published in the journal, Creative nonfiction, includes Lauren Slater's discussion of her work as a therapist at an institution where she was once a patient, John Edgar Wideman's passionate reaction to the murder of Emmett Till, and John McPhee's personal album quilt.

When FBI Director J. Edgar Hoover reported to the Nixon White House in 1972 about the Bureau's surveillance of John Lennon, he began by explaining that Lennon was a "former member of the Beatles singing group." When a copy of this letter arrived in response to Jon Wiener's 1981 Freedom of Information request, the entire text was withheld—along with almost 200 other pages—on the grounds that releasing it would endanger national security. This book tells the story of the author's remarkable fourteen-year court battle to win release of the Lennon files under the Freedom of Information Act in a case that went all the way to the Supreme Court. With the publication of Gimme Some Truth , 100 key pages of the Lennon FBI file are available—complete and unexpurgated, fully annotated and presented in a "before and after" format. Lennon's file was compiled in 1972, when the war in Vietnam was at its peak, when Nixon was facing reelection, and when the "clever Beatle" was living in New York and joining up with the New Left and the anti-war movement. The Nixon administration's efforts to "neutralize" Lennon are the subject of Lennon's file. The documents are reproduced in facsimile so that readers can see all the classification stamps, marginal notes, blacked out passages and—in some cases—the initials of J. Edgar Hoover. The file includes lengthy reports by confidential informants detailing the daily lives of anti-war activists, memos to the White House, transcripts of TV shows on which Lennon appeared, and a proposal that Lennon be arrested by local police on drug charges. Fascinating, engrossing, at points hilarious and absurd, Gimme Some Truth documents an era when rock music seemed to have real political force and when youth culture challenged the status quo in Washington. It also delineates the ways the Reagan, Bush, and Clinton administrations fought to preserve government secrecy, and highlights the legal strategies adopted by those who have challenged it.

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"Set amid the glimmering lakes and disappearing forests of the United States in the 1830s, The Forest: A Fable of America in the 1830s imagines how individuals at the time experienced their lives. Part truth, part fiction, this book follows painters, poets, enslaved individuals, farmers, and artisans through various settings. Some, such as Nathaniel Hawthorne, Nat Turner, Thomas Cole, and Edgar Allan Poe, are well-known; others are not. All are creators of private and grand designs, and makers of the worlds they inhabited. The Forest unfolds in brief stories. Each is an episode revealing a lost world of intricate relations: human beings going their own ways or crossing paths, in a place that is known to history, or is remote and unknown. For Alex Nemerov, the forest is a description of American society, as he writes, "the dense and discontinuous woods of nation, the foliating thoughts of different people, each with their separate life to lead." Nemerov's art history is at its center an experiment in writing, in how to write differently about visual culture. The Forest examines the history of the United States on a human scale, displaying the patterns of life alongside examples of paintings, prints, photographs and objects"--

Alongside John Cage and Edgar Varese, Morton Feldman is regarded by many as one of the foremost American composers of the twentieth century. Evidence of his lifelong passion for music can be found in the numerous interviews and lectures he gave about his life and work. But despite his reputationand creative output, very little has been published on this charismatic figure. In Morton Feldman Says, editor Chris Villars has collected two decades of interviews, many available here for the first time, illustrating Feldman's creative process and his wide range of cultural interests and references,especially to visual art. Morton Feldman Says contains the first English translation of Sebastian Claren's biographical notes as well as conversations with Gavin Bryars, Kevin Volans, and Walter Zimmermann, as well as transcriptions of two of Feldman's lectures, held in Toronto (1982) andJohannesburg (1983).