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Greg Barnhisel’s book comes amid a wave of activity in Cold War literary and cultural studies over the last six years or so. This scholarship includes various innovative studies of narrative in film and fiction, several reconsiderations of American Cold War culture using global and imperial frameworks, and continued interest in the institutional histories of Cold War cultural production by scholars such as Hugh Wilford and William Maxwell. This monograph belongs to the latter group, taking as its subject not individual texts or artworks but rather the uses to which they were put by the various institutions that waged the cultural Cold War, from government agencies and programmes through to purportedly independent publications. As Barnhisel acknowledges in his introduction, there is a rich tradition of scholarship on this subject going back as far as the Cold War itself, including most famously Frances Stonor Saunders’ 1999 book, The Cultural Cold War: The CIA and the World of Arts and Letters, recently reissued with a new introduction. While Saunders’ popular account constituted a kind of hardboiled detective narrative, delving into the murky world of covert CIA funding for culture and deeply invested in the personal dramas of its protagonists, Barnhisel’s work is more scholarly and dispassionate. Culpability is no longer an issue. Given that high culture was used as a propaganda weapon by a number of parties in the US during the early Cold War, he aims to offer a historical account of how and why this process took place, and of the institutions that produced it. Chapters on the government programmes for the promotion of literature and the arts respectively are followed by case studies of Encounter, the transatlantic

GREG BARNHISEL. Cold War Modernists: Art, Literature and Cultural Diplomacy.