Wednesday, February 14, 2018

THOMAS PYNCHONLANSKI/THE FORD FOUNDATION/CIA FRONT


So I usually check out the Aangirfan site. Some interesting stuff on Charities being run by pedomossad. Also saw something about the Ford Foundation today aanirfan.blogspot.com/ Ford Foundation is tied to Thomas Pynchon. They are front for CIA...so I wrote to them and let them know that I know that Roman Polanski is Thomas Pynchon, that he is a Rothschild and I know who his father is...Yagoda/B. Traven.
NEVER GONNA STOP HUNTING YOU DOWN PYNCHONLANSKI ;) I WILL MAKE SURE YOU ARE PUNISHED FOR CRIMES THAT YOU PUBLISHED!!!
RESRICTED FROM SCHOLARLY ACCESS...INTERESTING.

Literati Scatterati Diversa Influentia e Corrupta

'In 1959, Pynchon applied for a Ford Foundation fellowship; his application included an autobiographical sketch in which he reportedly details his literary development:

"[H]e divides his writing life into five principal phases:an initial period of romanticized war-stories;a second of athesim/logical positivism that led to a rash of science fictions;a third (and romantic) phase that brought imitations of Thomas Wolfe, F. Scott Fitzgerald, and Lord Byron;then two years in the Navy and a swing back toa classicism that (he says) brought imitations of Henry James, Nelson Algren, and William Faulkner;then a fifth, back at Cornell for his junior and senior years, when he dabbled at but became fully disaffected with the Byronic romanticism of the Beats (Kerouac, Ginsberg), thus to begin a set of Voltairean, "Candide-like" stories, a foretaste of the satires written in his maturity.



This brought him safely up to the present, to 1959, where he saw himself ''entrenched on the T.S. Eliot side of no man's land'" ( from "Thomas Pynchon at Twenty-Two: A recovered Autobiographical Sketch" by Steven Weisenburger; American Literature, Volume 62, Number 4)

The same autobiographical sketch reportedly describes what he perceived as a constant fluctuation between Classicism and Romanticism within his writing style, structure, and subject matter.

Ironic? Pynchon said (and the italics are ours), "the Cornell seminars taught him the way of crafting a fiction around one central metaphor that unifies its sometimes very disparate and complex elements of character, imagery, and action."



The MLA Bibliography lists citations for studies addressing Pynchon and his sources in such authors, personalities, and genres as: Richard Farina, James Bond, William S. Burroughs, James Joyce, William Faulkner, T.S. Eliot, William Butler Yeats, Hobbes, Hogarth, science fiction, Vladimir Nabokov, Lewis Carroll (Alice in Wonderland), classic spy novels, Ernest Hemingway, Conrad's Heart of Darkness, Franz Kafka, Karl Baedeker's guidebooks, Norman Mailer, Saul Bellow, Herman Melville, Mark Twain, Kurt Vonnegut, Joseph Heller (Catch-22), Beat poets/novelists, and Samuel Beckett.



In 1959, Pynchon and his good friend Richard Farina went to a masquerade ball, Pynchon as F. Scott Fitzgerald and Fari–a as Ernest Hemingway. As Pynchon relates in the introduction he provided for Farina's Been Down So Long It Looks Like Up to Me, they were both aware "that the other had been through a phase of enthusiasm for his respective author. I suppose by then I was learning from Farina how to be amused at some of my obsessions."

In the same introduction, Pynchon refers to Warlock, by Oakley Hall, as "among the finest of American novels." (Its my belief that Roman killed Richard Farina because he knew too much and he made it look like an accident.)

In the introduction to Slow Learner Pynchon says the same of On the Road by Jack Kerouac.'



Introduction


'The CIA uses philanthropic foundations as the most effective conduit to channel large sums of money to Agency projects without alerting the recipients to their source. From the early 1950s to the present the CIA's intrusion into the foundation field was and is huge. A U.S. Congressional investigation in 1976 revealed that nearly 50% of the 700 grants in the field of international activities by the principal foundations were funded by the CIA (Who Paid the Piper? The CIA and the Cultural Cold War, Frances Stonor Saunders, Granta Books, 1999, pp. 134-135). The CIA considers foundations such as Ford "The best and most plausible kind of funding cover" (Ibid, p. 135). The collaboration of respectable and prestigious foundations, according to one former CIA operative, allowed the Agency to fund "a seemingly limitless range of covert action programs affecting youth groups, labor unions, universities, publishing houses and other private institutions" (p. 135). The latter included "human rights" groups beginning in the 1950s to the present. One of the most important "private foundations" collaborating with the CIA over a significant span of time in major projects in the cultural Cold War is the Ford Foundation.



This essay will demonstrate that the Ford Foundation-CIA connection was a deliberate, conscious joint effort to strengthen U.S. imperial cultural hegemony and to undermine left-wing political and cultural influence. We will proceed by examining the historical links between the Ford Foundation and the CIA during the Cold War, by examining the Presidents of the Foundation, their joint projects and goals as well as their common efforts in various cultural areas.' 



Background: Ford Foundation and the CIA



By the late 1950s the Ford Foundation possessed over $3 billion in assets. The leaders of the Foundation were in total agreement with Washington's post-WWII projection of world power. A noted scholar of the period writes: "At times it seemed as if the Ford Foundation was simply an extension of government in the area of international cultural propaganda. The foundation had a record of close involvement in covert actions in Europe, working closely with Marshall Plan and CIA officials on specific projects" (Ibid, p.139). This is graphically illustrated by the naming of Richard Bissell as President of the Foundation in 1952. In his two years in office Bissell met often with the head of the CIA, Allen Dulles, and other CIA officials in a "mutual search" for new ideas. In 1954 Bissell left Ford to become a special assistant to Allen Dulles in January 1954 (Ibid, p. 139). Under Bissell, the Ford Foundation (FF) was the "vanguard of Cold War thinking".

One of the FF first Cold War projects was the establishment of a publishing house, Inter-cultural Publications, and the publication of a magazine Perspectives in Europe in four languages. The FF purpose according to Bissell was not "so much to defeat the leftist intellectuals in dialectical combat (sic) as to lure them away from their positions" (Ibid, p. 140). The board of directors of the publishing house was completely dominated by cultural Cold Warriors. Given the strong leftist culture in Europe in the post-war period, Perspectives failed to attract readers and went bankrupt.

Another journal Der Monat funded by the Confidential Fund of the U.S. military and run by Melvin Lasky was taken over by the FF, to provide it with the appearance of independence (Ibid, p. 140).

In 1954 the new president of the FF was John McCloy. He epitomized imperial power. Prior to becoming president of the FF he had been Assistant Secretary of War, president of the World Bank, High Commissioner of occupied Germany, chairman of Rockefeller's Chase Manhattan Bank, Wall Street attorney for the big seven oil companies and director of numerous corporations. As High Commissioner in Germany, McCloy had provided cover for scores of CIA agents (Ibid, p. 141).

McCloy integrated the FF with CIA operations. He created an administrative unit within the FF specifically to deal with the CIA. McCloy headed a three person consultation committee with the CIA to facilitate the use of the FF for a cover and conduit of funds. With these structural linkages the FF was one of those organizations the CIA was able to mobilize for political warfare against the anti-imperialist and pro-communist left. Numerous CIA "fronts" received major FF grants. Numerous supposedly "independent" CIA sponsored cultural organizations, human rights groups, artists and intellectuals received CIA/FF grants. One of the biggest donations of the FF was to the CIA organized Congress for Cultural Freedom which received $7 million by the early 1960s. Numerous CIA operatives secured employment in the FF and continued close collaboration with the Agency (Ibid, p. 143).

Fascinating stuff..I hope I hear back from Ford Foundation. As I've written before Roman Pynchonlanski is a Rothschild.


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