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Available in book form for the first time, the FBI's secret dossier on the legendary and controversial writer. Decades before Black Lives Matter returned James Baldwin to prominence, J. Edgar Hoover’s FBI considered the Harlem-born author the most powerful broker between black art and black power. Baldwin’s 1,884-page FBI file, covering the period from 1958 to 1974, was the largest compiled on any African American artist of the Civil Rights era. This collection of once-secret documents, never before published in book form, captures the FBI’s anxious tracking of Baldwin’s writings, phone conversations, and sexual habits—and Baldwin’s defiant efforts to spy back at Hoover and his G-men. James Baldwin: The FBI File reproduces over one hundred original FBI records, selected by the noted literary historian whose award-winning book, F.B. Eyes: How J. Edgar Hoover’s Ghostreaders Framed African American Literature, brought renewed attention to bureau surveillance. William J. Maxwell also provides an introduction exploring Baldwin's enduring relevance in the time of Black Lives Matter along with running commentaries that orient the reader and offer historical context, making this book a revealing look at a crucial slice of the American past—and present.
The FBI has made possible a reassembling of the history of Malcolm X that goes beyond any previous research. From the opening of his file in March of 1953 to his assassination in 1965, the story of Malcolm X’s political life is a gripping one. Shortly after he was released from a Boston prison in 1953, the FBI watched every move Malcolm X made. Their files on him totaled more than 3,600 pages, covering every facet of his life. Viewing the file as a source of information about the ideological development and political significance of Malcolm X, historian Clayborne Carson examines Malcolm’s relationship to other African-American leaders and institutions in order to define more clearly Malcolm’s place in modern history. With its sobering scrutiny of the FBI and the national policing strategies of the 1950s and 1960s, Malcolm X: The FBI File is one of a kind: never before has there been so much material on the assassination of Malcolm X in one conclusive volume.
Selections from FBI files on political activists including Betty Friedan, Abbie Hoffman, Martin Luther King, Aaron Swartz, and Malcolm X. The FBI has always kept tabs on political activists. During the directorship of J. Edgar Hoover, it was a Bureau-wide obsession. Did you see that guy who didn't quite look like a journalist, taking pictures at a demonstration? He was probably FBI. Did you say something mildly subversive in a radio interview? It went in your file. Did you attend a meeting of a left-leaning organization? The attendee who didn't contribute but took copious notes was possibly an informant. This third volume of selected FBI files liberated by MuckRock documents the FBI's pursuit of activists and dissenters ranging from Margaret Sanger to Malcolm X. Despite the absence of evidence, Hoover suspected Communist influence in every political protest. He grilled Martin Luther King, Jr., about Communist sympathizers in the civil rights movement (while offering reporters off-the-record hints about King's extramarital affairs). The Bureau investigated the supposed threat posed by Cesar Chavez and the United Farm Workers but not threats to them, even after the detonation of a bomb in their office. The Bureau persevered: files on Holocaust survivor Hedy Epstein cover six decades, from unfounded rumors of Communist connections to her participation in a Black Lives Matter demonstration. Recently, we hoped against hope that a former FBI director would save us from our current political predicament. These documents remind us of the FBI's troubling history. The Activists Roger Nash Baldwin, Cesar Chavez, Hedy Epstein, Elizabeth Gurley Flynn, Betty Friedan, Thelma Glass, Fred Hampton, Abbie Hoffman, Martin Luther King, Jr., Harvey Milk, Bayard Rustin, Margaret Sanger, Aaron Swartz, John Trudell, Malcolm X, Howard Zinn
Compilation of documents received through the Freedom of Information Act, containing information gathered in connection with Benson's national federal appointment (U.S. Secretary of Agriculture), letters to F.B.I. director, J. Edgar Hoover dating from 1944 and 1947, and various additional documents dating from the 1950s, 1960s and as late as 1989.
Excerpts from the FBI's files on prominent African-American activists reveal the scope of the agency's surveillance
Cold War–era FBI files on famous scientists, including Neil Armstrong, Isaac Asimov, Albert Einstein, Richard Feynman, Alfred Kinsey, and Timothy Leary. Armed with ignorance, misinformation, and unfounded suspicions, the FBI under J. Edgar Hoover cast a suspicious eye on scientists in disciplines ranging from physics to sex research. If the Bureau surveilled writers because of what they believed (as documented in Writers Under Surveillance), it surveilled scientists because of what they knew. Such scientific ideals as the free exchange of information seemed dangerous when the Soviet Union and the United States regarded each other with mutual suspicion that seemed likely to lead to mutual destruction. Scientists Under Surveillance gathers FBI files on some of the most famous scientists in America, reproducing them in their original typewritten, teletyped, hand-annotated form. Readers learn that Isaac Asimov, at the time a professor at Boston University's School of Medicine, was a prime suspect in the hunt for a Soviet informant codenamed ROBPROF (the rationale perhaps being that he wrote about robots and was a professor). Richard Feynman had a “hefty” FBI file, some of which was based on documents agents found when going through the Soviet ambassador's trash (an invitation to a physics conference in Moscow); other documents in Feynman's file cite an informant who called him a “master of deception” (the informant may have been Feynman's ex-wife). And the Bureau's relationship with Alfred Kinsey, the author of The Kinsey Report, was mutually beneficial, with each drawing on the other's data. The files collected in Scientists Under Surveillance were obtained through Freedom of Information Act requests by MuckRock, a nonprofit engaged in the ongoing project of freeing American history from the locked filing cabinets of government agencies. The Scientists Neil Armstrong, Isaac Asimov, Hans Bethe, John P. Craven, Albert Einstein, Paul Erdos, Richard Feynman, Mikhail Kalashnikov, Alfred Kinsey, Timothy Leary, William Masters, Arthur Rosenfeld, Vera Rubin, Carl Sagan, Nikola Tesla
What do pop artist Andy Warhol, sex researcher Alfred Kinsey, and cinematic comedians Abbott & Costello have in common? They all found a prominent place in the FBI's "Obscene File." In this startling new study Douglas Charles reveals how, for more than seventy years, FBI officials placed obscenity, pornography, and the politics of morality among their topmost concerns. Illuminating this largely neglected aspect of FBI history, Charles charts the evolution of the Bureau's efforts to combat the spread of obscenity and its perceived insidious effects. He contends that, especially during the five decades under J. Edgar Hoover, these efforts became a surprisingly high priority and at times were expressly wielded for political ends, even as Hoover hid the file from public view in order to preserve the Bureau's squeaky-clean image. Charles recounts how the "Obscene File" was conceived and organized by Hoover and describes its contents, which included magazines, films, and artwork in addition to dossiers on offenders. He examines the FBI's targeting of 1940s and '50s "race music" with its depictions of "lewd and licentious acts in obscene and foul language." He describes how the FBI collected photos of activities at gay bars and prosecuted businesses that published "obscene" pro-gay magazines, and how it participated in the "Lavender Scare" that targeted gays in the federal government. He also details the FBI's efforts to short-circuit the distribution of the film Deep Throat and disrupt the pornographic movie industry. On the political front, Charles tells how Hoover found a fellow crusader in Richard Nixon, who hijacked the obscenity issue to rally an electoral base weary of an "anything-goes" decade. But as changing mores and laws redefined obscenity, subsequent directors moved away from Hoover's approach and focused more on mob control of pornography, kiddie porn, and the war on drugs. Subsequently, the "Obscene File" mostly fell into disuse during the presidencies of Bill Clinton and George W. Bush, the latter president unable to gain any traction with his own obscenity initiatives. Taking in the whole scope of these operations, Charles's insightful history offers a previously unseen look at a major facet of FBI activities and contributes significantly to our understanding of Hoover and his legacy.
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.
Uses the contents of FBI files obtained under the Freedom of Information Act.
How FBI surveillance influenced African American writing Few institutions seem more opposed than African American literature and J. Edgar Hoover's white-bread Federal Bureau of Investigation. But behind the scenes the FBI's hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureau’s intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlem’s renaissance and Hoover’s career at the Bureau, secretive FBI "ghostreaders" monitored the latest developments in African American letters. By the time of Hoover’s death in 1972, these ghostreaders knew enough to simulate a sinister black literature of their own. The official aim behind the Bureau’s close reading was to anticipate political unrest. Yet, as William J. Maxwell reveals, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the twentieth century. Taking his title from Richard Wright’s poem "The FB Eye Blues," Maxwell details how the FBI threatened the international travels of African American writers and prepared to jail dozens of them in times of national emergency. All the same, he shows that the Bureau’s paranoid style could prompt insightful criticism from Hoover’s ghostreaders and creative replies from their literary targets. For authors such as Claude McKay, James Baldwin, and Sonia Sanchez, the suspicion that government spy-critics tracked their every word inspired rewarding stylistic experiments as well as disabling self-censorship. Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, F.B. Eyes is a groundbreaking account of a long-hidden dimension of African American literature.