The onset of the Cold War in the 1940s and 1950s precipitated the exile of many U.S. writers, artists, and filmmakers to Mexico. Rebecca M. Schreiber illuminates the work of these cultural exiles in Mexico City and Cuernavaca and reveals how their artistic collaborations formed a vital and effective culture of resistance.

The Cold War was in full force. McCarthyism was at its peak. Caught up in the rapids of history, Maurice Halperin's life spun out of control. Denying the charges but knowing he could never fully clear his name, Halperin fled to Mexico and then, to avoid extradition, to Moscow in 1958. Among the friends he made there were British spy Donald MacLean and Cuban revolutionary leader Che Guevara. Disenchanted with socialism in the Soviet Union, he accepted Guevara's invitation to come to Havana in 1962.

At the height of the Cold War in the 1950s, the United States government unleashed covert operations intended to weaken the Soviet Union. As part of these efforts, the CIA committed to supporting Russian exiles, populations uprooted either during World War Two or by the Russian Revolution decades before. No one seemed better prepared to fight in the American secret war against communism than the uprooted Russians, whom the CIA directed to carry out propaganda, espionage, and subversion operations from their home base in West Germany. Yet the American engagement of Russian exiles had unpredictable outcomes. Drawing on recently declassified and previously untapped sources, Cold War Exiles and the CIA examines how the CIA's Russian operations became entangled with the internal struggles of Russia abroad and also the espionage wars of the superpowers in divided Germany. What resulted was a transnational political sphere involving different groups of Russian exiles, American and German anti-communists, and spies operating on both sides of the Iron Curtain. Inadvertently, CIA's patronage of Russian exiles forged a complex sub-front in the wider Cold War, demonstrating the ways in which the hostilities of the Cold War played out in ancillary conflicts involving proxies and non-state actors.

Rebecca Prime documents the untold story of the American directors, screenwriters, and actors who exiled themselves to Europe as a result of the Hollywood blacklist. During the 1950s and 1960s, these Hollywood émigrés directed, wrote, or starred in almost one hundred European productions, their contributions ranging from crime film masterpieces like Du rififi chez les hommes (1955, Jules Dassin, director) to international blockbusters like The Bridge on the River Kwai (1957, Carl Foreman and Michael Wilson, screenwriters) and acclaimed art films like The Servant (1963, Joseph Losey, director). At once a lively portrait of a lesser-known American “lost generation” and an examination of an important transitional moment in European cinema, the book offers a compelling argument for the significance of the blacklisted émigrés to our understanding of postwar American and European cinema and Cold War relations. Prime provides detailed accounts of the production and reception of their European films that clarify the ambivalence with which Hollywood was regarded within postwar European culture. Drawing upon extensive archival research, including previously classified material, Hollywood Exiles in Europe suggests the need to rethink our understanding of the Hollywood blacklist as a purely domestic phenomenon. By shedding new light on European cinema’s changing relationship with Hollywood, the book illuminates the postwar shift from national to transnational cinema.

“Fascinating, rich, and probing . . . a beguiling and endlessly interesting portrait”—The Wall Street Journal For fans of John le Carré and Ben Macintyre, an exclusive first-person account of one of the Cold War’s most notorious spies “Kuper provides a different and valuable perspective, humane and informative. If the definition of a psychopath is someone who refuses to accept the consequences of his actions, does George fit the definition? There he sits, admitting it was all for nothing, but has no regrets. Or does he?” —John le Carré Few Cold War spy stories approach the sheer daring and treachery of George Blake’s. After fighting in the Dutch resistance during World War II, Blake joined the British spy agency MI6 and was stationed in Seoul. Taken prisoner after the North Korean army overran his post in 1950, Blake later returned to England to a hero’s welcome, carrying a dark secret: while in a communist prison camp in North Korea, he had secretly switched sides to the KGB after reading Karl Marx’s Das Kapital. As a Soviet double agent, Blake betrayed uncounted western spying operations—including the storied Berlin Tunnel, the most expensive covert project ever undertaken by the CIA and MI6. Blake exposed hundreds of western agents, forty of whom were likely executed. After his unmasking and arrest, he received, for that time, the longest sentence in modern British history—only to make a dramatic escape to the Soviet Union in 1966, five years into his forty-two-year sentence. He left his wife, three children, and a stunned country behind. Much of Blake’s career existed inside the hall of mirrors that was the Cold War, especially following his sensational escape from Wormwood Scrubs prison. Veteran journalist Simon Kuper tracked Blake to his dacha outside Moscow, where the aging spy agreed to be interviewed for this unprecedented account of Cold War espionage. Following the master spy’s death in Moscow at age ninety-eight on December 26, 2020, Kuper is finally able to set the record straight.

In his book Josef Hrdlička opens the question of what exactly constitutes Exile Poetry, and indeed whether it amounts to a category as fundamental as Romantic or Bucolic lyricism. He covers the intricately complex and diverse topic of exile by exploring selected literary texts from antiquity to the present, giving due attention to writers that have influenced the exile discourse; from Ovid, Goethe and Baudelaire to the thinkers and poets of the 20th century like Adorno or Saint-John Perse. Against this backdrop of exile poetics, he turns his attention to Czech poets who left their homeland after the Communist Coup of 1948 and were notable contributors to Czech literature abroad. Hrdlička considers the works of Ivan Blatný, Milada Součková, Ivan Diviš and Petr Král, to show the continuity and changes in the western poetic tradition and expressions of exile.

At the height of the Cold War, as part of an effort to weaken the Soviet Union, the United States government recruited Russian exiles in the hope that they would be a powerful weapon in the American secret war. The CIA directed these uprooted citizens to carry out propaganda, espionage, and subversion operations, but with unpredictable outcomes.