For twenty-six years, the FBI devoted countless hours of staff time and thousands of U.S. taxpayer dollars to the surveillance of an American citizen named Bernard Gordon. Given the lavish use of resources, one might assume this man was a threat to national security or perhaps a kingpin of organized crime—not a Hollywood screenwriter whose most subversive act was joining the Communist Party during the 1940s when we were allied with the USSR in a war against Germany. For this honest act of political dissent, Gordon came to be investigated by the House Committee on Un-American Activities in 1952, blacklisted by the Hollywood film industry, and tailed by the FBI for over two decades. In The Gordon File, Bernard Gordon tells the compelling, cautionary story of his life under Bureau surveillance. Drawing on his FBI file of over 300 pages, which he obtained under the Freedom of Information Act, he traces how the Bureau followed him from Hollywood to Mexico, Paris, London, Rome, and even aboard a Dutch freighter as he created an unusually successful, albeit uncredited, career as a screenwriter and producer during the blacklist years. Comparing his actual activities during that time to records in the file, he pointedly and often humorously underscores how often the FBI got it wrong, from the smallest details of his life to the main fact of his not being a threat to national security. Most important, Gordon links his personal experience to the headlines of today, when the FBI is again assuming broad powers to monitor political dissidents it deems a threat to the nation. "Is it possible," he asks, "that books like this will help to move our investigative agencies from the job of blackmailing those who are critical of our imperfect democracy to arresting those who are truly out to destroy us?
In this memoir, the American screenwriter recounts his time spent on the Hollywood blacklist in the mid-twentieth century. The Hollywood blacklist, which began in the late 1940s and ran well into the 1960s, ended or curtailed the careers of hundreds of people accused of having ties to the Communist Party. Bernard Gordon was one of them. In this highly readable memoir, he tells an engrossing insider's story of what it was like to be blacklisted and how he and others continued to work uncredited behind the scenes, writing and producing many box office hits of the era. Gordon describes how the blacklist cut short his screenwriting career in Hollywood and forced him to work in Europe. Ironically, though, his is a success story that includes the films El Cid, 55 Days at Peking, The Thin Red Line, Krakatoa East of Java, Day of the Triffids, Earth vs. the Flying Saucers, Horror Express, and many others. He recounts the making of many movies for which he was the writer and/or producer, with wonderful anecdotes about stars such as Charlton Heston, David Niven, Sophia Loren, Ava Gardner, and James Mason; directors Nicholas Ray, Frank Capra, and Anthony Mann; and the producer-studio head team of Philip Yordan and Samuel Bronston. “Gordon’s story is one of triumphing over adversity, as he managed to make a decent living and live a rather exotic life peopled with colourful characters, while maintaining his moral integrity. It’s an inspiring, fascinating read.” —Reel Ink “Gordon never pulls his punches in this anecdotal autobiography, filled with intimate details and vivid novelistic passages. A born storyteller, he writes with warmth and humor, and there's an emotional edge to his razor-sharp recall.” —Publishers Weekly
V. Gordon Childe was the first scholar to attempt a broad and sustained socioeconomic analysis of the archaeology of the ancient world in terms that, today, could be called explanatory. To most, he was remembered only as a diligent synthesizer whose whole interpretation collapsed when its chronology was demolished. There was little recognition of his insistence that the emergence of craft specialists, and their very variable roles in the relations of production, were crucial to an understanding of social evolution. The interrelationship between sociopolitical complexity and craft production is a critical one, so critical that one might ask, just how complex would any society have become without craft specialization. This volume derives from the papers presented at a symposium at the American Anthropological Association meetings on the centenary of Childe's birth. Contributors to the volume include David W. Anthony, Philip J. Arnold III, Bennet Bronson, Robert Chapman, John E. Clark, Cathy L. Costin, Pam J. Crabtree, Philip L. Kohl, D. Blair Gibson, Antonio Gilman, Vincent C. Piggott, Jeremy A. Sabloff, Gil J. Stein, Ruth Tringham, Anne P. Underhill, Bernard Wailes, Peter S. Wells, Joyce C. White, Rita P. Wright, and Richard L. Zettler. Symposium Series Volume VI University Museum Monograph, 93
America's Trade Follies controversially argues that the global political economy is hardening into regional blocs, in North America, Latin America, Europe and the Asia Pacific, organized around a powerful economic base and suspicious of each other. Bernard K. Gordon's masterful analysis shows that this division threatens American prosperity by limiting US access to the world's richest and largest markets, and endangers US security by dividing the globe along economic and political lines. Provocative, original and stimulating this book is essential reading for all those interested in American politics, trade and international political economy.
Written by the chief military correspondent of the New York Times and a prominent retired Marine general, this is the definitive account of the invasion of Iraq. A stunning work of investigative journalism, Cobra II describes in riveting detail how the American rush to Baghdad provided the opportunity for the virulent insurgency that followed. As Gordon and Trainor show, the brutal aftermath was not inevitable and was a surprise to the generals on both sides. Based on access to unseen documents and exclusive interviews with the men and women at the heart of the war, Cobra II provides firsthand accounts of the fighting on the ground and the high-level planning behind the scenes. Now with a new afterword that addresses what transpired after the fateful events of the summer of 2003, this is a peerless re-creation and analysis of the central event of our times.
For twenty-six years, the FBI devoted countless hours of staff time and thousands of U.S. taxpayer dollars to the surveillance of an American citizen named Bernard Gordon. Given the lavish use of resources, one might assume this man was a threat to national security or perhaps a kingpin of organized crime—not a Hollywood screenwriter whose most subversive act was joining the Communist Party during the 1940s when we were allied with the USSR in a war against Germany. For this honest act of political dissent, Gordon came to be investigated by the House Committee on Un-American Activities in 1952, blacklisted by the Hollywood film industry, and tailed by the FBI for over two decades. In The Gordon File, Bernard Gordon tells the compelling, cautionary story of his life under Bureau surveillance. Drawing on his FBI file of over 300 pages, which he obtained under the Freedom of Information Act, he traces how the Bureau followed him from Hollywood to Mexico, Paris, London, Rome, and even aboard a Dutch freighter as he created an unusually successful, albeit uncredited, career as a screenwriter and producer during the blacklist years. Comparing his actual activities during that time to records in the file, he pointedly and often humorously underscores how often the FBI got it wrong, from the smallest details of his life to the main fact of his not being a threat to national security. Most important, Gordon links his personal experience to the headlines of today, when the FBI is again assuming broad powers to monitor political dissidents it deems a threat to the nation. "Is it possible," he asks, "that books like this will help to move our investigative agencies from the job of blackmailing those who are critical of our imperfect democracy to arresting those who are truly out to destroy us?
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