Patriotic Betrayal

Asserts that the CIA turned the National Student Association into an intelligence asset during the Cold War, with students used—often wittingly and sometimes unwittingly—as undercover agents inside America and abroad.

“Seamlessly combines analytic rigor with personal memoir . . . its arguments are drawn from political history . . . Biblical commentary . . . novels and biographies.” (Amélie Rorty, Tufts University) Adultery, treason, and apostasy no longer carry the weight they once did. Yet we constantly see and hear stories of betrayal. Avishai Margalit argues that the tension between the ubiquity of betrayal and the loosening of its hold is a sign of the strain between ethics and morality, between thick and thin human relations. On Betrayal offers a philosophical account of thick human relations?relationships with friends, family, and core communities?through their pathology, betrayal. Judgments of betrayal often shift unreliably. A traitor to one side is a hero to the other. Yet the notion of what it means to betray is remarkably consistent across cultures and eras. Betrayal undermines thick trust, dissolving the glue that holds our most meaningful relationships together. On Betrayal is about ethics: what we owe to the people and groups that give us our sense of belonging. Drawing on literary, historical, and personal sources, Maraglit examines what our thick relationships are and should be and revives the long-discarded notion of fraternity. “Provocative and illuminating.” —Michael Walzer, Institute for Advanced Study “Witty and wise, precise and profound, On Betrayal is an easy but deep read: it sees life as it really is with all its turmoil.” —The Christian Century “The range of Margalit’s examples is astonishing. . . . He is much more knowledgeable about and comfortable with communities (and in communities) than most philosophers are, and so he is very good at recognizing when they go wrong.” —New York Review of Books

Betrayal has a deep fascination. It captures our imagination in part because we have all betrayed or been betrayed, in small or large ways. Despite this there has been little serious work on the subject. It was this absence that inspired this book.As Akerstrom notes, betrayal is something that most people have encountered at some point in their lives. She defines betrayal as a breach of trust, when information is shared beyond an agreed upon boundary of relations, whether that boundary is a pair of friends or a nation. Taking as a point of departure Simmers work on secrets and secrecy, Akerstrom discusses categories of.betrayal, and conditions that influence its intensity. Sometimes the betrayer is seen as a hero and at other times a traitor; and sometimes there are competing loyalties. In certain situations, she reminds us, it is difficult to avoid betrayal or the perception of betrayal. Akerstrom discusses strategies people employ to avoid betraying, ranging from not telling, to making sure one does not know about something in the first place. With deft precision, she clarifies distinctions and in the process broadens our understanding.Initially inspired by insights arising from her research on the criminal informer, for which she had done in-depth interviews, Akerstrom supplements these with interviews with policemen. She has also drawn from her experiences in the field of social work, particularly with women's and crime shelters. Using biographies, autobiographies and a broad range of literature related to spies, World War II, the McCarthy era, and recent literature on whistle-blowing, Akerstrom has defined a fascinating theme. While her illustrations are sometimes dramatic, she hopes that readers will perceive obvious parallels with their own experiences. Social psychologists, sociologists, criminologists, and others interested in secrecy, secrets, and those who betray them to others will find this an unusual and absorbing volume.

Phillipe Pétain, a tough, uncompromising soldier who rose through the ranks to save France in 1916 Battle of Verdun. Charles de Gaulle, the aristocratic, academic and equally uncompromising soldier who led France to freedom when, decades later, Pétain became a Nazi collaborator. Two giants of the twentieth century who loved each other like father and son until they found themselves on opposing sides in World War II. In 1945 de Gaulle had his oldest friend tried for treason. Their complex relationship - noble, comic and absurd - changed history. Jonathan Lynn's The Patriotic Traitor tells the extraordinary story of these great men as Pétain awaits his verdict. The Patriotic Traitor premiered at the Park Theatre, London, in February 2016.

Is protest broken? Micah White, co-creator of Occupy Wall Street, thinks so. Disruptive tactics have failed to halt the rise of Donald Trump. Movements ranging from Black Lives Matter to environmentalism are leaving activists frustrated. Meanwhile, recent years have witnessed the largest protests in human history. Yet these mass mobilizations no longer change society. Now activism is at a crossroads: innovation or irrelevance. In The End of Protest Micah White heralds the future of activism. Drawing on his unique experience with Occupy Wall Street, a contagious protest that spread to eighty-two countries, White articulates a unified theory of revolution and eight principles of tactical innovation that are destined to catalyze the next generation of social movements. Despite global challenges—catastrophic climate change, economic collapse and the decline of democracy—White finds reason for optimism: the end of protest inaugurates a new era of social change. On the horizon are increasingly sophisticated movements that will emerge in a bid to challenge elections, govern cities and reorient the way we live. Activists will reshape society by forming a global political party capable of winning elections worldwide. In this provocative playbook, White offers three bold, revolutionary scenarios for harnessing the creativity of people from across the political spectrum. He also shows how social movements are created and how they spread, how materialism limits contemporary activism, and why we must re-conceive protest in timelines of centuries, not days. Rigorous, original and compelling, The End of Protest is an exhilarating vision of an all-encompassing revolution of revolution.

In Between War and the State, Van Nguyen-Marshall examines an array of voluntary activities, including mutual-help, professional, charitable, community development, student, women's, and rights organizations active in South Vietnam from 1954 to 1975. By bringing focus to the public lives of South Vietnamese people, Between War and the State challenges persistent stereotypes of South Vietnam as a place without society or agency. Such robust associational life underscores how an active civil society survived despite difficulties imposed by the war, government restrictions, economic hardship, and external political forces. These competing political forces, which included the United States, Western aid agencies, and Vietnamese communist agents, created a highly competitive arena wherein the South Vietnamese state did not have a monopoly on persuasive or coercive power. To maintain its influence, the state sometimes needed to accommodate groups and limit its use of violence. Civil society participants in South Vietnam leveraged their social connections, made alliances, appealed to the domestic and international public, and used street protests to voice their concerns, secure their interests, and carry out their activities.

The 'long 68' saw an extraordinary range of protests across much of the western world. Some of these were genuinely revolutionary - around 10 million French workers struck and the whole state teetered on the brink of collapse. Others were more easily contained, but had profound longer term implications - terrorist groups, feminist collectives, gay rights activists could all trace important roots to 1968. Bill Clinton and even Tony Blair are, in many ways, the product of 68. THE LONG '68 is a striking and original attempt, half a century on, to show how these events, which in some ways still seem so current, stemmed from histories and societies which are in practice now extraordinarily remote from our own time.

From the author of the acclaimed James Brown biography The One comes the first in-depth biography of renowned photographer and filmmaker Robert Frank, best known for his landmark book The Americans. As well-known as Robert Frank the photographer is, few can say they really know Robert Frank the man. Born and raised in wartime Switzerland, Frank discovered the power and allure of photography at an early age and quickly learned that the art meant significantly more to him than the money, success, or fame. The art was all, and he intended to spend a lifetime pursuing it. American Witness is the first comprehensive look at the life of a man who's as mysterious and evasive as he is prolific and gifted. Leaving his rigid Switzerland for the more fluid United States in 1947, Frank found himself at the red-hot social center of bohemian New York in the '50s and '60s, becoming friends with everyone from Jack Kerouac, Allen Ginsberg, and Peter Orlovsky to photographer Walker Evans, actor Zero Mostel, painter Willem de Kooning, filmmaker Jonas Mekas, Bob Dylan, writer Rudy Wirlitzer, jazz musicians Ornette Coleman and Charles Mingus, and more. Frank roamed the country with his young family, taking roughly 27,000 photographs and collecting 83 of them into what is still his most famous work: The Americans. His was an America nobody had seen before, and if it was harshly criticized upon publication for its portrait of a divided country, the collection gradually grew to be recognized as a transformative American vision. And then he turned his back on certain success, giving up photography to reinvent himself as a film and video maker. Frank helped found the American independent cinema of the 1960s and made a legendary film with the Rolling Stones. Today, the nonagenarian is an embodiment of restless creativity and a symbol of what it costs to remain original in America, his life defined by never repeating himself, never being satisfied. American Witness is a portrait of a singular artist and the country that he saw.