Best-selling journalist Antony Loewenstein trav­els across Afghanistan, Pakistan, Haiti, Papua New Guinea, the United States, Britain, Greece, and Australia to witness the reality of disaster capitalism. He discovers how companies such as G4S, Serco, and Halliburton cash in on or­ganized misery in a hidden world of privatized detention centers, militarized private security, aid profiteering, and destructive mining.

Disaster has become big business. Talking to immigrants stuck in limbo in Britain or visiting immigration centers in America, Loewenstein maps the secret networks formed to help cor­porations bleed what profits they can from economic crisis. He debates with Western contractors in Afghanistan, meets the locals in post-earthquake Haiti, and in Greece finds a country at the mercy of vulture profiteers. In Papua New Guinea, he sees a local commu­nity forced to rebel against predatory resource companies and NGOs.

What emerges through Loewenstein’s re­porting is a dark history of multinational corpo­rations that, with the aid of media and political elites, have grown more powerful than national governments. In the twenty-first century, the vulnerable have become the world’s most valu­able commodity. Disaster Capitalism is published by Verso in 2015 and in paperback in January 2017.

Profits_of_doom_cover_350Vulture capitalism has seen the corporation become more powerful than the state, and yet its work is often done by stealth, supported by political and media elites. The result is privatised wars and outsourced detention centres, mining companies pillaging precious land in developing countries and struggling nations invaded by NGOs and the corporate dollar. Best-selling journalist Antony Loewenstein travels to Afghanistan, Pakistan, Haiti, Papua New Guinea and across Australia to witness the reality of this largely hidden world of privatised detention centres, outsourced aid, destructive resource wars and militarized private security. Who is involved and why? Can it be stopped? What are the alternatives in a globalised world? Profits of Doom, published in 2013 and released in an updated edition in 2014, challenges the fundamentals of our unsustainable way of life and the money-making imperatives driving it. It is released in an updated edition in 2014.
forgodssakecover Four Australian thinkers come together to ask and answer the big questions, such as: What is the nature of the universe? Doesn't religion cause most of the conflict in the world? And Where do we find hope?   We are introduced to different belief systems – Judaism, Christianity, Islam – and to the argument that atheism, like organised religion, has its own compelling logic. And we gain insight into the life events that led each author to their current position.   Jane Caro flirted briefly with spiritual belief, inspired by 19th century literary heroines such as Elizabeth Gaskell and the Bronte sisters. Antony Loewenstein is proudly culturally, yet unconventionally, Jewish. Simon Smart is firmly and resolutely a Christian, but one who has had some of his most profound spiritual moments while surfing. Rachel Woodlock grew up in the alternative embrace of Baha'i belief but became entranced by its older parent religion, Islam.   Provocative, informative and passionately argued, For God's Sakepublished in 2013, encourages us to accept religious differences, but to also challenge more vigorously the beliefs that create discord.  
After Zionism, published in 2012 and 2013 with co-editor Ahmed Moor, brings together some of the world s leading thinkers on the Middle East question to dissect the century-long conflict between Zionism and the Palestinians, and to explore possible forms of a one-state solution. Time has run out for the two-state solution because of the unending and permanent Jewish colonization of Palestinian land. Although deep mistrust exists on both sides of the conflict, growing numbers of Palestinians and Israelis, Jews and Arabs are working together to forge a different, unified future. Progressive and realist ideas are at last gaining a foothold in the discourse, while those influenced by the colonial era have been discredited or abandoned. Whatever the political solution may be, Palestinian and Israeli lives are intertwined, enmeshed, irrevocably. This daring and timely collection includes essays by Omar Barghouti, Jonathan Cook, Joseph Dana, Jeremiah Haber, Jeff Halper, Ghada Karmi, Antony Loewenstein, Saree Makdisi, John Mearsheimer, Ahmed Moor, Ilan Pappe, Sara Roy and Phil Weiss.
The 2008 financial crisis opened the door for a bold, progressive social movement. But despite widespread revulsion at economic inequity and political opportunism, after the crash very little has changed. Has the Left failed? What agenda should progressives pursue? And what alternatives do they dare to imagine? Left Turn, published by Melbourne University Press in 2012 and co-edited with Jeff Sparrow, is aimed at the many Australians disillusioned with the political process. It includes passionate and challenging contributions by a diverse range of writers, thinkers and politicians, from Larissa Berendht and Christos Tsiolkas to Guy Rundle and Lee Rhiannon. These essays offer perspectives largely excluded from the mainstream. They offer possibilities for resistance and for a renewed struggle for change.
The Blogging Revolution, released by Melbourne University Press in 2008, is a colourful and revelatory account of bloggers around the globe why live and write under repressive regimes - many of them risking their lives in doing so. Antony Loewenstein's travels take him to private parties in Iran and Egypt, internet cafes in Saudi Arabia and Damascus, to the homes of Cuban dissidents and into newspaper offices in Beijing, where he discovers the ways in which the internet is threatening the ruld of governments. Through first-hand investigations, he reveals the complicity of Western multinationals in assisting the restriction of information in these countries and how bloggers are leading the charge for change. The blogging revolution is a superb examination about the nature of repression in the twenty-first century and the power of brave individuals to overcome it. It was released in an updated edition in 2011, post the Arab revolutions, and an updated Indian print version in 2011.
The best-selling book on the Israel/Palestine conflict, My Israel Question - on Jewish identity, the Zionist lobby, reporting from Palestine and future Middle East directions - was released by Melbourne University Press in 2006. A new, updated edition was released in 2007 (and reprinted again in 2008). The book was short-listed for the 2007 NSW Premier's Literary Award. Another fully updated, third edition was published in 2009. It was released in all e-book formats in 2011. An updated and translated edition was published in Arabic in 2012.

US-funded, Cold War propaganda still echoes today

My just published article in the Los Angeles Review of Books:

Finks
How the CIA Tricked The World’s Best Writers

By Joel Whitney

Published 01.10.2017
OR Books
336 Pages

After the terror attacks of September 11, 2001, fear gripped the United States, and it wasn’t only conservatives who wanted to publicly show that they were committed to patriotic ideals. Filmmakers might be excused if, in that context, some nationalistic, propagandistic images made their way into theaters. But long before that fateful September day, liberal Hollywood had a long relationship with the CIA, the 1990s having just seen an obvious upsurge in collaboration. Former clandestine officer Chase Brandon joined the CIA in 1996 as a liaison between Hollywood studios and production companies, with the intent of crafting a positive image of the covert department, founded in 1947, that has overthrown dozens of regimes around the world since the 1940s and caused the death of innumerable people. Former presidential candidate Bernie Sanders once called for the agency to be abolished.

Brandon later told the Guardian that the CIA had “always been portrayed erroneously as evil and Machiavellian. It took us a long time to support projects that portray us in the light we want to be seen in.”

After 9/11, Hollywood rushed to embrace the CIA. Joel Surnow, creator of the pro-torture TV show 24, gushed to The New Yorkerin 2007 that “people in the [Bush] Administration love the series, too. It’s a patriotic show. They should love it.” The program circulated widely among US troops in Iraq and at Guantanamo Bay. Blatant propaganda, the series argued repeatedly that torture produced actionable intelligence, which has long been understood to be untrue, and which was dismissed as a lie by the landmark 2014 Senate report on torture. But it was too late, because the toxic message had already seeped into the bloodstream of the American public and US forces. Torture is now viewed by many as a legitimate tool in the arsenal of the US government. It’s why President-elect Trump can claim he may accelerate its use.

The Oscar-winning film Zero Dark Thirty had direct CIA assistance in its production and script. The central message of the movie, though, was false: that torture assisted the US in finding Osama Bin Laden. Both director Kathryn Bigelow and scriptwriter Mark Boal were given unprecedented access to CIA personnel and facilities, and they welcomed it. For the Hollywood duo, the CIA was the perfect host to strengthen their belief that the men and women of the CIA were committed to the noble pursuit of fighting terror in every corner of the globe. No matter that this “war on terror” involved many illegalities, such as extraordinary rendition, torture, black sites, and prisoner abuse. The risk of global terrorism is now far higher due to these immoral acts.

The CIA must have been pleased with the final product: Zero Dark Thirty was a huge commercial and critical success that solidified the legitimacy of the agency’s secretive work. Truth got lost on the cutting room floor.

In Finks: How the CIA Tricked The World’s Best Writers, Joel Whitney, co-founder and editor-at-large of Guernica: A Magazine of Arts and Politics, has written an essential book on a small but key part of the prehistory of this hijacking of culture: the story of how TheParis Review and other magazines from the 1950s on were funded and backed by the CIA and became a central force in pushing leading writers of the day to produce propaganda for a hungry yet unsuspecting audience. The CIA even developed a large art collection in its curious approach to cultural hegemony.

Whitney explains in his introduction that the CIA-funded Congress for Cultural Freedom, along with backing publications in Britain, India, Germany, France, and beyond, helped The Paris Review play a

“small role in the Cold War’s marshaling of culture against the Soviets […] We understand vaguely that our media are linked to our government still today, and to government’s stated foreign policy; and this understanding is enhanced by eavesdropping on The Paris Review’s bit part in this massive secret performance that drove a nation for nearly two decades, and whose hangover drives us still.”

Whitney succinctly explains how, during the Cold War, the US government was constantly worried about citizen morale and a fear that some would be attracted to the Soviet system. “Militant liberty” was the term for inserting propaganda into magazines, film scripts, and popular culture, pushing American-style values and decrying life under Communism in Central America, the Middle East, and Southeast Asia, as well as at home. The Pentagon and other government arms believed that it was possible for populations of these areas to ignore US violence if they read about the supposed glories of life in small town USA. Little has changed in the mindset of today’s propagandists, who still aim to deceive people through wartime lies.

The CIA-backed coup of Guatemala in 1954 was a classic case of misguided and criminal policy dressed up as a noble act. Whitney shows how any number of US publications were pushed to support it, despite vast evidence of its failure. A magazine called The New Leader encouraged US meddling in the country, claiming a Soviet plot to design land reforms unfavorable to US interests. The result was decades of instability and violence in the nation, culminating in the genocide of the 1980s by US-trained thug Efraín Ríos Montt.

Whitney’s writing burns with indignation at the fact that few cultural figures who worked with the CIA ever faced accountability for their actions. Like journalists on the White House drip-feed today, these writers’ work helped legitimize deluded US policies that had direct and devastating impacts on millions of people’s lives. By the late 1960s, with the United States’s antiwar movement surging and the Vietnam conflict increasingly unpopular, the antiwar press seriously challenged the establishment points of view. Money didn’t always buy success or moral superiority, and the CIA struggled to win the battle of ideas. But this resistance proved “disposable and ephemeral” as the CIA renewed its efforts in film and television.

Perhaps the strangest and most compelling of Whitney’s revelations are how the founding managing editor of The Paris Review, John Train, worked with the CIA-backed mujahideen in Afghanistan, during the 1980s, to finance a film on the war and against the Soviet presence. The author correctly argues that Train, in a small way, played a role in backing the very forces that eventually founded al-Qaeda.

Whitney concludes,

“From Guatemala to Afghanistan, the American record on Cold War invasion and intervention had been a long string of failures that had to be rewritten by the propagandists. These little magazines, the television crews instrumentalized for warfare, and other secret propaganda instruments played an important role in erasing — and collectively forgetting — these mistakes.”

I think Whitney is being too kind here. These were not CIA “mistakes” but in fact crimes conducted with the full backing of the state.

Finks is a fine historical book, reviewing propaganda’s long and tortuous history in the world of art. With huge contemporary relevance, Whitney recalls what many look back on as a far more innocent media age, before the internet, and yet the effects of government-backed lies were just as deadly then as now.

Whitney urges The Paris Review and other similarly tainted magazines to honestly examine the past without fear or favor. That radical accounting of history is yet to be realized. In the age of President-elect Donald Trump and fake news, truth is an increasingly valuable commodity, agreed upon and deeply contested by nearly equal numbers of people.

Antony Loewenstein is a Jerusalem-based independent journalist, Guardian contributor, and author of many books, including his latest, Disaster Capitalism: Making A Killing Out Of Catastrophe (Verso, 2015).

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