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Did Plimpton realize that he was making the defiantly leftist Hemingway into a US propaganda tool, even vaguely? Aldrich, for one, believed that Plimpton knew the CCF was a CIA front. The magazine wasn’t just engaged in the relatively harmless practice of syndicating Western authors for positive propaganda. The Paris Review had envisioned a symposium around the Pasternak controversy of late 1958, when the Soviets banned the publication in Russia of the original Russian text of his novel Doctor Zhivago. The CIA schemed to smuggle an edition into Russia, via the World’s Fair in Brussels, while Plimpton jumped at the chance to juice the controversy, writing to his colleagues that the Congress for Cultural Freedom might fund brochures and create a publicity campaign around it. When they first discussed it, The Paris Review’s editors, one of them transitioning to a position at the Congress for Cultural Freedom proper, may not have known how much danger Pasternak was in. Foreign visitors represented enough of a threat that the Soviets had Pasternak place a sign in English in front of his house that read: “no foreign visitors allowed.”
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