[l3mure]

> Some of the tentacles of Total Literary Awareness have been unraveled by literary historian Claire Culleton. Delving into the Bureau’s 234-page file on commercial publisher Henry Holt, she uncovers evidence of Hoover’s “custodial relationship” with the pillars of the Cold War book market.

> Holt employees sent the Bureau all manner of literary foreknowledge, from book proposals to page proofs to advance copies—so much material that an editorial staffer wrote Hoover with the news that “I am beginning to feel like a member of the FBI myself.”

> Predictably, Hoover and his ghostwriters were asked to provide blurbs for The Hidden Russia and other anticommunist titles. Just as often, however, the Bureau was granted uncommon rights of pre-refusal. Holt editor Milt Hill, for example, asked FBI contacts for “advice as to whether we should do or not” a McCarthy autobiography, receiving a green light since it “would be a friendly book from a Bureau standpoint.”

> Books less kind to the Bureau were rejected with its help at Holt and other firms. The manuscript of Fred Cook’s muckraking The FBI Nobody Knows, eventually published in 1964, was refused at Random House (home of The FBI Story) after publisher Bennett Cerf shredded professional ethics by forwarding a copy to Hoover.

> Editorial informants such as Cerf, recruited in the wake of the Lowenthal embarrassment, made it practically impossible to criticize the FBI through a major New York publisher without costly delay. With the FBI fed the minutes of editorial board meetings at Time and Life, Fortune and Look, the Reader’s Digest and the Daily Worker, points along the full spectrum of U.S. print culture were opened to Bureau pre-awareness. To adapt Louis Nichols, there was now most always a body poised to throw itself between the presses.

https://theamericanreader.com/total-literary-awareness-how-t...

Of course that all stopped after the 70s/80s, right?