The Berlin Wall was the symbol of the Cold War. For the first time, this path-breaking book tells the behind-the-scenes story of the communists' decision to build the Wall in 1961. Hope Harrison's use of archival sources from the former East German and Soviet regimes is unrivalled, and from these sources she builds a highly original and provocative argument: the East Germans pushed the reluctant Soviets into building the Berlin Wall. This fascinating work portrays the different approaches favored by the East Germans and the Soviets to stop the exodus of refugees to West Germany. In the wake of Stalin's death in 1953, the Soviets refused the East German request to close their border to West Berlin. The Kremlin rulers told the hard-line East German leaders to solve their refugee problem not by closing the border, but by alleviating their domestic and foreign problems. The book describes how, over the next seven years, the East German regime managed to resist Soviet pressures for liberalization and instead pressured the Soviets into allowing them to build the Berlin Wall. Driving the Soviets Up the Wall forces us to view this critical juncture in the Cold War in a different light. Harrison's work makes us rethink the nature of relations between countries of the Soviet bloc even at the height of the Cold War, while also contributing to ongoing debates over the capacity of weaker states to influence their stronger allies.

A revelatory history of the commemoration of the Berlin Wall and its significance in defining contemporary German national identity.

In the Wall Jumper, real people cross the Wall not to defect but to quarrel with their lovers, see Hollywood movies, and sometimes just because they can't help themselves—the Wall has divided their emotions as much as it has their country.

Traces the history of the Marshall Plan and the efforts to reconstruct western Europe as a bulwark against communist authoritarianism during a two-year period that saw the collapse of postwar U.S.-Soviet relations and the beginning of the Cold War.

In June 1961, Nikita Khrushchev called Berlin "the most dangerous place on earth." He knew what he was talking about. Much has been written about the Cuban Missile Crisis a year later, but the Berlin Crisis of 1961 was more decisive in shaping the Cold War-and more perilous. It was in that hot summer that the Berlin Wall was constructed, which would divide the world for another twenty-eight years. Then two months later, and for the first time in history, American and Soviet fighting men and tanks stood arrayed against each other, only yards apart. One mistake, one nervous soldier, one overzealous commander-and the tripwire would be sprung for a war that could go nuclear in a heartbeat. On one side was a young, untested U.S. president still reeling from the Bay of Pigs disaster and a humiliating summit meeting that left him grasping for ways to respond. It would add up to be one of the worst first-year foreign policy performances of any modern president. On the other side, a Soviet premier hemmed in by the Chinese, East Germans, and hardliners in his own government. With an all-important Party Congress approaching, he knew Berlin meant the difference not only for the Kremlin's hold on its empire-but for his own hold on the Kremlin. Neither man really understood the other, both tried cynically to manipulate events. And so, week by week, they crept closer to the brink. Based on a wealth of new documents and interviews, filled with fresh-sometimes startling-insights, written with immediacy and drama, Berlin 1961 is an extraordinary look at key events of the twentieth century, with powerful applications to these early years of the twenty-first. Includes photographs

A thrilling Cold War narrative of superpower showdowns, media suppression, and two escape tunnels beneath the Berlin Wall. In the summer of 1962, the year after the rise of the Berlin Wall, a group of young West Germans risked prison, Stasi torture, and even death to liberate friends, lovers, and strangers in East Berlin by digging tunnels under the Wall. Then two U.S. television networks heard about the secret projects and raced to be first to document them from the inside. NBC and CBS funded two separate tunnels in return for the right to film the escapes, planning spectacular prime-time specials. President John F. Kennedy, however, was wary of anything that might spark a confrontation with the Soviets, having said, “A wall is better than a war,” and even confessing to Secretary of State Dean Rusk, “We don’t care about East Berlin.” JFK approved unprecedented maneuvers to quash both documentaries, testing the limits of a free press in an era of escalating nuclear tensions. As Greg Mitchell’s riveting narrative unfolds, we meet extraordinary characters: the legendary cyclist who became East Germany’s top target for arrest; the Stasi informer who betrays the “CBS tunnel”; the American student who aided the escapes; an engineer who would later help build the tunnel under the English channel; and the young East Berliner who fled with her baby, then married one of the tunnelers. The Tunnels captures the chilling reach of the Stasi secret police as U.S. networks prepared to “pay for play” but were willing to cave to official pressure, the White House was eager to suppress historic coverage, and ordinary people in dire circumstances became subversive. The Tunnels is breaking history, a propulsive read whose themes still reverberate.

The cultural Cold War between the Soviet Union and the West was without precedent. At the outset of this original and wide-ranging historical survey, David Caute establishes the nature of the extraordinary cultural competition set up post-1945 between Moscow, New York, London and Paris, with the most intimate frontier war staged in the city of Berlin. Using sources in four languages, the author of The Fellow-Travellers and The Great Fear explores the cultural Cold War as it rapidly penetrated theatre, film, classical music, popular music, ballet, painting and sculpture, as well as propaganda by exhibition. Major figures central to Cold War conflict in the theatre include Brecht, Miller, Sartre, Camus, Havel, Ionesco, Stoppard and Konstantin Simonov, whose inflammatory play, The Russian Question, occupies a chapter of its own based on original archival research. Leading film directors involved included Eisenstein, Romm, Chiarueli, Aleksandrov, Kazan, Tarkovsky and Wajda. In the field of music, the Soviet Union in the Zhdanov era vigorously condemned 'modernism', 'formalism', and the avant-garde. A chapter is devoted to the intriguing case of Dmitri Shostakovich, and the disputed authenticity of his 'autobiography' Testimony. Meanwhile in the West the Congress for Cultural Freedom was sponsoring the modernist composers most vehemently condemned by Soviet music critics; Stravinsky, Schoenberg, Hindemith among them. Despite constant attempts at repression, the Soviet Party was unable to check the appeal of jazz on the Voice of America, then rock music, to young Russians. Visits to the West by the Bolshoi and Kirov ballet companines, the pride of the USSR, were fraught with threats of cancellation and the danger of defection. Considering the case of Rudolf Nureyev, Caute pours cold water on overheated speculations about KGB plots to injure him and other defecting dancers. Turning to painting, where socialist realism prevailed in Russia, and the impressionist heritage was condemned, Caute explores the paradox of Picasso's membership of the French Communist Party. Re-assessing the extent of covert CIA patronage of abstract expressionism (Pollock, De Kooning), Caute finds that the CIA's role has been much exaggerated, likewise the dominance of the New York School. Caute challenges some recent, one-dimensional, American accounts of 'Cold War culture', which ignore not only the Soviet performance but virtually any cultural activity outside the USA. The West presented its cultural avant-garde as evidence of liberty, even through monochrome canvases and dodecaphonic music appealed only to a minority audience. Soviet artistic standards and teaching levels were exceptionally high, but the fear of freedom and innovation virtually guaranteed the moral defeat which accelerated the collapse of the Soviet Union.

This book is a history of everyday life and explains how and why Berlin became the symbolic capital of the Cold War. Paul Steege anchors his account of this emerging global conflict in the terrain of a city literally shattered by World War II.

'As convoluted and deadly as the plot of a novel by John le Carre, but all too real' Daily Mail, Must Reads 'With a gripping narrative and vivid interviews with those on all sides whose lives were directly affected by that grim symbol of the East-West divide that poisoned Europe for almost half a century, [MacGregor] has made an important contribution to the history of our times' Jonathan Dimbleby 'Captures brilliantly and comprehensively both the danger and exhilaration that I and other reporters, soldiers, and people experienced intersecting with the wall - a must-read for anyone who wants to understand the Europe we have inherited' Jon Snow A powerful, fascinating, and ground-breaking history of Checkpoint Charlie, the legendary and most important military gate on the border of East and West Berlin where the United States and her allies confronted the USSR during the Cold War. As the thirtieth anniversary of the fall of the Berlin Wall approaches in 2019, Iain MacGregor captures the mistrust, oppression, paranoia, and fear that gripped the city throughout this period. Checkpoint Charlie is about the nerve-wracking confrontation between the West and the Soviet Union that contains never-before-heard interviews with the men who built and dismantled the Wall; lovers who crossed it; relatives and friends who lost family trying to escape over it; German, British, French, and Russian soldiers who guarded its checkpoints; CIA, MI6 and Stasi operatives who oversaw secret operations across its borders; politicians whose ambitions shaped it; journalists who recorded its story; and many more whose living memories contributed to the full story of Checkpoint Charlie. A brilliant work of historical journalism, Checkpoint Charlie is an invaluable record of this period.