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Isaac Babel

Isaac Emmanuilovich Babel (Исаак Эммануилович Бабель; Ісак Еммануїлович Бабель; 13 July 1894 – 27 January 1940) was a Soviet writer, journalist, playwright, and literary translator. He is best known as the author of Red Cavalry and Odessa Stories, and has been acclaimed as "the greatest prose writer of Russian Jewry". Babel was arrested by the NKVD on 15 May 1939 on fabricated charges of terrorism and espionage, and executed on 27 January 1940.

Early years
Isaac Babel was born in the Moldavanka section of Odessa in the Russian Empire, to Jewish parents, Manus and Feyga Babel. Soon after his birth, the Babel family moved to the port city of Nikolaev. They later returned to live in a more fashionable part of Odessa in 1906. Babel used Moldavanka as the setting for Odessa Stories and the play Sunset.

Although Babel's short stories present his family as "destitute and muddle-headed", they were relatively well-off. According to his autobiographical statements, Babel's father, Manus, was an impoverished shopkeeper. Babel's daughter, Nathalie Babel Brown, stated that her father fabricated this and other biographical details in order to "present an appropriate past for a young Soviet writer who was not a member of the Communist Party." In fact, Babel's father was a dealer in farm implements and owned a large warehouse.

In his pre-teens, Babel hoped to get into the preparatory class of the Nicholas I Odessa Commercial School. However, he first had to overcome the Jewish quota. Despite the fact that Babel received passing grades, his place was given to another boy, whose parents had bribed school officials. As a result, he was schooled at home by private tutors.

In addition to regular school subjects, Babel studied the Talmud and music. According to Cynthia Ozick, "'Though he was at home in Yiddish and Hebrew, and was familiar with the traditional texts and their demanding commentaries, he added to these a lifelong fascination with Maupassant and Flaubert. His first stories were composed in fluent literary French. The breadth and scope of his social compass enabled him to see through the eyes of peasants, soldiers, priests, rabbis, children, artists, actors, women of all classes. He befriended whores, cabdrivers, jockeys; he knew what it was like to be penniless, to live on the edge and off the beaten track.'"

His attempt to enroll at Odessa University was blocked for ethnic reasons. Babel then entered the Kiev Institute of Finance and Business. There he met Yevgenia Borisovna Gronfein, daughter of a wealthy industrialist, whom he eventually married.

Early writings

In 1915, Babel graduated and moved to Petrograd, in defiance of laws restricting Jews from living outside the Pale of Settlement. Babel was fluent in French, besides Russian, Ukrainian and Yiddish, and his earliest works were written in French. However, none of his stories in that language have survived.

In St. Petersburg, Babel met Maxim Gorky, who published some of Babel's stories in his literary magazine Letopis (Летопись, "Chronicle"). Gorky advised the aspiring writer to gain more life experience; Babel wrote in his autobiography, "I owe everything to that meeting and still pronounce the name of Alexey Maksimovich Gorky with love and admiration." One of his most famous semi-autobiographical short stories, "The Story of My Dovecote" (История моей голубятни, Istoriya moey golubyatni), was dedicated to Gorky.

There is very little information about Babel's whereabouts during and after the October Revolution. According to one of his stories, "The Road" ("Дорога", "Doroga"), he served on the Romanian front until early December 1917. In his autobiography, Babel says he worked as a translator for the Petrograd Cheka, likely in 1917. In March 1918 he worked in Petrograd as a reporter for Gorky's Menshevik newspaper, Novaya zhizn (Новая жизнь, "New Life"). Babel continued publishing there until Novaya zhizn was forcibly closed on Lenin's orders in July 1918.

Babel later recalled, "'My journalistic work gave me a lot, especially in the sense of material. I managed to amass an incredible number of facts, which proved to be an invaluable creative tool. I struck up friendships with morgue attendants, criminal investigators, and government clerks. Later, when I began writing fiction, I found myself always returning to these 'subjects', which were so close to me, in order to put character types, situations, and everyday life into perspective. Journalistic work is full of adventure.'"

October's Withered Leaves
During the Russian Civil War, which led to the Party's monopoly on the printed word, Babel worked for the publishing house of the Odessa Gubkom (regional CPSU Committee), in the food procurement unit (see his story "Ivan-and-Maria"), in the Narkompros (Commissariat of Education), and in a typographic printing office.

After the end of the Civil War, Babel worked as a reporter for The Dawn of the Orient (Заря Востока) a Russian-language newspaper published in Tbilisi. In one of his articles, he expressed regret that Lenin's controversial New Economic Policy had not been more widely implemented.

Babel married Yevgenia Gronfein on August 9, 1919, in Odessa. In 1929, their marriage produced a daughter, Nathalie Babel Brown, who grew up to become a scholar and editor of her father's life and work. By 1925, the Babels' marriage was souring. Yevgenia Babel, feeling betrayed by her husband's infidelities and motivated by her increasing hatred of communism, emigrated to France. Babel saw her several times during his visits to Paris. During this period, he also entered into a long-term romantic relationship with Tamara Kashirina. Together, they had a son, Emmanuil Babel, who was later adopted by his stepfather Vsevolod Ivanov. Emmanuil's name was changed to Mikhail Ivanov, and he later became a noted artist.

After the final break with Tamara, Babel briefly attempted to reconcile with Yevgenia and they had their daughter Natalie in 1929. In 1932, Babel met a Siberian-born Gentile named Antonina Pirozhkova (1909–2010). In 1934, after Babel failed to convince his wife to return to Moscow, he and Antonina began living together. In 1939, their common law marriage produced a daughter, Lydia Babel.

According to Pirozhkova, "'Before I met Babel, I used to read a great deal, though without any particular direction. I read whatever I could get my hands on. Babel noticed this and told me, 'Reading that way will get you nowhere. You won't have time to read the books that are truly worthwhile. There are about a hundred books that every educated person needs to read. Sometime I'll try to make you a list of them.' And a few days later he brought me a list. There were ancient writers on it, Greek and Roman—Homer, Herodotus, Lucretius, Suetonius—and also all the classics of later European literature, starting with Erasmus, Rabelais, Cervantes, Swift, and Coster, and going on to 19th century writers such as Stendhal, Mérimée, and Flaubert.'"

Red Cavalry
In 1920, Babel was assigned to Komandarm (Army Commander) Semyon Budyonny's 1st Cavalry Army, witnessing a military campaign of the Polish-Soviet War of 1920. He documented the horrors of the war he witnessed in the 1920 Diary (Конармейский Дневник 1920 года, Konarmeyskiy Dnevnik 1920 Goda), which he later used to write Red Cavalry (Конармия, Konarmiya), a collection of short stories such as "Crossing the River Zbrucz" and "My First Goose". The horrific violence of Red Cavalry seemed to harshly contrast the gentle nature of Babel himself.

Babel wrote: "Only by 1923 I have learned how to express my thoughts in a clear and not very lengthy way. Then I returned to writing." Several stories that were later included in Red Cavalry were published in Vladimir Mayakovsky's LEF ("ЛЕФ") magazine in 1924. Babel's honest description of the brutal realities of war, far from revolutionary propaganda, earned him some powerful enemies. According to recent research, Marshal Budyonny was infuriated by Babel's unvarnished descriptions of marauding Red Cossacks and demanded Babel's execution without success. However, Gorky's influence not only protected Babel but also helped to guarantee publication. In 1929 Red Cavalry was translated into English by J. Harland and later was translated into a number of other languages.

Argentine author and essayist Jorge Luis Borges once wrote of Red Cavalry, "The music of its style contrasts with the almost ineffable brutality of certain scenes. One of the stories—'Salt'—enjoys a glory seemingly reserved for poems and rarely attained by prose: many people know it by heart."

Odessa Stories
Back in Odessa, Babel started to write Odessa Stories, a series of short stories set in the Odessan ghetto of Moldavanka. Published individually between 1921 and 1924 and collected into a book in 1931, the stories describe the life of Jewish gangsters, both before and after the October Revolution. Many of them directly feature the fictional mob boss Benya Krik, loosely based on the historical figure Mishka Yaponchik. Benya Krik is one of the great anti-heroes of Russian literature. These stories were used as the basis for the 1927 film Benya Krik, and the stage play Sunset, which centers on Benya Krik's self-appointed mission to right the wrongs of Moldavanka. First on his list is to rein in his alcoholic, womanizing father, Mendel.

According to Nathalie Babel Brown, "'Sunset premiered at the Baku Worker's Theatre on October 23, 1927, and played in Odessa, Kiev, and the celebrated Moscow Art Theatre. The reviews, however, were mixed. Some critics praised the play's 'powerful anti-bourgeois stance and its interesting 'fathers and sons' theme. But in Moscow, particularly, critics felt that the play's attitude toward the bourgeoisie was contradictory and weak. Sunset closed, and was dropped from the repertoire of the Moscow Art Theatre."

However, Sunset continued to have admirers. In a 1928 letter to his White emigre father, Boris Pasternak wrote, "Yesterday, I read Sunset, a play by Babel, and almost for the first time in my life I found that Jewry, as an ethnic fact, was a phenomenon of positive, unproblematic importance and power. ... I should like you to read this remarkable play..."

According to Pirozhkova, filmmaker Sergei Eisenstein was also an admirer of Sunset and often compared it to the writings of Émile Zola for, "illuminating capitalist relationships through the experience of a single family." Eisenstein was also quite critical of the Moscow Art Theatre, "for its weak staging of the play, particularly for failing to convey to the audience every single word of its unusually terse text."

Maria
Babel's play Maria candidly depicts both political corruption, prosecution of the innocent, and black marketeering within Soviet society. Noting the play's implicit rejection of socialist realism, Maxim Gorky accused his friend of having a "Baudelairean predilection for rotting meat." Gorky further warned his friend that "political inferences" would be made "that will be personally harmful to you." According to Pirozhkova, "'Once Babel went to the Moscow Art Theater when his play Mariya was being given its first reading, and when he returned home he told me that all the actresses had been impatient to find out what the leading female role was like and who would be cast in it. It turned out that there was no leading female character present on the stage in this play. Babel thought that the play had not come off well, but ... he was always critical of his own work.'" Although intended to be performed in 1935, the Maria's performance was cancelled by the NKVD during rehearsals. Despite its popularity in the West, Maria was not performed in Russia until after the dissolution of the Soviet Union.

Carl Weber, a former disciple of Bertolt Brecht, directed Maria at Stanford University in 2004. According to Weber, "'The play is very controversial. [It] shows the stories of both sides clashing with each other during the Russian Civil War—the Bolsheviks and the old society members—without making a judgment one way or another. Babel’s opinion on either side is very ambiguous, but he does make the statement that what happened after the Bolshevik Revolution may not have been the best thing for Russia.'"

Life in the 1930s
In 1930, Babel travelled in Ukraine and witnessed the brutality of forced collectivisation and dekulakisation. Although he never made a public statement about this, he privately confided in Antonina, "'The bounty of the past is gone—it is due to the famine in Ukraine and the destruction of the village across our land.'"

As Stalin tightened his grip on the Soviet intelligentsia and decreed that all writers and artists must conform to socialist realism, Babel increasingly withdrew from public life. During the campaign against "Formalism", Babel was publicly denounced for low productivity. At the time, many other Soviet writers were terrified and frantically rewrote their past work to conform to Stalin's wishes. However, Babel was unimpressed and confided in his protégé, the writer Ilya Ehrenburg, "In six months time, they'll leave the formalists in peace and start some other campaign."

At the first congress of the Union of Soviet Writers (1934), Babel noted ironically, that he was becoming "the master of a new literary genre, the genre of silence." American Max Eastman describes Babel's increasing reticence as an artist in a chapter called "The Silence of Isaac Babyel" in his 1934 book Artists in Uniform. However, according to Nathalie Babel Brown, his life was tolerable: "'The young writer burst upon the literary scene and instantly became the rage in Moscow. The tradition in Russia being to worship poets and writers, Babel soon became one of the happy few, a group that included Soviet writers who enjoyed exceptional status and privileges in an otherwise impoverished and despotic country. In the late 1930s, he was given a villa in the writer's colony of Peredelkino, outside Moscow. No secret was ever made of his having a wife and daughter in Paris. At the same time, hardly anyone outside of Moscow knew of two other children he had fathered. As a matter of fact, Babel had many secrets, lived with many ambiguities and contradictions, and left many unanswered questions behind him.'"

In 1932, after numerous requests, he was permitted to visit his estranged wife Yevgenia in Paris. While visiting his wife and their daughter Nathalie, Babel agonized over whether or not to return to Soviet Russia. In conversations and letters to friends, he expressed a longing of being "a free man," while also expressing fear at no longer being able to make a living solely through writing. On July 27, 1933, Babel wrote a letter to Yuri Annenkov, stating that he had been summoned to Moscow and was leaving immediately.

Babel's common-law wife, Antonina Pirozhkova, recalled this era, "'Babel remained in France for so long that it was rumored in Moscow that he was never returning. When I wrote to him about this, he wrote back saying, 'What can people, who do not know anything, possibly say to you, who knows everything?' Babel wrote from France almost daily. I accumulated many letters from him during his 11-month absence. When Babel was arrested in 1939, all of these letters were confiscated and never returned to me.'"

After his return to the Soviet Union, Babel decided to move in with Pirozhkova, beginning a common law marriage which would ultimately produce a daughter, Lidya Babel. He also collaborated with Sergei Eisenstein on the film Bezhin Meadow, about Pavlik Morozov, a child informant for the Soviet secret police. Babel also worked on the screenplays for several other Stalinist propaganda films.

According to Nathalie Babel Brown, "Babel came to Paris in the summer of 1935, as part of the delegation of Soviet writers to the International Congress of Writers for the Defense of Culture and Peace. He probably knew this would have been his last chance to remain in Europe. As he had done numerous times during the last ten years, he asked my mother to return with him to Moscow. Although he knew the general situation was bad, he nevertheless described to her the comfortable life that the family could have there together. It was the last opportunity my mother had to give a negative answer, and she never forgot it. Perhaps it helped her later on to be proven completely right in her fears and her total lack of confidence in the Soviet Union. My mother described to me these last conversations with my father many times."

Arrest and execution

On May 15, 1939, Antonina Pirozhkova was awakened by four NKVD agents pounding upon the door of their Moscow apartment. Although surprised, she agreed to accompany them to Babel's dacha in Peredelkino. Babel was then placed under arrest. According to Pirozhkova: "In the car, one of the men sat in back with Babel and me while the other one sat in front with the driver. 'The worst part of this is that my mother won't be getting my letters', and then he was silent for a long time. I could not say a single word. Babel asked the secret policeman sitting next to him, 'So I guess you don't get too much sleep, do you?' And he even laughed. As we approached Moscow, I said to Babel, 'I'll be waiting for you, it will be as if you've gone to Odessa... only there won't be any letters....' He answered, 'I ask you to see that the child not be made miserable.' "But I don't know what my destiny will be." At this point, the man sitting beside Babel said to me, "We have no claims whatsoever against you." We drove to the Lubyanka Prison and through the gates. The car stopped before the massive, closed door where two sentries stood guard. Babel kissed me hard and said, "Someday we'll see each other..." And without looking back, he got out of the car and went through that door."

According to Nadezhda Mandelstam, Babel's arrest became the subject of an urban legend within the NKVD. NKVD agents, she explains, were fond of "telling stories about the risks they ran" in arresting "enemies of the people". Babel had, according to NKVD lore, "seriously wounded one of our men" while "resisting arrest". Mrs. Mandelstam contemptuously declared, "Whenever I hear such tales I think of the tiny hole in the skull of Isaac Babel, a cautious, clever man with a high forehead, who probably never once in his life held a pistol in his hands."

According to Peter Constantine, from the day of his arrest, Isaac Babel "became a nonperson in the Soviet Union. His name was blotted out, removed from literary dictionaries and encyclopedias, and taken off school and university syllabi. He became unmentionable in any public venue. When the film director Mark Donskoi's famous Gorky trilogy premiered the following year, Babel, who had worked on the screenplay, had been removed from the credits."

According to his file, "Case #419, Babel, I.E.", the writer was held at the Lubyanka and Butyrka Prisons for a total of eight months as a case was built against him for Trotskyism, terrorism, and spying for Austria and France. At his initial interrogations, "Babel began by adamantly denying any wrongdoing, but then after three days he suddenly 'confessed' to what his interrogator was suggesting and named many people as co-conspirators. In all likelihood, he was tortured, almost certainly beaten." His interrogators included Boris Rodos, who had a reputation as a particularly brutal torturer, even by the standards of the time, and Lev Schwartzmann, who tortured the renowned theatre director Vsevolod Meyerhold. Among those he accused of conspiring with him were his close friends Sergei Eisenstein, Solomon Mikhoels, and Ilya Ehrenburg.

Despite months of pleading and letters sent directly to Beria, Babel was denied access to his unpublished manuscripts. In October 1939, Babel was again summoned for interrogation and denied all his previous testimony. A statement was recorded, "I ask the inquiry to take into account that, though in prison, I committed a crime. I slandered several people." This led to further delays as the NKVD frantically attempted to salvage their cases against Mikhoels, Ehrenburg, and Eisenstein.

On 16 January 1940, Lavrentiy Beria presented Stalin with a list of 457 'enemies of the party and the soviet regime' who were in custody, with a recommendation that 346, including Isaac Babel, should be shot. According to Babel's daughter, Nathalie Babel Brown, his trial took place on January 26, 1940, in one of Lavrenti Beria's private chambers. It lasted about twenty minutes. The sentence had been prepared in advance and without ambiguity: death by firing squad, to be carried out immediately. He was shot at 1:30 am on 27 January 1940.

Babel's last recorded words in the proceedings were: I am innocent. I have never been a spy. I never allowed any action against the Soviet Union. I accused myself falsely. I was forced to make false accusations against myself and others... I am asking for only one thing—let me finish my work. He was shot the next day, and his body was thrown into a communal grave. All of this information was revealed in the early 1990s. According to Simon Sebag Montefiore, Babel's ashes were buried with those of Nikolai Yezhov and several other victims of the Great Purge in a common grave at the Donskoy Cemetery. After the dissolution of the Soviet Union, a plaque was placed there which reads, "Here lie buried the remains of the innocent, tortured, and executed victims of political repressions. May they never be forgotten."

According to the early official Soviet version, Isaac Babel died in the Gulag on March 17, 1941. Peter Constantine, who translated Babel's complete writings into English, has described the writer's execution as "one of the great tragedies of 20th century literature."

Rehabilitation
On December 23, 1954, during the Khrushchev thaw, a typed half sheet of paper ended the official silence. It read, "The sentence of the military collegium dated 26 January 1940 concerning Babel, I.E., is revoked on the basis of newly discovered circumstances and the case against him is terminated in the absence of elements of a crime."

Babel's works were once again widely published and praised. His public rehabilitation as a writer was initiated with the help of his friend and admirer Konstantin Paustovsky, and a volume of Babel's selected works was published in 1957 with a laudatory preface by Ilya Ehrenburg. New collections of selected works by Babel were published in 1966, 1989 and 1990. Still, certain "taboo" parts such as mentions of Trotsky were censored until the glasnost period shortly before the dissolution of the Soviet Union. The first collections of the complete works of Babel were prepared and published in Russia in 2002 and 2006.

Lost writings
After his rehabilitation, Antonina Pirozhkova spent almost five decades campaigning for the return of Babel's manuscripts. These included Babel's translations of Sholem Aleichem's writings from Yiddish into Russian, as well as several unpublished short stories and novellas. According to Pirozhkova, "As Babel put it, he worked on Sholem Aleichem to 'feed his soul.' Other 'food for the soul' came from writing new stories and the novella 'Kolya Topuz.' He told me, 'I'm writing a novella in which the main character is a former Odessa gangster like Benia Krik. His name is Kolya Topuz and so far, at least, that's also the name of the novella. I want to show how this sort of man adapts to Soviet reality. Kolya Topuz works on a collective farm during collectivization, and then he goes to work in a Donbass coal mine. But since he has the mentality of a gangster, he's constantly breaking out of the limits of normal life, which leads to numerous funny situations.' Babel spent a great deal of time writing, and he finished many works. Only his arrest prevented his new works from coming out.'"

However, even requests by Ilya Ehrenburg and the Union of Soviet Writers produced no answers from the Soviet State. The truth was not revealed until the advent of Perestroika.

According to Pirozhkova, "'In 1987, when so much was changing in our country, I again made an official request that the KGB search for Babel's manuscripts in its underground storage areas. In response to my request, I was visited by two KGB agents who informed me that the manuscripts had been burned. 'And so you've come in person to avoid giving me a written response to my request, am I correct?' 'How could you think such a thing? We came here to commiserate. We understand how precious Babel's manuscripts would be.''"

Legacy
According to John Updike, Maxim Gorky said to André Malraux that Babel was "the best Russia has to offer." A quarter of a century later, Babel's contemporary Konstantin Paustovsky wrote in his reminiscences, "He was, for us, the first really Soviet writer."

Judith Stora-Sandor, one of Babel's first biographers, wrote in 1968, that Babel's "literary sensibility was French, his vision Jewish, and his fate all too Russian."

After her husband's return to Moscow in 1935, Yevgenia Gronfein Babel remained unaware of his other family with Antonina Pirozhkova. Based upon statements made by Ilya Ehrenburg, Yevgenia further believed that her husband was still alive and living in exile. In 1956, however, Ehrenburg told her of her husband's execution while visiting Paris. After also informing Mrs. Babel of her husband's daughter with Antonina Pirozhkova, Ehrenburg asked Yevgenia to sign a false statement attesting to a pre-war divorce from her husband. Enraged, Yevgenia Babel spat in Ehrenberg's face and then fainted.

Her daughter, Nathalie Babel Brown, believes that Ehrenburg did this under orders from the KGB. With two potential contenders for the role of Babel's widow, the Soviet State clearly preferred Babel's common-law wife Antonina to his legal wife Yevgenia, who had emigrated to the West.

Although she was too young to have many memories of her father, Nathalie Babel Brown went on to become one of the world's foremost scholars of his life and work. When W.W. Norton published Babel's Complete Works in 2002, Nathalie edited the volume and provided a foreword. She died in Washington, D.C., in 2005.

Lydia Babel, the daughter of Isaac Babel and Antonina Pirozhkova, also emigrated to the United States and currently resides in Silver Spring, Maryland.

Although Babel's play Maria was very popular at Western European colleges during the 1960s, it was not performed in Babel's homeland until 1994. The first English translation appeared in 1966 in a translation by Michael Glenny in Three Soviet Plays (Penguin) under the title "Marya". Maria's American premiere, directed by Carl Weber, took place at Stanford University in 2004.

Several American writers have valued Babel's writings. Hubert Selby has called Babel "the closest thing I have to a literary influence." James Salter has named Babel his favorite short-story writer. "He has the three essentials of greatness: style, structure, and authority." George Saunders, when asked for a literary influence said "There's a Russian writer named Isaac Babel that I love. I can drop in anywhere in his works, read a few pages, and go, Oh yeah, language. It's almost like if you were tuning a guitar and you heard a beautifully tuned one and you say, Yeah, that's what we want. We want something that perfect. When I read him, it recalibrates my ear. It reminds me of the difference between an OK sentence and a really masterful sentence. Babel does it for me."

Memorials
A memorial to Isaac Babel was unveiled on the north-west corner of the intersection of Rishelievska Street and Zhukovskoho Street in Odesa in early September 2011, and, in conjunction with the inauguration of the memorial, a commemorative reading of three of his stories held, with musical interludes from the works of Isaac Schwartz, in the Philharmonic Hall in Pushkinska Street on September 6, 2011. The city also has an already existing Babelya Street in the Moldavanka.

Books

 * Конармейский дневник 1920 года (written 1920, published 1990). 1920 Diary, trans. H. T. Willetts (1995, Yale University Press; ISBN 0-300-09313-6)
 * Конармия (1926). Red Cavalry
 * Закат (play, written 1926, performed 1927, published 1928). Sunset
 * Одесские рассказы (published individually 1921–1924, collected in 1931). Odessa Stories
 * Мария (play, written mid-1930s, not performed in USSR). Maria

Short stories

 * "Story of My Dovecote" (1925)
 * "Crossing the Zbruch" (as "I. Babiel") (1926)

Screenplays and film collaborations

 * Salt (1925). Directed by Pyotr Chardynin; short film based on the short story of the same name.
 * Jewish Luck (1925). Directed by Alexander Granovsky; based on screenplay from Sholem Aleichem with intertitles by Babel.
 * Беня Крик (1926, screenplay). Benya Krik (1927), directed by Vladimir Vilner, filmed in Ukraine and available on DVD from National Center for Jewish Film. Translation of screenplay published as Benia Krik: A Film-Novel, trans. Ivor Montagu and S. S. Nolbandov (1935).
 * Wandering Stars (1926, screenplay). Directed by Grigori Gritscher-Tscherikower in 1927; based on the novel by Sholem Aleichem.
 * Jimmie Higgins (1928). Directed by Georgi Tasin, screened in 1929; based on the novel by Upton Sinclair.
 * The Chinese Mill (1928)
 * Old Square, No. 4 (written in 1939)

Posthumous compilations

 * Benya Krik, the Gangster and Other Stories, ed. Avrahm Yarmolinsky, with translations by Walter Morison, Bernard Guilbert Guerney and the editor (Schocken, 1948)
 * The Collected Stories, trans. Walter Morison and others (1955)
 * Lyubka the Cossack and Other Stories, trans. Andrew R. MacAndrew (1963)
 * The Lonely Years: 1925–1939: Unpublished Stories and Correspondence, ed. Nathalie Babel, trans. Andrew R. MacAndrew and Max Hayward (Farrar, Straus & Company, 1964)
 * You Must Know Everything, Stories 1915-1937, ed. Nathalie Babel, trans. Max Hayward (Farrar, Straus and Giroux, 1969)
 * The Forgotten Prose, ed. and trans. Nicholas Stroud (Ardis, 1978)
 * Collected Stories, trans. David McDuff (Penguin, 1994)
 * The Complete Works of Isaac Babel, trans. Peter Constantine, ed. Nathalie Babel, intro. Cynthia Ozick (Norton, 2002)
 * Odessa Stories, trans. Boris Dralyuk (Pushkin Press, 2016)
 * The Essential Fictions, trans. Val Vinokur (Northwestern University Press, 2017)
 * Of Sunshine and Bedbugs: Essential Stories, trans. Boris Dralyuk (Pushkin Press, 2022)

In popular culture
British writer Bernard Kops wrote a poem, and later a play, about Babel: "Whatever Happened to Isaac Babel?"

Brazilian writer Rubem Fonseca wrote a novel about the search for a lost manuscript from Babel: "Vastas emoções e pensamentos imperfeitos" (1988).

American author Travis Holland wrote his debut novel "The Archivist's Story” about an archivist, Pavel Dubrov, in Lubyanka Prison who has to authenticate a Babel manuscript. In the novel his meeting with Babel prompts him to save the story at great risk to himself.

Playwright Rajiv Joseph won an Obie Award for Best New American Play for his 2017 Describe the Night, which follows Babel from his role as a journalist in Poland through and beyond his execution, and the role his personal journal plays in uniting people across time and place.

title: Isaac Babel


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Decadence

The word decadence refers to a late 19th century movement emphasizing the need for sensationalism, egocentricity; bizarre, artificial, perverse, and exotic sensations and experiences. By extension, it may refer to a decline in art, literature, science, technology, and work ethics, or (very loosely) to self-indulgent behavior.

Usage of the term sometimes implies moral censure, or an acceptance of the idea, met with throughout the world since ancient times, that such declines are objectively observable and that they inevitably precede the destruction of the society in question; for this reason, modern historians use it with caution. The word originated in Medieval Latin (dēcadentia), appeared in 16th-century French, and entered English soon afterwards. It bore the neutral meaning of decay, decrease, or decline until the late 19th century, when the influence of new theories of social degeneration contributed to its modern meaning.

The idea that a society or institution is declining is called declinism. This may be caused by the predisposition, caused by cognitive biases such as rosy retrospection, to view the past more favourably and future more negatively. Declinism has been described as "a trick of the mind" and as "an emotional strategy, something comforting to snuggle up to when the present day seems intolerably bleak." Other cognitive factors contributing to the popularity of declinism may include the reminiscence bump as well as both the positivity effect and negativity bias.

In literature, the Decadent movement began in France's fin de siècle intermingling with Symbolism and the Aesthetic movement while spreading throughout Europe and The United States. The Decadent title was originally used as a criticism but it was soon triumphantly adopted by some of the writers themselves. The Decadents praised artifice over nature and sophistication over simplicity, defying contemporary discourses of decline by embracing subjects and styles that their critics considered morbid and over-refined. Some of these writers were influenced by the tradition of the Gothic novel and by the poetry and fiction of Edgar Allan Poe.

Ancient Rome
Decadence is a popular criticism of the culture of the later Roman Empire's elites, seen also in much of its earlier historiography and 19th and early 20th century art depicting Roman life. This criticism describes the later Roman Empire as reveling in luxury, in its extreme characterized by corrupting "extravagance, weakness, and sexual deviance", as well as "orgies and sensual excesses".

Victorian-era Artwork on Roman Decadence
According to Professor Joseph Bristow of UCLA, decadence in Rome and the Victorian-era movement are connected through the idea of "decadent historicism." In particular, decadent historicism refers to the "interest among…1880s and 1890s writers in the enduring authority of perverse personas from the past" including the later Roman era. As such, Bristow's argument references how Heliogabalus, the title subject of Simeon Solomon's painting Heliogabalus, High Priest of the Sun (1866), was "a decadent icon" for the Victorian movement. Bristow also notes that "[t]he image [of the painting] summons many qualities linked with fin-de-siècle decadence [alongside his]…queerness[,]" thus "inspir[ing] late-Victorian writers [as]…they…imagine anew sexual modernity." Heliogabalus is also the subject of The Roses of Heliogabalus (1888) by Sir Lawrence Alma-Tadema, which, according to Professor Rosemary Barrow, represents "the artist['s]…most glorious revel in Roman Decadence." To Barrow, "[t]he authenticity of the [scene]…perhaps had little importance for the artist[, meaning that] its appeal is the entertaining and extravagant vision it gives of later imperial Rome." Barrow also makes a point to mention "that Alma-Tadema’s Roman-subject paintings [tend to]…make use of historical, literary and archaeological sources" within themselves. Thus, the presence of roses within the painting as opposed to the original "'violets and other flowers'" of the source material emphasizes how "the Roman world…h[eld] extra connotations of revelry and luxuriant excess" about them.

Decadent movement
Decadence was the name given to a number of late nineteenth-century writers who valued artifice over the earlier Romantics' naïve view of nature. Some of them triumphantly adopted the name, referring to themselves as Decadents. For the most part, they were influenced by the tradition of the Gothic novel and by the poetry and fiction of Edgar Allan Poe, and were associated with Symbolism and/or Aestheticism.

This concept of decadence dates from the eighteenth century, especially from Montesquieu and Wilmot. It was taken up by critics as a term of abuse after Désiré Nisard used it against Victor Hugo and Romanticism in general. A later generation of Romantics, such as Théophile Gautier and Charles Baudelaire took the word as a badge of pride, as a sign of their rejection of what they saw as banal "progress." In the 1880s, a group of French writers referred to themselves as Decadents. The classic novel from this group is Joris-Karl Huysmans' Against Nature, often seen as the first great decadent work, though others attribute this honor to Baudelaire's works.

In Britain and Ireland the leading figure associated with the Decadent movement was Irish writer, Oscar Wilde. Other significant figures include Arthur Symons, Aubrey Beardsley and Ernest Dowson.

The Symbolist movement has frequently been confused with the Decadent movement. Several young writers were derisively referred to in the press as "decadent" in the mid-1880s. Jean Moréas' manifesto was largely a response to this polemic. A few of these writers embraced the term while most avoided it. Although the aesthetics of Symbolism and Decadence can be seen as overlapping in some areas, the two remain distinct.

1920s Berlin
This "fertile culture" of Berlin extended onwards until Adolf Hitler rose to power in early 1933 and stamped out any and all resistance to the Nazi Party. Likewise, the German far-right decried Berlin as a haven of degeneracy. A new culture had developed in and around Berlin throughout the previous decade, including architecture and design (Bauhaus, 1919–33), a variety of literature (Döblin, Berlin Alexanderplatz, 1929), film (Lang, Metropolis, 1927, Dietrich, Der blaue Engel, 1930), painting (Grosz), and music (Brecht and Weill, The Threepenny Opera, 1928), criticism (Benjamin), philosophy/psychology (Jung), and fashion. This culture was considered decadent and disruptive by rightists.

Film was making huge technical and artistic strides during this period of time in Berlin, and gave rise to the influential movement called German Expressionism. "Talkies", the sound films, were also becoming more popular with the general public across Europe, and Berlin was producing very many of them.

Berlin in the 1920s also proved to be a haven for English-language writers such as W. H. Auden, Stephen Spender and Christopher Isherwood, who wrote a series of 'Berlin novels', inspiring the play I Am a Camera, which was later adapted into a musical, Cabaret, and an Academy Award winning film of the same name. Spender's semi-autobiographical novel The Temple evokes the attitude and atmosphere of the place at the time.

Decadent Nihilistic Art
The philosophy of decadence comes from the work of German philosopher Arthur Schopenhauer (1788–1860), however, Friedrich Nietzsche (1844–1900), a specific philosopher of decadence, conceptualized modern decadence on a more influential scale. Holding decadence to be in any condition, ultimately limiting what something or someone can be, Nietzsche used his exploration in nihilism to critique traditional values and morals that threatened the decline in art, literature, and science. Nihilism, generally, is the rejection of moral principles, ultimately believing that life is meaningless. Nihilism, for Nietzsche, was the ultimate fate of Western civilization as old values lost their influence and purpose, in turn, disappeared among society. Predicting a rise in decadence and aesthetic nihilism, creators would renounce the pursuit of beauty and instead welcome the incomprehensible chaos. In art, there have been movements connected to nihilism, such as cubism and surrealism, that pushes for abandoned viewpoints to ultimately tap into the potential of one's conscious mind. Because of this, paintings like 1875-76's "L’Absinthe" by Edgar Degas and 1915's "Black Square" by Kazimir Malevich were created. L’Absinthe, which first showed in 1876, was mocked and called disgusting when panned by critics. Some say the painting is a blow to morality, as a glass filled with Absinthe, an alcoholic drink, rests in front of a woman at a table. Taken to be in bad faith and quite uncouth, Degas's art took decadence as a way to portray ambiguity in random subjects that seem to be drifting between depression and euphoria. Using nihilism in a synonymously way, Degas denoted his paintings to a general mood of despair, mainly at existence as a whole. Comparing this piece to Kazimir Malevich's "Black Square," abstract nihilistic art in the Western tradition was only beginning to take shape as the 20th century came about. Malevich's perception of this piece embraced a philosophy connected to Suprematism – a new realism in painting that evokes non-objectivity to experience "white emptiness of a liberated nothing," as said by Malevich himself. In nihilism, life has, in a sense, no truth, therefore no action is objectively preferable to another. Malevich's decadent painting shows the complete abandonment of depicting reality, and instead creates his own world of new form. When the painting was first exhibited, the public was in chaos, as society was in its first World War and Malevich reflected a new social revolution as a symbol of a new tomorrow, disregarding the past in order to move forward. Because of this painting and Degas's, decadence can be portrayed as a physiological foundation for nihilism, bringing out a term called "Decadent Nihilism:" existing beyond the world, and that of vain virtues. According to Nietzsche, Western metaphysical and nihilistic thought is decadent because of its confirmation from 'others' (apart from oneself) based on ideas of a nihilistic God. The extreme position an artist takes is what makes their pieces decadent.

Controversy
Vladimir Nabokov's Lolita (1955)

Aesthetics falling under the category of decadence often include controversy. An example of a controversial style founded through decadent literary influence is the novel, Lolita, by Vladimir Nabokov, a Russian-American citizen. Lolita, while expressing the prose through a pedophile's narration, directly expresses Nabokov's discourse with decadent literature. According to Will Norman from the University of Kent, the novel makes many references to prominent historical figures related to decadence, such as Edgar Allan Poe and Charles Baudelaire. Norman states, "... Lolita emerges as the risky reinstatement of a transatlantic decadent tradition, in which the failure of temporal and ethical containment disrupts a dominant narrative of modernism's history in American letters". Lolita purposefully exemplifies a moral decline, while simultaneously disregarding the ethics of Nabokov’s time. The emphasis on its temporal standing in history captures an intermediate state of decadent literature itself. Norman describes that "... Nabokov reproduces the tension between American regionalism and modernist cosmopolitanism in his own 'Edgar H. Humbert', as the European aesthete embarks on his road-trip with Dolores...". The text exemplifies Nabokov's desire to replicate the many social disparities of American culture while using his character, H. Humbert, to demonstrate a lack of moral judgement. Norman continues, "Nabokov's text positions itself as the dynamic historical agent, importing Poe wholesale (from caricature through to complex literary intellectual) into the present and facilitating his critique in the hands of the reader". Leaving the judgement in the hands of the reader, Nabokov uses Lolita to work through the complexities that decadence presents for ethical or moral obligations to society. Norman concludes, "Lolita joins American works such as William Faulkner's The Sound and the Fury (1929) and F. Scott Fitzgerald's Tender is the Night (1934) which assimilate themes of incest and sexual pathology into their decadent aesthetics, with the effect of bringing European temporalities into conflict with American social modernity". Using a controversial method, Nabokov employs decadent aesthetics to document a moment of historical transition.

Women in Decadence

Not only do the stylistic choices of literature in decadence cause ethical debate, but the presence of women in literature also causes controversy in politics. Viola Parente-Čapková, a Lecturer from the university in Prague, Czech Republic, argues that women writers following decadent literary structure have been overlooked due to their simultaneous influence of the feminist movement. The belief that women could not separate morality from their writing due to their purposeful prose to argue for women's writes suggests a theme of misogyny, in which men excluded women from being considered Decadent writers because of the possibility of a desire for social change.

Social Change

Decadence offers a world-view, in that "it is an ideological phenomenon originating in the experience of a particular group, and it became the aesthetics of the upper-middle class". Changes in European industrialization and urbanization led to the development of the proletariat, nuclear family, and entrepreneurial class. The values of Decadence formed as an opposition to "those of an earlier and supposedly more vital bourgeoisie". Aesthetically, progress turns into decay, activity becomes play instead of goal-oriented work, and art becomes a way of life. To individuals that observe the changes in social structure after rapid industrialization, the idea of progress becomes something to rebel against, because this real-world progress seems to be leaving them behind.

Postmodernist Connection to Decadence
Nearly a century after the supposed end of the decadent period itself, the spirit and drive of it continued in the next end of the century. Unknowingly following in the footsteps of the decadents before them, postmodernists have subscribed to many of the same habits. Both groups have found themselves simultaneously exhausted by all the new experiences of society while still putting all their efforts into experiencing it all. The postmodernist is simultaneously aware of their desire for modernist disintegration all while enjoying the products of their dying predecessor. This ravenous eye for the new is reflective of the lives of the practicing decadent, where they too enjoyed all the new experiences offered by their own time's modernity. Both events were deeply intertwined with expanding globalization. As seen in the lives of decadents in their literary and visual art pursuit and creation, so too has the postmodernist been given more global connection and experience. During the rise of postmodernism, there has been a clear concentration of power and wealth that supported globalization. This resurgence of power to apply has restructured the desires of the disintegration-loving postmodernist, indulging themselves in all the newness of globalized life. This renewed interest in a global view of the world brought along a renewed interest in different forms of artistic representation as well. Modernism tends to belittle popular culture through its oppressive nature, which can be seen as elitist and controlling, as it privileges certain works of art above others. As a result, postmodern artists and writers developed a contempt for the canon, rejecting tradition and essentialism. This disdain for privilege extended to the fields of philosophy, science, and of course, politics. Pierre Bourdieu provides some insight into the attitudes of this new sub-class and its relation to post-modern theorists, embodied through students of bourgeois descent. They began to pursue their artistic interests at their schools after being shadowed academically. They are victims of verdicts which, like those of the school, appeal to reason and science in order to block off the paths leading (back) to power, and are quick to denounce science, power, the power of science, and above all perhaps a power which, like the triumphant technology of the moment, appeals to science in order to legitimate itself. This postmodern way of thought is guided by an anti-institutional temperament that flees competitions and hierarchies. These systems allow art to become confined by labels – postmodern work is difficult to define. In the name of the fight against 'taboos' and the liquidation of 'complexes' they adopt the most external and most easily borrowed aspects of the intellectual life-style, liberated manners, cosmetic or sartorial outrages, emancipated poses and postures, and systematically apply the cultivated disposition to not-yet-legitimate culture (cinema, strip cartoons, the underground), to every-day life (street art), the personal sphere (sexuality, cosmetics, child-rearing, leisure) and the existential (the relation to nature, love, death). Their craft evolves into a way of being that directly criticizes modernist attitudes, and enables postmodern artists and writers with a newfound sense of freedom through rebellion.

Jacques Barzun
The historian Jacques Barzun (1907–2012) gives a definition of decadence which is independent from moral judgement. In his bestseller From Dawn to Decadence: 500 Years of Western Cultural Life (published 2000) he describes decadent eras as times when "the forms of art as of life seem exhausted, the stages of development have been run through. Institutions function painfully." He emphasizes that "decadent" in his view is "not a slur" but "a technical label".

With reference to Barzun, New York Times columnist Ross Douthat characterizes decadence as a state of "economic stagnation, institutional decay and cultural and intellectual exhaustion at a high level of material prosperity and technological development". Douthat sees the West in the 21st century in an "age of decadence", marked by stalemate and stagnation. He is the author of the book The Decadent Society, published by Simon & Schuster in 2020.

Pria Viswalingam
Pria Viswalingam, an Australian documentary and film maker, sees the western world in decay since the late 1960s. Viswalingam is the author of the six-episode documentary TV series Decadence: The Meaninglessness of Modern Life, broadcast in 2006 and 2007, and the 2011 documentary film Decadence: The Decline of the Western World.

According to Viswalingam, western culture started in 1215 with the Magna Carta, continued to the Renaissance, the Reformation, the founding of America, the Enlightenment and culminated with the social revolutions of the 1960s.

Since 1969, the year of the moon landing, the My Lai massacre, the Woodstock Festival and the Altamont Free Concert, „decadence depicts the west's decline“. As symptoms he names increasing suicide rates, addiction to anti-depressants, exaggerated individualism, broken families and a loss of religious faith as well as „treadmill consumption, growing income-disparity, b-grade leadership“ and money as the only benchmark for value.

Leninism
According to Vladimir Lenin, capitalism had reached its highest stage and could no longer provide for the general development of society. He expected reduced vigor in economic activity and a growth in unhealthy economic phenomena, reflecting capitalism's gradually decreasing capacity to provide for social needs and preparing the ground for socialist revolution in the West. Politically, World War I proved the decadent nature of the advanced capitalist countries to Lenin, that capitalism had reached the stage where it would destroy its own prior achievements more than it would advance.

One who directly opposed the idea of decadence as expressed by Lenin was José Ortega y Gasset in The Revolt of the Masses (1930). He argued that the "mass man" had the notion of material progress and scientific advance deeply inculcated to the extent that it was an expectation. He also argued that contemporary progress was opposite the true decadence of the Roman Empire.

Left communism
Decadence is an important aspect of contemporary left communist theory. Similar to Lenin's use of it, left communists, coming from the Communist International themselves started in fact with a theory of decadence in the first place, yet the communist left sees the theory of decadence at the heart of Marx's method as well, expressed in famous works such as The Communist Manifesto, Grundrisse, Das Kapital but most significantly in Preface to the Critique of Political Economy.

Contemporary left communist theory defends that Lenin was mistaken on his definition of imperialism (although how grave his mistake was and how much of his work on imperialism is valid varies from groups to groups) and Rosa Luxemburg to be basically correct on this question, thus accepting capitalism as a world epoch similarly to Lenin, but a world epoch from which no capitalist state can oppose or avoid being a part of. On the other hand, the theoretical framework of capitalism's decadence varies between different groups while left communist organizations like the International Communist Current hold a basically Luxemburgist analysis that makes an emphasis on the world market and its expansion, others hold views more in line with those of Vladimir Lenin, Nikolai Bukharin and most importantly Henryk Grossman and Paul Mattick with an emphasis on monopolies and the falling rate of profit.

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title: Decadence


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List of deaths from drug overdose and intoxication

Drug overdose and intoxication are significant causes of accidental death and can also be used as a form of suicide. Death can occur from overdosing on a single or multiple drugs, or from combined drug intoxication (CDI) due to poly drug use. Poly drug use often carries more risk than use of a single drug, due to an increase in side effects, and drug synergy. For example, the chance of death from overdosing on opiates is greatly increased when they are consumed in conjunction with alcohol. While they are two distinct phenomena, deaths from CDI are often misreported as overdoses. Drug overdoses and intoxication can also cause indirect deaths. For example, while marijuana does not cause fatal overdoses, being intoxicated by it can increase the chance of fatal traffic collisions.

Drug use and overdoses increased significantly in the 1800s due to the commercialization and availability of certain drugs. For example, while opium and coca had been used for centuries, their active ingredients, morphine and the cocaine alkaloid, were not isolated until 1803 and 1855 respectively. Cocaine and various opiates were subsequently mass-produced and sold openly and legally in the Western world, resulting in widespread misuse and addiction. Drug use and addiction also increased significantly following the invention of the hypodermic syringe in 1853, with overdose being a leading cause of death among intravenous drug users.

Efforts to prohibit various drugs began to be enacted in the early 20th century, though the effectiveness of such policies is debated. Deaths from drug overdoses are increasing. Between 2000 and 2014, fatal overdoses rose 137% in the United States, causing nearly half a million deaths in that period, and have also been continually increasing in Australia, Scotland, England, and Wales. While prohibited drugs are generally viewed as being the most dangerous, the misuse of prescription drugs is linked to more deaths in several countries. Cocaine and heroin combined caused fewer deaths than prescriptions drugs in the United Kingdom in 2013, and fewer deaths than prescription opiates alone in the United States in 2008. , benzodiazepines were most likely to cause fatal overdose in Australia, with diazepam (Valium) being the drug most responsible. While fatal overdoses are highly associated with drugs such as opiates, cocaine and alcohol, deaths from other drugs such as caffeine are extremely rare.

This alphabetical list contains 634 people whose deaths can be reliably sourced to be the result of drug overdose or acute drug intoxication. Where sources indicate drug overdose or intoxication was only suspected to be the cause of death, this will be specified in the 'notes' column. Where sources are able to indicate, deaths are specified as 'suicide', 'accidental', 'undetermined', or otherwise in the 'cause' column. Where sources do not explicitly state intent, they will be listed in this column as 'unknown'. Deaths from accidents or misadventure caused by drug overdoses or intoxication are also included on this list. Deaths from long-term effects of drugs, such as tobacco-related cancers and cirrhosis from alcohol, are not included, nor are deaths from lethal injection or legal euthanasia.


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G. Gordon Liddy

George Gordon Battle Liddy (November 30, 1930 – March 30, 2021) was an American lawyer and FBI agent who was convicted of conspiracy, burglary, and illegal wiretapping for his role in the Watergate scandal during the Nixon administration.

Working alongside E. Howard Hunt, Liddy organized and directed the burglary of the Democratic National Committee headquarters in the Watergate building in May and June 1972. After five of Liddy's operatives were arrested inside the DNC offices on June 17, 1972, subsequent investigations of the Watergate scandal led to Nixon's resignation in 1974. Liddy was convicted of burglary, conspiracy, and refusing to testify to the Senate committee investigating Watergate. He served nearly 52 months in federal prisons.

He later joined with Timothy Leary for a series of debates on multiple college campuses, and similarly worked with Al Franken in the late 1990s. Liddy served as a radio talk show host from 1992 until his retirement on July 27, 2012. His radio show was syndicated in 160 markets by Radio America and on both Sirius Satellite Radio and XM Satellite Radio stations in the United States. He was a guest panelist for Fox News Channel in addition to appearing in a cameo role or as a guest celebrity talent on several television shows.

Youth, family, education
Liddy was born in Brooklyn on November 30, 1930. His father, Sylvester James Liddy, was a lawyer; his mother was Maria (Abbaticchio) Liddy. His family was of Irish and Italian descent. Liddy was named for George Gordon Battle, a noted attorney and Tammany Hall leader. He was raised in Hoboken and West Caldwell, New Jersey. He attended St. Benedict's Preparatory School, his father's alma mater, in Newark.

College, military, law school
Liddy was educated at Fordham University, graduating in 1952. While at Fordham he was a member of the National Society of Pershing Rifles. Following graduation, Liddy joined the United States Army, serving for two years as an artillery officer during the Korean War. He attained the rank of first lieutenant and was assigned to an antiaircraft radar unit in Brooklyn for medical reasons. In 1954, he was admitted to the Fordham University School of Law, earning a position on the Fordham Law Review. After graduating in 1957, he worked for the Federal Bureau of Investigation (FBI) under J. Edgar Hoover.

FBI
Liddy began his career with the FBI in 1957, initially serving as a field agent in Indiana and Denver. While stationed in Denver, he made a significant arrest on September 10, 1960: Ernest Tait, a notable criminal who had twice appeared on the Ten Most Wanted.

At age 29, Liddy became the youngest bureau supervisor at FBI headquarters in Washington, D.C.. Under the mentorship of deputy director Cartha DeLoach, Liddy secured a position on director J. Edgar Hoover's personal staff, even acting as Hoover's ghostwriter. Despite his achievements, Liddy was also known for his reckless behavior among his fellow agents, highlighted by two particular incidents.

The first incident took place in Kansas City, Missouri, during a covert operation. He was arrested but was subsequently released after contacting Clarence M. Kelley, former FBI agent and the then-chief of the Kansas City Police. The second incident involved an FBI background check that Liddy conducted on his future wife before they got married in 1957. Liddy later claimed this action was a routine precautionary measure.

Prior to his departure from the FBI in 1962, Liddy sought admission to various bars, leveraging his professional contacts. His application for admission to the United States Supreme Court was supported by Solicitor General Archibald Cox.

Prosecutor and politician
Liddy resigned from the FBI in 1962 and worked under his father as a patent attorney in New York City until 1966. He was then hired by District Attorney Raymond Baratta as a prosecutor in exurban Dutchess County, New York, after providing references from the FBI. In 1966, he led a drug raid on the Hitchcock Estate (then occupied by Timothy Leary) in Millbrook, New York, leading to an unsuccessful trial. Although the case generated much publicity, other lawyers complained that Liddy received credit for something in which he played a relatively small role. He was also reprimanded for firing a revolver at the ceiling in a courtroom. In 1969, a drug raid directed by Liddy at Bard College scooped up, among others, Donald Fagen and Walter Becker, who later formed the band Steely Dan and wrote the song "My Old School" about the raid. Liddy is referred to in the lyrics as "Daddy Gee".

During that period, Liddy ran unsuccessfully for the post of District Attorney. In 1968, he ran in the Republican Party's primary election for New York's 28th congressional district. Employing the slogan "Gordon Liddy doesn't bail them out; he puts them in", he lost to Hamilton Fish IV in a close race. Liddy then accepted the nomination of the Conservative Party of New York State and ran in the general election against Fish and the Democratic candidate, Millbrook businessman John S. Dyson. Fearing that Liddy might tip the election to Dyson, Fish turned to the district's Republican leader, State Assemblyman Kenneth L. Wilson, to get Liddy out of the race. After Wilson's office discussed the matter with the Congressional Campaign Committee in Washington, Liddy was offered a position with the Treasury Department which he accepted and withdrew from the campaign. Liddy's name remained on the ballot and while he received almost five per cent of the vote, it was not enough to stop Fish's election.

After serving as county director of Richard Nixon's successful presidential campaign, he received a political appointment as a special assistant for narcotics and gun control at the United States Department of the Treasury's headquarters in Washington, D.C. In that capacity, he helped to establish the country's contemporary sky marshal program under the aegis of the United States Marshals Service.

Beginning in 1970, he served with Gordon Strachan and David Young as an aide to Domestic Affairs Advisor John D. Ehrlichman in the Executive Office of the President at the behest of Egil "Bud" Krogh, who worked on initiatives with Liddy at the Treasury Department. He nominally served as general counsel to the finance committee of the Committee to Re-elect the President (CRP) from 1971 to 1972. Subsequently, Krogh, Liddy, Young, and Erlichman were indicted for conspiracy to commit burglary in September 1973.

White House undercover operative
In 1971, after serving in several positions in the Nixon administration, Liddy was moved to Nixon's 1972 re-election campaign in order to extend the scope and reach of the White House Plumbers "special investigations unit", which had been created in response to damaging leaks of information to the press.

At CRP, Liddy concocted several plots in early 1972, collectively known under the title "Operation Gemstone". Some of these were far-fetched, intended to embarrass the Democratic opposition. These included kidnapping anti-war protest organizers and transporting them to Mexico during the Republican National Convention (which at the time was planned for San Diego), as well as luring mid-level Democratic campaign officials to a house boat in Miami, where they would be secretly photographed in compromising positions with prostitutes. Most of Liddy's ideas were rejected by Attorney General John N. Mitchell (who became campaign manager in March 1972), but a few were given the go-ahead by Nixon administration officials, including the 1971 break-in at Daniel Ellsberg's psychiatrist's office in Los Angeles. Ellsberg had leaked the Pentagon Papers to The New York Times. At some point, Liddy was instructed to break into the Democratic National Committee offices in the Watergate Complex.

Watergate burglaries
Liddy was the Nixon administration liaison and leader of the group of five men who broke into the headquarters of the Democratic National Committee at the Watergate Complex. At least two separate entries were made in May and June 1972; the burglars were apprehended on June 17. The purposes of the break-in were never conclusively established. The burglars sought to place wiretaps and planned to photograph documents. Their first attempt had led to improperly-functioning recording devices being installed. Liddy and Hunt masterminded the break-in from the Watergate Hotel Room 214, where they could look right into the DNC office, but Liddy claimed he did not actually enter the Watergate Complex at the time of the burglaries; rather, he admitted to supervising the second break-in which he coordinated with E. Howard Hunt, from room 723 in the adjacent Howard Johnson Hotel. Liddy was convicted of conspiracy, burglary, and illegal wiretapping.

Liddy was sentenced to a 20-year prison term and was ordered to pay $40,000 in fines. He began serving the sentence on January 30, 1973. He claimed that on arrival he sang the Horst Wessel Song, the Nazi Party anthem. On April 12, 1977, President Jimmy Carter commuted Liddy's sentence to eight years, "in the interest of equity and fairness based on a comparison of Mr. Liddy's sentence with those of all others convicted in Watergate related prosecutions", leaving the fine in effect. Carter's commutation made Liddy eligible for parole as of July 9, 1977. Liddy was released on September 7, 1977, after serving a total of four and a half years of incarceration.

Liddy was charged with two counts of contempt of Congress in March 1974, on the same day that he and the three Cuban burglars were charged with the Watergate-related crimes. Following a bench trial on May 10, 1974, Liddy was convicted of contempt for his refusal to answer questions of the Special Subcommittee of Intelligence of the House Armed Services Committee, which was investigating the CIA's links to the break-in of the offices of Dr. Lewis Fielding, the psychiatrist to Daniel Ellsberg. Liddy was found guilty and was handed a suspended jail sentence and probation; the judge stated that the sentence was lenient because Liddy was already sentenced to prison on the Watergate charges. Liddy became one of very few people in American history to be convicted of criminal contempt of Congress.

After prison
In 1980, Liddy published an autobiography, titled Will, which sold more than a million copies and was made into a television film. In it, he states that he was willing to kill during the Ellsberg break-in, and that he once made plans with Hunt to kill journalist Jack Anderson, based on a literal interpretation of a Nixon White House statement, "we need to get rid of this Anderson guy".

In the early 1980s, Liddy joined forces with former Niles, Illinois, policeman and co-owner of the Protection Group, Ltd., Thomas E. Ferraro Jr., to launch a private security and countersurveillance firm called G. Gordon Liddy & Associates.

Liddy emerged to host his own talk radio show in 1992. Less than a year later, its popularity led to national syndication through Viacom's Westwood One Network and through Radio America, in 2003. Liddy's show ended on July 27, 2012.

In 1994 and 1995, Liddy repeatedly told listeners of his radio program to shoot federal law enforcement officers, giving instructions to aim for their heads. In many of these statements he referenced shooting in self-defense. After the Oklahoma City bombing, when President Clinton denounced the "many loud and angry voices" in conservative talk radio, Liddy responded that the head is a difficult target to hit and that he used pictures of the President and Hillary Clinton for target practice.

Liddy was sued for defamation in 1999 by Ida "Maxie" Wells, a secretary whose desk at the Democratic National Committee Headquarters at the Watergate was said to have been a target of the last Watergate break-in in order to find evidence related to an alleged prostitution ring kept in Wells' desk. Wells' suit accused Liddy of defamation. Liddy denied the allegation, and the judge dismissed the suit, commenting that "no 'reasonable jury' could have found in favor of the plaintiff."

In addition to Will, he wrote the nonfiction books, When I Was a Kid, This Was a Free Country (2002), and ''Fight Back! Tackling Terrorism, Liddy Style'' (2006, with his son, Cdr. James G. Liddy, along with J. Michael Barrett and Joel Selanikio). He also published two novels: Out of Control (1979) and The Monkey Handlers (1990). Liddy was one of many people interviewed for the biography of Abbie Hoffman, Steal this Dream, by Larry "Ratso" Sloman.

Lectures, acting career and documentaries
In the mid-1980s Liddy went on the lecture circuit, being listed as the top speaker on the college circuit in 1982 by The Wall Street Journal. He later joined onetime foil Timothy Leary in a series of debates billed as "Nice Scary Guy vs. Scary Nice Guy" on the college circuit as well; Leary had once been labeled by Liddy's ex-employer Richard Nixon as "the most dangerous man in America". The lectures were the subject of a 1983 documentary film, Return Engagement. In 1994, the British documentary company Brian Lapping Associates sent producers Norma Percy and Paul Mitchell to interview many of the conspirators for its series titled Watergate, in which an unrepentant Liddy talked frankly about his role. He was filmed at home while sitting in front of his sizable collection of firearms and describing "how he had been ready, if ordered, to go straight out and kill Jack Anderson, the Washington D.C. columnist." At one point he was filmed wielding one of his pistols before the TV camera. It was made clear that, at the time of filming, the gun collection was registered in his wife's name, as he was ineligible for a license.

Liddy acted in several films, including Street Asylum, Feds, Adventures in Spying, Camp Cucamonga, and Rules of Engagement. He appeared on such television shows as The Highwayman, Airwolf, Fear Factor, Perry Mason, and MacGyver. He had recurring roles in Miami Vice and Super Force, and guest starred in Al Franken's LateLine. On April 7, 1986, he appeared at WrestleMania II as a guest judge for a boxing match between Mr. T (with Joe Frazier and The Haiti Kid) versus Roddy Piper (with Bob Orton and Lou Duva). In April 1987 he appeared as a celebrity partner for a week on the game show Super Password, playing against Betty White.

Liddy appeared in the 1993 Golden Book Video release of Encyclopedia Brown: The Case of the Burgled Baseball Cards as Corky Lodato. In Miami Vice, he acted with John Diehl, who would later go on to portray Liddy himself in Oliver Stone's movie Nixon (1995). During his two guest appearances in Miami Vice, Liddy played William "Captain Real Estate" Maynard, a shadowy former covert operations officer whom Sonny Crockett knew from his military service in South Vietnam.

Liddy co-starred on 18 Wheels of Justice as the crime boss Jacob Calder from January 12, 2000, to June 6, 2001. He appeared on a celebrity edition Fear Factor, the show's series finale, on September 12, 2006 (filmed in November 2005). At 75, Liddy was the oldest contestant ever to appear on the show. He beat the competition in the first two stunts, winning two motorcycles custom built by Metropolitan Chopper.

Liddy was also an interviewee in the 2006 documentary The U.S. vs. John Lennon, as well as a commercial spokesman for Rosland Capital, selling gold on television commercials.

Personal life
Liddy was married to Frances Purcell-Liddy, a native of Poughkeepsie, New York, for 53 years until her death on February 5, 2010. She was a teacher. The couple had five children: Thomas, Alexandra, Grace, James, and Raymond. Raymond became a deputy attorney general but was convicted of possession of child pornography and disbarred.

In his later life, Liddy was an opponent of animal experimentation.

Death
Liddy died on March 30, 2021, at age 90, at his daughter's house in Fairfax County, Virginia, while suffering from Parkinson's disease.

Portrayals

 * In the 1979 miniseries Blind Ambition, adapted from John Dean's book of the same title, Liddy was played by actor William Daniels.
 * Liddy was portrayed by Robert Conrad and child actor Danny Lloyd in the 1982 television film, Will: G. Gordon Liddy, based on his autobiography.
 * Comic book author Alan Moore has stated that the character of The Comedian (a.k.a. Edward Blake) from his graphic novel Watchmen was based in a large part on Liddy.
 * He was played by John Diehl in Oliver Stone's film Nixon (1995).
 * Harry Shearer portrayed Liddy in Andrew Fleming's comedy film Dick (1999).
 * In Gaslit, Liddy was played by Shea Whigham.
 * White House Plumbers, a five-part limited series on HBO, features the behind-the-scenes actions of Liddy in a portrayal by Justin Theroux.

Articles

 * "American Nightmare" (November 1977). Chic. vol. 2, no. 1.
 * "Ten Things That Make Me Laugh". (January 1983). Playboy.

title: G. Gordon Liddy