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Encounter (magazine)
''Encounter'' was a literary magazine, founded in 1953 by poet Stephen Spender and journalist Irving Kristol. The magazine ceased publication in 1991. Published in the United Kingdom, it was a largely Anglo-American intellectual and cultural journal, originally associated with the anti-Stalinist left. The magazine received covert funding from the Central Intelligence Agency, after the CIA and MI6 discussed the founding of an "Anglo-American left-of-centre publication" intended to counter the idea of cold war neutralism. The magazine was rarely critical of American foreign policy, but beyond this editors had considerable publishing freedom.
Spender served as literary editor until 1967, when he resigned〔.〕 due to the revelation that year of the covert Central Intelligence Agency funding of the magazine, which he had heard rumoured, but had not been able to confirm. Thomas W. Braden, who headed the CIA's International Organizations Division's operations between 1951 to 1954, said that the money for the magazine "came from CIA, and few outside the CIA knew about it. We had placed one agent in a Europe-based organization of intellectuals called the Congress for Cultural Freedom."〔 Frank Kermode replaced Spender, but he too resigned when it became clear the CIA was involved.〔(Sir Frank Kermode obituary ). ''The Guardian''.〕 Roy Jenkins noted that earlier contributors were aware of U.S. funding, but believed it came from philanthropists including a Cincinnati gin distiller.
''Encounter'' celebrated its greatest years in terms of readership and influence under Melvin J. Lasky, who succeeded Kristol in 1958 and would serve as the main editor until the magazine closed its doors in 1991. Other editors in this period included D. J. Enright.
== Background on the intellectual journal of opinion ==
The intellectual journal of opinion, it is often said, resembles nothing so much as a pantomime horse, with its front half devoted to analysis of the immediate political developments of the week or fortnight, trimmed more or less to fit a known ideological or partisan agenda – and its “back of the book” of book and arts reviews, held to little such discipline, affording freer range to varied literary and artistic minds to assay finished works of the imagination presumed to sustain an interest outlasting the date of issue. In the Anglo-American context, the weeklies ''Spectator'' and the ''New Statesman'', nominally if broadly Tory and Labour, respectively, remain the most prominent such journals in Britain, with both their stateside counterparts, the ''Nation'' and the ''New Republic'', on the other hand, said to represent the liberal point of view. A business-then-pleasure division may also mark the more infrequently-issued “little magazine”, as was the case with the American quarterly ''Partisan Review'' (1933–2003), whose inaugural decades of greatest fame and distinction were marked by a twin devotion to advanced Marxist or Trotskyist ideals in politics – and in literature to high modernism, whose reigning deities, it was often noted, seldom held such modish commitments, and were indeed often given to everything from Anglo-Catholic royalism to Fascist flirtations to mere political quietism in service to the non-programmatic demands of Art.
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