The Bell Curve

The one real difference between the American press and the Soviet state newspaper Pravda was that the Russian people knew they were being lied to. To expose the lies our media tell us today, controversial journalist James O’Keefe created Project Veritas, an independent news organization whose reporters go where traditional journalists dare not. Their investigative work–equal parts James Bond, Mike Wallace, and Saul Alinsky―has had a consistent and powerful impact on its targets.

In American Pravda, the reader is invited to go undercover with these intrepid journalists as they infiltrate political campaigns, unmask dishonest officials and expose voter fraud. A rollicking adventure story on one level, the book also serves as a treatise on modern media, arguing that establishment journalists have a vested interest in keeping the powerful comfortable and the people misinformed.

The book not only contests the false narratives frequently put forth by corporate media, it documents the consequences of telling the truth in a world that does not necessarily want to hear it. O’Keefe’s enemies attack with lawsuits, smear campaigns, political prosecutions, and false charges in an effort to shut down Project Veritas. For O’Keefe, every one of these attacks is a sign of success.

American Pravda puts the myths and misconceptions surrounding O’Keefe’s activities to rest and will make you rethink every word you hear and read in the so-called mainstream press.

Herewith the unchallenged epic of our era. A towering masterpiece of world literature, the searing record of four decades of terror and oppression, distilled into one abridged volume (authorized by the author).

Drawing on his own experiences before, during and after his eleven years of incarceration and exile, on evidence provided by more than 200 fellow prisoners, and on Soviet archives, Solzhenitsyn reveals with torrential narrative and dramatic power the entire apparatus of Soviet repression, the state within the state that once ruled all-powerfully with its creation by Lenin in 1918. Through truly Shakespearean portraits of its victims-this man, that woman, that child-we encounter the secret police operations, the labor camps and prisons, the uprooting or extermination of whole populations, the “welcome” that awaited Russian soldiers who had been German prisoners of war. Yet we also witness astounding moral courage, the incorruptibility with which the occasional individual or a few scattered groups, all defenseless, endured brutality and degradation. And Solzhenitsyn’s genius has transmuted this grisly indictment into a literary miracle.