William Hood Libros

The thrilling true story of Lt. Col. Pyotr Popov, the first agent the CIA recruited within the Soviet intelligence service. Reads like the best of le Carre -- but fact.

A Look over My Shoulder begins with President Nixon’s attempt to embroil the Central Intelligence Agency, of which Richard Helms was then the director, in the Watergate cover-up. Helms then recalls his education in Switzerland and Germany and at Williams College; his early career as a foreign correspondent in Berlin, during which he once lunched with Hitler; and his return to newspaper work in the United States. Helms served on the German desk at OSS headquarters in London; subsequently, he was assigned to Allen Dulles’s Berlin office in postwar Germany.On his return to Washington, Helms assumed responsibility for the OSS carryover operations in Germany, Austria, and Eastern Europe. He remained in this post until the Central Intelligence Agency was formed in 1947. At CIA, Helms served in many positions, ultimately becoming the organization’s director from 1966 to 1973. He was appointed ambassador to Iran later that year and retired from government service in January 1977. It was often thought that Richard Helms, who served longer in the Central Intelligence Agency than anyone else, would never tell his story, but here it is–revealing, news-making, and with candid assessments of the controversies and triumphs of a remarkable career.

Fra Angelico's frescoes at the Dominican priory of San Marco are cherished yet often overlooked by art historians. In this insightful book, William Hood examines the recently restored frescoes, contextualizing them within the rich tapestry of fifteenth-century Florentine artistic, political, cultural, and religious history. He delves into the ideals, daily rituals, and pictorial traditions of the Dominican order, particularly the Observant branch to which Fra Angelico belonged. Hood offers fresh insights into religious art traditions, altarpiece design, and the decoration of chapter rooms and cloisters. He compares Fra Angelico's work at San Marco with earlier Dominican altarpieces and his other works in Siena, Pisa, Prato, and Florence, highlighting both traditional elements and the innovative aspects of the San Marco altarpiece. By juxtaposing San Marco with other Florentine fresco cycles, he reveals the originality of its cloister and chapter-house. Hood guides readers through the church and convent, from the high altarpiece to the corridor paintings, notably the exquisite Annunciation in the north dormitory corridor. He analyzes Angelico's color use, fresco and tempera techniques, visual problem-solving, and the impact of his paintings on contemporary viewers. This book significantly enhances our understanding of fifteenth-century art and cultural practices.