Going Clear: Scientology, Hollywood, and the Prison of by Lawrence Wright

By Lawrence Wright

A clear-sighted revelation, a deep penetration into the area of Scientology through the Pulitzer Prize-winning writer of The Looming Tower, the now-classic learn of al-Qaeda’s Sept. 11 assault. in accordance with greater than 2 hundred own interviews with current and previous Scientologists—both recognized and no more good known—and years of archival learn, Lawrence Wright makes use of his impressive investigative skill to discover for us the internal workings of the Church of Scientology.

At the book’s middle, males whom Wright brings vividly to lifestyles, exhibiting how they've got made Scientology what it truly is at the present time: the darkly tremendous science-fiction author L. Ron Hubbard, whose stressed, expansive brain invented a brand new faith. And his successor, David Miscavige—tough and pushed, with the unenviable activity of retaining the church after the dying of Hubbard.

We find out about Scientology’s advanced cosmology and certain language. We see the ways that the church pursues celebrities, similar to Tom Cruise and John Travolta, and the way such stars are used to increase the church’s objectives. And we meet the younger idealists who've joined the ocean Org, the church’s clergy, signing up with a billion-year contract.

In Going Clear, Wright examines what essentially makes a faith a faith, and no matter if Scientology is, in reality, deserving of this constitutional security. utilising all his unparalleled journalistic talents of statement, knowing, and shaping a narrative right into a compelling narrative, Lawrence Wright has given us an evenhanded but keenly incisive publication that unearths the very essence of what makes Scientology the establishment it truly is.

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Extra resources for Going Clear: Scientology, Hollywood, and the Prison of Belief

Sample text

Why so much human su ering and misery? ” In fact, Hubbard’s contemporary journals don’t really engage such philosophical points. His trip to China, which was organized by the YMCA, lasted only ten days. His parents accompanied him, although they are not mentioned in his journals. He did encounter monks, whom he described as croaking like bullfrogs. The journals re ect the mind of a budding young imperialist, who summons an unearned authority over an exotic and unfamiliar culture. “The very nature of the Chinaman holds him back,” Hubbard observes on the ship back to Guam.

When he arrived in Princeton, in September 1944, Hubbard fell in with a group of science- ction writers who had been organized into an informal military think tank by his friend Robert Heinlein. The Navy was looking for ways to counter the kamikaze suicide attacks on Allied ships, which had begun that fall as desperation took hold of the Japanese military planners. Hubbard would spend weekends in Philadelphia at the Heinleins’ apartment, along with some other of his former colleagues, including his former editor, John Campbell, gaming di erent scenarios for the Navy.

Hubbard pined for Hollywood, in what would be a long-term, unrequited romance. Despite his overtures, he received only “vague o ers” from studios for short-term contracts. “I have discarded Hollywood,” he complained to Hays. ” But in the spring of 1937, Columbia Pictures nally optioned one of Hubbard’s stories to be folded into a serial, titled The Secret of Treasure Island. Hubbard quickly moved to Hollywood, hoping to nally make it in the movie business. ” Once again, he threw himself into writing the pulps with a fury, but also with a new note of cynicism.

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