In 1941, the Nazis turned the the Czech fortress and town of Terezin
into the ghetto of Theresienstadt
. The ghetto was a transit center
as well as a camp for high-profile people, and was turned into a "model Jewish settlement" in preparation for a Red Cross
visit in 1944. The "embellishment
" had the desired propaganda outcome - a "positive report
While researching Shoah
, Claude Lanzmann
interviewed Benjamin Murmelstein, the last surviving member of the Jewish Council of the Elders
in Theresienstadt. That footage is now in a new film
, "The Last Of The Unjust
." [more inside]
Almost immediately upon my arrival in my first teaching job, I became the go-to guy for the Holocaust. Of course, this was partly due to my dissertation, but in larger part, I suspect, because of my Jewishness. This was fine with me for a number of reasons. First, as a junior faculty member, this identification, though merely professional, could only help in my quest for tenure. An expert on the Holocaust carried infinitely greater weight, I thought, than an expert on ministerial instability during the French Third Republic.
: My life as an accidental Holocaust expert—and why I decided to quit
Poetry in Hell
contains a complete collection of poems recovered from the Warsaw Ghetto's Ringelblum Archives
. The project, which took ten years to complete, gives English translations of poems that are shown in their original Yiddish. [more inside]
(google video) A former priest's personal journey through the tangled and sometimes violent history between Christians and Jews.
Mahler performances were rare in Vienna in those days because Mahler's city had already been contaminated by the acolytes of Adolf Hitler. By their reckoning, Mahler's music was loathsome — a product of "Jewish decadence." To put Mahler's music on the program was therefore a political act. It was to protest and deny the hateful faith that blazed across the border from Germany. That much I understood quite clearly, even as a boy
The New Yorker's Alex Ross
reprints Hans Fantel
's New York Times 1989 essay
on Bruno Walter's 1938 performance of Mahler's Ninth Symphony
-- the last performance of the Vienna Philharmonic before Hitler invaded Austria.
I'd like to introduce you to Norman Finkelstein.
A Jew whose parents were survivors of the Warsaw ghetto and various concentration camps, he is one of a handful of modern Jewish scholars who wants to "maintain the integrity of the history of the Nazi holocaust". I was introduced to him when I read his book The Holocaust Industry
, which reminds us that "its central dogmas sustain significant political and class interests. Indeed, The Holocaust has proven to be an indispensable ideological weapon." Indeed.