Elie Wiesel's 'Night' A Fraud
Anarchore
who inquire are sent to jail? There needs to be an investigation into
the real events, including the genocide of German soldiers and
civilians after the war, as the Jews exercised their favorite tactic,
collective punishment, which they enjoy to this day in Palestine.
http://www.rense.com/general70/elie.htm
Elie Wiesel's 'Night' A Fraud?
Did Oprah Pick Another Fibber?
"As he roosts on his pile of gold amid the abuse of Oprah and the
literary world, Frey can comfort himself with the thought that Night is
not how "it really was", and that even though there is a vast gulf
between what Wiesel actually endured and Frey's lies about his own
life, when it comes making literature he and Wiesel were both in the
business of artistic and emotional manipulation, of dressing fiction up
as truth."
Truth and Fiction in Elie Wiesel's Night:
Is Frey or Wiesel the Bigger Moral Poseur?
By Alexander Cockburn
CounterPunch.com
4-1-6
When in trouble, head for Auschwitz, preferably in the company of Elie
Wiesel. It's as foolproof a character reference as is available today,
at least within the Judeo-Christian sphere of moral influence. One can
easily see why Oprah Winfrey and her advisers saw an Auschwitz
excursion in the company of Wiesel as a sure-fire antidote to salve the
wounds sustained by Oprah's Book Club when it turned out that James
Frey had faked significant slabs of his own supposedly autobiographical
saga of moral regeneration, A Million Little Pieces.
Published in 2003, Frey's irksome book swiftly became a cult classic.
(The present author was offered it in the summer of 2004 by a young
relative, presumably to assist in his moral regeneration, but after
glancing through a few pages returned it, on the grounds that it wasn't
his kind of thing.) Winfrey picked it for her Book Club in September
2005, and it rocketed to the top of the bestseller lists.
For Frey the sky fell in when, on January 7, 2006, the Smoking Gun
website published documents showing that Frey had fabricated many facts
about himself, including a criminal record. There were later charges of
plagiarism. Frey ran through a benign gauntlet of trial-by-Larry King
on January 11, and Oprah called in to stand by her Pick of the Month.
She said that what mattered was not whether Frey's book was true (the
Fundamentalist claim for the Holy Bible) but its value as a therapeutic
tool (the modern Anglican position on the Good Book).
But by now every columnist and books page editor in America was
wrestling the truth-or-fiction issue to the ground. Oprah turned on
Frey. On her show on January 26, he clung to the ropes, offering the
excuse that the "demons" that had driven him to drink and drugs had
also driven him into claiming that everything he wrote about himself
was true. Publishers including Random House, which has made millions
off him, had rejected the book when he'd initially offered it as a
"fiction novel". Oprah brushed this aside.
"Say it's all true" is what demons often whisper in an author's ear.
Ask T.E. Lawrence. Did the Bey of Deraa really rape him? Lawrence
suggests it in the Seven Pillars of Wisdom in paragraphs of fervent
masochistic reminiscence. This and other adventures in Lawrence's
account of British scheming in Mesopotamia against the Ottomans met
with the ecstatic admiration of the Oxford-based equivalent of Oprah's
Book Club back in the early 1920s, after Lawrence had the 350,000-word
"memoir" privately printed and circulated. He'd written an earlier
version in 1919 but claimed this had been stolen while he was changing
trains in Reading, on the way to Oxford from London. (Reading has
surely been the site of more supposed thefts and losses of "completed
manuscripts" and PhD dissertations -- "I didn't make a copy!" -- than
any railway station in the world.)
Half a century later it occurred to Colin Simpson and Phillip Knightley
of the London Sunday Times to ask the supposed rapist for his side of
the story. They hurried off to Turkey and tracked down the town to
which the Bey had retired, arriving at his home only to learn he'd died
not long before. Relatives told the British reporters that the Bey
would not have found Lawrence appetizing prey. The Turk was a noted
womanizer, and when in Mesopotamia was always getting the clap from
consorting with whores on his excursions to Damascus.
It's fun to think of Oprah grilling Lawrence about his claims, freshly
exposed on Smoking Gun, telling him she felt "really duped" but that,
"more importantly, I feel that you betrayed millions of Orientalizing
masochists who believed you".
But hardly had Frey been cast down from the eminence of Amazon.com's
top bestseller before he was replaced at number one by the new pick of
Oprah's Book Club, Elie Wiesel's Night, which had the good fortune to
see republication at this fraught moment in Oprah's literary affairs.
Simultaneous with the Night selection came news that Oprah Winfrey and
Elie Wiesel would shortly be visiting Auschwitz together, from which
vantage point Oprah, with the lugubrious Wiesel at her side, could
emphasize for her ABC-TV audience that there is truth and there is
fiction, that Auschwitz is historical truth at its bleakest and most
terrifying, that Night is a truthful account and that Wiesel is the
human embodiment of truthful witness.
The trouble here is that in its central, most crucial scene, Night
isn't historically true, and at least two other important episodes are
almost certainly fiction. Below, I cite views, vigorously expressed to
me in recent weeks by a concentration camp survivor, Eli Pfefferkorn,
who worked with Wiesel for many years; also by Raul Hilberg. Hilberg is
the world's leading authority on the Nazi Holocaust. An expanded
version of his classic three-volume study, The Destruction of the
European Jews, was recently reissued by Yale University Press. Wiesel
personally enlisted Hilberg to be the historical expert on the United
States Holocaust Commission.
If absolute truth to history is the standard, Pfefferkorn says, then
Night doesn't make the grade. Wiesel made things up, in a way that his
many subsequent detractors could identify as not untypical of his modus
operandi: grasping with deft assurance what people important to his
future would want to hear and, by the same token, would not want to
hear.
The book that became Night was originally a much longer account,
published in Yiddish in 1956, under the title Un di Velt Hot Geshvign
(And the World Remained Silent). Wiesel was living in Paris at the
time. By 1958 he had translated his book from Yiddish into French,
publishing it in that year under the title La Nuit. Wiesel says it was
severely cut down in length by Jerome Lindon, the chief editor at
Editions de Minuit. In 1960 came the English translation, Night,
published by Hill & Wang. The 2006 edition of Night is translated from
the 1958 French version by Wiesel's wife, Marion, and in the
introduction Wiesel says he has "been able to correct and revise a
number of important details".
In the New York Times for January 17, Michiko Kakutani wrote in her
usual plodding prose, with her usual aversion to any unconventional
thought, that "Mr. Frey's embellishments of the truth, his cavalier
assertion that the 'writer of a memoir is retailing a subjective
story,' his casual attitude about how people remember the past -- all
stand in shocking contrast to the apprehension of memory as a sacred
act that is embodied in Oprah Winfrey's new selection for her book
club, announced yesterday: Night, Elie Wiesel's devastating 1960
account of his experiences in Auschwitz and Buchenwald."
Amazon.com got the message quickly enough. The site had been
categorizing the new edition of Night under "fiction and literature"
but, under the categorical imperative of Kakutani's "memory as a sacred
act" or a phone call from Wiesel's publisher, hastily switched it to
"biography and memoir". Within hours it had reached number 3 on
Amazon's bestseller list. That same evening, January 17, Night topped
both the "biography" and "fiction" bestseller lists on
BarnesandNoble.com.
Nonetheless, over the next few days there were articles in the Jewish
Forward and in the New York Times, also a piece on NPR, saying that
Night should not be taken as unvarnished documentary. In the Forward
article, published January 20, challengingly titled "Six Million Little
Pieces?", Joshua Cohen reminded Forward readers that in 1996, Naomi
Seidman, a Jewish Studies professor at the Graduate Theological Union
in Berkeley, California, had compared the original 1956 Yiddish version
of the book with the subsequent, drastically edited translation.
"According to Seidman's account, published in the scholarly journal
Jewish Social Studies", Cohen wrote, "Wiesel substantially rewrote the
work between editions -- suggesting that the strident and vengeful tone
of the Yiddish original was converted into a continental, angst-ridden
existentialism more fitting to Wiesel's emerging role as an ambassador
of culture and conscience. Most important, Seidman wrote that Wiesel
altered several facts in the later edition, in some cases offering
accounts of pivotal moments that conflicted with the earlier version.
(For example, in the French, the young Wiesel, having been liberated
from Buchenwald, is recuperating in a hospital; he looks into a mirror
and writes that he saw a corpse staring back at him. In the earlier
Yiddish, Wiesel holds that upon seeing his reflection he smashed the
mirror and then passed out, after which 'my health began to improve.')"
That said, Cohen emphasized that whereas "Frey, for one, seems to have
falsified the facts of his life in order to satisfy ego and the demands
of the market, Wiesel's liberties seem more like reconsiderations, his
process less revision than interpretation. Reading Night, one
encounters the birth of thought about the Holocaust - the future of
history, concomitant with its study. In both versions, the book's
intent is to engage not the undeniability of the Holocaust, but the man
who has undeniably emerged from its horror."
This reverent tone about Wiesel and his work is customary. People
mostly write about him and his work with the muted awe of British
tourists reading guidebooks to each other in a French cathedral. In The
Jewish Press for February 1, Andrew Silow Carroll was a bit friskier.
He cited Wiesel as declaring to the New York Times that Night "is not a
novel at all. All the people I describe were with me there. I object
angrily if someone mentions it as a novel." And yet, Silow Carroll went
on, "in the past, Wiesel hasn't helped matters in this regard. In 1972,
Hill & Wang packaged Night with two other books, Dawn and The Accident,
which Wiesel clearly identified as novels. The set's cover refers to
the works as 'Three Tales by Elie Wiesel.' In a later edition of the
same volume, Wiesel refers to all three books as 'narratives,' although
he calls Night a 'testimony,' and the other two 'commentaries.'"
There are some rather comical instances of Wiesel's relaxed attitude to
autobiographical truth, as excavated in Norman Finkelstein's book, The
Goldhagen Thesis and Historical Truth. Wiesel was one of Goldhagen's
main supporters. In his 1995 memoir, All Rivers Run to the Sea Wiesel
writes that at the age of 18, recently liberated from Auschwitz, "I
read The Critique of Pure Reason--don't laugh!--in Yiddish."
Finkelstein comments, "Leaving aside Wiesel's acknowledgement that at
the time ''I was wholly ignorant of Yiddish grammar' The Critique of
Pure Reason was never translated into Yiddish." Imagine the lacerations
Frey would have endured for making that sort of boast.
Though sales have now soared, I'm not sure how many people will read
Night now, beyond buying the new edition as a gesture of solidarity
with Oprah and survivors of the Holocaust. It doesn't take a background
in literary criticism to see that Night is artfully fashioned as a kind
of symbolic narrative about the relationship between sons and fathers
(there are four such portraits in the short book) and, crucially,
between the Christian God (the Father) and his Son. The style seems
influenced by Albert Camus, particularly L'Etranger. Camus won the
Nobel Prize for literature in 1957, one of the youngest recipients
ever. This was the time during which Wiesel was reworking his Yiddish
narrative into the far more terse, Camusian work, with its Camusian
title.
As a piece of historical witness to the experience of the inmates, the
doomed and those who survived inside Auschwitz and Buchenwald, there
are books far superior to Night, starting with Primo Levi's writings,
or the late Ella Lingens-Reiner's extraordinary memoir of Auschwitz,
Prisoners of Fear, published in 1948. Night's focus is extremely
narrow, primarily on the main character, Eliezer, and his father. One
learns with a certain surprise that though Wiesel's sister Tzipora died
in the camps, two other sisters survived. In the new edition, Wiesel
doesn't mention them.
Night certainly contains none of the context offered by Levi or
Lingens-Reiner, or much more rfecently, by Kenneth Waltzer, professor
of Jewish Studies at Michigan State University, who is writing a book
called The Rescue of Children at Buchenwald and whose interesting
letter was published in Forward at the end of February:
"The January 20 article on Oprah Winfrey's selection of Elie Wiesel's
Night for her Book Club was on the mark ('Six Million Little Pieces?').
Any memoir is a reconstruction shaped by purpose and audience rather
than a direct statement of memory -- and even Wiesel's Night is not an
exception.
"Night focuses primarily on the relation of father and son in Auschwitz
and in Buchenwald. When Wiesel loses his father in January 1945 at
Buchenwald, he drifts into a listlessness and fog from which he emerged
only after liberation. He recalls in Night only the terrible final days
of the camp, in April 1945, when the Nazis sought to evacuate Jewish
prisoners and then all prisoners.
"Wiesel writes of his relation with his father, the presence of God,
and his own survival and its meaning. He does not describe the social
context in which he existed during the final months. The barracks, his
place in the camp, his relation to others -- other prisoners, Jews,
boys -- remain murky.
"What is omitted in Night is that the 16-year-old was placed in a
special barracks created by the clandestine underground as part of a
strategy of saving youth. Block 66 was located in the deepest part of
the disease-infested little camp and beyond the normal Nazi S.S. gaze.
It was overseen by Czech Communist Antonin Kalina and by his deputy,
Gustav Schiller, a Polish Jewish Communist.
"Schiller, who appears briefly in Night, was a rough father figure and
mentor, especially for the Polish-Jewish boys and many Czech-Jewish
boys; but he was less liked, and even feared, by Hungarian- and
Romanian-Jewish boys, especially religious boys, including Wiesel. He
appears in Night as a distant figure, armed with a truncheon.
"After January 1945, the underground concentrated all children and
youth that could be fit into this windowless barracks -- more than 600
in total. Younger children were protected elsewhere. When the U.S.
Third Army arrived April 11, 1945, more than 900 children and youth
were found among 21,000 remaining prisoners.
"Wiesel since has acknowledged the role played by the clandestine
underground but did not attend to it in Night. Fellow barracks members
recall being protected from work and getting extra food. They recall
efforts by their mentors to raise their horizons. They also recall
heroic intervention by Kalina or by Schiller during the final days to
protect them.
"Even then, many boys were lined up at the gate, to be led out April
10. However, American planes flew overhead, sirens sounded, the guards
ran and Kalina, who was with them, ordered the boys back to the
barracks. They were still in the barracks the next day when units of
the U.S. Third Army broke through the barbed-wire fences.
"Wiesel's Night is about becoming alone. But Wiesel was also among
hundreds of children and youth aided by a purposeful effort at rescue
inside a concentration camp."
Forward slightly trimmed Waltzer's contribution, from an article to a
letter. In the fuller version, which he has kindly supplied, Professor
Waltzer wrote his last paragraph as follows:
"In Night, Wiesel writes about viewing himself in the mirror after
liberation and seeing a corpse gazing back at him. But another picture
taken after liberation shows Wiesel marching out of the camp, fourth on
the left, among a phalanx of youth, moving together, heads high, a
group guided by prisoners who had helped save them."
A photograph accompanying Waltzer's text, credited to Jack Werber, of
Great Neck, New York, shows exactly that. The young Wiesel's head is
high, like the others'. But this parable of a triumph for human
solidarity was absolutely contrary to the parable Wiesel was set on
rewriting in French from the Yiddish volume. In the late 1950s a man
with instincts as finely tuned as Wiesel's to useful frequencies on the
political dial probably would not have thought it advantageous to dwell
on the heroic role of Communists in the death camps. All the more is
this true in recent years, when Wiesel's most celebrated moments have
come when hunkering down for sessions of amiable moral counsel with
Ronald Reagan (who wanted to pretend that the SS should be
retrospectively forgiven because, after all, they weren't Communists
and fought the Great Satan) and George Bush, on whom Wiesel urged the
war on Iraq as a necessary moral act, declaring that "the world faced a
moral crisis similar to 1938" and "the choice is simple".
This is not the first time bombing has elicited an endorsement from the
great moral standard-bearer. In 1999, as NATO's bombs descended on
Yugoslavia, blowing up civilians on train or bus, as well as
journalists in their broadcasting studio, Wiesel was questioned by Wolf
Blitzer on CNN's Larry King Live. Declared one government toady to
another: "I think it [the bombing] had to be done, because all the
other options had been explored." This balderdash put Wiesel, morally
speaking, on a par with Cardinal Spellman, blessing the B-52s as they
set off to drop napalm on children in the Vietnam era.
For a decidedly irreverent assessment of Night's merits On February 10,
2006, Candian tv viewers were able, in February, to watch and hear the
former editor of Harper's magazine, Lewis Lapham, delivering a lecture
at the University of Ottawa, on the invitation of the university's
Graduate Students Association. Lapham's lecture, entitled "The
Politicization of Research," was carried on C-PAC, Canada's
parliamentary TV channel, several times in the days that followed. In
the Q and A session after the lecture, in response to an enquiry about
the decline in the quality of ediucation, Lapham replied:
"I have had three children; my youngest is now 25, my eldest is 32.
They all went through a very high-end American both secondary schools
and colleges. And the syllabus of books that they were given in the
English courses were terrible. I mean, they were all tracts
"There was a big fuss about Oprah Winfrey and the James Frey book, and
she's now going to put on [her TV show] Elie Wiesel's Night. This is
really one of the worst books I have ever read, and I've had to read it
three times to my three children; and it's junk. But it's the kind of
junk that has become very de rigeur in American universities. It's a
propaganda poster. With the kind of books the kids are given to read, I
mean, it would turn them off books forever. No wonder! Because they are
being given tracts. And, the big subject of course is victimology."
One of the perennially fascinating things about Wiesel is the
preternatural alertness of his antennae for the opportune audience, his
sense of what will, so to speak, "play" usefully for him. This brings
us, by way of Eli Pfefferkorn, to Francois Mauriac.
These days Eli Pfefferkorn, age 77, lives in Toronto. A man, on the
evidence of several phone conversations, of alert intelligence and
charm, he too is a concentration camp survivor. Originally from Poland,
he spent seven weeks in Maidanek, then in three labor camps, then in
Buchenwald, then in Rehmsdorf. Near the end of the war he endured a
death march to Theresienstadt in Moravia, where the surviving inmates
were liberated by the Red Army on May 8, 1945. Pfefferkorn's parents
perished in other camps, and he tells me he owes his life to his
mother, who shook his hand loose from hers when the family was about to
be deported, and told the 13-year-old boy to scram.
Pfefferkorn eventually came to the United States, taught, and spent
some time working with Wiesel on the conceptual design of the Holocaust
museum. Once an uncritical admirer, his present estimate of Wiesel is
not favorable, and he sets his views forth at length in a fascinating
manuscript he is preparing to submit to publishers. He was kind enough
to send me some chapters. By no means short-changing Wiesel on what he
regards as his genuine achievements, Pfefferkorn can be unsparing:
"He's become a eulogist of the dead but he doesn't raise his
mellifluous voice against the wrong done to survivors, 35 per cent of
them below the poverty line in the US."
There are piercing passages in Pfefferkorn's memoir concerning Wiesel's
opportunism and betrayals in the murky battles over the design of the
Holocaust Museum, and above all in his artful pursuit of the Nobel
Peace Prize, which he was awarded in 1986. "Would Wiesel, Pfefferkorn
asks, "ever have received this prize for his work as a journalist?"
Pfefferkorn answers his question, "It's hard to imagine. No. Wiesel got
the prize because he elevated himself as the spokesman for the
survivors. His mostly absurd pretensions to be a 'peace missionary',
had nothing to do with it."
Then, once he had the prize he so fiercely pursued, Wiesel gradually,
but consistently--so Pfefferkorn stresses--"alienated himself from the
survivors".
In Night, Pfefferkorn isolates a number of episodes in which he makes a
convincing case that Wiesel dumped truth in favor of fiction. The two I
cite here involve a boy playing a violin amidst a death march, and the
second is one of Night's most famous scenes, the hanging of three
inmates.
Of the first episode, Pfefferkorn writes:
"The story of the 'violin episode' takes place during the death march
from Auschwitz to Buchenwald with a short gap at Gleiwitz in January of
1945. Mercilessly driven by the SS guards, stragglers were shot at and
shoved to the side road. The columns of inmates arrived in Gleiwitz,
after having dragged themselves through the snow-swept roads in
freezing temperatures for about fifty kilometers. Immediately upon
arrival, they were herded into barns. Drained, they dropped to the
floor -- the dead, the dying and the partially living piled one on the
other.
"Under this heap of crushed humanity laid Juliek, cradling a violin,
which he has carried all the way from Auschwitz to Gleiwitz. Eliezer,
somehow, stumbles on Juliek, "...the boy from Warsaw who played in the
band at Buna... 'How do you feel, Juliek?' I asked, less to know the
answer than to hear that he could speak, that he was alive. 'All right,
Eliezer ... I'm getting on all right ... hardly any air ... worn out.
My feet are swollen. It's good to rest, but my violin...'
"Eliezer -- the inmate -- wonders, 'What use was the violin here?'
Wiesel -- the memoirist -- does not find it necessary to give an answer
to the question. Such an answer, I assume, should be of interest to the
reader for if Wiesel were to provide an answer, the veracity of the
story would dissolve like the morning mist in the Sinai desert.
Maintaining hold on a violin as one marched the March of Death is
highly improbable. However, a violin in the midst of human debris
strains the imagination and questions memory. How did Juliek hold on to
the violin on the death journey? Deprived of food and drink, when each
step stubbornly refused to follow the next one, how did Juliek manage
to clutch the violin in his numb fingers, let alone play Beethoven on
it? Would the SS escorts have let him keep it?
"And from this anus mundi, suddenly the melody of a Beethoven concerto
is heard, wafting through the corpses, the groans of the dying, the
stench of the dead. Eliezer had never heard sounds so pure. 'In such a
silence. It was pitch dark. I could only hear the violin, it was though
Juliek's soul were the bow. He was playing his life. The whole life was
gliding on his strings -- his lost hopes, his charred past, his
extinguished future. He played as he would never play again.' This
powerful and emotionally moving scene, celebrating the triumph of the
human spirit over the grinding SS machinery is the very stuff that
heroic fiction is made of. But is it a memoir factually recorded?
Obviously, Wiesel's putative memoir, written while on a boat to Brazil,
is but a recollection of experiences seen through the eye of his
creative imagination. And yet, the melancholy melodies that came out of
Juliek's violin were the first strains of a myth orchestrated by Wiesel
and his disciples, over a period of thirty years."
A major scene in Night, one that contributed hugely to the book's
success in the West, and its impact on many Christians starting with
Francois Mauriac, was the execution of three inmates in the Buna work
camp. As Pfefferkorn writes, "The fascination of Christian theologians
with the Wiesel phenomenon must be traced back to a hanging that the
16-year-old Eliezer witnessed in Auschwitz."
In the incident, two adults and a little boy are being led to the
gallows. The little boy refused to betray fellow inmates who have been
involved in an act of sabotage; to protect his fellow inmates, the boy
is willing to pay with his life. Each one climbs to his chair and his
neck is slipped into the rope's noose. The scene continues as follows
in the 1960 English version of Night:
"The three victims mounted together onto the chairs. The three necks
were placed at the same moment within the nooses. 'Long live Liberty!'
cried the adults. But the child was silent.
"'Where is God? Where is He?' someone behind me asked. At a sign from
the head of the camp, the three chairs tipped over. Total silence
throughout the camp. On the horizon, the sun was setting.
"'Bare your heads!' yelled the head of the camp. His voice was raucous.
We were weeping. 'Cover your heads!' Then the march past began. The two
adults were no longer alive. Their tongues hung swollen, blue tinged.
But the third rope was still moving; being so light, the child was
still alive.... For more than half an hour he stayed there, struggling
between life and death, dying in slow agony under our eyes. And we had
to look him full in the face. He was still alive when I passed in front
of him. His tongue was still red, his eyes not yet glazed. Behind me, I
heard the same man asking: 'Where is God now?' And I heard a voice
within me answer him: 'Where is He? Here He is -- He is hanging here on
this gallows'"
Not surprisingly, the graphically described hanging scene has been
etched into the imagination of the Christian theologians because of the
numerous parallels to the Crucifixion of Jesus.
Now, while he was working on the memoir, La Nuit, Wiesel had cause, on
behalf of an Israeli newspaper, to visit and interview Francois
Mauriac, the Catholic writer and Nobel Laureate in literature. They got
on well. Then Wiesel gave him the manuscript of La Nuit. Mauriac found
in it an answer to his own anguish at descriptions of the mass
slaughters in the death camps, particularly of children.
Mauriac fastened instantly on, in Pfefferkorn's words, "a resemblance
between the crucifixion and Wiesel's description of the young boy's
hanging. In response to Wiesel's questioning of God's benevolence and
man's humanness, Mauriac writes the following in his Foreword to Night:
'And I, who believe that God is love, what answer could I give my young
questioner, whose dark eyes still held the reflection of that angelic
sadness which had appeared one day upon the face of the hanged child?
What did I say to him? Did I speak of that other Israeli, his brother,
who may have resembled him -- the Crucified, whose Cross has conquered
the world?'"
Pfefferkorn continues:
"The hanged child dangling on the rope is reflected in Eliezer's eyes,
whose image resembles that of the crucified Jesus. Thus in one stroke,
Mauriac has drawn a triptych reminiscent of the medieval paintings,
making young Eliezer the link connecting the two watershed events in
the history of Western civilization, namely the Crucifixion and the
Holocaust. Mauriac leaves no doubt as to his Christological
interpretation of the Auschwitz hanging. In the year 1960, he published
a biography of Christ entitled The Son of Man dedicated to 'E.W. who
was a crucified Jewish child, who stands for many others.'
"Mauriac explains what it was in his interview with Wiesel that drew
him so powerfully to the young Israeli: 'That look, as if a Lazarus
risen from the dead, yet still a prisoner within the grim confines
where he had strayed, stumbling among the shameful corpses.' Wiesel's
painfully gaunt demeanor set against the backdrop of the concentration
camps' corpses have inspired a generation of Christian theologians to
view Wiesel as a latter day Lazarus.
"It is highly speculative to suggest that from the very inception of
his writing, Wiesel consciously laboured to present himself to the
Christian world as a composite of a Christ Lazarus figure. However,
once the seeds of the myth were sown in Paris at Mauriac's instigation,
and took roots in the soil of Christian America, Wiesel has done his
share to encourage the 'Lazarus risen from the dead parallel.' But
Wiesel has done so more by gesture than act, silence than utterance,
indirection than direct statement. The unspoken, the mute, the covert
are his metier; albeit an ambiguity laced through with shrewd
intelligence that would make many a professional diplomat envious."
In a letter to David Hirsch dated October 6, 1994, Alfred Kazin writes
that at the beginning of their friendship, "I liked him [Wiesel]
enormously, and I was in awe of him because of his suffering in
Auschwitz." But at the same time "... it was impossible, when he
expanded at length about his experiences under the Nazis, it was
impossible to miss the fact that he was a mystifier".
One who says he directly observed the hanging scene described by Wiesel
was Zygfryd Halbereich, who testified at the Auschwitz State Museum on
October 19, 1973. Halbereich's testimony was matter-of-fact, clear and
direct. He was acquainted with the three inmates and knew about their
escape plans.
"On the whole," Pfefferkorn writes, "Halbereich's testimony is in
agreement with Wiesel's narrative, and differs only in one minor
detail. But this is an inconsequential disagreement that does not
change the substance of the hanging story. What does affect it,
however, is the age of one of the condemned, as given by Wiesel. And
the age of the condemned is the crux of the matter.
"In the original Yiddish Un di Velt Hot Geshvign and in the French and
the English translations, one of the three condemned is frequently
referred to as a child or a young boy. Halbereich is silent about the
ages of the condemned, and this omission is surprising. For in Wiesel's
painfully elaborate description of the hanging, the young boy's
execution stirred up deep emotions among the inmates standing on the
roll call. The Kapo who was assigned to administer the hanging '
excused himself from serving as a hangman. He did not want to hang a
child.' A Kapo's refusal to obey an SS order was tantamount to a death
sentence. His extraordinary behaviour would have certainly registered
with Halbereich, whose testimony is meticulously detailed. Halbereich's
silence on the Kappo's courage calls into question Wiesel's account of
the hanging. One of the skeptics is the known Holocaust scholar Raul
Hilberg, who is, in his own words, a seeker of truth.
"Cautious by temperament and scholarly discipline, Hilberg gingerly
raises the issue related to the hanging scene. In a review written for
the Boston Globe about Wiesel's autobiographical book All Rivers Run to
the Sea, Hilberg makes mention of the three hangings. 'Describing the
incident in his [Wiesel's] book Night,' Hilberg notes, 'he recalled
someone behind him asking: Where is God? At that moment Wiesel believed
that one of the three was a boy, and in his mind identified the child
with God.' Citing Kazin's contention that the entire event is fiction,
Hilberg concludes, 'To be sure, the doubters may claim a concession.'"
Pfefferkorn's considered judgement is harsh on Wiesel's claims for the
absolute truth to life of Night:
"If the hanging scene turns out contrary to Wiesel's description in his
purported memoir Night, a fictionalized episode as Kazin claimed and
surmised from Halbereich's testimony, then Wiesel's entire moral and
theological edifice collapses, bringing down with it the 'Suffering
Servant' theology, which first gave him recognition and eventually led
him to fame.
"Though it is virtually impossible to verify the exact ages of the
condemned, it must be noted, as Hilberg observed, that in Wiesel's
recent autobiography 'the suffering body is no longer that of a boy.'"
Quite aside from the theological questions, part of the impact of the
scene derives from Wiesel's description of this boy whose weight was
too insubstantial for the noose to swiftly strangle him. Does this, in
the last analysis, really matter? It does if you are disobligingly
contrasting Frey to Wiesel's "apprehension of memory as a sacred act".
All the same, I don't suppose Smoking Gun would ever gleefully feature
the third victim's birth certificate.
After talking to Eli Pfferkorn and reading chapters from his memoir, I
called Raul Hilberg, now 80, at his home in Burlington, Vermont.
"From a purely academic viewpoint", Hilberg began, "it would be
interesting to have a scholarly edition, comparing the Yiddish version
with subsequent translations and editions, with appropriate footnotes,
Wiesel's comments etc. He was addressing two entirely different
audiences, the first being the Yiddish-speaking Jews, members of the
world of his youth whom he addressed in nineteenth-century terms.
There's more detail, more comment. I made that suggestion to Wiesel and
he didn't react favorably."
Hilberg turned to the crucial scene: "I have a version of the hanging
from an old survivor with the names of all three adults." That survivor
had said that there was no boy among the three. Hilberg mentioned this
in a review of Night , in which, he told me, "I made no secret of our
differences. But whereas it [the age of the central figure in the
hanging] may seem somewhat small, it makes a very big difference to
Christians, particularly Catholics, because it's very clear that
mystics are intensely interested in the scene because it seems to
replicate the crucifixion. It made a considerable impact. So the fact
that this figure may not have been a boy at all is disturbing."
"It would appear", Hilberg went on, "from the record I have, that some
witnesses have questioned whether this scene took place at all. I have
a long statement by an older man, a man whom I judge to be quite
trustworthy, though one must always remember that things are sometimes
observed or heard about later. I talked recently to a survivor of that
section of the camp who said it [the hanging of the three] didn't take
place, but maybe it took place earlier. I don't know. Dating these
tings is hard for survivors. Some have doubted this would have taken
place. Buna was a work camp, so this other survivor, a PhD in history
and a very intelligent man, didn't believe it. I said to him, 'How do
you know this didn't happen?' I consider it not only a possibility but
plausible. But age is a big issue to some people. That's something he
did not discuss in the new edition of the book."
"Wiesel's is the most read of all Auschwitz memoirs", Hilberg remarked,
"not only because of its brevity but because it has something mystic,
surrealistic in it." He mentioned the episode of the little boy playing
the violin, and said how it evoked images from the Russian-Jewish
mystic painter Chagall, also of Fiddler on the Roof.
"Wiesel comes from Sighet, a city in Romania. In Sighet there were many
religious Jews, also Ukrainians. Much of Sighet was rather primitive at
the time Wiesel was growing up. Most roads were not paved. It was
shtetl life. However an assimilated group of Jews was emerging. I went
there when I was 11, in 1937, and spent the summer. There was a tennis
court, very middle-class. My aunt and her husband, a Sigheti,
manufactured violins in Sighet where there was a major tradition of
violin playing. I heard quartets in our garden. Wiesel's parents had a
store. So in some respects Sighet was very nineteenth century, and in
others there were all the earmarks of a group of Jews emerging into the
twentieth century who were evidently wide awake to modern civilization.
So was the violin scene realistic, or was it a fantasy? Certainly, for
Jews the violin was the instrument of choice. It was portable.
"So I would not say that the violin scene is impossible, even though I
know someone from the death march who said it was utterly impossible.
He was in Auschwitz, also Wiesel's age. But that still doesn't mean it
didn't happen. Nothing is inconceivable.
"The model of all survivor accounts is of an idyllic childhood, then
the hell of the Holocaust, then since they survived they underline the
fact that it was only by luck they survived. With Wiesel, his original
title was And the World Was Silent. It's accusatory. Night is more
surreal and mystic. It goes back to Middle Ages. Wiesel fits right into
that style. It's not a novel, but what it does have is the imprint of
someone who wants to leave behind the impression that if you weren't
there, you cannot know what it was like, but then that dooms trying to
write what it was like."
I asked Hilberg what accounts of the death camps and the Holocaust did
he admire most. "That really depends on the reader. I don't have that
kind of favorite. For my purposes, obviously they have to be correct.
There's an account by Filip Mueller, who was on the gas chamber detail
in Auschwitz in 1942, written in collaboration with two people:
Eyewitness Auschwitz. It has to be read with care. Another book is
Rudolf Vrba's I Cannot Forgive, written with Alan Bestic. Vrba escaped
from Auschwitz. He became professor of pharmacology at the University
of British Columbia. This is the most remarkable of survivors, a man of
absolutely incredible energy and abilities. In sheer ability to cope
with the situation, this man is beyond belief."
I didn't press the point, but Hilberg, who stressed to me that he
admires Wiesel, did not include Night in this little list. A clue to
this omission may be found in Hilberg's often acrid memoir, The
Politics of Memory, published in 1996. In the chapter "Questionable
Practices", notable for a devastating account of underhand behavior by
Hannah Arendt, Hilberg discusses "areas of inappropriateness or
illegitimacy". "I try to nod wisely when when poets or novelists step
forward with their art, which in its very nature is much less disguised
than mine. Nor am I disturbed when popularizers of history excavate the
monographs of the footnote writers [among whom Hilberg included
himself] and, distilling the contents, highlight story and drama for a
large reading public.There are, however, limits Among the practices
that give me discomfort is the creation of a story in which historical
facts are altered deliberately for the sake of plot and adventure"
Then a page later Hilberg continues, "If counterfactual stories are
frequent enough, kitsch is truly rampant. The philistines in my field
are truly everywhere. I am surrounded by the commonplace, platitudes,
and clichés.The first German publisher of a small volume, containing my
introduction and documents about the railroads [viz. their role in the
destruction of the Jews] inserted a poem for which, he said, he had
paid good money, describing human beings in freight cars including
children whose eyes glowed like coal . The manipulation of history is a
kind of spoilage and kitsch is debasement."
Reading those lines, my mind did go at once to some of the scenes in
Night --Juliek playing his violin on the death march for example--which
hover on the edge of kitsch or, to take a less forgiving view, plunge
into it.
"In 1981", Pfefferkorn remembers, "Wiesel invited me to give a talk to
his seminar students at Boston University. In the course of my talk, I
discussed the relationship between memory and imagination in a number
of literary works. I then pointed out the literary devices he used in
Night, devices, I stressed, that make the memoir a compelling read.
Wiesel's reaction to my comments were swift as lightning. I had never
seen him as angry before or since. In the presence of John Silber, the
then President of Boston University, and my own Brown University
students whom I invited, he lost his composure, lashing out at me for
daring to question the literalness of the memoir. In Wiesel's eyes, as
in the eyes of his disciples, Night assumed a level of sacrosanctity,
next in importance to the giving of the Torah at Mt. Sinai. In terms of
veracity, it is a factually recorded work, virtually meeting Leopold
von Ranke's benchmark of historical accounts: Wie es eigentlich
gewessen, how it really was."
As he roosts on his pile of gold amid the abuse of Oprah and the
literary world, Frey can comfort himself with the thought that Night is
not how "it really was", and that even though there is a vast gulf
between what Wiesel actually endured and Frey's lies about his own
life, when it comes making literature he and Wiesel were both in the
business of artistic and emotional manipulation, of dressing fiction up
as truth.
As Pfefferkorn stresses, you didn't survive in the death camps just by
luck. "Securing a spot in a desirable labor detail, for instance,
involved shoving to the head of the line, seen as a risk worth taking.
Upon encountering opposition, however, one had to know when to retreat
into the chameleon-pyjama-like background of the concentration camp.
This was also true about lining up for soup. Finding the right spot in
the line could mean a thicker bowl of soup -which may add a week's
longevity, but this entailed rough elbowing, as well as timing."
Pfefferkorn says now that one of the greatest disappointments of his
life was Wiesel's "betrayal"--Pfefferkorn's word" of the survivors.
Looking at the man's career overall, I'd say that as a moral fabulist,
Wiesel has far more than Frey to answer for. Should not Oprah ask him
about the millions he could have helped with the moral stature won by
the Nobel peace prize he so unrelentingly campaigned for with his rough
elbows, but whom he has betrayed for reasons of base political
calculation?
Although the Nobel committee extolled him as a "messenger to mankind"
it is difficult to find examples of Wiesel sending any message on
behalf of those victimized by the policies of the United States, and
virtually impossible when it comes to victims of Israel.
Wiesel's pusillanimity was well illustrated in an interview with The
National Jewish Post & Opinion for November 19, 1982. Asked about the
massacre of Palestinians at Sabra and Shatila, he said he felt "sad".
Lest anyone leap to the erroneous conclusion that Wiesel was at last
expressing sadness for the victims of Israel's invasion -- he remained
silent throughout the bombing of Beirut -- Wiesel added that this
sadness was "with Israel, and not against Israel". As he put it, "After
all, the Israeli soldiers did not kill". He also writes, in Against
Silence, vol 2, "Would it not have been better to have offered Israel
unreserved support, regardless of the suffering endured by the
population of Beirut."
In 1985, Wiesel was asked by a reporter from Ha'aretz about Israel's
aid to the military junta in Guatemala. By way of response Wiesel
remarked that he had received a letter from a Nobel laureate (Salvador
Luria of M.I.T. had written to him on this subject a month earlier)
documenting Israel's contributions to mass murder in Guatemala and
urging Wiesel to act privately to pressure Israel. Wiesel "sighed", the
Ha'aretz reporter wrote, and said, "I usually answer at once, but what
can I answer him."
Wiesel could, I suppose, argue that a sigh constitutes a technical
breach of silence, but why did he not go further?
In an interview published in the second volume of Against Silence,
Wiesel says that, as a Diaspora Jew, the "price I chose to pay for not
living in Israel . . . is not to criticize Israel from outside its
borders." In another interview, published in the London Jewish
Chronicle for September 10, 1982, he lamented criticism of Israel
during the Lebanon invasion and asked these rhetorical questions:
"Was it necessary to criticize the Israeli government, notwithstanding
the spate of lies disseminated in the press? Or would it not have been
better to have offered Israel unreserved support, regardless of the
suffering endured by the population of Beirut? In the face of hatred,
our love for Israel ought to have deepened, become more whole-hearted,
and our faith in Israel more compelling, more true."
It's unclear how many times, if any, Wiesel has ventured criticism
inside Israel's borders. Wiesel himself mentions one occasion on which
he exerted what is usually called quiet pressure.
Commentary on Wiesel in the Hebrew-language press in Israel following
the award of the Nobel Peace Prize in 1986 was been more robust than
the statutory honorifics printed in the United States. In Davar, for
example, a reporter named Miri Paz discussed the troubled course of a
conference on holocaust and genocide held in Israel in the summer of
1982. Responding to the urgings of the Turkish government, the Israeli
Foreign Ministry demanded the removal of six items on the agenda
concerning the Armenian genocide. Several people on the conference's
organizing committee, including its chair, Professor Israel Charny,
refused to bend to such interference. But Wiesel, who headed the
conference, did weaken. He pulled out of the conference, explaining, in
Paz's words, that "as a Jew he cannot act against the government of
Israel".
In Koteret Rashit, a liberal weekly, the Israeli journalist Tom Segev
wrote of Wiesel:
"He is always careful not to criticize his nation. . . . What does he
have to say about the situation in the territories? When people from
Peace Now asked him to criticize the Lebanese War he evaded the
request. He's never been in the habit of standing up seriously against
Israeli leaders. . . . What in fact has he done to realize his fine
intentions? Bob Geldof has done more. . . . How nice it would have been
if they had divided the prize among those truly good people of the
world, those still alive, those people who endangered their lives at
the time of the Holocaust in order to save Jews.
"Who symbolizes the lesson of the Holocaust as they do?
"Who is as worthy of the respect of the world as they are?"
Footnote: An earlier version of this article appeared in the
CounterPunch newsletter, #3/4, in February of this year.
--
Kenneth McVay OBC
>How many other Holohoax lies are out there, unchallenged because those
>who inquire are sent to jail? There needs to be an investigation into
>the real events, including the genocide of German soldiers and
>civilians after the war, as the Jews exercised their favorite tactic,
>collective punishment, which they enjoy to this day in Palestine.
>
>http://www.rense.com/general70/elie.htm
>
>Elie Wiesel's 'Night' A Fraud?
>Did Oprah Pick Another Fibber?
No.
Now crawl back into your sewer.
--
"ALL FACTS IN THE COMPLAINT AND ADMISSIONS ARE DEEMED ADMITTED."
http://nizkor.org/ftp.cgi/people/b/bradbury.scott/Edeiken-v-Bradbury-A1.01
"ALL FACTS IN THE COMPLAINT AND ADMISSIONS ARE DEEMED ADMITTED."
http://nizkor.org/ftp.cgi/people/b/bradbury.scott/Edeiken-v-Bradbury-A1.02
Mirelle
Your name is on alt.pedophile.
http://www.news2mail.com/alt/pedophile.html
Alt.Pedophile.Kenneth-mcvay ( 3Groups)
Kenneth McVay is a pedophile
________________________
Mirelle
ElParedon
"Kenneth McVay OBC" <kmc...@shell.vex.net> wrote in message
news:13smd7i...@corp.supernews.com...
> In article <13sm00j...@corp.supernews.com>, Anarchore <e...@t.me> wrote:
>>How many other Holohoax lies are out there, unchallenged because those
>>who inquire are sent to jail? There needs to be an investigation into
>>the real events, including the genocide of German soldiers and
>>civilians after the war, as the Jews exercised their favorite tactic,
>>collective punishment, which they enjoy to this day in Palestine.
>>
>>http://www.rense.com/general70/elie.htm
>>
>>Elie Wiesel's 'Night' A Fraud?
>>Did Oprah Pick Another Fibber?
>
> No.
>
> Now crawl back into your sewer.
>
> --
> "ALL FACTS IN THE COMPLAINT AND ADMISSIONS ARE DEEMED ADMITTED."
FUCK OFF MCVAY, THE ONLY GAS CHAMBER IN EXISTENCE TODEY IS IN THE HOLODOMOR
MUSEUM IN KIEV, IT WAS INVENTED BY A JEW NAMED BERG
You scum are the biggest liars on the face of the Earth. There is no proof
of existenc of any gas chambers in Nazi Germany. The only gas chamber in
existence can be seen in the Holodomor museum in Kiev. This gas chamber is
called Dushegubka, and was invented by a Jew named Berg, to kill Ukrainians
with it. There are dozens of Dushegubkas in the museum all over Russia.
Google it up and see for you
kixi
>
> - Show quoted text -
It is illogical for people to believe the jews' holocaust tales
without evidence particularly when they are so ruthless in their
attempts to wipe Palestine off the map. Remember also how they
instigated the wars against Iraq. They are responsible for the
consequential attrocities. Why believe such people?
Well, there is their use of the media to deceive the masses ....
ElParedon
"kixi" <k...@hotmail.com> wrote in message
news:93894b2d-7801-4138...@d4g2000prg.googlegroups.com...
Jews are sucking our blood for their own ends! American taxpayer is
financing the ZioNazi entity to the tuneof $1,700 for every Jew man woman
and child. Without that cash coming from you and me Israel would fold up and
die within a month!
Mr.Smartypants
> In article <13sm00jme3mo...@corp.supernews.com>, Anarchore <e...@t.me> wrote:
> >How many other Holohoax lies are out there, unchallenged because those
> >who inquire are sent to jail? There needs to be an investigation into
> >the real events, including the genocide of German soldiers and
> >civilians after the war, as the Jews exercised their favorite tactic,
> >collective punishment, which they enjoy to this day in Palestine.
>
> >http://www.rense.com/general70/elie.htm
>
> >Elie Wiesel's 'Night' A Fraud?
> >Did Oprah Pick Another Fibber?
>
> No.
>
> Now crawl back into your sewer.
>
Stop lying for the ZIONISTS McVay.
You're coming across as a bought-and-paid for piece of crap.
Kenneth McVay OBC
ElParedon <ser...@bellsouth.net> wrote:
Alex Seredin (aka. Veneceremos, Serwad, Intrepid5, Conquistador, Strider, Rasputin,
Swagman, El Paredon, Saleh El Din, AmigoCabal, et. al. is a liar and hatemonger
of long standing who resides in Delray Beach, where he is a great embarrassment
to his community.
Alex Seredin (Veneceremos and all his other aliases) is an over-the-hill
Serbian Muslim convert , who has been nominated more than once for Kook of
the Year on Usenet..
THE WIT AND WISDOM OF ALEX SEREDIN; (WARNING: DO NOT READ WHILST DRINKING.)
"Keep it all you want that is the truth. Jews are filthy in personal
hygiene, they are filthy in their habits, and they are filthy in their
manners."
"TO ME THEY LOOK NO DIFFERENT THAN THE NAZIS ;LOOKED, EXCEPT THAT THE NAZIS
WERE MORE CIVILIZED AND HELL OF A LOT CLEANER THAN THE JEWS ARE".
"THE WORLD IS MUCH BETTER INFORMED THAN YOU ABOUT THE HOLOCAUSTS OF
ALL KINDS."
"Mossad created Hamas, Hamas created Hezbollah. Saddam is a Mossad
employee, and so is George Bush!"
"Osama is Great"
"Osama is a Mosad agent"
"Osama died in 2004"
"Saddam is great," and... "Saddam is a Jew, " and "Saddam is a butcher,"
and... "Saddam is a hero of Israel. He has never ever done anything to harm
Jews! He started two wars on behalf and behest of Jews!"
"The Holocaust never happened"
"You are an arsehole! Dr. Shahak is a jew, a real Holocaust survivor"
"60 million Russians died in German concentration camps."
JEWS MURDERED 100 MILLION RUSSIANS, BAYONETTED THE WHOLE CZAR'S FAMILY, AND
DESTROYED RUSSIA! MAY THEY ROT IN HELL
"Jews killed JFK because he would not allow them to have nukes!"
"Israel was behind the Sept. 11 attacks"
"Is that why several hundred (Muslims) of the died anyway (in the WTC)?
"Israel set off a nuke in Bali"
"Jews killed 19 members of my family in Russia"
"JEWS SLAUGHTERED MORE PEOPLE IN RUSSIA AND UKRAINE IN THE PAST 88 YEARS
THAN ALL THE WARS FOUGHT IN THE PAST 100 YEARS."
"Jews killed 19 members of my family in the Ukraine"
"Russians are expendable!"
"Jews killed 50 members of my family in Germany"
"Jews have killed 10 million Palestinians "
"Jews killed 100 million in Russia"
"Jews put James Traficant in jail for standing up to them."
"JEWS KILLED LITVENENKO USING THE SAME HEAVY METAL POISON THEY USED AGAINST
ARAFAT!"
"THERE ARE ABOUT 700,000 SLAVES IN ISRAEL"
"You are too stupid to understand that millions of people during WWII
comitted suicide out of desperation and fear!"
"There are 700,000 Thai slaves in Israel."
"Every single day Jews kill at least half a dozen Palestinians, mostly
children."
"BEHEADING ARE EXECUTIONS WHICH WERE USED TEN TIMES MORE OFTEN IN EUROPE
THAN IN MIDDLE EAST, SND SRE STILL VBEING USED IN SOME PLACES .HITLER WAS
NOT NEARLY AS BRUTAL AS YOU FUCKING ZIONIST GARBAGE!"
"I was in WWI," and... "I was in the Boer War in South Africa," and...
"I was a partisan who fought bravely in in WW2" (when he was 9), and...
"I was in WWII," and... "I was in the Australian RAAF, " and...
"I was in Viet Nam, " and... "I am part Masai," and...
"I'm a Serbian," and... "I am not a Serb, I have never had any connection to Serbia".
Alex Seredin wrote: (1995)
"I have a name, my name is Alex Seredin. I live in Ottawa, Canada. I am
65 years old, and have lived through the WWII in Belgrade. You do not want to
provide me with your name because you are coward and a skunk, because you
hide behind anonymity to slander someone."
"I was educated in Prva Muska Gimnazija in Belgrade, moron! And
studied Serbian history in detail. I also visited the Slavija hill
with the person whom Serbia respects Nikola Pasic!" - Nikola Pasic
died in 1926, which would mean Alex is 100 years old.
"I am not slandering Serbian nation, I was born a Serb," and...
"I'm Canadian," and... "I'm Australian," and... "I am also an
Ozzy and a Kiwi as well!" and... "I'm an American" and "I'm a
direct descendant of Tamerlame" and... "I'm a direct descendant of
Kublai Khan" and... "I like Jews" and... "ANY KILLING IS NOT A
JOKE EXCEPT FOR A JEW!" and...
"On April 20th we celebrate the birth of the greatest man of all
time: Adolf Hitler." and... "Human? jews are not humans!"
"99% of the Jews are Russian ex-communist trash. They must be
deported"
"Jews came to America as slave traders and slave keepers."
"ISRAEL NEVER REPAID A SINGLE CENT OF ANY LOAN TO UNITED STATES FORTHE PAST
30 YEARS!"
"ACTUALLY SEVERAL AUSCHWITZES EXIST IN ISRAEL, ONLY THEY ARE FAR MORE BRUTAL
THAN THE ORIGINAL AUSCHWITZ EVER WAS!"
"The sole supplier of arms to Palestinians are the jews."
"NO JEWS WILL BE ELECTED IN 2004!!"
"THE ONLY TERRORISTS IN PALESTINE ARE ISRAELIS!"
"Adolf Hitler sent Eichman to Palestine, to encourage the
establishment of Israel."
"Arafat and his government have been adamant in opposing all forms of
violence!"
"After the bible, Mein Kampf was the biggest seller in U.S."
"Only one Jew died in the WTC attacks!!!"
"Anthrax cover up! (Jews did it)"
"Mossad Bombs Paradise Hotel in Mombasa"
"The US is commiting war crimes in Iraq!!!!!"
"I do have a Talmud written in the original Yiddish 19th century!"
"There is secret version of the Talmud, made in a place called Cracow,
that is for Jews only. When you call Amazon.com and try to order a
Talmud, they will ask you if you are Jewish. If you aren't they won't
send it. If you say you are, they still won't send it. I was taught
about it by a rabbi, who did so after all the Jews left."
" Jews do not write anything. They do not know anything. They are the
stupidest low life on Earth. All they do is sling two word insults at those
who despise them!"
"Albert Einstein was a genius and a thief at the same time. he was
married to Mileva Maric, a Serb, who was far greater
physicist than he ever was"
" I fought bravely and heroically in every war from WW2 to Viet Nam you
f*****g coward.I was a partisan in Serbia in 1937"..... (when he was nine
years old)
"I was there shithead, and knew dozens of Hungarian jews who
told me about the sellout. Hungarian jews are the only ones who had
Hungarian names. Arsehole Lantos, is one of the ZioNazis who survived!
We muslims not only have a code of morality, we have established
code of morality for the rest of the world!
But the best I saved for last:
"Every single word I have ever said was the truth!"
Enjoy!!
(Thanks, Tilly.)
--
"Streicher commit suicide while in the Nuremberg Jail But you
people did hang him after that"
(Kurt Knoll, Kitimat, B.C.'s Leading Revisionist Moron)
The Nizkor Project: http://www.nizkor.org/
Kenneth McVay OBC
Crawl back into your sewer, rodent.
Leave the functional adults to their business.
Greg Carr
Ken McVay uses his real name and has no criminal record. Unlike you
who is ashamed to use your real name.
We are awaiting the return of our JHVH in the flesh or his Son. His Son Yu'shua died on the cross for our sins, was resurrected and walked the earth for awhile then ascended unto Heaven. We await the Third Coming not the Second.
Scottish Quaker Robert Barclay-"The weighty Truths of God were neglected, and, as it were, went into Desuetude. ...
Who will be the last Coalition soldier to be maimed in Iraq?
Canadian troops out of Afghanistan and into Darfur.http://www.amnesty.ca/instantkarma/petition.php
Good luck to anyone trying to learn Hebrew. I am looking for a Hebrew-Gregorian calendar in both Hebrew and English lettering.
I am looking for my missing automobile. Left in the care of Low's Tire (Firestone) on King George Hwy which has since gone out of business. A man who claimed to be a tow truck driver named Jerry (sounded Black) called me and said he had it
but when I called him back he denied it. JVD-968 "89 Plymouth Reliant white with red interior. Devellis in letteing on the rear trunk. Contact me by email or the GRC if you are one of those ppl.
Greg Carr
wrote:
>
>"Kenneth McVay OBC" <kmc...@shell.vex.net> wrote in message
>news:13smd7i...@corp.supernews.com...
>> In article <13sm00j...@corp.supernews.com>, Anarchore <e...@t.me> wrote:
>>>How many other Holohoax lies are out there, unchallenged because those
>>>who inquire are sent to jail? There needs to be an investigation into
>>>the real events, including the genocide of German soldiers and
>>>civilians after the war, as the Jews exercised their favorite tactic,
>>>collective punishment, which they enjoy to this day in Palestine.
>>>
>>>http://www.rense.com/general70/elie.htm
>>>
>>>Elie Wiesel's 'Night' A Fraud?
>>>Did Oprah Pick Another Fibber?
>>
>> No.
>>
>> Now crawl back into your sewer.
>>
>> --
>> "ALL FACTS IN THE COMPLAINT AND ADMISSIONS ARE DEEMED ADMITTED."
>
>FUCK OFF MCVAY,
Stay McVay.
THE ONLY GAS CHAMBER IN EXISTENCE TODEY IS IN THE HOLODOMOR
>MUSEUM IN KIEV, IT WAS INVENTED BY A JEW NAMED BERG
>
>You scum are the biggest liars on the face of the Earth. There is no proof
>of existenc of any gas chambers in Nazi Germany. The only gas chamber in
>existence can be seen in the Holodomor museum in Kiev. This gas chamber is
>called Dushegubka, and was invented by a Jew named Berg, to kill Ukrainians
>with it. There are dozens of Dushegubkas in the museum all over Russia.
>Google it up and see for you
Nazi Germany is gone and it won't be coming back. Google "Holocaust"
or "Nazi atrocities" for more info.
Greg Carr
Why believe cowards who don't use their real name? My Israel includes
Damascus, Medina and Mecca.
>
>Well, there is their use of the media to deceive the masses ....
We are awaiting the return of our JHVH in the flesh or his Son. His Son Yu'shua died on the cross for our sins, was resurrected and walked the earth for awhile then ascended unto Heaven. We await the Third Coming not the Second.
Greg Carr
wrote:
Your binning is enough to pay taxes?
Anarchore
> In article
> <209d398f-4b90-4fcc...@2g2000hsn.googlegroups.com>,
> Mr.Smartypants <bunghol...@lycos.com> wrote:
> > On Mar 2, 4:14 pm, kmc...@shell.vex.net (Kenneth McVay OBC) wrote:
> >> In article <13sm00jme3mo...@corp.supernews.com>, Anarchore
> <e...@t.me> wrote: >> >How many other Holohoax lies are out there,
> unchallenged because those >> >who inquire are sent to jail? There
> needs to be an investigation into >> >the real events, including the
> genocide of German soldiers and >> >civilians after the war, as the
> Jews exercised their favorite tactic, >> >collective punishment,
> which they enjoy to this day in Palestine.
> > >
> >> >http://www.rense.com/general70/elie.htm
> > >
> >> >Elie Wiesel's 'Night' A Fraud?
> >> >Did Oprah Pick Another Fibber?
> > >
> >> No.
> > >
> >> Now crawl back into your sewer.
> > >
> >
> > Stop lying for the ZIONISTS McVay.
> >
> > You're coming across as a bought-and-paid for piece of crap.
>
> Crawl back into your sewer, rodent.
>
> Leave the functional adults to their business.
Go back to buggering dead Jews, you scum
--
Kenneth McVay OBC
On August 18, 2000, Leading Revisionist Scholar
David E. Michael wrote, "On one side there will be
the revisionists with well-argued, well-referenced
articles of historical interest."
--
"Since all you knowledge is coming out of your holocaust
Fairydale book I will not your naivety holding against
you." (K. Knoll, Leading Revisionist Scholar)
Mirelle
Blah, Blah, Blah...
http://www.blogger.com/profile/12175747674818681066
ElParedon
same thing
ElParedon
"Greg Carr" <greg...@yahoo.ca> wrote in message
news:7s9ns352ed4greeuh...@4ax.com...
So wrong! Nazi Germany has been transpanted into Palestine they call it
Israel
Kenneth McVay OBC
ElParedon <ser...@bellsouth.net> wrote:
> comes from your arsehole, or from ZioNazi traps, which is essentially the
>same thing
Alex Seredin (aka. Veneceremos, Serwad, Intrepid5, Conquistador, Strider, Rasputin,
Swagman, El Paredon, Saleh El Din, AmigoCabal, et. al.
http://www.newtimesbpb.com/Issues/2006-09-21/news/feature.html
Net Hate in Neverland
To locals, he's a roadside instutition. But to the Usenet, he's a monster.
By Julia Reischel
Article Published Sep 21, 2006
When Mickey Ben-Tovim drives by Peter Pan Gifts, a small seashell shop in Delray Beach,
he slows his Ferarri and squints through the windows cluttered with conchs and cowries,
searching for a man he wants dead.
"He's truly one of the more vile individuals you'll ever come across," says Ben-Tovim, an
Israeli-born Sarasota computer programmer. "I have on occasion thought about causing him
bodily harm, but then I thought, you know, I'm not going to risk my freedom for his. But
I was a Marine Corps sniper. If I had the urge to kill him, I would've done it a long
time ago, and no one would ever find out."
For at least a decade, 74-year-old Alex Seredin, owner and proprietor of Peter Pan Gifts,
has spent his nights posting Internet messages filled with his hatred of Jews. A search
on his e-mail address produces thousands of messages laced with all-caps profanity and
the word kike.
Using a variety of pseudonyms such as "El Conquistador" and "Strider," all of which trace
back to the same BellSouth account, Seredin is a regular presence on messageboards
dedicated to Jewish culture and Holocaust denial. Under "Serwad," his oldest nom de
guerre, he writes with unflagging passion about the sins, as he sees them, of Israel and
Jewry.
In a typical message, titled "HOLOCAUST IS THE JEW LIE AND DOWNFALL," Seredin explains
that anti-Semitism is the fault of Jews themselves: "I am not against the Jewish people,
but I really think they should know that those of us that are not Jewish, do not sit
around all day every day thinking about being Jewish," he writes. "And that the idea to
introduce oneself as Hello my name is David and I'm a Jew at EVERY encounter is really
what engenders anti-Semitism, let alone that is very tiresome."
Many of his posts quickly degenerate into short, profane volleys with other newsgroup
regulars, with Seredin demonstrating that he has a short temper and an oddball vocabulary
of racial slurs.
"HOW ZIONAZIS FUCK AMERICANS" reads one post. "WATCH OUT KIKE WE ARE COMING" reads
another. "PALESTINIANS SHOULD EXPEL ALL THE BLOODY KIKES" runs a third. "IF THEY DO NOT
WANT TO LEAVE THEY SHOULD BE GIVEN PICK AND SHOVEL!"
By posting dozens of messages like these every day, Seredin has earned a storied
reputation as one of the most venerable and irrational racists in the newsgroup
community.
"There are 200 million Islamo-fascists who are bent on destroying our way of life, and
Seredin is one of those people who buys into it," Ben-Tovim says. "It's anger - it's all
anger."
"His posts all sound alike," says Susan, a Usenet regular from Maryland who has been
sparring with Seredin for years. "They're all the really frothing at the mouth, English
not quite perfect. And then he starts making sexual slurs. He usually speaks about the
clit. He says clacker, which I think is supposed to mean the same thing. He resorts to
this when he's backed into a corner. He's vociferous and gross about it."
The war became a dirty one long ago. Ben-Tovim and others tracked down Seredin's home
address and business and published them on the messageboards, along with his private
telephone number and the name of his wife, Mona.
"I'm getting worried about Alex," one poster wrote in late 2005. "The anger. The upper
case. This is an urgent message to anyone who lives in Delray Beach, Florida. Stop by
Alex's home and shop and see how he is doing! Here are the coordinates."
Seredin, who refused to be photographed for this article, has fought back with similar
tactics but has never managed to shift attacks away from himself. Ben-Tovim says Seredin
serves a useful purpose in the Usenet ecosystem. "Alex is so outrageous that he's
actually a very good example of how ignorant anti-Semitism is," he says. "He's a very
good way of making all anti-Semites look bad. He shouldn't be silenced - he should be
exposed."
The fact that he spends his days selling seashells to aging Floridians out of a store
named for a beloved children's storybook character makes him curiously compelling to
everyone on the messageboards.
"I wonder what the heck he is doing," Susan says. "Sitting in the back waiting for
customers, typing between sales?"
On a recent lazy summer Monday afternoon, Alex Seredin is behind the counter at the
center of his large, whitewashed roadside shop, attending to a belligerent gray-haired
customer while tinny piped-in country music tinkles above.
"Just let me see it!" his patron barks as Seredin handles one of the many shells she is
buying. Square-faced, with a cap of white hair and a large round belly under his lavender
T-shirt, Seredin responds good-naturedly with a genial "ho, ho, ho" as he hands it back
to her. He looks exactly like a tropical Santa Claus after a good shave.
His jolliness soothes his customer. Pawing over her purchases, she becomes pleased. "This
is really going to look kitsch!" she murmurs, delighted.
"There are some real treasures here. It's a wonderful place for kids," Seredin calls
after her in his wheezy Eastern European accent. "Have a good day, my dear."
Though it's officially after business hours, a trickle of customers keeps coming in to
wander through the rows of baby sharks floating in bottles of electric-blue liquid, tubs
of $1 starfish husks, and shells of every variety. Seredin buys the shells in bulk,
shipped over from Indonesia and Malaysia, and resells them to beachcombers looking for
souvenirs. He purchased the store from its original owner in 1996, when Seredin and his
wife followed the snowbirds from Ottawa to Florida and decided to roost.
--
"No wonder years after the war was over he found some more
diaries of Ann Frank and she did not know about it."
(Kurt Knoll, Kitimat, B.C.'s Leading Revisionist Scholar)
Greg Carr
> "Greg Carr" <gregpc...@yahoo.ca> wrote in message
>
> news:7s9ns352ed4greeuh...@4ax.com...
>
>
>
>
>
> > On Sun, 2 Mar 2008 20:34:34 -0500, "ElParedon" <ser...@bellsouth.net>
> > wrote:
>
> >>"Kenneth McVay OBC" <kmc...@shell.vex.net> wrote in message
> >>news:13smd7i...@corp.supernews.com...
>
> - Show quoted text -
Transpanted? You anti-semites are so stupid. Move the Cdn embassy to
Jerusalem.