The word “Holocaust,” from the Greek words “holos” (whole) and “kaustos” (burned), was historically used to describe a sacrificial offering burned on an altar. Since 1945, the word has taken on a new and horrible meaning: the mass murder of some 6 million European Jews (as well as millions of others, including Gypsies and homosexuals) by the German Nazi regime during the Second World War. To the anti-Semitic Nazi leader Adolf Hitler, Jews were an inferior race, an alien threat to German racial purity and community. After years of Nazi rule in Germany, during which Jews were consistently persecuted, Hitler’s “final solution”–now known as the Holocaust–came to fruition under the cover of world war, with mass killing centers constructed in the concentration camps of occupied Poland.
By now, experimental mobile gas vans were being used by the Einsatzgruppen to kill Jews in Russia. Special trucks had been converted by the SS into portable gas chambers. Jews were locked up in the air-tight rear container while exhaust fumes from the truck's engine were fed in to suffocate them. However, this method was found to be somewhat impractical since the average capacity was less than 50 persons. For the time being, the quickest killing method continued to be mass shootings. And as Hitler's troops advanced deep into the Soviet Union, the pace of Einsatz killings accelerated. Over 33,000 Jews in the Ukraine were shot in the Babi Yar ravine near Kiev during two days in September 1941.
Into this quagmire bravely wade Ari Folman and David Polonsky, the creators of “Anne Frank’s Diary: The Graphic Adaptation,” a stunning, haunting work of art that is unfortunately marred by some questionable interpretive choices. As Folman acknowledges in an adapter’s note, the text, preserved in its entirety, would have resulted in a graphic novel of 3,500 pages. At times he reproduces whole entries verbatim, but more often he diverges freely from the original, collapsing multiple entries onto a single page and replacing Anne’s droll commentary with more accessible (and often more dramatic) language. Polonsky’s illustrations, richly detailed and sensitively rendered, work marvelously to fill in the gaps, allowing an image or a facial expression to stand in for the missing text and also providing context about Anne’s historical circumstances that is, for obvious reasons, absent from the original. The tightly packed panels that result, in which a line or two adapted from the “Diary” might be juxtaposed with a bit of invented dialogue between the Annex inhabitants or a dream vision of Anne’s, do wonders at fitting complex emotions and ideas into a tiny space — a metaphor for the Secret Annex itself.
But this week the Israeli courts waded into the process of selecting who to include on the list of righteous gentiles at the Yad Vashem Holocaust memorial in Jerusalem amid a campaign to add two Germans - one of them a convicted war criminal who was at the centre of a recent Hollywood film - and to strike off a Ukrainian who Jewish survivors say has no place among heroes.
Mengele joined the Nazi Party in 1937 and the Schutzstaffel (SS; protection squadron) in 1938. He received basic training in 1938 with the Gebirgsjäger (light infantry mountain troop) and was called up for service in the Wehrmacht (Nazi armed forces) in June 1940, some months after the outbreak of World War II. He soon volunteered for medical service in the Waffen-SS, the combat arm of the SS, where he served with the rank of SS-Untersturmführer (second lieutenant) in a medical reserve battalion until November 1940. He was next assigned to the SS-Rasse- und Siedlungshauptamt (SS Race and Settlement Main Office) in Poznań, evaluating candidates for Germanization.