Richard Freund, an American archaeologist at the University of Hartford, in Connecticut, specializes in Jewish history, modern and ancient. He has been traversing the globe for almost three decades, working at sites as varied as Qumran, where the Dead Sea Scrolls were discovered, and at Sobibor, a Nazi extermination camp in eastern Poland. Unusually for a man in his profession, he rarely puts trowel to earth. Instead, Freund, who is rumpled and stout, with eyes that seem locked in a perpetual squint, practices what he calls “noninvasive archaeology,” which uses ground-penetrating radar and other types of computerized electronic technology to discover and describe structures hidden underground.
The biblical term shoah (Hebrew: שׁוֹאָה), meaning "destruction", became the standard Hebrew term for the murder of the European Jews, first used in a pamphlet in 1940, Sho'at Yehudei Polin ("Sho'ah of Polish Jews"), published by the United Aid Committee for the Jews in Poland. On 3 October 1941 the cover of the magazine The American Hebrew used the phrase "before the Holocaust", apparently to refer to the situation in France, and in May 1943 The New York Times, discussing the Bermuda Conference, referred to the "hundreds of thousands of European Jews still surviving the Nazi Holocaust". In 1968 the Library of Congress created a new category, "Holocaust, Jewish (1939–1945)". The term was popularized in the United States by the NBC mini-series Holocaust (1978), about a fictional family of German Jews, and in November 1978 the President's Commission on the Holocaust was established. As non-Jewish groups began to include themselves as Holocaust victims too, many Jews chose to use the terms Shoah or Churban instead.[g] The Nazis used the phrase "Final Solution to the Jewish Question" (German: die Endlösung der Judenfrage).
He inspired Anne: she planned after the war to publish a book about her time in hiding. She also came up with a title: Het Achterhuis, or The Secret Annex. She started working on this project on 20 May 1944. Anne rewrote a large part of her diary, omitted some texts and added many new ones. She wrote the new texts on separate sheets of paper. She describes the period from 12 June 1942 to 29 March 1944. Anne worked hard: in a those few months, she wrote around 50,000 words, filling more than 215 sheets of paper.
The main event of the upcoming holiday of Purim is the reading of the Megillah, which tells the story of how brave Esther and pious Mordecai saved Persian Jewry from the genocidal schemes of the wicked Haman. In the Ashkenazi tradition, the public reading of the scroll is followed by reciting a poem whose unknown author lived no later than the 11th century. The concluding lines are usually sung to an up-beat tune:
Dr. Mengele was nicknamed the "Angel of Death" by the prisoners because he had the face of an angel, yet he callously made selections for the gas chambers at Birkenau. He was nice to the children in the camp, yet he experimented on them as though they were laboratory rats. He volunteered to do the selections at Birkenau, even when it wasn't his turn, because he wanted to find subjects for his medical research on genetic conditions and hereditary diseases, which he had already begun before the war. He particularly wanted to find twins for the research that he had started before he was posted to Birkenau.
Anne Frank's extraordinary diary, written in the Amsterdam attic where she and her family hid from the Nazis for two years, has become a world classic and a timeless testament to the human spirit. Now, in a new edition enriched by many passages originally withheld by her father, we meet an Anne more real, more human, and more vital than ever. Here she is first and foremost ...more
People in Tokyo were not united. I felt it silly to deal with them. So, I made up my mind not to wait for their reply. I knew that somebody would surely complain about me in the future. But, I myself thought this would be the right thing to do. There is nothing wrong in saving many people's lives .... The spirit of humanity, philanthropy ... neighborly friendship ... with this spirit, I ventured to do what I did, confronting this most difficult situation ---and because of this reason, I went ahead with redoubled courage. ”
During the Nazi occupation of the Netherlands, Anne Frank received a blank diary as one of her presents on June 12, 1942, her 13th birthday. According to the Anne Frank House, the red, checkered autograph book which Anne used as her diary was actually not a surprise, since she had chosen it the day before with her father when browsing a bookstore near her home. She began to write in it on June 14, 1942, two days later.
I simply can't build up my hopes on a foundation consisting of confusion, misery and death, I see the world gradually being turned into a wilderness, I hear the ever approaching thunder, which will destroy us too, I can feel the sufferings of millions and yet, if I look up into the heavens, I think that it will all come right, that this cruelty too will end, and that peace and tranquility will return again. In the meantime, I must uphold my ideals, for perhaps the time will come when I shall be able to carry them out.
At the three Reinhard camps the victims were killed by the exhaust fumes of stationary diesel engines. Gold fillings were pulled from the corpses before burial, but the women's hair was cut before death. At Treblinka, to calm the victims, the arrival platform was made to look like a train station, complete with fake clock. Majdanek used Zyklon-B gas in its gas chambers. In contrast to Auschwitz, the three Reinhard camps were quite small. Most of the victims at these camps were buried in pits at first. Sobibór and Bełżec began exhuming and burning bodies in late 1942, to hide the evidence, as did Treblinka in March 1943. The bodies were burned in open fireplaces and the remaining bones crushed into powder.
The Holocaust began in 1933 when Adolf Hitler came to power in Germany and ended in 1945 when the Nazis were defeated by the Allied powers. The term Holocaust is derived from the Greek word holokauston, which means sacrifice by fire. It refers to the Nazi persecution and planned slaughter of the Jewish people and others considered inferior to "true" Germans. The Hebrew word Shoah, which means devastation, ruin or waste, also refers to this genocide.
But the diary in itself, richly crammed though it is with incident and passion, cannot count as Anne Frank’s story. A story may not be said to be a story if the end is missing. And because the end is missing, the story of Anne Frank in the fifty years since “The Diary of a Young Girl” was first published has been bowdlerized, distorted, transmuted, traduced, reduced; it has been infantilized, Americanized, homogenized, sentimentalized; falsified, kitschified, and, in fact, blatantly and arrogantly denied. Among the falsifiers have been dramatists and directors, translators and litigators, Anne Frank’s own father, and even—or especially—the public, both readers and theatregoers, all over the world. A deeply truth-telling work has been turned into an instrument of partial truth, surrogate truth, or anti-truth. The pure has been made impure—sometimes in the name of the reverse. Almost every hand that has approached the diary with the well-meaning intention of publicizing it has contributed to the subversion of history.
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.
The book of Esther, it has often been remarked, is a quintessentially diasporic text. It takes place entirely outside the Land of Israel and deals with themes that are staples of the diaspora experience: anti-Semitism, Jews passing as Gentiles, the need for a special kind of politics, the issue of Jews who obtain influence in non-Jewish societies, and so forth. The phenomenon of the righteous Gentile is part of this experience, too.
A week later, he and other members of the crew received a visit from the camp’s Sturmbannführer, or commander, a 30-year-old dandy who wore boots polished shiny as mirrors, white gloves that reached up to his elbows, and smelled strongly of perfume. Zeidel remembered what the commandant told them: “Just about 90,000 people were killed here, lying in mass graves.” But, the Sturmbannführer explained, “there must not be any trace” of what had happened at Ponar, lest Nazi command be linked to the mass murder of civilians. All the bodies would have to be exhumed and burned. The wood collected by Zeidel and his fellow prisoners would form the pyres.
The Hacketts, too, in their earliest drafts, were devotedly “with the Jewish story.” Grateful to Hellman for getting them the job, and crushed by Bloomgarden’s acute dislike of their efforts so far, they flew to Martha’s Vineyard weekend after weekend to receive advice from Hellman. “She was amazing,” Goodrich crowed, happy to comply. Hellman’s slant—and that of Bloomgarden and Kanin—was consistently in a direction opposed to Levin’s. Where the diary touched on Anne’s consciousness of Jewish fate or faith, they quietly erased the reference or changed its emphasis. Whatever was specific they made generic. The sexual tenderness between Anne and the young Peter van Daan was moved to the forefront. Comedy overwhelmed darkness. Anne became an all-American girl, an echo of the perky character in “Junior Miss,” a popular play of the previous decade. The Zionist aspirations of Margot, Anne’s sister, disappeared. The one liturgical note, a Hanukkah ceremony, was absurdly defined in terms of local contemporary habits (“eight days of presents”); a jolly jingle replaced the traditional “Rock of Ages,” with its sombre allusions to historic travail. (Kanin had insisted on something “spirited and gay,” so as not to give “the wrong feeling entirely.” “Hebrew,” he argued, “would simply alienate the audience.”)