After Germany’s loss in WWI, the Treaty of Versailles punished Germany by placing tough restrictions on the country. The treaty made Germany take full responsibility for the war, reduced the extent of German territory, severely limited the size and placement of their armed forces, and forced Germany to pay the allied powers reparations. These restrictions not only increased social unrest but, combined with the start of the Great Depression, collapsed the German economy as inflation rose alongside unemployment.
This caught the interest of Contact Publishing in Amsterdam, who approached Otto Frank to submit a Dutch draft of the manuscript for their consideration. They offered to publish, but advised Otto Frank that Anne's candor about her emerging sexuality might offend certain conservative quarters, and suggested cuts. Further entries were also deleted. The diary – which was a combination of version A and version B – was published under the name Het Achterhuis. Dagbrieven van 14 juni 1942 tot 1 augustus 1944 (The Secret Annex. Diary Letters from June 14, 1942 to August 1, 1944) on June 25, 1947. Otto Frank later discussed this moment, "If she had been here, Anne would have been so proud." The book sold well; the 3000 copies of the first edition were soon sold out, and in 1950 a sixth edition was published.
After this night, the German government supported dozens of laws and decrees that took away Jews property and livelihood. By the end of the year, Jews were prohibited from attending school. One billion reichsmarks of Jewish property was seized as collective punishment against the nation’s Jews for the murder of von Rath. Those able to flee the country did. In the year after Kristallnact, more than 100,000 Jews left Germany as the situation deteriorated.
Jews at this time composed only about one percent of Germany's population of 55 million persons. German Jews were mostly cosmopolitan in nature and proudly considered themselves to be Germans by nationality and Jews only by religion. They had lived in Germany for centuries, fought bravely for the Fatherland in its wars and prospered in numerous professions.
Anne also wrote short stories, fairy tales, and essays. In her diary, she reflected on her "pen children," as she called her writings. On September 2, 1943, she began to meticulously copy them into a notebook and added a table of contents so that it would resemble a published book. She gave it the title "Stories and Events from the Annex." Occasionally she read a story to the inhabitants of the annex, and she wrote about her intention to send one of her fairy tales to a Dutch magazine. Increasingly, she expressed her desire to be an author or journalist.
And audiences multiplied: the Hacketts’ drama went all over the world—including Israel, where numbers of survivors were remaking their lives—and was everywhere successful. The play’s reception in Germany was especially noteworthy. In an impressive and thorough-going essay entitled “Popularization and Memory,” Alvin Rosenfeld, a professor of English at Indiana University, recounts the development of the Anne Frank phenomenon in the country of her birth. “The theater reviews of the time,” Rosenfeld reports, “tell of audiences sitting in stunned silence at the play and leaving the performance unable to speak or to look one another in the eye.” These were self-conscious and thin-skinned audiences; in the Germany of the fifties, theatregoers still belonged to the generation of the Nazi era. (On Broadway, Kanin had unblinkingly engaged Gusti Huber, of that same generation, to play Anne Frank’s mother. As a member of the Nazi Actors Guild until Germany’s defeat, Huber had early on disparaged “non-Aryan artists.”) But the strange muteness in theatres may have derived not so much from guilt or shame as from an all-encompassing compassion; or call it self-pity. “We see in Anne Frank’s fate,” a German drama critic offered, “our own fate—the tragedy of human existence per se.” Hannah Arendt, philosopher and Hitler refugee, scorned such oceanic expressions, calling it “cheap sentimentality at the expense of a great catastrophe.” And Bruno Bettelheim, a survivor of Dachau and Buchenwald, condemned the play’s most touted line: “If all men are good, there was never an Auschwitz.” A decade after the fall of Nazism, the spirited and sanitized young girl of the play became a vehicle for German communal identification—with the victim, not the persecutors—and, according to Rosenfeld, a continuing “symbol of moral and intellectual convenience.” The Anne Frank whom thousands saw in seven openings in seven cities “spoke affirmatively about life and not accusingly about her torturers.” No German in uniform appeared onstage. “In a word,” Rosenfeld concludes, “Anne Frank has become a ready-at-hand formula for easy forgiveness.”
Hitler targeted the Jews for a specific reason, which was not just racial. The elimination of the Jews had a unique “status” in Hitler’s master plan. While he certainly killed millions of others (gypsies, communists, homosexuals, etc.) he made exceptions for all these groups. The only group for which no exception was made was the Jews—they all had to die.
DAVID P. GUSHEE is Graves Professor of Moral Philosophy at Union University. Prior to joining Union's faculty in 1996, Dr. Gushee served on the staff of Evangelicals for Social Action and then for three years on the faculty of Southern Baptist Theological Seminary. At 40, Dr. Gushee is one of the leading evangelical voices in the field of Christian ethics at both a scholarly and popular level. He has written or edited seven books, with two more forthcoming in 2003-2004, and has published dozens of articles, book chapters, and reviews. His groundbreaking work on Christian behavior in Europe during the Holocaust--including his book, The Righteous Gentiles of the Holocaust--established him as a leader in that critical field of study. Besides this work on the Holocaust, he has written widely on a variety of subjects, especially in the areas of social ethics and public policy. His most recent book is Kingdom Ethics: Following Jesus in Contemporary Context, with Glen Stassen (IVP). Dr. Gushee's articles and reviews have appeared in such diverse publications as Christianity Today, Christian Century, Books & Culture, Sojourners, the Journal of Church and State, the Annals of the American Academy of Political and Social Science, the Annals of the Society of Christian Ethics, the Journal of Family Ministry, Holocaust and Genocide Studies, Catholic Digest, and Theology Today.
In Nazi-occupied Holland in World War II, shopkeeper Kraler hides two Jewish families in his attic. Young Anne Frank keeps a diary of everyday life for the Franks and the Van Daans, chronicling the Nazi threat as well as family dynamics. A romance with Peter Van Daan causes jealousy between Anne and her sister, Margot. Otto Frank returns to the attic many years after the eventual capture of both families and finds his late daughter's diary. Written by Jwelch5742
This graphic adaptation is so engaging and effective that it’s easy to imagine it replacing the “Diary” in classrooms and among younger readers. For that reason especially, it seems a mistake not to have included more in the way of critical apparatus to explain the ways the creators diverged from the historical record, especially when they touch most directly on the Holocaust. There is, for example, a naïve, stylized rendering of a concentration camp scene, which makes sense as a representation of Anne’s fantasies — she didn’t know the barbaric specifics of what was going on around her — but risks confusing students, who might not know that Auschwitz wasn’t in fact a big green square surrounded by pleasant-looking buildings with huge canisters reading “GAS” plugged into them.
As we read the diary we see how much potential was lost not only in Anne but in her entire family. Anne Frank was an intelligent and well-read young woman who studied multiple languages and had an analytical mind. I believe we lost a shining beacon of women's intelligence when she died. She was an emerging feminist, activist, and writer! I think she would have been an amazing woman who would have gone on to do great things. All that potential was lost millions of times over during WWII, and this is what we feel deep in our hearts upon closing the book.
All these appropriations, whether cheaply personal or densely ideological, whether seen as exalting or denigrating, have contributed to the conversion of Anne Frank into usable goods. There is no authorized version other than the diary itself, and even this has been brought into question by the Holocaust denial industry—in part a spinoff of the Anne Frank industry—which labels the diary a forgery. One charge is that Otto Frank wrote it himself, to make money. (Scurrilities like these necessitated the issuance, in 1986, of a Critical Edition by the Netherlands State Institute for War Documentation, including forensic evidence of handwriting and ink—a defensive hence sorrowful volume.)
^ Bradley F. Smith & Agnes Peterson (1974), Heinrich Himmler. Speeches Frankfurt/M., p. 169 f. OCLC 1241890; "Himmler's Speech in Posen on 6 October 1944". Holocaust Controversies Reference Section. Archived from the original on 27 January 2016. Retrieved 28 February 2015.; also (with differing translation) in "Heinrich Himmler". United States Holocaust Memorial Museum. Archived from the original on 14 December 2013. Retrieved 28 February 2015.
2) Our inner duty: a “Yizkor for the Righteous Gentiles” inserts this heroic chapter into the memory of the Holocaust, as reflected in ceremonies across Israel. Ceremonies are indeed too narrow a tool to hold the spectrum of questions and meanings raised by the Holocaust. And yet their very existence testifies to our need for them, precisely because it is within them that we experience a temporary unity of time, place, and meaning. Through them we find essential meaning for ourselves and for our children in the myriad messages arising from the Holocaust at any given moment. This is why it is so important that in this capsulated message, there will be room also for those people who chose to do good, risking life and limb, within an impossibly evil reality.
An ardent Nazi, In 1943 Josef Mengele was appointed by Heinrich Himmler to be chief doctor at Birkenau, the supplementary extermination camp at Auschwitz, where he and his staff selected incoming Jews for labor or extermination and where he supervised medical experiments on inmates to discover means of increasing fertility (to increase the German “race”).
By late January, roughly 80 prisoners, known to historians as the Burning Brigade, were living in the camp, in a subterranean wood-walled bunker they’d built themselves. Four were women, who washed laundry in large metal vats and prepared meals, typically a chunk of ice and dirt and potato melted down to stew. The men were divided into groups. The weaker men maintained the pyres that smoldered through the night, filling the air with the heavy smell of burning flesh. The strongest hauled bodies from the earth with bent and hooked iron poles. One prisoner, a Russian named Yuri Farber, later recalled that they could identify the year of death based on the corpse’s level of undress: