The foundation also relies on the fact that another editor, Mirjam Pressler, had revised the text and added 25 percent more material drawn from the diary for a "definitive edition" in 1991, and Pressler was still alive in 2015, thus creating another long-lasting new copyright. The move was seen as an attempt to extend the copyright term. Attard had criticised this action only as a "question of money", and Ertzscheid concurred, stating, "It [the diary] belongs to everyone. And it is up to each to measure its importance."
Gerda Schrage was 24 years old when she was sent to Auschwitz-Birkenau in 1944. She had been in hiding in Berlin during the war, until someone betrayed her to the Gestapo and she was arrested. According to Gerda's story, as told in the documentary film "Gerda's Silence," when she arrived at Auschwitz, she was pregnant by a married man with whom she had had an affair while she was in hiding. Her baby died in her arms at Birkenau because Dr. Mengele was conducting yet another cruel experiment and would not allow her to nurse the baby.
Most of the book is about the privations and hardship of living hidden away in the "annex". There is very little coverage of the violence of the times or much that is going on in the outside world because they had little knowledge of it since they were hidden. I think this is partly why some schoolchildren report the diary is boring. It does get repetitive at times, which reflects the feelings of those living in hiding. They had to wait and wait in fear, not knowing what the next day would bring.
^ Jump up to: a b "Białystok – History". Virtual Shtetl Museum of the History of Polish Jews. p. 6, paragraph #3. According to records, about 5,000 Jews died at that time.[7.2] See: Browning (1998), p. 12 – Weis and his officers subsequently submitted a false report of the events to [General] Pfugbeil ... 2,000 to 2,200 Jews had been killed. – via Internet Archive.
Despite the overwhelming odds, individual rescues sometimes succeeded, especially if the Jewish fugitives could pass as natives in language, manner, and appearance; if the hideout was skillfully camouflouged; if the local population was sympathetic; if geography and distance from neighboring homes aided concealment; and if organized groups or sympathetic friends provided additional safe houses and forged ration papers for essentials like food and clothing.
Himmler assembled a force of about 3,000 men from Security Police, Gestapo, Kripo, SD, and the Waffen-SS, as the so-called "special commandos of the security forces" known as the Einsatzgruppen, to eliminate both communists and Jews in occupied territories. These forces were supported by 21 battalions of Orpo Reserve Police under Kurt Daluege, adding up to 11,000 men. The explicit orders given to the Order Police varied between locations, but for Police Battalion 309 participating in the first mass murder of 5,500 Polish Jews in the Soviet-controlled Białystok (a Polish provincial capital), Major Weiss explained to his officers that Barbarossa is a war of annihilation against Bolshevism, and that his battalions would proceed ruthlessly against all Jews, regardless of age or sex.
Three defendants were acquitted. However, many of the Nazis who perpetrated the Holocaust were never tried or punished, including Hitler who had committed suicide. Since then, the international community has continued and improved accountability through forums such as the International Criminal Court, and the International Criminal Tribunal for Rwanda.
For Kanin, this kind of rumination was “an embarrassing piece of special pleading. . . . The fact that in this play the symbols of persecution and oppression are Jews is incidental, and Anne, in stating the argument so, reduces her magnificent stature.” And so it went throughout. The particularized plight of Jews in hiding was vaporized into what Kanin called “the infinite.” Reality—the diary’s central condition—was “incidental.” The passionately contemplative child, brooding on concrete evil, was made into an emblem of evasion. Her history had a habitation and a name; the infinite was nameless and nowhere.
After its defeat in World War I, Germany was humiliated by the Versailles Treaty, which reduced its prewar territory, drastically reduced its armed forces, demanded the recognition of its guilt for the war, and stipulated it pay reparations to the allied powers. With the German Empire destroyed, a new parliamentary government called the Weimar Republic was formed. The republic suffered from economic instability, which grew worse during the worldwide depression after the New York stock market crash in 1929. Massive inflation followed by very high unemployment heightened existing class and political differences and began to undermine the government.
By then, Palestinian terrorism had become Israel’s main security challenge, and the Mossad devoted most of its efforts to that threat. For the next 10 years, backed by Eshkol and his successors as prime minister, Golda Meir and Yitzhak Rabin, almost nothing was done about Mengele. The surge in terrorism, the surprise Yom Kippur War in 1973 and the Syrian military buildup with Soviet assistance took precedence.
Always delicately respectful of Frank’s dignity and rights—and always mindful of the older man’s earlier travail—Levin had promised that he would step aside if a more prominent playwright, someone “world famous,” should appear. Stubbornly and confidently, he went on toiling over his own version. As a novelist, he was under suspicion of being unable to write drama. (In after years, when he had grown deeply bitter, he listed, in retaliation, “Sartre, Gorky, Galsworthy, Steinbeck, Wilder!”) Though there are many extant drafts of Levin’s play, no definitive script is available; both publication and performance were proscribed by Frank’s attorneys. A script staged without authorization by the Israel Soldiers’ Theatre in 1966 sometimes passes from hand to hand, and reads well: moving, theatrical, actable, professional. This later work was not, however, the script submitted in the summer of 1952 to Cheryl Crawford, one of a number of Broadway producers who rushed in with bids in the wake of the diary’s acclaim. Crawford, an eminent co-founder of the Actors Studio, initially encouraged Levin, offering him first consideration and, if his script was not entirely satisfactory, the aid of a more experienced collaborator. Then—virtually overnight—she rejected his draft outright. Levin was bewildered and infuriated, and from then on he became an intractable and indefatigable warrior on behalf of his play—and on behalf, he contended, of the diary’s true meaning. In his Times review he had summed it up stirringly as the voice of “six million vanished Jewish souls.”
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.
He was capable of being so kind to the children, to have them become fond of him, to bring them sugar, to think of small details in their daily lives, and to do things we would genuinely admire ... And then, next to that, ... the crematoria smoke, and these children, tomorrow or in a half-hour, he is going to send them there. Well, that is where the anomaly lay.