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.
“The final solution transcended the bounds of modern historical experience. Never before in modern history had one people made the killing of another the fulfillment of an ideology, in whose pursuit means were identical with ends. History has, to be sure, recorded terrible massacres and destructions that one people perpetrated against another. But all, however cruel and unjustifiable, were intended to achieve an instrumental ends, being means to ends and not ends in and of themselves.” (3)

Before the war, Mengele had received doctorates in anthropology and medicine, and began a career as a researcher. He joined the Nazi Party in 1937 and the SS in 1938. He was assigned as a battalion medical officer at the start of World War II, then transferred to the Nazi concentration camps service in early 1943 and assigned to Auschwitz, where he saw the opportunity to conduct genetic research on human subjects. His subsequent experiments focused primarily on twins, with little regard for the health or safety of the victims.[2][3]