One of the Auschwitz survivors who was selected by Dr. Josef Mengele for his cruel and horrific experiments was Yitzchak Ganon, a Greek Jew who was deported, along with his parents and 5 brothers and sisters to Auschwitz in 1944, according to a news article by Alan Hall, published on December 11, 2009. Ganon told reporter Alan Hall that he was selected for an experiment in which Dr. Mengele removed one of his kidneys without an anesthetic: "He cut into me without an anesthetic. The pain was indescribable. I felt every slice of the knife. Then I saw my kidney pulsating in his hand. [...] After the operation I was given no painkillers and put to work. I cleaned up after the bloody operations carried out by Mengele."
Twins in the experiments describe three days of what must have been psychological examination and three days of laboratory experiments. "Three times a week we were marched to Auschwitz to a big brick building, sort of like a big gymnasium. They would keep us there for about six or eight hours at a time - most of the days. ..... We would have to sit naked in the large room where we first entered, and people in white jackets would observe us and write down notes. They also would study every part of our bodies. They would photograph, measure our heads and arms and bodies, and compare the measurements of one twin to another. The process seemed to go on and on." (Echoes from Auschwitz, Kor).
Relying on a surveying device known as a total station—the tripod-mounted optical instrument employed by construction and road crews—Reeder set about measuring minute elevation changes across the land, searching for subtle gradations and anomalies. He zeroed in on a hummock that looked like the earthen side of a bunker, long since overgrown with moss and foliage, and roughly 100 feet away, a telltale dip in the earth.
The book Children of the Flames by Joe E. White chronicles the notorious medical experimental activities of Josef Mengele on approximately three thousand twins who passed through the Auschwitz death camp during WWII until its liberation at the end of the war. Only a few of the three thousand twins survived and now fifty years later they have told their story of how they were given special privileges in Auschwitz due to Mengele’s interest in twins and how as a result they have suffered during the past fifty years as the children who survived the still unknown and unexplained medical experiments and injections which they were subjected to at the hands of Josef Mengele.
According to the Yad Vashem Holocaust Martyrs' and Heroes' Remembrance Authority in Jerusalem, "[a]ll the serious research" confirms that between five and six million Jews died. Early postwar calculations were 4.2 to 4.5 million from Gerald Reitlinger; 5.1 million from Raul Hilberg; and 5.95 million from Jacob Lestschinsky. In 1986 Lucy S. Dawidowicz used the pre-war census figures to estimate 5.934 million. Yehuda Bauer and Robert Rozett in the Encyclopedia of the Holocaust (1990) estimated 5.59–5.86 million. A 1996 study led by Wolfgang Benz suggested 5.29 to 6.2 million, based on comparing pre- and post-war census records and surviving German documentation on deportations and killings. Martin Gilbert arrived at a minimum of 5.75 million. The figures include over one million children.
Grateful for lightness, reviewers agreed. What they came away from was the charm of Susan Strasberg as a radiant Anne, and Joseph Schildkraut in the role of a wise and steadying Otto Frank, whom the actor engagingly resembled. “Anne is not going to her death; she is going to leave a dent on life, and let death take what’s left,” Walter Kerr, on a mystical note, wrote in the Herald Tribune. Variety seemed relieved that the play avoided “hating the Nazis, hating what they did to millions of innocent people,” and instead came off as “glowing, moving, frequently humorous,” with “just about everything one could wish for. It is not grim.” The Daily News confirmed what Kanin had striven for: “Not in any important sense a Jewish play. . . . Anne Frank is a Little Orphan Annie brought into vibrant life.” Audiences laughed and were charmed; but they were also dazed and moved.
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.”
Frank’s inclusion of sexual material in her diaries makes sense—during her 25 months of hiding, she matured from a young girl into a young woman and even conducted a brief romantic relationship with Peter van Pels, a boy who hid with the Frank family. But to those who have read Frank’s diary, the real surprise is not that she addressed sexual topics—it’s that there’s more to discover about a 15-year-old murdered 73 years ago.
Sources: C.A.N.D.L.E.S; Kor, Eva Mozes. Echoes from Auschwitz. IN.: C.A.N.D.L.E.S. 1995; Lifton, Robert Jay. The Nazi Doctors. The United States: Basic Books. 1986; Nyiszli., Dr. Miklos. Auschwitz: A Doctor's Eyewitness Account. New York: Fawcett Crest. 1960; Posner, Gerald L. and John Ware. Mengele: The Complete Story. New York: Dell Publishing. 1986; Ramati, Alexander. And the Violins Stopped Playing
There are three versions of the diary. The first is the diary as Anne originally wrote it from June 1942 to August 1944. Anne hoped to publish a book based on her entries, especially after a Dutch official announced in 1944 that he planned to collect eyewitness accounts of the German occupation. She then began editing her work, leaving out certain passages. That became the second version. Her father created a third version with his own edits as he sought to get the diary published after the war.
Mengele was born on 16 March 1911 to Walburga (née Hupfauer) and Karl Mengele in Günzburg, Bavaria, Germany. He was the oldest of three children; his two younger brothers were Karl Jr. and Alois. Their father was founder of the Karl Mengele & Sons company, producers of farm machinery. Josef was successful at school and developed an interest in music, art, and skiing. He completed high school in April 1930 and went on to study philosophy in Munich, where the headquarters of the Nazi Party were located. In 1931, Mengele joined the Stahlhelm, Bund der Frontsoldaten, a paramilitary organization that was absorbed into the Nazi Sturmabteilung (Storm Detachment; SA) in 1934.