Word: germanic
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Dates: during 1990-1999
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...German...
...writes Peretz in The Crimson, "is this a book with which scholars think they need to grapple." This, too, is true, since every single scholar who did his or her homework in the German federal Archives or Polish archives confirmed what I wrote in An Eye for an Eye, confirmed it in three major newspapers and one major newsmagazine. Others who did their lessons and who confirmed what I wrote are the former foreign editor of The New York Times and the many researchers for "60 Minutes", whose "once-over-lightly," as Peretz calls it, took them eight months...
When some in Germany began looking into Sack's book, they concluded that it is precisely the sort of scandalous work that I demonstrated it to be. Once his book was thus exposed by a German writer in a prominent newspaper, his distinguished German publisher, Piper Verlag (with whom I had no contact whatsoever) took the highly unusual (and highly unprofitable) step of destroying the entire print run of the book and cancelling publication shortly before its release date. It was clear that the book was more in the genre of fiction than of reportage or history, that...
...more than to convey here what the central theme of Sack's book is: that a conspiracy of secret Jews (passing as non-Jews) controlled the Polish security services after the war and brought about the deportation of millions and the killing of tens of thousands of ethnic Germans as a way of "revenging" themselves for the Holocaust. Jews working as Stalin's self-appointed "hounds of hell" (Stalin, the vicious anti-Semite, is portrayed by Sack only as a friend of the Jews, his minions) "became like Nazis" and committed (according to one German expellee whom Sack quotes approvingly...
...some the new context of exile provided a degree of artistic stimulus. In London, Kokoschka got to know--largely through his Marxist friend the refugee German art historian Francis Klingender--the tradition of English caricature, the mordant images of Hogarth and Gillray; they are reflected in such paintings as Anschluss--Alice in Wonderland, 1942, with its trio of figures, the appeaser Neville Chamberlain, a German soldier and an Austrian Catholic bishop, imitating the Chinese monkeys that see no evil, hear no evil and speak no evil. And the ever alert Salvador Dali managed to include a number of proto...