Two items of good news, one after the other, for the revisionists: the publication, at last, in French of top National Socialist official Alfred Rosenberg’s diary and the film by Hungarian director László Nemes, Son of Saul. The publication, finally, of Alfred Rosenberg’s personal journal reveals nothing about the existence of a policy of physical extermination of the Jews but, on the contrary, confirms the will of the Third Reich’s leaders to see the Jews disappear one day from Europe to go and create a Jewish national home in Madagascar or elsewhere. Let us recall that Rosenberg was, notably, Reich Minister for the Occupied Eastern Territories, where the Einsatzgruppen(intervention groups) operated, in charge – we are told (with fake evidence in support!) – of exterminating the Jews. He was hanged at Nuremberg. See Alfred Rosenberg, Journal 1934-1944 (translated from the German by Bernard Lortholary and Olivier Mannoni in collaboration with Jean-Marc Dreyfus, prepared under the direction of Jürgen Matthäus and Frank Bajohr, Flammarion, September 2015, 681 p.). See, in particular, pages 38-58, entitled “Rosenberg, the Nazi system and the ‘Jewish question’”. Rarely, if ever, has one seen a book where the reader is so assaulted with warnings, cautions, so much putting into perspective and perpetual “contextualisation”. The presenters of these writings of Rosenberg and the commentators resemble a team of “kitchen boys” whose main purpose seems to be to denature the dish itself in favour of their own sauces, spices and condiments. The new edition of Mein Kampf promised for 2016 will be coming out of the same sculleries. The exterminationists’ powerlessness simply to show us 1) the crime scene, 2) the magical weapon of the crime of mass destruction and 3) the operation of the latter is confirmed in the film by L. Nemes. The various reports on the film – particularly in Le Monde, November 4, 2015 (on pages 1, 14, 16-17, and not, as indicated by the paper, pages 1, 16-20) – combine to highlight with regret that “the concentration camp horror” is in no way shown but only “suggested by hallucinatory, flickering blurs, by an overloaded soundtrack” (Ibid., p. 1). In other words, I still get no answer to my challenge of March 1992: “Show me or draw me a Nazi gas chamber”. I get only blurriness (but what beast lurks in the blurry mist?), hallucinations, flickering, fuss, fracas (“Listen well: I want to confuse you!”), that is to say, abundance of special effects in the style, once again, of Hollywood, Hitchcock or the like.Without doubt, the case of all our modern “falsifiers of history” grows worse with each passing year. Previously, in the secrecy of their back rooms and in the manner of Leon Poliakov and that crowd, they used to falsify documents, facts, figures or translations but now here they are telling us: “Hang on a minute! There’s no question of serving you anything in its natural state. Allow us some time to prepare it, to cook it in our own way according to our recipe so that it does you no harm and, for your own good, you’re able to swallow our concoction!”November 8, 2015
Source