Tag Archives: Nazis

The Book Thieves

As I read Anders Rydell’s The Book Thieves: The Nazi Looting of Europe’s Libraries and the Race to Return a Literary Inheritance, I kept thinking of Sean Connery’s line from Indiana Jones and the Last Crusade:

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All this book burning by the Nazis entailed looting a continent’s worth of libraries and archives, specifically to root out so-called subversive literature (i.e. anything Jewish). They were also abetted by a very willing populace, including (sad face) librarians:

Wolfgang Herrmann, a librarian who had involved himself with right-wing extremist student groups as early as the 1920s, had been working for several years on a list of literature “worthy of being burned.” The first draft only listed 12 names, but this was soon expanded to 131 writers, subdivided into various categories.

Well, that’s one way to weed your collection… But, as Rydell points out, the Nazis weren’t just about burning books:

The image of burning books has been altogether too tempting, too effective, and too symbolic not to be used and applied in the writing of history. But the burning of books became so powerful a metaphor for cultural annihilation that it overshadowed another more unpleasant narrative, namely how the Nazis did a great deal more than simply destroy books—they were also driven by a fanatical obsession to collect them.

There is a tendency to view the Nazis as unhinged destroyers of knowledge. It is also true that many libraries and archives were lost while under the control of the regime, either through systematic destruction or indirectly as a consequence of war. Despite this, a question that needs to be asked in the shadow of Himmler’s library is the following: What is more frightening, a totalitarian regime’s destruction of knowledge or its hankering for it?

It’s less hankering and more hoarding. Whatever the Nazis didn’t destroy they were perfectly willing to keep for themselves as treasures of conquest. But whether they destroyed undesirable knowledge or stole it and kept it for themselves, their mission was perfectly in sync with the human holocaust that was happening at the same time.

We can say it won’t happen again because books are so much more plentiful and we have the internet as a new means of free expression, but that would be too pat, wouldn’t it? We are never quite as safe from the slippery slope as we think we are.

The Man In The High Castle

Not long after we subscribed to Amazon Prime did I check out the pilot of The Man in the High Castle. I’d heard some good regard for the show, but didn’t think to seek it out until it was suddenly available to me. Boy am I glad I did.

Set in 1962, the show exists in a world where fifteen years previous the Allies lost World War II, the U.S. was atom-bombed, occupied, and divided between Germany and Japan into the Greater German Reich (east of the Rockies) and Japanese Pacific States (west of the Rockies). Times Square is blanketed with swastikas (but no ads), Judaism has been outlawed, and with Hitler close to death the Japanese and German empires are bracing for war. Amidst the political and societal intrigue, the stories of the characters we follow orbit around the pursuit of mysterious film newsreels that show alternate histories of the war and its aftermath. The source of the reels, the unseen Man in the High Castle, seems to be head of a guerrilla resistance force trying to undermine the authoritarian states — for all we know.

In addition to having one of the more haunting title sequences I’ve ever seen (above), the show blends three of my interests—historical counterfactuals, dystopia, and World War II—seamlessly into the background of a narrative arc that lets us see the inner workings of a tenuous alliance between the two Axis powers. The show is ingenious at working in small world-building details, either through dialogue or in the background—like when a Nazi police officer mentions offhand how the elderly are regularly euthanized and exterminated so as not to be a “burden on the State.”

To me, the most interesting character of season one—and I can’t believe I’m saying this—is the Nazi. Rufus Sewell plays Obergruppenführer John Smith, a high-ranking SS officer charged with tracking down the remaining film reels and quelling the Resistance. Sewell’s icy, devilish demeanor, mixed with his character’s white-picket-fence, all-American (or rather all-German) lifestyle, provides ample ground for a fascinating character study. Frank (Rupert Evans) is another intriguing character: a downtrodden laborer concealing his Jewish identity who gets tangled up with the newsreels and has to make some brutal decisions after being imprisoned by the Japanese military police.

What I love about counterfactuals is pondering the questions they conjure. Is there anything better about this show’s reality than ours? What does ours share in common with it, and how it is vastly different? It also made me better sympathize with societies that have been occupied, subjugated, and made to accept a new culture. Americans have never experienced that; in fact, throughout history we’ve always been the occupiers and the subjugators, imposing our values and military might in other lands under the banner of liberty. Optimists will say our actions were justified for the sake of spreading democracy, but realists know otherwise. Of course, I’m not equating U.S. foreign policy to the Nazi and Japanese empires in The Man in the High Castle. But I am inspired to decide how and why America is different.

It’s a dark show, no doubt about it. But after some key points in the first few episodes, the gears propel toward a climax and the next season’s continuation that I’m really looking forward to.

(Also, I had no idea how much of the show was CGI-generated, which this video illustrates; I really couldn’t tell while watching it, and even wondered how they got away with displaying so much Nazi paraphernalia.)