For centuries, Jews have been accused of something called "blood libel" or "ritual murder" the killing of non-Jews, often children, to use their blood in bizarre religious ceremonies or to make food. As far back as 300 BC, writers have asserted that Jews sacrificed human beings in their religious practice, but it was not until the Middle Ages that such charges became the basis for civil action. Blood libel trials resulted in many Jewish deaths. Naturally, Jews have denied such charges. The Bible, they said, forbids killing and prohibits the use of blood. Anyone making such claims is merely whipping up anti-Semitism and inciting anti-Jewish action. Even today, the mainstream view is that all such charges are mere "anti-Semitic canards" comprising a most dangerous sort of Jew-hatred. Blood libel, say the Jews, has no basis in fact. But is that true? Until recently, few would have disagreed. But then in the early 2000s, a Jewish-Italian historian, Ariel Toaff, undertook extensive research into the matter. He concluded that not all blood libel cases could be automatically dismissed, and that certain sects of Ashkenazi Jews may well have manifested their hatred of Gentiles in a ritual use of non-Jewish blood. Blood libel, it seems, has a substantial factual basis. Passovers of Blood is certainly one of the most controversial books of the 21st century. If certain Jews did--and perhaps still do--harbor an intense hatred of Gentiles, and if they did--and perhaps still do--use human blood in certain religious rituals, then this has very ominous implications for present-day relations between Jews and non-Jews around the world.

Passovers of Blood

History

Toaff, Ariel

World

Clemens & Blair, LLC

Pan-Judah!: Political Cartoons of Der Stürmer, 1925-1945

Penman, Robert

Arts & Photography

History & Criticism

Beautiful. Disturbing. Enlightening. Beginning in the 1920s, a man named Julius Streicher published a small weekly German newspaper called Der Stürmer. Its mission was straightforward: to warn the German people about the threats posed by foreign and domestic Jews. The dangers were very real, and Streicher's stories gave a blunt and direct account of them. A key feature of Der Stürmer was its political cartoons. The cover of every issue, and several interior pages, displayed cartoons depicting various Jewish dangers, in a most striking and graphic form. The lead cartoonist was a man named 'Fips' Rupprecht. His cartoons became the signature feature of the newspaper, and grew to represent the broader German struggle against Jewry. With the demise of National Socialist Germany, Der Stürmer and Fips' cartoons were largely forgotten. Or rather, they were buried-the victorious nations certainly did not want old Nazi images floating around, raising difficult questions and making people think. Recently, though, a skilled digital artist named Robert Penman rediscovered the forgotten images. He carefully restored, colorized, and reissued them. Here, for the first time, he has compiled 200 of the best Fips images, as they have never been seen before. Penman has done a masterful job. The images are sharp, crisp, and compelling. The colors are stunningly vivid. The effect is truly astonishing. Fips' cartoons, originally printed on cheap newsprint, come alive for the first time. Every image is a small masterpiece, a true work of contemporary art. And one each tells a story-a story with relevance for the present day. Organized into six chapters chronologically, Fips' cartoons clearly demonstrate the progression of views over the period of 20 years, from before the Nazis assumed power until the very end of the war. They tell the story of Germany's rise and fall as nothing else can.

Beginning in the 1920s, a man named Julius Streicher published a small weekly German newspaper called Der Stürmer. Its mission was straightforward: to warn the German people about the threats posed by foreign and domestic Jews. The dangers were very real, and Streicher's stories gave a blunt and direct account of them.\nA key feature of Der Stürmer was its political cartoons. The cover of every issue, and several interior pages, displayed cartoons depicting various Jewish dangers, in a most striking and graphic form. The lead cartoonist was a man named 'Fips' Rupprecht. His cartoons became the signature feature of the newspaper, and grew to represent the broader German struggle against Jewry.\nWith the demise of National Socialist Germany, Der Stürmer and Fips' cartoons were largely forgotten. Or rather, they were buried-the victorious nations certainly did not want old Nazi images floating around, raising difficult questions and making people think.\nRecently, though, a skilled digital artist named Robert Penman rediscovered the forgotten images. He carefully restored, colorized, and reissued them. Here, in volume two of this series, Penman has produced another 200 of the best Fips images, as they have never been seen before.\nPenman has done a masterful job. The images are sharp, crisp, and compelling. The colors are stunningly vivid. The effect is truly astonishing. Fips' cartoons, originally printed on cheap newsprint, come alive for the first time. Every image is a small masterpiece, a true work of contemporary art. And one each tells a story-a story with relevance for the present day.\nVolume two is organized thematically, with 11 chapters covering such topics as "blood libel", "morality and immorality", "media and press", and "the USA". The book closes with chapters on assorted Fips images, the non-Fips work "A Good Frenchman", and various non-Stürmer cartoons. All in all, another fascinating and compelling collection of cartoons.

Pan-Judah!: Volume Two

Rupprecht, Philipp

Classic Essays on the Jewish Question: 1850 to 1945

Europe

No single person better represents the face of the Holocaust than Anne Frank. As a 13-year-old Jewish girl living in wartime Amsterdam, she hid out with seven other Jews for over two years. During this time, she kept a diary of her thoughts, feelings, and experiences. Eventually the Frank family was discovered and deported; Anne later died of typhus in Bergen-Belsen at the age of 15. But her diary lives on. Today, the Diary of Anne Frank is an icon of Jewish suffering amidst the vast sea of Holocaust literature, and Anne herself has become a high priestess in the pantheon of Holocaust martyrs.\nMillions of people know of Anne's story, but very few know of the many problems with it. As it turns out, Anne's tale is rife with absurdities, logical problems, inconsistencies, and incoherent claims. Here, Japanese researcher Ikuo Suzuki deconstructs Anne's famous dairy, exposing the many issues lying just below the surface. In the process, he unmasks the truth: that the notorious diary was likely written by a middle-aged Jewish man who worked in conjunction with Anne's father, Otto, to foist upon the public a deceptive and highly misleading story of a young teenaged girl who perished in a German camp.\nHere, for the first time, Suzuki presents a thorough, detailed, and highly readable critique of the global bestseller that is Anne Frank's Diary. Far and away the best critical analysis of the famous diary, this book fills a badly need gap in contemporary revisionist literature.\nOur view of Anne Frank-and of all Jews who suffered in the Holocaust-will never be the same.

Unmasking Anne Frank: Her Famous Diary Exposed as a Literary Fraud

Suzuki, Ikuo

A Plague on the World

Hans-Georg Otto

The Holocaust: 100 Questions and Answers

Dalton, Thomas

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