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Elie Wiesel’s sex abuse comes back to haunt his legacy

Written on October 24, 2017 at 5:13 pm, by Carolyn

Elie Wiesel (left) at the trial of Eric Hunt (right) was quite prepared to put the 22-year old away for life for frightening him by taking hold of his arm in an empty hotel hallway in 2007. Is it surprising that someone who’s been through the “worst there is” should still be so frightened of a kid?

Which is worse: Grabbing a man’s arm or grabbing a woman’s ass?

By Carolyn Yeager

Attack ‘victim’ Elie Wiesel attacks 19 year old girl and runs away

Elie Wiesel has been accused by a Jewish mother of four, married, a Ph.D from New York University of having squeezed her buttock when she was a vulnerable 19-year-old attending a Jewish charity dinner with her boyfriend’s family. Wiesel, of course, died last year and it’s doubtful his family will comment on the charge.

What it brings to mind for me is this: Elie Wiesel fully cooperated in the prosecution of a 22 year old male, the at-the-time completely unknown Eric Hunt, for grabbing his arm in a hotel elevator in 2007. And now it  comes out that Wiesel is also a perpetrator: guilty of surreptitiously grabbing a young woman’s buttocks at a Jewish charity dinner in 1989.

In 1989, Wiesel was 61 years old and it had been only three years since he won the Nobel Prize for Peace in Oslo. He was at the height of his fame.

I believed Jenny Listman’s story right away because radio personality Deanna Spingola had told me of her experience meeting Elie Wiesel after a speech he gave as a “Holocaust survivor.” I do not recall where or when this took place, but Deanna claims she went up, along with other audience members, to meet the famous survivor after his speech. As I remember her telling it, he fixed his gaze on her with suddenly aroused interest, and whatever physical contact took place, whether handshake or something more, he held on to her longer than she felt was appropriate. He also engaged in chatty conversation, asking her about herself. Deanna, at the time an attractive single working woman, blonde and blue eyed, felt the unmistakable sexual vibes emanating from Mr. Wiesel toward her. I suppose if she had told him where she would be after the event (in the hotel bar for instance) he would have found a way to show up there. The impression Deanna had then, at a time she was still a believer in the holocaust narrative, never changed: that he’s a womanizer.

I never doubted Deanna’s account; I hope she will come forward and describe this experience in her own words, for the record. I am not the only person she told this to.

Now, hearing Jenny Listman’s story is confirmation for me that Wiesel was just another run-of-the-mill sexual predator from New York City, a breeding ground of such types.

Listman, describing herself as a non-observant Jew, writes about what happened to her in exquisite detail on her own blog page dated Oct. 19, 2017, as part of the #metoo Twitter campaign following the accusations against Hollywood producer Harvey Weinstein. She defines herself as a PhD, married mother of 4, New Yorker; data science, data visualization specialist. She begins her long post with a quote from Elie Wiesel’s Nobel Peace Prize acceptance speech in 1986:

“I swore never to be silent whenever and wherever human beings endure suffering and humiliation. We must always take sides. Neutrality helps the oppressor, never the victim. Silence encourages the tormentor, never the tormented.”

Listman explains the event as follows: She was participating in a group photo of her boyfriend’s family with guest speaker Elie Wiesel following a dinner given by the Jewish charity to honor their deceased father and husband. Wiesel suddenly said “Wait,” untangled himself from his place in the center of the group, darted in between Listman and her boyfriend at the far end, and then said, “Ok” to the photographer. Listman felt his hand on her shoulder inch down her back until, at the moment the photographer snapped the picture, Wiesel’s hand “squeezed her right ass cheek” and Wiesel “RAN, disappearing into the crowd of over 1000 people.”

When she told her boyfriend what had just happened, he responded with disbelief. Maybe she was mistaken, he suggested, or imagined it. No, she said, she was sure. But she didn’t push the matter any further. She knew it would just upset everyone. And so did Elie Wiesel know that.

The boyfriend, whom she later married and divorced, confirmed this conversation took place, according to Linley Sanders at Newsweek.

Remember that Wiesel’s speaking fee was $25,000 plus chauffeur-driven limousine to and from. Per talk. He was probably not friends of the man being honored, or his family, but was hired by the charity. (That is where so much of your charity money goes – something to keep in mind.) This explains why he was looking to entertain himself while doing a boring job for pay.

Reaction to this revelation

Reaction from the Jews is to downplay, disbelieve or deny. Non-Jews are staying away from the whole story – too hot to handle. They might say the wrong thing and never recover from it.

Commentary, a Jewish publication ran a dismissive article by Daniella Greenbaum the next day, Oct. 20, in which Greenbaum said she didn’t believe Listman’s account, and made her out to be mentally unstable.

The Forward Jewish news organization ran Listman’s accusations when they appeared, but then published a sort of apology/retraction two days later, saying the story “did not meet our journalistic standards and has been removed.”

The far-left Salon website posted the story, concluding that (in my words) there are not just ‘holocaust survivors,’ but there are ‘sex abuse survivors’ too, and we must listen to all of them and sort it out as best we can.

The best coverage of all is what you find right here on Elie Wiesel Cons The World.

Elie Wiesel condemns others but cannot admit his own human failings

To return to Wiesel and Eric Hunt, I think it is the most important moral of the story. Wiesel for many, many years accepted being portrayed as a paragon of blameless virtue and, in turn, portrayed all “holocaust survivors” as blameless victims of totally evil Germans. He was a proponent of the Jewish idea of “Never Forgive, Never Forget” and his infamous sentiment, “Every Jew must set aside in his heart a special place of hate for the German and what the German represents.”

When young Eric Hunt tugged on his arm in a San Francisco hotel demanding to speak to him privately, then let go, turned and walked away when Wiesel began yelling for help, Wiesel called the police and was okay with having Hunt charged with attempted kidnapping, false imprisonment, elder abuse, stalking, battery and the commission of a hate crime – which would have confined the youth to prison for possibly the rest of his life. Wiesel said he was very frightened, which was clearly an unforgivable thing to do to him.

Wiesel then testified at Hunt’s trial, during which he lied under oath about his purported Auschwitz tattoo and his book Night–no big deal to the blithe and breezy icon who can ‘run away’ from his own unlawful actions. Luckily for Hunt, his age and prior clean record allowed the counts against him to be cut to misdemeanor battery and misdemeanor elder abuse to which he had to plead guilty in order to be let off with time served and probation. A Man of Compassion, Wiesel is not.

How will the Wiesel admirers react to their icon’s sexual abuse of a teenager? Will there be more “#metoo’s” showing up in the near future? I’m sure there are more, but whether they have the will or desire to speak out is uncertain, especially as the majority are probably Jewish. I believe the Jewish power structure will crack down hard on any and all disloyalists. But we will keep watching and reporting it if more develops in this fascinating and unexpected saga.

 

My work on “Night” is featured in a talk given by Jewish Professor Alan Astro at St. Francis College in 2014

Written on June 11, 2017 at 7:19 pm, by Carolyn

Alan Astro PhD, Trinity University

By Carolyn Yeager

I happened upon this video and recognized my own text of Yiddish-to-French-to-English translation being used by this professor at a Catholic university in San Antonio TX. Though a native of Brooklyn, Alan Astro says he has been at Trinity University for over 25 years. His field is modern languages and literatures; one of the subjects he teaches is Yiddish culture.

His lecture, titled “Christianity and the Holocaust in Elie Wiesel’s Night” was filmed by St. Francis College and at the 6min59sec mark, he shows text from my very important 2012 article “Night #1 and Night #2—What Changes were Made and Why, Part One.” So you never know who is reading this site – a lot of people and all people who have a professional interest in Elie Wiesel.

At 6:59, Astro shows text translated by Kladderadatsch for this web site, which he calls “Where’s the tatoo?” (sic). He says that even though Yiddish was not known very well even in the Jewish world … “Holocaust deniers somehow get their hands on the Yiddish and manage to get it translated. Here is one holocaust denier or minimizer on the web who makes a whole big deal about the fact that in the Yiddish and French and English original translations Wiesel “is not quite 15” when he is arrested and sent to Auschwitz, whereas he is 15 in the newest edition and this is considered to be something that somehow questions the veracity of the whole historical knowledge of the Holocaust. But that’s another issue all together. But it does show you that things can very often have strange consequences.” (He goes quickly to something else at 8:10. So Astro has my text on the screen for one minute, 11 seconds, enough time to read it all.

This is the segment he used:

3.  Not yet fifteen … or fifteen?

UdV Page 63 : Yingl, vi alt bistu? fregt mir a heftling.  Zeyn pnym iz geven in der fintster, ober zeyn kol iz geven a mids, a varems. Nokh nisht keyn 15 yor, hob ikh geentfert.

“Kid, how old are you?” a prisoner asked me.  His face was in darkness, but his voice was tired and warm. “Not yet 15 years,” I answered.

LN Page 54:  Hé, le gosse, quel âge as-tu?  C’était un détenu qui m’interrogeait.  Je ne voyais pas son visage, mais sa voix était lasse et chaude.  “Pas encore quinze ans.” / Not yet 15 years.

SR Page 39: “Here, kid, how old are you?” It was one of the prisoners who asked me this. I could not see his face, but his voice was tense and weary. “I’m not quite fifteen yet.”

MW Page 30:  “Hey, kid, how old are you?” The man interrogating me was an inmate. I could not see his face, but his voice  was weary and warm.  “Fifteen

This very important passage was discussed above. I think the reader would agree that “not yet 15″ can mean even farther from the age of 15 than “not quite fifteen.” What is clear is that Marion Wiesel has changed the author’s original words to fit them to her husband’s age in Spring 1944.

Astro dismisses this important observation with the misrepresentation (in boldface above) that the example is intended to negate the entire holocaust story. No, it isn’t; obviously it questions the veracity of Elie Wiesel’s truthfulness in “Night” since this scene took place in April or May, and the real Wiesel’s 16th birthday was coming up on September 28, 1944. Thus Wiesel was not 14 in Spring ’44, but had already been 15 for at least 7 months. Astro is not interested in telling that to his audience or pursuing it himself. He is a professor of languages and literature, but not an expert on Elie Wiesel or the Holocaust. Far, far from it.

Another photo of Professor Alan Astro.

At 19:33, hear him pronounce Wiesel’s name as weasel (as I say it) and then quickly correct himself to the affectation Wie-zell that he used throughout the talk. This indicates that ‘weasel’ is his default way of pronouncing the name, or the way he first learned it.

At right is another photo of Professor Astro I found online that gives what might be a truer look at the man.

One fact proves more than any other that “Night” is a work of fiction

Written on June 9, 2017 at 10:35 am, by Carolyn

Shlomo Wiesel, Elie’s father, in 1942, a young looking man.

By Carolyn Yeager

Elie Wiesel wrote two ‘official’ accounts of his 1944-45 concentration camp experience: his novel Night (1958) and his official autobiography (Part One), All Rivers Run to the Sea (1995). Thirty-seven years separate these two publications.

Three articles written by me in 2011 (and here) and 2012 contain information that demonstrate conclusively that Night is not a true account of the experience Wiesel may have had with his family at Auschwitz-Birkenau in 1944. Night is written for “effect” and to be a gripping father-son drama that rises to the standards of a literary work of art. Night cannot, therefore, be called Wiesel’s testimony … a claim he made on several occasions.

Because a lot of information was conveyed in these three articles – a lot of details were covered, and I had other purposes in mind – this crucial fact easily gets lost to the reader’s attention. In this article I will zero in on this “crucial evidence” in order to make it crystal clear why Night can only be considered a work of fiction and Elie’s autobiography “All Rivers …” is the place to go for Elie’s ‘true’ account of his experience.

The main evidence I want to put up front is the agreed upon birth date of Elie’s grandmother Nisel Bash Wiesel, mother of Shlomo and Mendel and four daughters. In 1957, Yaakov Fishkovitz filled out a Yad Vashem Page of Testimony (PoT) for his aunt Nisel, stating she was born in 1881 in Chust, Romania and died at Auschwitz in 1944. In 1999, Eliezer Shlomovitz, living in Los Angeles CA at the time, also filled out a PoT for Yad Vashem giving his grandmother’s birth year as 1880, with a question mark. Elie Wiesel never filled out a form for his grandmother, whom he wrote he was very close to, nor for his mother or sister, but only one for his father.

Why Grandma Nisel’s birthdate is so important

A birth date of 1880-81 makes Grandmother Nisel 63 or 64 years old in 1944, a “fact” agreed upon by Hilda Wiesel. The story line in Night, accepted as factual by writers, journalists and Internet sources like Wikipedia, gives Father’s age as 50 in 1944, which, if true, would mean grandmother Nisel was only 13 or 14 years old when she gave birth to Shlomo, her third child, and only 11 or 12 at most when she gave birth to her first child. Such a shockingly young age is not in the tradition of Hasidic Judaism to which the Wiesels’ belonged.

In the scene in Night when the family arrives at Birkenau around midnight, Father tells a fellow prisoner who questions him that he is 50 years old and the prisoner urges him to say he is younger. Similarly Eliezer says he is “not quite 15” and is told to make himself older. He subsequently answers “eighteen” when questioned by the guard (or Mengele?). Both men are passed on through. From this, and apparently this alone, the default birth date for Shlomo Wiesel became 1894 and no one, including Elie, ever questioned or corrected that. However, Elie slyly left blank the date of birth on the Yad Vashem PoT he filled out for his father in 2004, and he never offered a birth date for either of his parents.

Wiesel adds 10 years to Father-son age difference in Night

In 1957, Yaakov Fishkovitz also filled out a Yad Vashem PoT for his cousins Shlomo and Mendel Wiesel, giving their dates of birth as 1903 and 1905 respectively. These are probably correct because it makes their mother Nisel age 22 or 23 when Shlomo, her third child, was born, and age 24-5 when Mendel, her fifth, was born.

So why did Elie, in writing Night, make Father 50 years old instead of his real father’s age of 41? Answer: To make the  theme of a role reversal between father and son more dramatic, of course. To deepen the loneliness felt by the boy watching his worn-out father break down under the cold, uncaring death machine perpetrated by the evil German Nazis. To write the most heart-breaking story he could!

For the same reason, his 10-year old sister became seven years old and he even made himself a year younger (14 going on 15 instead of 15 going on 16).

It couldn’t be more clear that his purpose in writing Night was different than his purpose for All Rivers, which attempts to give a record of his early life and actual family history. In fact, while Wiesel writes pretty extensively about his grandmother Nisel, who even accompanied the family to Auschwitz in All Rivers – she doesn’t appear at all in Night. He left her out as extraneous to his tightly-constructed narrative, the purpose of which was not to tell it as it really happened.

Summing up

So when the facts diverge between the two books, as they often do, go with All Rivers as the more accurate version. For example, in Night, Eliezer is in the hospital at Birkanau in January 1945 with an infected foot. In All Rivers, he tells the very same story but it is not his foot at all, but his knee that is operated on! If there is any truth to the story, which can be considered doubtful, accept that it was his knee. (I think Elie, or one of his Night editors, liked the image of leaving a trail of red blood in the snow.)

To sum up, Wiesel’s willingness to change important details about his family, and his own major experiences, tells us that creating a “true account” of their year of internment was not his goal. For him, no different from most survivors who write memoirs, he preferred what was “true in his mind.” Or, in other words, what made for a better and hopefully more successful book.

Elie Wiesel’s family-approved obituary calls “Night” a novel

Written on May 18, 2017 at 9:47 am, by Carolyn

By Carolyn Yeager

Wiesel family attends a fund-raising event for Multiple Myeloma cancer in Oct. 2015. Left to right: Elie Wiesel, wife Marion Wiesel (seated), son Elisha Wiesel, daughter-in-law Lynn Bartner-Wiesel. (Hit Ctrl and + key several times to enlarge image)

The Wiesel obituary published at Legacy.com, affiliated with funeral homes and newspapers across America, states in it’s first sentence:

Elie Wiesel, the Nobel Peace Prize-winning author who told the story of his Holocaust internment in his autobiographical novel “Night,” died July 2, 2016.

It also said: “Wiesel called “Night” his “deposition,” noting that it was a true story, though parts of it were fictionalized.”

So is this the final word from Mr. Wiesel on his legacy? When do we know which of the varying statements put out by Wiesel and his surrogates is the official one?

When I was checking the conflicting personal information about survivor Paul Argiewicz for my first article about Paul, I found his obituary at Legacy.com to be the most accurate in giving the true facts. Paul was a man who continually told lies and changed his story, particularly when it came to his age at the time certain key events occurred. So I think that is relevant to determining the truth of another survivor (Wiesel) who also has a record of changing details of his story. Wiesel and his wife Marion even re-translated Night for a new 2006 edition, in order to change quite a number of elements in his story that were not consistent with other elements, or with the officially accepted narrative as it’s come to be.

This obituary was probably written by a close family friend or retainer – Jewish, of course – and approved by the family. I believe it is considered a grave sin in Hasidic Judaism to lie about your ancestors, especially your father and mother, which is why it’s necessary for your published obituary to be truthful. But also, when in the state of grief for your loved one’s passing, most people want to write accurately about them and not indulge in lies and fabrications that might have seemed acceptable at other times. It’s interesting, in light of this, to see how these “facts” have been handled here.

The obit tells us that the events that followed Wiesel’s arrival at Auschwitz-Birkenau are “well known to the public” because “Wiesel dramatized them in “Night.” To dramatize doesn’t mean to make a careful record of just what one remembers, but to adapt a story so as to express it more emotionally, or strikingly, or in an exaggerated way for literary purposes. It’s also true that Night was edited so much, it was as much the product of Francois Mauriac and Jérôme Lindon, his editor, as it was of Elie Wiesel.

It is almost always said that after the family arrived at Birkenau, Wiesel’s mother Sarah and ten-year old sister Tziporah were sent in a different direction than his two older sisters – in fact, specifically to a “gas chamber” where they were immediately murdered. But here we are told that “Wiesel and his father were separated from his mother and three sisters.” Period. Nothing more. It eventually goes on to say: “He was reunited with two of his sisters after the war, but he never saw his third sister or his mother again – they died in their own concentration camp.” They could not bring themselves to repeat the invention that the two died at Auschwitz, for which there is no evidence whatsoever, so they are left with just saying they died somewhere, somehow because they were not seen again.

I have been pressing these points for a long time, but the complicit mainstream media and holocaust hacks irresponsibly repeat the false account that Elie’s mother and sister were sent immediately to a (non-existent) homicidal gas chamber at Birkenau for “extermination.”

The obit, however, does not clarify the very confusing story concerning the writing in Yiddish of the precursor to Night.

“Night” offered a stark portrayal of genocide. Amazingly, the deeply unsettling narrative was heavily edited, reduced from Wiesel’s original 862-page manuscript to a taut, terrifying 245 pages, published in 1958 in France and translated into English for U.S. readers in 1960.

This is misleading, in that the 862 pages and the 245 pages were both in Yiddish. When the 245 pages were translated into French, it became a small book of 178 pages. The English translation was only 116 pages. Wiesel wrote about 50 more books after that and all were short (except for his official autobiography, but it is made up of individual snippets of ‘memory’). So it’s a little hard to imagine that the original manuscript was his, especially since he said he wrote the entire thing from scratch during a ship’s passage between Israel and Sao Paulo, Brazil. Of course, no one has ever seen the alleged 862 page manuscript to even verify its existence. See “The Truth about Night; Why it’s not Elie Wiesel’s Story”

Another surlievor memoir—more Dr. Mengele, smoking chimneys and senseless murder from Yehuda Bacon

Written on October 1, 2016 at 11:43 am, by Carolyn

Yehuda Bacon says drew this 'portrait' of his father going up in smoke at Auschwitz when he was 16 years old. He became a professional artist. famous for his fantastical holocaust images.

Yehuda Bacon says he drew this ‘portrait’ of his father going up in smoke at Auschwitz when he was 16 years old. He became an artist and teacher, known for his fantastical holocaust images.

 

By Carolyn Yeager

Bild, Germany’s most popular tabloid, has reported on a new memoir by yet another holocaust surlievor,  the “world-famous” artist Yehuda Bacon (not be be confused with Yehuda Bauer of Yad Vashem). Yes, Bacon is the surname of this Orthodox Jewish man, apparently honestly come by in case you’re thinking it’s a bad joke.

Jehuda Bacon in his studio in Jerusalem in August 2008, displaying his “world famous art” inspired by the Holocaust.

The elderly Yehuda Bacon in his studio in Jerusalem in August 2008 with some of his “world famous art” inspired by the Holocaust.

Bild informs us the memoir is comprised of a series of conversations between psychologist and author Dr. Manfred Lütz and the the subject. That means Bacon is not capable of writing it himself. A part was previewed in Bild, and that  inspired  a hack writer to produce the sensationalized article that appeared in the Daily Mail Online. The Daily Mail is a British tabloid, pretty much the equivalent of Bild in Germany. Holocaust stories are fodder for tabloids – they love and can’t get enough of them.

I’ll start with the Daily Mail – to keep you reading, because there is a lot more to this story. Their headline was “Mengele WHISTLED Mozart as he selected victims for gas chambers, reveals survivor.” Cute, huh? I’m not sure we’ve heard that one before.

It begins: “The callousness of one of Auschwitz’s most gruesome officials has been revealed by a survivor … who was only 15 when he watched his father be taken off to be killed.”

“Mr. Bacon said: ‘He must have loved Mozart, because if he was bored during the selection he always whistled Mozart.’”

Would this 15 year-old even recognize a Mozart melody, let along be always around when Dr. Josef Mengele was going through the alleged selection process, which supposedly took place often and in various places around the camp? In fact, we are to believe this 15 year old had such a close relationship with this Nazi that he even knew why Mengele whistled. He was bored.

I was more than skeptical of this, but I did find that Bacon may have been one of the teenagers who later dubbed themselves the “Boys of Birkenau” orphaned boys who allegedly persuaded Dr. Mengele to add them to the “able to work” list. There will be more about this later, showing that Yehuda’s connection with Mengele may possibly have existed, but was limited.

Would he know Mengele’s moods and habits? I’m sure not. But in order to boost his bonafides, Bacon also said of Mengele: “He was always correct, he never beat us children” slyly implying that others did, or that the doctor might have beat adults. In reality, Mengele was a very kind man whose role at Auschwitz truly was to keep the camp and the people in it free of disease. He did not make all the ‘selections’ that suvlievors attribute to him.

The Daily Mail article was short, it’s purpose only to feature the “whistling Mozart” scenario which supports the popular theme that the Nazis were superficially-cultured barbarians, and German culture is suspect. If you think people are too smart to fall for this, just read the comments following the article. A Londoner wrote: “Oh god, I whistle all the time, never again after reading this …..”

The Bild interview

Turning to the Bild article, they actually write that the 15-year-old Bacon “toiled in the crematoria of Auschwitz.” What? That’s the same thing Bild wrote about Joshua Kaufman! Nonsense, and shame on Bild (though they have no shame). There is nothing said about that in the portion of the interview Bild published. I copy only a couple excerpts. 

yehuda-bacon-art

A Yehuda Bacon drawing: Flames pouring out of the crematorium chimney at night, a naked person electrocuted at the fence, and railroad tracks — all standard symbols of the Jewish Holocaust story that have no basis in fact.

Manfred Lütz: How was the end in Auschwitz?

Jehuda Bacon: On night of January 18, 1945 we had to take everyone who was left there. Some tried to hide, because it was clear: This is the end. Now the Russians are coming. We heard the guns from a distance. All had to join in … we even got a loaf of bread for the way and we waited until all were there.

[…]

Then we went out. That I still clearly remember, and exactly as we marched off, the crematoria were blown up. We could still hear these sounds and saw it too. Then we went two or three nights without a break until the Blechhammer camp.

Lütz: That was almost 100 kilometers, day and night, without sleep?

[Me: He was very right to question that. It is not possible to walk in freezing weather without sleep for two or three (which is it? – makes a big difference under those circumstances) nights. What really happened is that they walked at night and rested/slept during the day to keep out of sight of enemy planes.]

Bacon: Day and night without sleep. This is very hard. If you do not eat, if you do not sleep, when it’s so cold, if there is a lot of snow, then one becomes weaker with time. And that is a fight for survival. It’s hard to describe such a fight. But you can, if you have to.

[No, you can’t, for he then describes all those who “were shot because they couldn’t keep going.” In any case, Dr. Lütz lets it pass. Bacon also tells a story of the stereoptype ‘inhuman’ SS officer, similar to what many others have, including Richard Stashevsky.]

Bacon: Yes. Mauthausen was actually an entirely different stock, it was originally intended for political prisoners. But now it was already half messy here. The remains of Auschwitz came to Mauthausen, but also Hungarian Jews, even from a good background, women with fur coats and all.

I saw the Hungarians who arrived and were still dressed beautifully with rings that had not yet been taken. They gave a ring for a glass of water, so thirsty were they.

And a picture that I can not forget: There was a trolley on which containers were transported (vessels in which one normally collected waste), and it was a soup, really just water with maybe two potatoes. And now this trolley drives along and it shakes a bit, so this water-soup spills out and the drops flow together with all the dirt in the corner of the trolley. And so a prisoner comes with a small vessel and succeeds in collecting these few drops.

And since an SS man sees it and thinks it is stealing, he takes him and shoots him before a pit.

[Details? Are there any witnesses? Is anyone named? Never. This fictitious event takes place in a vacuum and is therefore a defamation against the SS.]

Bacon also claims the bread was poisoned by the SS, but for what reason I could never figure out. This is the quality of Yehuda Bacon’s “memoir.” Who is this man, Yehuda Bacon?

Yehuda ‘s biography

Yehuda Bacon personifies the show-biz and easy life of holocaust survivorship, living as a “highly praised artist” even though he has no talent and his paintings and drawings are devoid of any artistic merit. Because he was “in the camps” in his youth, he has been able to tell tall tales about what he saw and experienced there, drawing and painting images of “horror” that occurred only in his imagination – afterwards.

Yehuda was born into a Hasidic (Orthodox) family living in the city of Ostrava (Czechoslovakia) in July 1929 – making him 10 months younger than Elie Wiesel, also born into a Hasidic family. Bacon is now 87. Though he has been well-known since 1945, details about his family are missing. His parents are never named, only his sister is given a nameHanna. Was their surname really Bacon? That isn’t a Czech or Jewish name; it’s actually, as far as I can discover, Germanic-Norman-English, so one wonders what the family name really was and how he came to use Bacon.

His family was sent to the Ghetto Theresienstadt in the fall of 1942 when Yehuda was 13 years old. It was a town southeast of Brno in Moravia that the Germans turned into an experimental “model Jewish settlement” for educated and accomplished Jews. Because of the pleasant living conditions and many cultural activities, holocaust propagandists have invented terrible things that purportedly went on there. A film titled “Terezin: A Documentary Film of the Jewish Resettlement” (translated) was made by the National Socialists showing a comfortable existence within a thriving cultural centre, but most of the film was destroyed after the war. What does that tell you?

Bacon remembers participating in a children’s opera. But in December 1943, the family was moved to Auschwitz-Birkeau, to a family camp. Six months later, according to Yehuda, he was separated from his father, mother and sister. He claims his father was simply taken away one day to the gas chamber, and about the same time his mother and sister were deported to Stutthof camp, east of Danzig, while he remained at Auschwitz. This doesn’t make much sense. But I found what really happened by discovering this newsletter about “Birkenau Boys.”

In early July 1944 there was made a decision about a selection in the camp, which in fact meant liquidation of the family camp. Only 3,500 of the present men and women were then recognized as able-to-work and left that place of death. The rest of the prisoners – old, ill and mothers with children – were to face gas chambers [more of the myth].

[…]

Among them were dozens of boys around 14 and 15 years of age. Then one of them found the courage and asked the camp “doctor” Mengele to choose individuals able to work also [from] among them. Surprisingly, he agreed, and had a crowd of teen prisoners march again. Out of them, he compiled a group of about 90 boys which he then moved to the nearby men’s camp, marked B II d. …

The "Birkenau Boys" gather for a reunion in Terezin - the former Theresienstadt ghetto.

Some of the “Birkenau Boys” gather for a reunion in Terezin – the former Theresienstadt ghetto. Is that Yehuda Bacon in the middle front?

The boys were placed in the men’s camp in Block 13, known as a criminal block. The prisoners there – Poles, Germans, Russians – were under a tightened regime and got harder work. Czech boys drew attention there, however the block supervisor did not limit their activities much; they played football or sang together Czech songs. […] Their days were mostly filled up with work – they helped in the kitchen, brought from outside [the camp?] things needed to repair roads or heat houses. Some of them even worked outside the camp.

After a few weeks a selected group of “able” boys was sent to work in the Reich.

But not Yehuda – he remained until the evacuation. He was probably small and slight, and maybe in some other ways not fit. His father, mother and sister, being capable of work, were sent to other camps to work in the vital munitions factories. On Bacon’s Wikipedia page, it says he “saw his father murdered in the gas chambers.” This, of course, is the type of big, fat lie he’s always told.

The story of his liberation

Bacon claims the “death march” he was on from Auschwitz began on January 18, 1945. All it amounted to was a 2-day walk to Blechhammer, then several days of rest, and he boarded a boxcar train to Mauthausen, where he obviously was not killed. In spite of the fact that he appears to have been useless, he continued to be fed and housed by the Nazis. In early April, he was moved to Gunskirchen, a sub-camp 50 kilometers away. It was there he says he and another boy just walked away one day and met up with the US Army on May 5th. He was taken to a hospital in the town of Steyr, after which he went to Prague but could not find his family members. From there he went to France (perhaps to the Jewish Orphans Home where Elie was?) and then Israel, where he studied painting, drawing and graphics and eventually became a professor in Jerusalem. A miracle for sure, since he cannot draw. His paintings are said to “translate the Holocaust artistically” and today “hang in the Yad Vashem and the US Congress.”

The “art” of Yehuda Bacon

bacon-painting

The mystical, magical, miraculous nature of surlievor tales is epitomized in this greatly enlarged reproduction of a much smaller Bacon painting installed in the Yad Vashem museum in Jerusalem. The primitive style is that of a self-taught amateur.

To cover for his lack of any talent for his chosen profession, things like this are written about his work.

His Œuvre consists of a synergistic interaction: on the one hand, Bacon processes the experiences of his childhood and youth in the concentration camps, on the other he is searching for a way of understanding through his art.

Such is the way Jewish critics cover for bad Jewish art, but Bacon is particularly only a holocaust promoter, creating primitive and ridiculous depictions of fantasy. Most of his ‘works’ are very small, too; most are measured in centimeters. Of special interest, he is the one who drew the “gas chamber” interior that I reproduced in my book Auschwitz: The Underground Guided Tour. These meaningless lines cannot be from memory, but he was told what it was supposed to contain. What a fraud.

You can see more of Bacon’s Œuvre here.

Typical Jewish art by Yehuda Bacon.

Typical Jewish art by Yehuda Bacon.

Drawing of the crematorium/'gas chamber' with smoking chimney by Yehuda Bacon, part of the Yad Vashem collection.

Tiny, crude drawing of a crematorium/’gas chamber’ with fire-belching chimney by Yehuda Bacon. -Yad Vashem collection

 

 

 

 

 

 

 

 

 

 

 

 

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