Nazi Germany

Hunting Nazis is an almost guaranteed reading pleasure – the joy of the chase, plus the moral uplift of being on the side of virtue. I started Philippe Sands’s book with a sense both of anticipation and déjà vu. A respected British international human rights lawyer with the proven ability to tell a story, Sands should be giving us a superior version of a familiar product. Many readers will remember his book East West Street (2016), which wove together the Nuremberg trial, some family history, and the pre-war intellectual life of Lemberg/Lviv. The latter produced not only Raphael Lemkin, theorist of genocide, but also the lesser known Hersch Lauterpacht, theorist of crimes against humanity, as well as Sands’s maternal grandfather, Leon Buchholz.

There is a point of view that says we shouldn't humanise a tyrant such as Adolf Hitler since that reduces the symbolism, the power of his name as a synonym for pure evil, and can lead to ...

For all their differences of subject matter and approach (not to mention style), both of these studies can be seen as belonging to the category of what might be termed archaeological history. That is, they are concerned with retrieving and bringing to the surface a gallery of characters and set of important stories and connections which have been either suppressed or ignored.

Kay Dreyfus was inspired to write about the Weintraubs Syncopators after seeing a German documentary at the Melbourne Jewish Film Festival in 2000. The film recounted the story of this interwar dance and variety band, which had earned fame in Josef von Sternberg’s The Blue Angel (1930), and later used a European tour to escape from Hitler’s jazz- and Jew-hating régime. After a music-driven adventure across Russia and Asia, the group believed it had found a haven when it reached Australia in 1937, and secured a residency in Sydney’s high-society Prince’s restaurant. Then disaster struck. Accused of espionage, musicians accustomed to celebrity suddenly found themselves interned. Although they were later released, the band never reformed. Dreyfus was intrigued by the Syncopators’ story, but it was the film’s assertion of Australian responsibility for their destruction that piqued her intellectual curiosity.

Not the least portent of change in the Catholic Church since the Argentine Jesuit Jorge Bergoglio was elected as Pope Francis earlier this year has been mounting speculation that the new pontiff will disclose all documents in the Vatican archives concerning the most controversial of his twentieth-century predecessors, Eugenio Pacelli, who reigned as Pius XII from 1939 to 1958.

The Drinker, by Hans Fallada – first published in Germany in 1950, translated by Charlotte and A.L. Lloyd into English in 1952, unearthed for an Anglophone audience in 2009 by Melville House, and now published by Scribe – is the story of Erwin Sommer, who drinks himself, almost unaccountably, to death. It counts for everything, of course, to know that the novel was written in 1944 in a Nazi insane asylum. 

There are many good reasons for destroying books. Not every act of destruction is an attempt to suppress ideas. Publishers pulp excess stocks of unsold titles; booksellers and libraries do it; even you and I do it. You don’t want to keep every school textbook you ever owned, and the nice people down at the Op Shop won’t thank you for dumping your discards on them. Our state and national libraries keep publishers’ deposit copies of every book produced in their jurisdictions – these are copies of last resort. If you attack them, you are attacking the cultural memory of human- kind; if you empty your own book- shelves onto a bonfire, you have merely gone overboard with spring cleaning.

Three years ago in these pages, I wrote about the difficulties of exploring and understanding acts of human terror and brutality such as those that occurred during the Holocaust in Nazi Germany (‘Homer and the Holocaust’, ABR, November 2002). I noted that a certain etiquette had prevailed in the ever-expanding Holocaust canon, one that tended to privilege factual accounts – memoirs, histories, personal testimonies from the survivors themselves – over more imaginative treatments; how the former were regarded as more ‘morally responsible’. I noted, too, the paucity of material from German sources and how this had skewed understanding of the Holocaust. I argued that ‘sixty years on, there is something lacking in the way we have sought to understand the Holocaust; something in the approach that seems to confirm what we already know rather than illuminate the new’. What was required, I suggested, was more, not less, imaginative work.