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Quote by James Morcan

“Have you noticed how the Holocaust deniers only ever quibble over the number of Jewish deaths? Now why is that? The answer is very simple: Because they are anti-Semitic. It really is that simple. Anti-Semitism is one of the most aggressive forces on the planet, and has been since Biblical times. Had the Holocaust been a purge of any other race or group of people, everyone would most likely accept the facts. Who, for example, disputes that at least 800,000 Rwandans died in the genocide that occurred during the Rwandan civil war? Or that around 1.7 million Cambodians died in the Cambodian killing fields?”

Quote by James Morcan

Book:Debunking Holocaust Denial Theories
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Debunking Holocaust Denial Theories

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James Morcan

James Morcan, born on July 18, 1978, is a renowned film actor from Canada. He is known for his outstanding performances in various films, particularly in independent and art cinema. more

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“Bringing up wrongdoings of the Israeli government is therefore about as relevant to the Holocaust as mentioning the warmongering decisions of recent US administrations in relation to the slaughter of Native Americans when America was first colonized centuries ago. In other words, whatever your opinion of Israel’s handling of the Middle East conflict – and we ourselves have some misgivings on that matter – that is in no way shape or form related to the facts of the Holocaust.”

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Book:Debunking Holocaust Denial Theories
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“If you are a denier, get on the right side of history and stop being so gullible. Remember, it has been historically and scientifically proven, in a court of law no less, that more than 1.2 million Jews, along with 20,000 gypsies and tens of thousands of Polish and Russian political prisoners, were killed at Auschwitz alone. Beyond that, Yad Vashem’s Central Database of Shoah Victims’ Names has collected 4.5 million Jewish victims’ names (and counting) from various archival sources. How much more evidence could you possibly want?”

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“It’s not remotely a taboo to investigate the Holocaust. Even in Europe, where there are strict laws in place outlawing denial of crimes against humanity – and thereby outlawing denial of the Holocaust – you can study historical records of the Holocaust and inspect Nazi documentation relating to it until your heart’s content. You will even be encouraged to do this.”

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“Remember, deniers claim 90 to 100% of all Holocaust deaths are some fantasy concocted years after the war. Rest assured the only books anywhere that talk about the tiny death toll numbers deniers believe in (i.e. tens of thousands or hundreds of thousands instead of millions) are Holocaust-denying books written by anti-Semitic “historians,” religious zealots or neo-Nazis. No mainstream history books ever published since 1945 mention a death toll that isn't in the millions for the Holocaust. Period.”

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“Six million Jews died in the Holocaust. Yet many people simply cannot accept this. They keep bringing up red herring after red herring to avoid finally admitting “YES, it happened exactly as the history books say, end of story.” Which, of course, is the only correct response to the question anti-Semites raise about whether or not this historically and forensically-proven Nazi genocide even happened.”

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“When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.”

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Book:Death in the Afternoon
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