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Quote by James Morcan

“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.”

Book:Debunking Holocaust Denial Theories

Work

Debunking Holocaust Denial Theories

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Author

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

“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.”

Holocaust Holocaust History Holocaust Denial Holocaust Deniers Holocaust Revisionism

Book:Debunking Holocaust Denial Theories

Source: Debunking Holocaust Denial Theories

“The Holocaust happened because of the constructed belief in one untrue conspiracy theory, and the denial of its genocide afterward came from the creation and propagation of another.”

Propaganda Genocide Holocaust Hitler Conspiracy Theory Nazi Germany Holocaust Denial Holocaust Deniers Shoah The Final Solution

Author:Stewart Stafford

“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.”

Writing

Book:Death in the Afternoon

Source: Death in the Afternoon

“Never forget, the world said after the Holocaust. But the world is forgetting.”