Jazz Fiction tries to pass as history

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Jazz Fiction tries to pass as history

Postby Merlin300 » 2 months 3 weeks ago (Wed Dec 02, 2020 12:22 pm)

David McCalden once noted that history is just a story that we believe really happened. Nothing makes a story real history except for the integrity of the storyteller to record events accurately. The latest Journal of Holocaust and Genocide Studies for Fall 2020 shows a complete lack of integrity with its publication of Professor Sarah Casteel's article "Jazz Fiction and the Holocaust: Reading History for Clues in the Novels of John A. Williams and Esi Edugyan"

http://www.journaltocs.ac.uk/index.php? ... 09&pageb=1

The Abstract of the article expands,
This article draws attention to a body of fiction that expands our understanding of the Holocaust by imaginatively reconstructing the neglected experiences of Black victims of Nazi persecution. Two key examples are John A. Williams’ Clifford’s Blues (1999) and Esi Edugyan’s Half-Blood Blues (2011), both of which recall the Black jazz musicians in wartime Europe caught up in the Nazis’ genocidal campaign. Seeking to integrate their stories into the collective memory of World War II, Williams and Edugyan combine Holocaust fiction’s documentary effect with characteristic thematic and formal strategies of jazz fiction.... Notwithstanding the risks of Holocaust analogies that Clifford’s Blues in particular exposes, both novels illustrate the capacity of jazz fiction to produce revisionary historical narratives and intervene in memory culture.

The Abstract gave me expectations that Clifford’s Blues and Half-Blood Blues would be grounded in the actual experiences of the author or somebody but no, not at all.
On the Reality Meter, the books fall somewhere between Peter Pan and Hogan's Heroes.

Clifford’s Blues is the story of a Black, American, Gay jazz musician (Clifford) imprisoned in Dachau for 12 years.
He spends his time working as the band leader of a group of prisoners who play at a nearby club for SS officers. He also provides sexual service to the SS. Of course, there were no gay Black Americans citizens in Dachau: their experiences were not the "neglected," they were non-existent.

The author, John A. Williams, was born in Jackson, Mississippi. His family moved to Syracuse New York and later Williams moved from Manhattan to Teaneck, New Jersey. He never lived Germany or was confined in a concentration camp. But Williams' Weltanschauung and accuracy is evident in his most famous book The Man Who Cried I Am. It is a fictionalized account of Max Reddick, A black expat writer who uncovers a sinister plot to destroy the American civil rights movement through something called the King Alfred Plan - a CIA-led scheme supporting an international effort to eliminate people of African descent.

Esi Edugyan was born in Calgary, Alberta in 1978 to Ghanaian parents.
She was raised in Canada. Her entire experience with German people was to eat Bratwurst mit Sauerkraut at Calgary's German Heritage days. An online reading of Half-Blood Blues can be heard at https://www.amazon.com/gp/product/16117 ... tkin_p1_i1
The speaker, Sid, has the vocabulary of a character from the Amos and Andy Show, only with a distinctly bibulous tone and laced with a pseudo jazz-hipster patter. “We was all of us free, brother. For that night at least, we was free” is an example.

It is an ignored fact that, while the War did disrupt many Jazz performances, jazz was very popular. A jazz festival was held in Occupied Paris to revive the genre. The event, on December 16, 1940 sold out in 24 hours. Three days later the concert was repeated, and in total 80 further concerts were organized before the liberation. Performers like Louis Armstrong, Adelaide Hall and the notorious Josephine Baker were always popular in Germany and with the German troops. http://holocaustmusic.ort.org/resistanc ... ench-jazz/

Ms Edugyan ignores all this and bases her story on the idea that playing Jazz in Paris was a criminal offense. The key character, Hieronymus Falk, described as a musical genius and a "phenom" is arrested by “the Boots” in a French café, ends up in Sachsenhausen and is never heard from again. He, by the way, is of German and African parentage, Falk and his music would’ve been lost to history were it not for a single pressing that was hidden away only to be found after the war.

Both "Blues" books received significant notice when published. I make no criticism of their literary value but do object to using the works to "produce revisionary historical narratives." Several reviews did this. [Clifford's] diary, though fictional, is an eloquent testimony to the largely unknown sufferings of blacks, not only African-Americans but ‘colored men’ from all countries, who were incarcerated in WWII concentration camps.” Publishers Weekly

A simple, one-word sentence that could be just an expletive — “Hell” — becomes so much more as Griffiths watches Nazis march into Paris under “that dancing black spider,” and his dazed account of a band of weary survivors coalescing around Hiero’s “Half-Blood Blues” is intoxicating enough to send you crate-digging through a record store’s back room for anything like it. https://www.latimes.com/entertainment/l ... story.html

Professor Sarah Casteel takes the Publishers Weekly review and runs with it. Not particularly a logical or ethical thing to do but definitely smart in grabbing a ticket on the Unknown Sufferings of Blacks Train. Besides, what else is there to do in winter in Northfield during a pandemic?

Ultimately, the dishonesty and lack of integrity in presenting works of pure fiction as "history" falls on the publishers of the Journal, that is Oxford and the United States Holocaust Memorial Museum. Time for a new honest Editorial Board?

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Re: Jazz Fiction tries to pass as history

Postby Hannover » 2 months 3 weeks ago (Wed Dec 02, 2020 1:46 pm)

Black US athlete & Olympic standout Jesse Owens had plenty to say about alleged treatment of blacks by NS Germany:

Jesse Owens utterly debunks the oft repeated lie that Hitler snubbed him because of his race.

After winning the long jump at the 1936 Summer Olympics Owens said:
"When I passed the Chancellor he arose, waved his hand at me, and I waved back at him. I think the writers showed bad taste in criticizing the man of the hour in Germany.
Owens also said:
"Hitler didn't snub me—it was FDR who snubbed me. The president didn't even send me a telegram."
The fact is that Hitler was forbidden by Olympic officials from visiting any athletes after their events. Hence the lie that Hitler deliberately avoided Owens is just another lie.

Another fact, Jesse Owens was never invited to the White House nor bestowed any honors by Presidents Franklin D. Roosevelt (FDR) or Harry S. Truman during their terms.

BTW: From the OP, the mentioned & discredited Sarah Casteel makes big bucks from the 'holocaust' scam".

- Hannover

Why do some people want '6M Jews & 5M others' to be dead?
Revisionist research brings the world good news, those alleged millions were definitely not murdered.
One would think that Jews especially would be elated to hear the good news.
Instead, we have arrests and persecution of those who engage in free speech that brings forth very positive, life affirming information.
Orwell would be laughing out loud.
If it can't happen as alleged, then it didn't.

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Re: Jazz Fiction tries to pass as history

Postby Hannover » 2 months 3 weeks ago (Wed Dec 02, 2020 2:09 pm)

More information about Jews & blacks that shysters like Sarah Casteel want to hide, censor:

Black scholar, Dr. Tony Martin, goes into the history of the primary sellers & owners of slaves, Jews.
Professor Tony Martin – The Jewish Slave Trade of Africans

Jew slave ship owners:

Jewish Dominance Of The African Slave Trade:
https://christiansfortruth.com/jewish-d ... ave-trade/

Jews and the Slave Trade:
https://wethoughttheywerewhite.tumblr.c ... SlaveTrade


Truth is "hate" to those who hate the truth.

- Hannover
If it can't happen as alleged, then it didn't.

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Re: Jazz Fiction tries to pass as history

Postby stinky » 2 months 3 weeks ago (Wed Dec 02, 2020 6:58 pm)

Without (((media))) promotion, such books would be resigned to the garbage.
Often, with (((media))) promotion, such material is nothing but land-fill - though the same (((media))) will declare it a best seller.
It's easier to fool someone than to convince them that they have been fooled

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Re: Jazz Fiction tries to pass as history

Postby Breker » 2 months 3 weeks ago (Wed Dec 02, 2020 7:49 pm)

stinky wrote:Without (((media))) promotion, such books would be resigned to the garbage.
Often, with (((media))) promotion, such material is nothing but land-fill - though the same (((media))) will declare it a best seller.

Jews promoting Jews whose interest is in promoting things which serve the interests of Jews is a notorious fact.
All the while trying to make it look like vast public support.
Control of 'the media', 'academia', social media, and publishing interests in general certainly enable it all.
Revisionists are just the messengers, the impossibility of the "Holocaust" narrative is the message.

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