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Posts tagged “Anne Frank

Interview w/ Leza Cantoral


One of the wonderful things about writing dark fiction and horror is the many subgenres one can find themselves. So many avenues to explore. Pockets of strange ungodly things. Cosmic horrors and mutant creatures. Fantastic beasts of myth come alive. Haunted furniture and murderous toys. Not forgetting, of course, the most horrifying of all horror tropes and subgenres, the capacity of human indignity. Evil men and women bound to do insidious works. Where do writers come up with their ideas? Where do stories come from? These are two separate questions. Fundamentally, stories come from the same place they always have, that deepest part of ourselves that, though afraid, dares to look out into the unseen where shadows dance and blue razor teeth smile gleefully back at us. And though the core of every writer is the same, inspiration can come from an assortment of places and experiences. Today, we’ll be talking with Leza Cantoral, an up and coming writer that specializes in (but not limited to) the subgenre bizarro fiction. So, pull up a chair. Keep your tentacles to yourself. Take a seat. And give your attention to our guest.

Machine Mean: Let’s get some basic introductions out of the way, shall we? Can you tell us a little bit about yourself? What got you into writing? What type of genre or sub-genre do you write in?

Leza Cantoral: I grew up in Mexico and my family moved to the Chicago suburbs when I was 12. I felt very alienated and began writing poetry to cope with depression. I think I got The Diary of Anne Frank for my birthday that year. I thought about her and what a lovely person and writer she was and what a shame it was that I could not read anything by her but her diary. I think that inspired me to chronicle my life through daily journaling. I also wrote a lot of poetry and a few screenplays.


I did not really think of story writing as an actual point of focus until college when I met Garrett Cook. He was the strangest person I had ever met. We became friends when we took a Postmodernism class together. He slipped a story he wrote under my dorm door called ‘The Ashen Bride’ about a Cinderella with a Vagina Dentate and the story blew my mind. I worried that he was some kinda sexual deviant, but mostly, I was impressed with his style. Reading his stories made me want to write my own surreal and grotesquely twisted fairy tales.

At the time, I was mostly getting stoned and writing endless streams of consciousness, inspired by people like Jack Kerouac and Alan Ginsberg. I think the Beat and the Bizarro kinda came together for me eventually. You can see it in stories like “Dope,” which is part angry drunken rant, part dream, and part really uncomfortable description of someone getting probed by aliens. Someone told me it reminded them of Harlan Ellison.

MM: What’s your favorite book and why?

LC: Alice in Wonderland, because it really captures the female psyche. I see myself reflected in it every time.

MM: What is your favorite Lovecraft short story? Why?

LC: “The Music of Erich Zann” because it makes me sad and excited and has a fabulous eerie atmosphere. Also, I find the metaphor apt for the artist. You do often go mad creating and it is hard to know where to draw the line between art and madness. It is a possession.

MM: This is a hard one…but, what is your favorite horror movie? And why?

LC: That is really hard. I’m gonna go with Phenomena, by Dario Argento, starring Jennifer Connelly. This movie is pretty low key on the horror, for an Argento film, though there are some incredible, sensual kills, as well as some grotesque imagery at the end that will never wash out of your mind once you see it. I love it because of the atmosphere and the cool psychic insect powers and the chimp. It is a very sweet movie and it is also wonderfully haunting.


MM: Leza, I have to admit, you are certainly one of the more interesting persons I’ve ever met through social media. You are very vocal and passionate about your art, which is very awesome and refreshing to see in up and coming authors. What kind of inspiration do you draw from? Do you have a mentor of sorts?

LC: I draw inspiration from many places. Mostly poetry and pop music. I love both Sylvia Plath and Lana Del Rey. I love them so much I am editing an anthology of stories inspired by them for CLASH Books.

I grew up in Mexico and learned French in high school. I think this affected how I write. Spanish and French have a certain rhythm, texture, and cadence. There is a softness, a rawness, and a voluptuousness to the Latin languages. The French Surrealist poets had a huge impact on me in college. I have been trying to write like them ever since.

I have had a few mentors. My first was Garrett Cook. I met him in college and I fell in love with his short stories. I learned by shadowing him and watching his process. I adopted some of his techniques such as handwriting first drafts. There is a magic to having the pen to paper. A computer will never have that raw immediacy for me.

I recently took a class by Juliet Escoria on LitReactor called “Taboo Topics.” It was an incredible experience and she was the perfect mentor. She gave us assignments that pushed our comfort zone boundaries and then gave incredible feedback to keep our writing simple and honest. Two of the pieces I wrote in her class made it into the collection.

My main mentor is Christoph Paul. He has been working with me for the past two years. He gives me honest feedback and is a master of story structure. The main thing that I have gotten from working with Christoph is his work ethic. He is one of those people that feels really guilty if he is not working on at least five things at the same time. I work harder because he raises the bar for what is normal. He is great at balancing praise with criticism. He never kisses my ass.


MM: From the sounds of things, you seem to be keeping busy, with book signings and various traveling and publishing articles with Luna Luna Magazine, I think my head would spin taking on so many projects! Do you have a writing method that helps you keep everything grounded? A schedule of sorts? Do you have a special place you like to do your writing?

LC: I have an office and that helps keep things organized, though I tend to do most of my writing in bed while listening to pop music or watching movies and TV.

My schedule is: post stuff on the CLASH Media website in the morning, do other business and publishing-related things, promote, edit, etc. Then after dinner, I focus on writing.

When I work on short stories it kinda derails my schedule, though. I will get totally obsessed and manic and go a little insane for like a week or so, watching or listening to music and movies on repeat that is putting me in the zone. My technique for short story writing is pretty much a self-induced trance. Once I am done it takes me a day or two to come back to reality and I usually feel dead inside until I do.

MM: According to the all-knowing and all-powerful Amazon, your last publication was Baum Ass Stories: Twistered Tales of Oz, which was a collection of short stories and poems based in a sort of twisted version of Oz. Can you tell us a little bit about this book and what compelled you to dabble in this particular sub-genre? Is it a sub-genre you fell into or came by naturally?

LC: I was asked by Zeb Carter to write a story for it. I grew up reading and loving the Oz books. I had a dystopian Nazi Disney world that had been brewing for a while in my head and this seemed like the perfect opportunity to start exploring it. My main character is a cross between Eva Braun and Princess Langwidere. She is really fucked up and insane. This story mostly arose out of my fascination with Eva Braun and Adolf Hitler’s relationship. It just seems very twisted and sadomasochistic. She was very much in love with him and it seems like he kinda took her for granted. In my own twisted way, I kinda gave Eva the ending I felt she deserved.


MM: Okay…let’s talk about your new book that just released, Cartoons in the Suicide Forest. The cover looks stunning, BTW. Can you tell us a little bit about what kind of stories readers can expect from this collection? What genre or sub-genre would you label it as?

LC: The stories in this collection span many genres. Bizarro, surrealism, splatterpunk, speculative, strange fiction, fantasy, sci-fi, literary horror, body horror, experimental metafiction, slipstream, stream of consciousness. Some of the stories read like surreal prose poems, some are straight up horror stories, and some are twisted fairy tales, like Planet Mermaid (The Little Mermaid), Beast (Beauty and the Beast), Eva of Oz (Ozma of Oz).

I would say that the stories in this collection are all pretty dark. My characters all want things: validation, satisfaction, release, escape, love. The general tone is tragic. I use colorful language to deal with sad themes. The happy endings are bittersweet if they happen at all.

MM: In the description, it sounds like readers are in store for a unique experience. One reviewer said that Cartoons in the Suicide Forest is “mesmerizing, sexual and grotesque, often at the same time.”  They also gave the book a five-star rating. Did this reviewer hit the nail on the head more or less for what you were going for?

LC: I love directors like Dario Argento, Alejandro Jodorowski, and David Lynch. I try to create an eerie and dissociative experience for the reader; something that will take them outside of themselves.

When I write stories that are of a sexual nature it is because sex sometimes is the only way to describe a certain psychic state. I often explore the feeling of being violated against one’s will, or of being outside one’s body as other people are using it. This is metaphorical of loss of self. Holding on to my sense of self is actually something I struggle with. It might surprise people, or not. Writing is the only way that I can honestly express myself. Selfies are lies. You see my face but you don’t know what I am really thinking or feeling. If you want to know my heart, read my stories.

MM: The book cover looks freaking sweet. Can you tell us a little bit about that? Who designed it? Did you get any say in the creative process?

LC: The cover is by Matthew Revert, who is a genius. I gave him the titular story to draw inspiration from and I cried when I saw what he came up with. That cover truly captures the soul of this collection.

MM: Before we go, can you drop a little hint on future projects you may have cooking?

LC: My next project is a Fantasy adventure called “The Ice Cream Girl Gospels.” I have begun outlining the book and drawing a map of Ice Cream Land. The story will be sweet and strange. It is inspired by Candyland, drugs, and pop music videos. After that, I have a novel called “Tragedy Town.”  It’s a dark romantic comedy about the danger and beauty of falling in love. Think if Charlie Kaufman directed an episode of The Twilight Zone. I also have two poems appearing in the upcoming Civil Coping Mechanisms anthology A Shadow Map: An Anthology of Survivors of Sexual Assault and a slipstream story about Jackie Kennedy, called “Saint Jackie” that will be appearing in the Bizarro Pulp Press anthology More Bizarro Than Bizarro.


You can get YOUR copy of Leza’s latest book Cartoons in the Suicide Forest for $3.99!!!



Leza Cantoral was born in Mexico and moved to the Chicago suburbs when she was 12. She runs CLASH Books and is the editor of Print Projects for Luna Luna Magazine. She lives in New Hampshire with the love of her life and their two cats. ‘Cartoons in the Suicide Forest’ is her first short story collection. She is currently working on a YA Bizarro novella called ‘The Ice Cream Girl Gospels’ You can find her on Facebook, Instagram, Tumblr, and Twitter @lezacantoral

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Anne Frank in the World: a short narrative on why we should study the Holocaust


Anne Frank states: “I can only stand and watch while other people suffer and die.” Reading these words from her world renowned diary begs the question: how we can imagine an idealistic world, a better world in spite of everything that had happened during the Holocaust? Knowing parts of the Holocaust (only parts because there are stories that will never be told; they were silenced and buried in the graves of six million people) how can we hold out for any hope of goodness in the heart of humanity? Have we become to jaded by all our mutilated histories to ever cling to the thought of being idealistic? Perhaps, despite the dreadful weight of so much suffering and death, we can look at another passage from Anne Frank’s diary, when she also stated: “I still believe, in spite of everything, that people are truly good at heart.” Despite having to go into hiding in the Secret Annex, being forced out of school, restricted in every sense of the word just because she was Jewish, Anne Frank still held out that people were generally good at heart.

Now, we could argue and question, as author Victoria Barnett suggested in her “Reflections on Anne Frank,” if young Anne would have remained so idealistic had she survived Bergen-Belsen, or would her idealism have been crushed by the dark force of anti-Semitic legislation, carried out by the perpetrators and bystanders of the Third Reich. Perhaps she would have, like so many others have, including Georgette Schuler, a colleague of Barnett’s father who committed suicide some twenty years after surviving Auschwitz. It’s completely reasonable and expectant that Anne’s idealism would have been defeated by such scarred memory, had she survived. But she didn’t, Anne Frank died of typhoid at Bergen-Belsen one month shy of British liberation.

otto frank

Yet, something is still left to be said of Otto Franks decision, after being the only survivor of the Frank family and member of those in the Secret Annex, to piece together and publish his murdered daughters diary, namely, to what purpose could he have done such a thing. As Victoria Barnett inferred from the death of the first person she knew connected to the Holocaust, the aim of studying and teaching history is to keep memory alive. In regards to keeping the memory of the Holocaust alive is to not give the Nazis the last word, to not give hatred and depravity the last word, but to give the faces of individuals like Anne the last word, because they are “not [just] ashes in Bergen-Belsen,” but voices calling from our past, intruding on the present. These six million Jews, and an additional other five-million (the lives of undesirables, such as: political prisoners, POW’s, homosexuals, Marxists, Gypsy’s, and even Christians), were much more than numbers and statistics, but people with faces, connected to this world, a flickering candlelight during a period turned topsy-turvy.

And their shared experience guides our own fate. We must be brave enough to ask ourselves: Can we move, as a species, beyond the hate that perpetuated the Holocaust? Perhaps not, the potential for hate seems to be something intrinsic to the shared human experience just as much as suffering is. But in the process of learning, recalling, and telling the stories and histories in context with those who call out to us from the grave and of those who survived, and of those who did something, and of those who did nothing, and even those we call perpetrators, we are keeping memory alive and relevant, and if we can do this, then perhaps Anne Frank’s idealism will find a place to grow, in the hearts of our children, and their children’s children; all the while, allowing the essence of a young fifteen-year-old girl’s idealism alive, the girl who clung desperately to the hope that good shall always prevail in the end.


Carol Rittner, “Anne Frank in the World: Essays and Reflections,” Armonk, New York, 1998.

Monster, by no other name: Understanding the Holocaust (Victims, Survivors, & Perpetrators)


Are monsters real? Or are monsters simple myths, the unfortunate result when groups separate into differing cultural and communal groupings? But why monsters? Imagined monsters crawl from the closet when one group begins to see the “other” group, those on the outside, as subhuman, when one group begins to believe they are biologically dominate, the better; while the others, subservient. Consider the story of Moishe the Beadle, a Jewish mystic from the flourishing town of Sighet, Transylvania, who one day was rounded up and deported, along with other foreign Jews, into crowded cattle cars destined for an unknown location across the Hungarian border. As the trained pulled away, an unknown bystander sighed, “What do you expect? That’s war.” Moishe survived his deportation and told the story of the ones who didn’t make it back, how they were rushed off the train and into waiting trucks and brought into a dark forest, forced to dig impossibly deep trenches and then systematically shot, their bodies falling into the labored graves (Wiesel, Night pg. 6). Why did this happen? Was Moishe really an enemy or was he the victim of an irrational biological belief of speciation? Pseudospeciation, as we’ll call it, can develop into acts of dehumanization, discrimination, and eventually genocide, for those who do not fit into a ascribed notion of racial identity. Those on the fringe become monsters to those on the inside looking out. Monsters quickly become the enemy. Here, we’ll look at the stories and histories of victims, survivors, and their perpetrators, who lived by the noose of pseudospeciation in the hopes of better understanding why an otherwise civilized German society could produce acts of dispassionate cold brutality.


Elie Wiesel, Nobel Peace Prize recipient and Auschwitz, Buna, and Buchenwald death camp survivor, when giving his acceptance speech, said regarding the Holocaust, it “defies literature…we think we are describing an event, we transmit only its reflection… Still, the story [has] to be told;” (Landau, pg.3) insomuch, as we honor the memory of the dead. The Nazi Holocaust is without a doubt, a convoluted subject, wrought with oodles of information and perspectives; however, no one yet has ever discovered a definitive answer as to why it happened. And no one ever should. There are no definitive causalities for genocide. Besides, who could really answer the “big question,” as to why an otherwise civilized German society that could produce beautiful minds, such as: Beethoven, Bach, Wagner, and Schumann, on the one hand, and merciless brutality on the other? Could one voice unequivocally speak for so much death? The very notion of claiming an answer for causalities seems malignant to the mutilated memory of the people who suffered and died by the hands of Nazi perpetrators. Perhaps the most honest objective we could approach the subject with, is not through definitive answers, but discovering inferred lessons instead of looking for an all-encompassing cause (Landau, pg.4).

Looking back on the history of the Holocaust, it would be fair to say that in 1933, when Hitler came to power, there was no reason to believe, or for that matter, anticipate, the final outcome in the annihilation of six-million Jews. Only, as author Ronnie Landau has stated, through the “luxurious logic of hindsight” could we have seen, as the saying goes, the writing on the wall (Landau, pg. 116). For this reason, something becomes explicit: The Holocaust wasn’t predictable. No one saw it coming. The Holocaust began slowly, through Nazi policies directed at depersonalizing European Jewry. These polices were built around pre-established anti-Semitism and an inferred belief in separation, especially among German Christians (the Jew and Gentile relationship). Hitler and his Nazi Party policies tediously laced their Volksgemeinschaft cake with deliberate poison through subtle conditioning and indoctrination, masterminded by the infamous Minister of Propaganda, Joseph Goebbels. Propaganda played a significant role in bringing millions of Germans together through popular fascist motifs, in such films as: S.A. Mann Brand (1933), Triumph of the Will (1935), Jew Süss (1940), Münchhausen (1943), and Kolberg (1945). In accordance with Nazi ideology, the function of Nazi education also included particular racial components, namely what to do regarding “The Jewish Question,” in a way that emphasized a path towards resolution that would strengthen and regenerate Germany in a post-Treaty of Versailles country. Hitler was able to use his natural pseud-charismatic character to place blame for Germany’s inequality on a common enemy. What began as a war against undesirables (mentally handicap, Gypsies, Polish, and all other none-German) , soon found its way to Hitler’s central target, the Jews (Berenbaum, pg.102); his veritable monster in the closet, his scapegoat for every pseudo-ascribed sin commented against Germany.

Rede Adolf Hitlers zum Ermächtigungsgesetz

On March 23, 1933, Hitler succeeded in gaining legislative control through the passing of the Enabling Act. By sheer domination and intimidation of opposing parties within the Reichstag, Hitler could now “pass laws and decrees without the consent of parliament” (Landau, The Nazi Holocaust, pg. 121). It is interesting to note how despite having democracy and parliamentary authority thrown to the curb, the majority of German citizens applauded Hitler. It would seem, for the German citizen during the Weimar Republic, the preference in having a charismatic and steadfast leader was much greater than the constant debate and indecisiveness typical during this period in German history. In a way, Hitler was able to twist the general public’s natural disdain for bureaucracy, into an avenue for creating a totalitarian state. There are, of course, other factors one must consider, but one thing is for certain: without the Enabling Act, Hitler would not have been able to carry Germany down the path leading to The Final Solution.


The greatest tragedy ever told could only really be appreciated through the mussing of a young teenaged girl. Anne Frank belonged to a middle class household, liberal in their Jewish faith, typical for most European Jewry living in Germany at the time. In 1933, during the fallout of the Enabling Act, Otto Frank, Anne’s father, moved his family to Amsterdam, Netherlands, far away from the dangers in the heartland of Nazi anti-Semitism, or so he thought. On May 10, 1940, the Netherlands surrendered to an invading German Army and soon after, several anti-Jewish laws were passed and carried out. By 1942, the Franks could see the proverbial writing on the wall, and went into hiding. Anne notes in her famous diary the particular day her family went into the “Secret Annex,”  how on July 8, 1942, beginning with Sunday afternoon and leading to their eventual hiding, “Father…[had] received a call-up notice from the SS… I was stunned. A call-up: everyone knows what that means. Visions of concentration camps and lonely cells raced through my head… Silence. We couldn’t speak” (Frank, pg. 19).

When reading through Anne Frank’s work, it’s hard not becoming emotionally attached. For a thirteen year old girl, she was very aware of the realities around her, considering one of her more popular quotes from her diary: “Sympathy, love, fortune…we all have these qualities but still tend to not use them.” Her constant optimism and willingness for hard honesty in everything she wrote instills a since of longing for humanity; however, her notions optimism also begs the question: was this teenaged girl really a monster? Was she the enemy? Was she something worth fearing? On the morning of August 4, 1944, a little over two years since the Franks first went into hiding, the SS and Dutch Security Police “discovered” the Secret Annex and arrested Anne and the rest who called the back of 263 Prinsengracht road home. By early September, they were shipped away to Auschwitz. There, Anne Frank succumbed to symptoms of typhus in the overcrowded barracks of the concentration camp and died in March 1945; another story among countless victims of pseudospeciation, and the horrible process of dehumanization, discrimination, and genocide. Yet the question we must face remains: was Anne Frank a monster? Giving a definitive answer for how the völk of the Third Reich came to this realization, seeing innocents, such as Anne Frank or Moishe the Beadle, or even Elie Wiesel as the monsters might seem too ambiguous; however, perhaps we could come to some understanding through Europe’s precondition for anti-Semitism. According to Raul Hilberg, as sited by historian Ronnie Landau in his work, The Nazi Holocaust, “Since the fourth century after Christ, there have been three anti-Jewish polices: conversion, expulsion, and annihilation” (pg. 118). For the Nazis, conversion was no longer on the table, as they had already established how their ideology was based on a biological belief that Germanic blood was separate from European Jewry. If we are to follow Nazi ideology down the  rabbit hole, as described by Hilberg, we are faced with a very complex and troubling question: why didn’t the Nazis simply deport the Jews and other non-desirable’s instead of inching toward the next precarious step, The Final Solution?


In July 1938, at the request of President Franklin D. Roosevelt, representatives of thirty-two governments, including: twenty Latin American republics, Canada, Australia, New Zealand, South Africa, the United States, and most of the western European states, England, France, Belgium, Switzerland, Sweden, Norway, the Netherlands, and Denmark came together at Evian, France, for a conference regarding the issue of Jewish refugees fleeing the intensification of anti-Jewish measures during Nazi occupied Germany (Landau, The Nazi Holocaust, pg. 137). Hitler himself responded to news of the Evian conference during his speech at Königsberg, stating: “…on our part, are ready to put all these criminals at the disposal of these countries, for all I care, even on luxury ships” (pg. 137). However, despite the “liberal” intentions of the Western democracies, the Evian Conference failed when both the United States and England washed their hands and refused to take on any substantial number of Jewish refugees, thus ushering an “unmistakable message to the other nations assembled at Evian” (pg. 138). Shortly thereafter, a memorandum was drafted by the Evian Committee and sent to the German Foreign Office, basically stating that the German government had the right to introduce measures affecting its own subjects. One month later, during a cold night in November, anti-Semitic thugs throughout Germany roamed and pillaged in an “orgy of violence” (pg. 141), destroying and setting ablaze synagogues and Jewish establishments belonging to those they used to call neighbors and friends. History would eventually call this event, The Night of Kristallnacht, the night of Shattered Glass. The failure with the Evian Conference not only helped to restrict persecuted Jews who wished to flee this mayhem, but also helped “trigger a change in Nazi policy” (Landau, pg. 139), escalating the Third Reich down the path toward annihilation of the Jews.


The shattered glass emphasized from the night of Kristallnacht is an excellent, albeit tragic, metaphor for through a glass, darkly, the mirror reflection Elie Wiesel witnessed after being liberated from the Buchenwald concentration camp, when “from the depths of the mirror, a corpse was contemplating me. The look in his eyes as he gazed at me has never left me” (Wiesel, Night, pg. 115). When the Western democracies slammed their doors, this was not in itself an excuse or the root cause of the eventual annihilation of the Jews; however, even Joseph Goebbels noted how, “Nobody wants the scum!” We must consider the implications the Evian Conference had concerning not only Germany, but also the world. If we can say that this Western Democratic failure did in fact contribute to the final outcome of the Holocaust, then we should be able to understand that as it became increasingly apparent that the Third Reich could no longer “remove” Jews from Germanic life, considering their pseudospeciation fervent belief, the extermination and  construction of industrialized killing camps was inevitable.

Following the memories of the victims and survivors of the holocaust, an insidious and unfathomable path from the Enabling Act to the 1933 boycott of Jewish shops and businesses, picket lines and shouts of “don’t buy from the Jews,” to the Restoration of the Professional Civil Service Act, the dismissal of non-Aryan civil servants, scientists, doctors, to further forms of cultural segregation and burning of “un-German” literature, fully separating non-Aryans from artistic, literary, and cultural public life, and also, the Defense Law, excluding Jews from military service, and the more idiosyncratic Nuremberg Laws, ending Jewish emancipation, marriage and sexual relations between Jews and those of Germanic blood, fully institutionalizing Nazi racism, leading to the selection and deportation of Jews to Ghettos, and finally ushering to the greatest crime committed against humanity, The Final Solution, the mass extermination of the Jews, we’re left with many deeply-seated questions (Landau, The Nazi Holocaust, pgs. 122-133). Understandable, one naturally reverts to the big questions of why. However, that is not our goal. We need to focus on the hows, the historical accounts of villainy and somehow find inferred lessons amidst such brutality. We shouldn’t ask why the German people made such a leap from civility to cold calculated brutality, but how. Was it the simple “basic idea [that in] practically every war mythology…the enemy is a monster and that in killing him one is protecting the only truly valuable order of human life on earth, which is…of one’s own people” (Erikson, pg.56)? If we are to understand how the Nazis saw European Jewry as the monster, we’ll need to, in some small way, understand the perpetrators, who in themselves were not likewise mythical creatures, but men and women, mostly blue and pink collar, middle class citizens, with, at least, the basic belief in the tenets of morality, such as: Thou Shalt Not Kill.


One of the best examples of understanding the perpetrator is from looking at the history of Reserve Battalion 101, which was, consequently, made up of simple ordinary men who ended up committing horrible acts of violence. Most of these “average guys” signed up for the Reserve Battalion in the hopes of avoiding active duty in the regular army, yet, still found themselves on the eastern front, operating from the rear of the forward line, becoming Einsatzgruppen, Nazi mobile killing squads tasked with “liquidating” potential partisan fighters, communist politicians, and “all Russian Jews” (Landau, The Nazi Holocaust, pgs. 165-166). Historian Christopher Browning notes one possible explanation for the cold brutality of the Einsatzgruppen, despite having typical moral understandings and being separated from the hub of Nazi and SS indoctrination, these men were not:

 “…immune to ‘the influence of the times,’ to the incessant proclamation of German superiority and incitement of contempt and hatred for the Jewish enemy… In wartime, when it was all too usual to exclude the enemy from the community of human obligation, it was also all too easy to subsume the Jews into the image of the enemy…” (Browning, Ordinary Men: Reserve Police Battalion 101 and the Final Solution in Poland, pg.186).


The wartime mentality could give us some insight into some of the behaviorisms of the killing squads, perhaps even something much deeper, and something much more intuitive than moral obligation. Psychologist Stanley Milgram noted how obedience is one of the most basic structures of social life and is a huge determinant on behavior, particularly between, as history has shown us, 1933-45, considering how on command, millions of innocent persons were murdered, gas chambers constructed, concentration camps were organized and guarded, all with sinister efficiency (Milgram, pg.1).  Milgram further studied the phenomenon of obedience through a controlled, albeit controversial, laboratory experiment during the 1960’s dubbed, the Milgram Experiment. During the experiment subjects were tested on their willingness to obey the authority of instruction by performing acts that conflicted with their own personal conscience, basically giving differing levels of shock to an unknown party for answering any series of question incorrectly. The result yielded that 26 out of 40 subjects would abandon moral tenets in favor of following the authority of instruction (pg. 32).

As it seems, even against “choking tears” (Browning, pg.200), perpetrators were still willing to perform the “unpleasant” task of the annihilation of their victims; just as major Trapp had commented to his men of Reserve Police Battalion 101, “’orders were orders,’ and had to be carried out” (pg. 201). Orders and obedience were not just a familiarity for the soldiers and police battalions. Josef Mengle, the Auschwitz angel of death, an SS doctor, also “believed orders had to be executed” (Lifton, pg.375) without hesitation or question. Yet, there was a strangeness about Mengle different from the others. Mengle, according to some of his colleagues, was affectionate and nurturing towards the children he experimented on and was also often pleasant and knowledgeable, which seems to contradict our caricature of mythic murderers and cold brutes. However, as Dr. Alexander O points out, Mengle “had all the sentimental motions, all the human feelings, pity, and so on. But there was in his psyche a…impenetrable, indestructible cell, which is obedience to the received order” (Lifton pg.375). Dr. O goes on to describe how Mengle would save the life of a drowning gypsy and then, just as quick, send them off to the crematoria.  Mengle was not only followed orders, being obedient, but he also fervently believed in the biocractic ideology of Nazi pseudospeciation. Perpetrators such as Mengle, Eichmann, and even Rudolph Höss, the SS Kommandant of Auschwitz, were true believers in the Final Solution, insomuch, as to even consider the gas chambers a “humane” end for the Jews (Arendt, pg.234).

final solutioon

There could be no possible or true way to explain, with any absolute certainty as to why or how the perpetrators of the Third Reich reached the cataclysmic and tragic conclusion with the end of so many lives during The Final Solution. Some form of how can be understood from the historical accounts, especially with the political environment, laws and separation of the Jews from Germanic life, and anti-Semitism left over from Weimar era; which was to say, rampant during the time. We could also see how Nazi pseudospeciation turned European Jewry into something hideous, monsters by no other name, for those on the inside looking out into a dreadful world of inequality, with few truths and plenty of subjective answers. But we’ll never find definitive legitimacy for why the Holocaust happened, why the Nazis did what they did, because it simply cannot exist. We can only find inferred lessons to bring with us into the modern world. Historian Neil Kressel notes in his work, Mass Hate, how “people everywhere tend to think in terms of ‘us’ and ‘them,’ and to prefer their own group…even the most tolerant people sometimes rely on simplistic stereotypes” (Kressel, pg.213). And, it is troubling how, just as Dr. Milgram proved with his experiments during the 1960’s, a majority of everyday people seem ready to obey authorities, conforming to the ideologies of their peer groups. What is even more alarming is how in “climates where decency prevails, haters often suppress their hatred; similarly, in hateful climates, relatively decent people sometimes participate in brutal and destructive acts of mass hatred” (Kressel, pg.183). Being aware of our social climate and being objective in what we hear around us could help keep the tide of pseudospeciation from suffocating our cultural identity, insomuch, as we remember, that even when we separate into natural social groupings, one group is no better than the other. Even more important, for future generations, is to keep memory alive and relevant, especially the mutilated memory of the Holocaust.