None of the material in this book is “the preposterous re-cycled, one-sided propaganda of the victors,” as the Neo-Nazis and former Nazis often described books depicting Nazi atrocities and abuses of power. When they deserve, the victors are put in the spotlight for their atrocities, which they committed and continue to commit, and those they planned to commit, but thankfully did not. All of the quotations are from the original documents and speeches, the sources double-checked for accuracy and authenticity. The general tone is from the author’s personal experiences and stories from other people, who were involved first-hand in the historic battles of the 21st century, stories which he has been collecting from his post-WW2 childhood to this day. If there is a “moral” in this book, it is how quickly any of us can lose our families and our very lives to the big political games played by the elites, who do not doubt for a split second that they are entitled to manipulate millions of people, use our children and sacrifice their lives for whatever grand social engineering idea tickles their senses. Be vigilant!
The fascism’s “binding machine” with its political theater of slogans, posters, mass choreographies, military and political parades, rallies, public oratory, massive public works projects, and redemptive mythology, can and must be analyzed and deconstructed to prevent the conscience-shocking atrocities in the name of “good,” which fascism has committed and continues to commit in guise of various other “do-good” political movements, of which feminism is the most prominent. Fascism’s main method is to keep the masses spell-bound through pop culture and political mythology. The only way to break the spell of fascism is to deconstruct its power of fascination. Analysis of the popular culture is of decisive importance in coming to grips with a phenomenon as adaptable and omnivorous as fascism.
Nazis cleverly exploited, encouraged and directed the rich cultural tradition and cultural life in Germany, its romantic literature, poetry, theater and arts; they carefully tailored the “naturally occurring” cultural evolution to the desired outcome by repressions against those opposing their views, and by perks and promotions – to those who went along with the ideas of using art as a propaganda tool. Above all, they adroitly exploited the natural and inevitable intergenerational conflict between parents and children in order to achieve their political ends, their vision of the German nation.
Unlike the drudgery of the family, church, and school, the Hitlerjugend (Hitler Youth) organizations were not controlled by the old tradition and taboos; they offered an exciting opportunity for young people to be respected, responsible, socially and politically active, to enjoy camaraderie and to network with their peers, future leaders of the nation. Nazi regime appeared supportive of youth: girls were allowed liberal contacts with boys, boys – liberal contacts with girls of their age, a fringe bonus they could not refuse. Boys and girls were only too happy to escape from their home and collectively thumb their noses at their parents and teachers. It all started very innocently, but in less than 12 years spelled an absolute physical and moral catastrophe for the country’s youth.
German “spirituality” circa 1920’s-1940’s was
not unlike American New Age. It emphasized oneness with nature, allusion to and
resurrection of old paganism and mysticism and the good old romantic love as well-illustrated, perhaps, by
the painting “Homecoming” by Hans Adolf Bühler (1877-1951,) an
exhibit at the 1940 Great German Art Exhibition in the House of German Art in Munich (Haus der Deutschen Kunst in München). The
bony, homely maiden, wearing a spinsterish nightgown, is an allegory for
in general, and the National Socialist movement in
Inspired by mysticism, nihilism, ‘death of God’ and Übermensch (super man) complex of Schopenhauer and Nietzsche, the Youth wanted to lead their own lives, breaking away from the traditions of the old world, going away from the urban confines, away from home, away from their parents and teachers. They would not be bogged down with materialistic limitations of lack of jobs and struggling to make ends meet. They dreamed of the world of unlimited possibilities.
boys and girls roamed the countryside in pursuit of “meaning,” simplicity and
honesty in life. Dressed in military-style garb, singing rediscovered
folksongs, eating simple food by the campfire, and espousing their love for the
Fatherland, they were in search of and longed for that absolute harmony, what in the German literary
tradition since the nineteenth century had been called the “Blue Flower,” Blaue Blume, the symbol of Romanticism. Blue Flower symbolized the infinite
longing for love and the metaphysical desire for eternity. It took the vision and genius of the Furher to sway German romanticism to
such methods of assuring one’s immortality as mass-murder of other nations to
As Hitler’s childhood friend August Kubizek described in his book, The Young Hitler I Knew, Adolf Hitler’s first love was a girl he thought to be Jewish. This could explain it, couldn’t it? When Hitler was 16 years old, he got infatuated with a girl named Stefanie Isak, with a distinctly Jewish last name. He was not concerned. In 4 years of hopeless admiration from a distance, he never summoned up courage to speak to the girl. He hated those who did – the slick, dashing young Austrian officers in their smart uniforms. The deeply seated mistrust of military officers (those stupid “blockheads,” dumb squaddies who flirted with Stefanie) stayed with him for the rest of his life. He was deeply disappointed to find out that she liked to dance, which was of course – a decadent bourgeois pursuit – and spied on her incessantly. He was obsessed. Adolph used to fantasize about throwing himself off a bridge in despair – and killing her, too. How romantic!
Hitler did not excel in school, and in fact was once left in the same grade for the second year. Although he dropped out of school at age 16, he seemed to have a few undiscovered talents and aspirations of his own: art, architecture, writing poetry, and his trademark oratory, which his childhood friend August Kubizek found remarkable. Hitler’s early oratory, though inexplicably angry from time to time, was rather convincing. Adolf had a gift for gab and was a blabber-mouth, talking up a storm. His talents notwithstanding, young Adolf absolutely failed to even approach Stephanie. She went on to marry one of those dashingly handsome Austrian officers, “the idlers” whom Adolf hated, although he was an apotheosis of idleness living off the small inheritance from his mother. Stefanie Izak was oblivious of Adolf’s existence, while he was spending his days secretly pouring his youthful enthusiasm for the girl into countless love poems, with such big titles as Hymn To The Beloved. Kubizek recalls Hitler reciting his poem to him in which “Stefanie, a high-born damsel, in a dark blue, flowing velvet gown, rode on a white steed over the flowering meadows, her loose hair falling in golden waves on her shoulders; a clear blue sky was above; everything was pure, radiant joy.”
Adolf’s face was glowing with fervent ecstasy as he recited his verses. Hitler insisted that once he met her, no words would be needed. It appears as if it was not without a degree of retrospection that Hitler talks in Mine Kampf about the psychological needs of the youth and the best ways to exploit them, especially so – by romanticizing policies of the Nazi state. The only remarkable thing in this story is how Adolf’s solemn grandiloquence was combined with the sense of crippling inferiority; stalking of the object of his desire accompanied by outbursts of uncontrollable anger towards his real and perceived competitors for Stephanie’s attention.
◄ All rights reserved ● Copyright © 2011, Eric Ross, Ph.D. ►
 The Young Hitler I Knew by August Kubizek (Greenhill Books.0