Review of The Holocaust Codes: The Untold Story of Decrypting the Final Solution by Christian Jennings

Primarily known as a children's book author and illustrator, Shaun Tan has repeatedly resisted this label and rather positioned himself between the fields of literature and fine art, emphasising that his training and primary interest are in the latter. This essay approaches Tan's work via his idea of 'untold stories', articulated in the eponymous section of his book The bird king and other sketches (2011) and in the 2018 solo exhibition at Beinart Gallery in Melbourne, Untold tales. Untold essentially means unpremeditated in Tan's vocabulary and relates to his evocation of Paul Klee's idea of 'taking a line for a walk'. Using his idea of untold stories as my central point, the essay foregrounds the untold critical story of Tan as a fine artist, focusing in particular on works that have received minimal to no critical attention: his 2015 series of paintings Go, said the bird, his 2003 public mural The hundred year picnic, and his ongoing 9x5 inch series of observational works in the tradition of the Heidelberg School of Australian Impressionism. The latter is a particularly strong and formative influence on Tan's career as a painter, allowing for a discussion of his work in the broader context of postcolonial art history and settler colonialism.

Designated a World Heritage site, Blenheim Palace demonstrates the use of technology and gender in tourist destinations to re-package cultural sites. A multi-media exhibit entitled ‘The Untold Story’ updates the site by using new media not to emphasize the great public triumphs, but instead to reveal private family relationships. Told by a projected apparition of the first Duchess’ lady’s maid, Grace Ridley, the exhibit addresses the tourists by including them in intimate, behind-the-scenes views of 300 years of family stories. The ghostly female narrator stands in for the tourist, a feminized outsider fascinated by the gossipy version of family history. Examining ‘The Untold Story’ provides insight into gender negotiations within tourist sites. This particular combination of new media and a female ghost exposes the emphasis in traditional heritage sites on elites, as well as anxiety about the estate’s dependence on servants in the past and tourists in the present.

This paper takes its central idea as ‘the moment’: a point in time of subjective duration when we experience conscious mental awareness of what is going on within our mind and around us, and we are able to remember our thinking and responses. Such moments form essential human experiences from which meaning is generated and stories are created. Narratives of all kinds – personal, organisational, factual and fictional – often hinge on ‘critical moments’ in which significant ‘turning points’ and realisations conveying wider meanings may occur. This can be seen in a range of genres, from literature, organisational narratives and ethnographies, personal biographies and increasingly in the use of narratives to understand human cognition and consciousness. This paper aims to connect understandings from literature, philosophy and neuroscience, and to suggest ways in which ‘the moment’ can be understood and used in storied research. The construction of stories which hinge on critical moments relies on the use of ‘Kairotic’ (narrative) rather than ‘Chronos’ (sequential) time in the process of human recollection which creates narratives (Czarniawska, 2004). A Kairotic narrative connects what are retrospectively perceived to be significant moments into a plausible and coherent narrative. Yet this is inevitably a selective authorial process, where events, interactions and interpretations which are omitted represent an ‘untold story’, a shadow narrative which may be significant and more ‘true’ than what is told. Yet the moment when a listener recognises that an ‘untold story’ is hidden in the shadow of the told may become a significant point in its interpretation. The paper outlines the significance of ‘the moment’ from a cultural perspective in literary and philosophical theory, summarising and making connections between a range of related domains of knowledge in philosophy, literature and narrative, social education, psychology and cognition, and learning. It deploys a short story to demonstrate the use of such moments and to explore the symbolic importance of the moment in narrative construction. This introduces a discussion of the contentious questions of whether such a story should, or should not be told; and of whether, once told it can be ‘untold’.

Reviewed by: H.D. & Bryher, An Untold Love Story of Modernism by Susan McCabe Cynthia Hogue H.D. & Bryher, An Untold Love Story of Modernism. Susan McCabe. Oxford: Oxford University Press, 2021. Pp. 400. $39.95 (hardcover). As Susan McCabe notes at the beginning of her magisterial new biography, H.D. & Bryher, An Untold Love Story of Modernism, modernist poet H.D. (born Hilda Doolittle) and writer and humanitarian Bryher (born Winifred Ellerman) entered a "union" in which each was the other's center. McCabe calls Bryher H.D.'s "main invisible" who made H.D. "visible" (310). Without her, H.D. "might have lost her creative drive," but without H.D., who shielded Bryher from familial pressures to conform to social conventions, Bryher "might have done herself in" (311). As their "curious" story unfolds in McCabe's riveting telling, a love story emerges in terms that have only become available in the twenty-first century. H.D. was bisexual, polysexual, and Bryher nonbinary, transgender, "they." McCabe's point is that they both "consciously defied the category 'woman'" (311). New criticism and scholarship in the burgeoning field of H.D. studies, augmenting the publication of H.D.'s unpublished manuscripts and republication of Bryher's lost works, suggest the timeliness of a biography in which "this untold story reclaims the pair as unseen activists" (5). What distinguishes McCabe's biography is its objective to portray fully the love in this modern "union," so as to make it visible—and understood—in a new light. Many details of the lives of "our couple" (as McCabe tenderly refers to them throughout the book) are familiar. They met after the Great War, after H.D. had almost died giving birth to her daughter, Perdita. Bryher swept her off to Greece to save her, after which they embarked on a future together defined by making art. Bryher's role beyond that of savior and patron, however—was she H.D.'s "companion"? "partner"?—hasn't been named (14). The obvious—their love, that story—has been hiding, like the purloined letter, in plain sight. That fact is McCabe's North Star as she wends [End Page 679] her way through the rich material record of lives lived fully and thoroughly recorded. Their lives were full of the artistic and intellectual luminaries of their day—among them, Ezra Pound, T. S. Eliot, Paul Robeson, Sigmund Freud, Gertrude Stein, Sylvia Beach, and Marianne Moore, to name a few. In 1933 and 1934, H.D. was Freud's analysand in Vienna. Seeing another war on the horizon as the Nazis rose to power, Bryher put her wealth to the cause of helping Jewish refugees to flee, including the elderly Freuds and their family. To read details of the considerable trauma and its generational reverberations is harrowing, but McCabe is undaunted in the telling. Her scholarship is impeccably thorough, bringing new material to light. In addition to being a highly regarded scholar of modernist film and poetry, McCabe is a poet. The lyricism of her elegant prose also recommends H.D. & Bryher. To illustrate, I quote a passage describing a walk H.D. took on the eve of her meeting Bryher. In July 1918, both women were in Cornwall. On the continent, the war dragged on. H.D.'s husband, Richard Aldington, having had an affair on furlough, was back on active duty in France. H.D. had come to Cornwall at the invitation of the composer, Cecil Gray, memorably sketched as having "flabby cheeks," "large ears," and "a beaked nose [that] punctuated his face" (66). Although she had no passion for him (and was spending her time translating The Bacchae), she was already pregnant. Here's McCabe's description: Wandering along, H.D. collected cyclamen and violets, climbed rocks, watched gulls, and took the road to St. Ives, with its anemones, gorse, and chamomile, sensing the "sacramental power" of Druid priests who fashioned circular stones like those of Stonehenge. Her stride convinced her she was breaking from a sex-obsessed crowd toward "a cold healing breath" that "enclosed" her "in crystal." … She cultivated her animist gifts while walking, tied to her "every breath," "charged with meaning," the...

Hold hard. Ten years on, the second wave is about to break. The ultimate Channel 4 documentary series is already in the can. It seems that the tributary of personal reminiscence from high and low (but chiefly high) has not run dry after all Recollected in tranquillity, it turns turbulent once more—as witness the fascinating collective testimony elicited by Michael Charlton in The Little Platoon (1989), at once pointer and landmark for the new wave. Already we have the Carrington memoirs, the Whitelaw memoirs, and even that most unlikely artefact, the Tebbit memoirs. From Washington come the Haig memoirs and the Weinberger memoirs, not to mention a shoal of smaller fry. Our man in Buenos Aires author of a prophetic complaint about the typical British approach to the Falklands, that is, ‘to have no strategy at all beyond a general Micawberism’ talked at length to Michael Charlton and to Peter Kosminsky (for the excellent Yorkshire TV documentary ‘Falklands—The Untold Story’). Our men in Washington and at the UN, both writers of distinction, have published revealing accounts of their stewardships. These British accounts can now be matched against the waspish reflections of Jeane Kirkpatrick, the dissentient US Representative at the UN, an exercise full of interpersonal and international interest. The generals and admirals of each side continue to be remarkably forthcoming, in one case from prison, in the other from retirement—such are the spoils of war.

President Truman and the Jewish DPs, 1945–46: The Untold Story Mel Schiff (bio) Accounts of how the administration of President Harry S. Truman treated Jewish displaced persons (DPs) at the close of World War II allude to “operational support” of the clandestine Jewish exodus from Europe to British Mandate Palestine. While the recognition of the State of Israel in 1948 is a well-known legacy of Truman’s, did he participate in the formation years of modern Israel prior to that time? And, particularly, did he support what became known as the 20th-century Jewish exodus from Europe to British Mandate Palestine? If so, why has this not been part of the American history dialogue of the post-World War II and Holocaust eras? For decades, Americans have heard their presidents, and even presidential candidates, support the State of Israel with ubiquitous phrases such as calling Israel “the only democracy in the Middle East” and “America’s ally” and noting that Israel’s population has turned deserts into farmland and developed high tech industries. Regardless of international and domestic setbacks, the expected phrases pour forth consistently from the major political parties. Is this phenomenon simply a quest for political advantage, or is there a historic, raison d’etre underlying the American connection to Israel? When he was a presidential candidate in 1960, John F. Kennedy stated that “Israel was not created in order for it to disappear—Israel will endure and flourish.”1 Twenty-two years later, President Ronald Reagan remarked, “Back in 1948, when Israel was founded, pundits claimed the new country could never survive.”2 Rather than refer to Truman’s “recognition of the State of Israel in 1948,” which is usually the touchstone of American support for Israel, they utilized the words “created” and “founded,” which naturally preceded Truman’s historic recognition. Truman’s behind-the-scene role is still not yet part of the American recollection of mid-20th-century history because Truman wanted it to be [End Page 327] kept secret for many years, as this paper notes, and all of the participating entities, governmental and civilian, cooperated in that effort. Soon after Truman became president, his humanitarian concern for the people who had suffered most under the Nazi regime led him to become not only a primary motivator and facilitator in the major rehabilitation programs for Jewish displaced persons, but also, most significantly, a moving force in the clandestine exodus of thousands of Jews from Europe to British Mandate Palestine during several years prior to 1948. Search and Uncover: “The Untold Story” Revealed Truman’s actions regarding the Jewish DPs has remained a truly untold story, primarily because of a cryptic statement that appears in both of Truman’s memoirs: “For reasons of national security and out of consideration for some people still alive, I have omitted certain material. Some of this material cannot be made available for many years, perhaps for many generations.”3 Documents now available shed light on Truman’s actions and their rationale. The implementation of Truman’s policy supported Gen. Mark Clark, commander of the American Zone of Austria, in cooperating with refugee aid organizations. Those organizations included the American Jewish Joint Distribution Committee (the Joint, or the JDC); the United Nations Relief and Rehabilitation Administration (UNRRA); and agents of the clandestine Mossad LeAliyah Bet, defined as “the Committee for Illegal Immigration.”4 While all participated to improve the lives of thousands of Jewish DPs encamped in Austria’s American Zone, they also partnered with the United States in underground operations to facilitate the transit of Jews through Austria in their quest to reach British Palestine. [End Page 328] The Jewish Non-repatriables Millions of refugees were spread throughout Europe when, on May 5, 1945, Gen. Dwight David Eisenhower directed all DPs to remain in place and await orders.5 The U.S. military then commenced a massive program to repatriate those who wished to return to their native countries, if those nations approved. Eisenhower had been newly designated the Combined Displaced Persons Executive in the wake of the July 14, 1945 termination of the Supreme Headquarters American Expeditionary Force (SHAEF). He realized by September of that...

Food features prominently in Hong Kong cinema, from the infamous “Eat my rice” scene in Woo’s heroic bloodshed A Better Tomorrow 2 to the special recipes of dueling restaurants in the Hui Brothers’ comedy Chicken and Duck Talk. While in many action movies, dramas and comedies, food brings people together, in Hong Kong horror films, food carries more ominous overtones. Cannibalism serves as the main course in Herman Yau’s Untold Story (aka Human Pork Buns) and Fruit Chan’s Dumplings (the former drawn from a real case and the latter a short and feature). Both explore the political and social underpinnings of their time. Untold Story (1993) is an excellent example of crisis cinema- in your face, low budget, high anxiety over the return of Hong Kong to China. Dumplings (2004) reflects the post-postmodern fascination with a youth culture, at any costs. Both films mark class distinctions and reflect the cultural importance of food in Chinese society as well as provide comment on their times.

Statins are first-line evidence-based drugs for the management of dyslipidaemias and to reduce the risk of cardiovascular events. However, statin clinical trials have shown marginally significant benefits on mortality, especially in the primary prevention setting. A major limitation of those trials is their relatively short follow-up. A reduced number of fatal events within a 5-year follow-up make mortality benefits unlikely to arise. This is particularly relevant for the primary prevention trials, where the risk of cardiovascular death is low. The short follow-up is a limitation for safety assessments too. However, extended major statin trials failed to detect any major safety concerns. Safety and efficacy assessments are even more complicated considering the differences of cardiovascular risk status in primary prevention individuals, and also given some potential ethnic and inter-individual genetic variations in response to statin treatment. Considerable evidence suggests a favourable risk-benefit balance for statin treatment. It can be assumed that statins reduce mortality in the long term by preventing cardiovascular events with complications that reduce lifespan. Unfortunately, this hypothesis cannot be proven as there is no current ethical basis on designing long-term placebo-controlled statin trials. Nevertheless, by effectively reducing disabilities related to cardiovascular events, statins have major benefits for public health. Therefore, clinicians should not withhold statin treatment awaiting proof of mortality benefits, as this may remain an 'untold story'.

Reviewed by: The Rape of Belgium: The Untold Story of World War I, and: La Belgique et la Première Guerre mondiale Wim Klinkert The Rape of Belgium: The Untold Story of World War I. By Larry Zuckerman. New York: New York University Press, 2004. ISBN 0-8147-9704-0. Maps. Photographs. Notes. Bibliography. Index. Pp. xi, 337. $32.95. La Belgique et la Première Guerre mondiale. By Sophie de Schaepdrijver. New York: Peter Lang, 2004. ISBN 90-5201-215-6. Notes. Bibliography. Pp. 334. $33.95. In August 1914, in the very first days of the German attack on France via Belgium, atrocities were committed against Belgian civilians by German troops. During the first months of the fighting, matters went from bad to worse, with, among others, the burning of the medieval library of Louvain University, the murder of hundreds of civilians and the major destruction of property in the Walloon (French-speaking) towns of Dinant and Tamines. For Belgium a period of occupation began, in which the small country was thoroughly looted, deprived of its industrial capacity and even part of its labour force. In many ways the four years of German occupation of Belgium can be seen as a foreshadowing of things to come in the Second World War. Zuckerman wants to point out in his study that Belgium was not just a victim of atrocities but, worse still, of "routine terror and the mind-set that condoned it" (p. 1). He explicitly states that "occupied Belgium was a forerunner [End Page 1149] of Nazi Europe" (p. 2). He blames the Allied powers and the United States for taking this too little into account. They did not lift a finger to help Belgium restore itself after the war and did not in any way help with the prosecution of German crimes. A better handling of the excesses of the four years of occupation could have made us better prepared for dealing with the Nazi crimes a quarter of a century later. Zuckerman calls his account the "untold story" of World War I. He really takes too much credit for this. In its use of sources and depth of analysis, Zuckerman's book remains behind some other studies on the subject that should be mentioned here. The first question that needs to be addressed is why the Germans, from the start, used excessive force against civilians or against what they called franc-tireurs. Zuckerman describes the role played in this by German memories of the war of 1870 against France, when invasion led to a popular uprising, and the German interpretation of the usages of war. This analysis is superficial and not really new. It is a pity that Zuckerman could not have used the excellent study of Isabel Hull, Absolute Destruction: Military Culture and the Practices of War in Imperial Germany (2005), which demonstrates that Germany's use of excessive force against civilians was rooted in the practices of her colonial armies in Africa. In addition to dated interpretations, there is the problem of inadequate sources. No German archival materials were used by the author, or any sources in the Dutch language. Thus, the authoritative book on this subject in English remains the 2001 study of John Horne and Alan Kramer, German Atrocities, 1914: A History of Denial. With this book already in circulation for three years before Zuckerman's appeared, it is difficult to accept his claim that the "story" of Belgium's suffering was "untold." Another reason for doubting the "untold story" thesis is the existence of the excellent work of Sophie de Schaepdrijver under review here. The book actually made its first appearance as long ago as 1997, in Dutch (De Groote Oorlog), to much acclaim, and rightly so. At last the book has been made available to a larger audience through its translation into French. De Schaepdrijver's strength lies in her lively way of writing, using well-chosen details, her mastering of all aspects of life under the occupation and the way she deals with the various myths that arose out of the events of the time. Like Zuckerman, she deals with the dismantling of Belgian industry, the deportation of tens...

This paper tackles two problems. The first is impossibility of direct application of ideas in Paul Ricoeur's book Time Narrative (hereafter referred to as TN or cited by volume page number) to literary studies. Ricoeur's work cannot be used for literary purposes without rethinking it. However, I limit myself in pointing out necessity of this task without undertaking it. (1) The second problem--which is central for this paper--focuses on some peculiarities of of TN. My main point is that, by means of attenuating its end, making its beginning ambiguous, expanding its middle, TN resists systematic tendencies of hermeneutic type of philosophizing thus, in postmodern era, evades pitfalls of constituting consciousness which masters all meaning. In formulating this problem, I take over try to elaborate in narratological direction Ricoeur's rethinking of Hegel's Reason in History. Ricoeur's critique of Hegel, as we will see, sets possibility for such development ajar without, however, exploring it. What intertwines two problems of essay is fact that they both arise from literary reading of philosophical work that, among many other things, deals with literary issues. TIME AND NARRATIVE AND LITERARY SCHOLARSHIP The first question that literary scholar faces while reading TN is asymmetrical meaning of seemingly symmetrical title of book. The conjunction and in Time Narrative (in original, Temps et recit) does not entwine together two equal notions such as (temps) narrative (recit) but rather suggests direction from which Ricoeur enters his project. In this methodological sense, and (et) stands for logical connector that means therefore: time, therefore In order to explain this formula is necessary to clarify two major sets of notions in book their relation. The first conceptual field in TN tackles issue of threefold mimesis, whereas second deals with relation between time narrative. 1. 1. The threefold mimesis--[mimesis.sub.1], [mimesis.sub.2], [mimesis.sub.3]--is universalization of Aristotle's mimesis in Poetics. It is notion that is applicable not solely to tragic plots, as in Aristotle, but to whole province especially to its two major branches comprising primary interest of Ricoeur: fictional historical narrative. Two basic notions are equivalent in terms of in Aristotle--mimesis or representation of action muthos or organization of events (1: 37). Muthos mimesis are operations, not structures, bear mark of production dynamism. In production of plots activity is primal with regard to any static structures (1: 33). Aristotle's poetics is art of composing plots. The operative dynamic character of Aristotle's mimesis is springboard for Ricoeur's reading of Poetics, opens possibility of elaborating on threefold mimesis as phenomenological version of what Poetics contains as seed. What is driving force of this elaboration? Explicitly, Poetics is work only about art of composition. Implicitly also refers to what precedes what follows act of emplotment. The former is realm of practical as opposed to theoretical rationalization. The latter is field where world of work world of receiver overlap start interacting. The threefold mimesis consists, first, of [mimesis.sub.1] or prefiguration; this is world of action. Following Heidegger, Ricoeur's main idea is that living practice precedes narratives: the 'happens to' someone before anyone tells it (1: 75). Ricoeur writes about existential analysis of human beings as 'entangled in stories' (1: 75) invents set of synonyms such as a prenarrative quality of experience, (as yet) untold stories, a potential story, an untold story (1: 74). …

In the midst of the space race and nuclear age, Soviet Realist artists were producing figurative oil paintings. Why? How was art produced to control and co-opt the peripheries of the Soviet Union, particularly Central Asia? Presenting the ‘untold story’ of Soviet Orientalism, Aliya Abykayeva-Tiesenhausen re-evaluates the imperial project of the Soviet state, placing the Orientalist undercurrent found within art and propaganda production in the USSR alongside the creation of new art forms in Kazakhstan, Kyrgyzstan and Uzbekistan. From the turmoil of the 1930s through to the post-Stalinist era, the author draws on meticulous new research and rich illustrations to examine the political and social structures in the Soviet Union - and particularly Soviet Central Asia - to establish vital connections between Socialist Realist visual art, the creation of Soviet identity and later nationalist sentiments.

Book review of "Canadian Universities in China’s Transformation: An Untold Story"

The development of the bilateral Long Term Vision for the Scheldt Estuary between 1999 and 2001 reveals that it is possible to move from a history of conflict to cooperation in just two years. A retrospective, insider perspective is used to analyse the integrated three-layer hybrid modelling at the heart of this groundbreaking agreement. We tell an untold story of the collaborative eco-morphological modelling activity that served as a boundary object supporting communication and contributing to a model-based metaphor of the intrinsic character of the estuary – its most lasting contribution.

Zhuangji wenhue editor's note: This Untold Story was written and sent to us by a senior writer, Mr. Liu Tingfang. It is indeed a piece of new historical information that has not been included in the Memoirs of Li Tsung-jen (Li Zongren). Nor has it ever appeared in any of the personal reminiscences written by Li Pinxian, Huang Xuzhu, and other members of the former Guangxi Clique or by any of the eminent members of the Guangdong group. Dr. T. K. Tong (Tang Degang), a noted historian now settled in America, has written a supplementary article to help explain the significance of this new discovery. His analysis, together with an introduction of the author, Liu Tingfang, also covers the Xian Incident, which broke out six months later. Dr. Tong has not only given an in-depth explanation of the Liu article but also discussed the basic nature of history [namely, whether the advance of human history proceeds automatically along the natural course of objective reality or changes its path intermittently by unpred...

Thunder in the Argonne, the author asserts from the outset, tells the ‘complete’ and ‘untold story’ of the largest offensive operation in American military history: the Meuse-Argonne Offensive from...