28 NOV 07
Hail Jan! [---] The letter to Bill re “The Hitler We Loved & Why” may get him some support & assistance. As I wrote to him, I want him to republish it with improved quality of pictures, including my text & the original title. Any money he obtains for his work is all his. I recently learned that George Dietz is dead. His Liberty Bell Publications died years ago, for lack of subscribers, after the death of my friend, Dr. Oliver, whose Postscripts kept Liberty Bell alive.

“The Hitler We Loved & Why” began as a title. The Zud had advertised it before publication, which included other titles, most of which he never published, for the books were not written. I understand that he thought he could ‘leapfrog’ by selling copies of one book to finance the publication of the next one, & so on. Of course, what happened was that book customers wanted different titles on his list, so much of my work was refunding their money. One jew even accused us of “false advertising,” which I told Zud was quite possible, even if we returned the money received for the nonexistent book. The Zud was fond of “Waste-Work” projects to keep people busy. Imagine advertising 20 nonexistent books, with cover graphics & titles + prices, all of which led people to order a title, enclosing payment. The volume of incoming & outgoing mail was impressive, as well as the returning of payments; ALL FOR NOTHING, except for annoyed customers! I could have been writing the books, as I did, but I was too busy refunding money to clients. In Rhodesia, there was a saying about such incompetence: ”The Zud could not organize a beerfest in a brewery.” That was unfortunately true, in my experience.

So I had the title. The Zud handed me a stack of photos of Hitler in various situations. Without a text to organize them, the pictures would be a jumble, therefore meaningless. My job was to put them into a meaningful order, within a verbal context. Fortunately, I’d seen the film, “Gestern und Heute,” “Yesterday & Today,” which showed Germany under Weimar & then under National Socialism. One saw a factory, its smokestack smokeless, its gate locked, with a sign, ”closed.” Suddenly, the sign vanishes; workers enter the building; the big steam engine which powers the factory’s machinery comes to life; production resumes. The workers are happy. That was the theme I adopted in my picture arrangement & text. I also considered why people would love Hitler, so I presented the evidence. A friend of mine heard the book read in court & she said even she was favorably impressed with this work of propaganda, for it placed Hitler into a historical perspective, rather than a hysterical, anti-German propaganda distortion. At least in this one case, my goal of causing understanding had been achieved. The latest Zudwife, ”Rimland,” allegedly told Bill that this was “a dirty little book.” I understand that she was born in Odessa, like the jewess, Ayn Rand alias Rosenbaum. Since she favors anti-German books, it would surprise me if she were not another jewish mama-type so favored by The Zud. I suspect that ZOG had his personality profile, so they used her as bait for their trap, & The Zud jumped right into it. She also got his ill-gotten money. Such a deal! One writer said, correctly, that “A man without principle must be very clever.” The Zud had no principle, & he was not clever, so he’s in the gulag as a result.

Thanks for mentioning your typography experience. Mine was similar. In junior high school I took printing as an “elective course,” as I did typing. I started with monotype, which was set by hand. We were told that one fine day we might be able to use the Linotype. When I wrote “China, the Jews & World War III” in Toronto, I did the proofreading & corrections in the type foundry. The Linotype slugs came in a steel galley. I’d ink the typeface & make a “galley-proof,” which I’d proofread. Then I’d pull the erroneous slugs & hand them to the Linotype operator for correction, after which, I’d replace them in the galley for a final proof. It was fast work, amid a ‘holocaust’ of flaming type furnaces, molten type metal, the clatter of the Linotype & the rumble of heavy carts of type ingots for remelting. In other words, it was “my kind of place.” I later did similar work in offset, as I had done at OIGA Magazine in Lima, Peru. Offset printing was quite impressive, for it took up so little space, despite the size of the publication. Reason: no heavy type metal.

We’ve seen trades become outmoded by technology. I can send Morse code messages by heliograph, operate a Gutenberg printing press & run an 1898 Baldwin steam locomotive. I can also operate a coal blacksmith’s forge, in case your horse needs shoeing. I wonder what a modern employer would say when he saw such skills on my employment application. My youthful modern technology is now on exhibit in museums. Technology ‘ages’ faster than we do.

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DOWZ! ORION! 88!

Eric

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Write to:
Mr. Eric Thomson
P.O. Box 896
Yakima, Washington 98907-0896
U.S.A.