Understanding the Jews,
by Hervé Ryssen
Paris, April 2012
[Translated from French by Carlos Whitlock Porter]
Table of Contents
Preliminary Remarks…………………………………………………….. 4
I. The Jewish Identity……………………………………………………. 5
“Perfectly Well Integrated”
Assimilation or Dissimulation?
A Community Closed upon Itself
The Jewish Mission
The Jews and “Humanity”
II. Cosmopolitan Propaganda……………………………………….. 13
The Advocacy of Race-Mixing and the “Open Society”
Making Whites Feel Guilty
Destroy the Local Elites
The Blacks Are Going to Save Humanity
The Races Do Not Exist
Your Lying Eyes
III. The New World Order…………………………………………….. 24
High Finance in the Service of Democracy
War Against Islam
Wars of Liberation
IV. Historical Traumas…………………………………………………. 31
The Trauma of the “Shoa”
The Whole World is Guilty
The Spirit of Vengeance
Communism under Lenin
Communism under Stalin
V. Anti-Semitism…………………………………………………………. 43
An “Inexplicable Phenomenon”
The Scapegoat Theory
Denying the Evidence
The Inversion of Reality
The Good Deeds of the Jews
The Jealousy of the Anti-Semites
Anti-Semitism: An Illness
The Madness of Men
Hatred of Humanity
VI. The Mafia……………………………………………………………… 55
The Great Swindles
The Organ Traffic
VII. The Destruction of the Traditional Family……………….. 66
The Defense of Homosexuality
Cross-Dressers and Transsexuals
The Destruction of All Patriarchy
VIII. The Psychopathology of “Anti-Semitism”………………. 72
Rapists and Psychos
Sexual Crimes Against Children
IX. At Last: Psychoanalysis Explained…………………………… 75
The Myth of the Oedipus Complex
X. The Hysterical Sect…………………………………………………. 81
Need for Love
The Jewish Prison
The Symptoms of Insanity
The Suicidal Jew
The following text is a summary of six books  written by Hervé Ryssen , published between 2005 and 2010, constituting the most important study on the Jewish mind ever published. All the quotations that you are about to read are precisely referenced in at least one of these books.
The present booklet consists for the most part of quotations from famous authors, with particular emphasis on well-known films. The number of references is nevertheless sufficient to enable the reader to observe the extraordinary homogeneity of Jewish cosmopolitan thought, over the centuries and across all borders.
At Last: Psychoanalysis Explained
The question of incest is a nagging one among Jewish intellectuals. Direct testimonies are rather rare, due to the fact that incest victims are highly reluctant to discuss the matter, and very few victims bring charges against their own parents. But if we read the Jews with a mirror, we will soon see that this whole problem is an absolute obsession in the cultural production of Judaism. Jewish intellectuals and film makers always talk about it with an air of great mystery, in an anecdotal way, or by projecting the problem onto a universal level, always using a goy family as an example. We know that the Jewish people love to encourage an air of mystery and secrecy, and that incest, in particular, is one of the secrets, if not the top secret of Judaism. In our books The Psychoanalysis of Judaism (2006), Jewish Fanaticism (2007), and The Mirror of Judaism (2009), various chapters show that the near-totality of Jewish intellectuals, artists and film-makers have dealt with the problem at one time or another, usually via the mechanism of “projection”. This is not an accident.
Of course, incest is formally proscribed among Jews, as stipulated by the Torah (Leviticus 18) and the Babylonian Talmud (Yabamot 2a). But the interpretations of Jewish intellectuals are always ambiguous.
Everything is ambiguous in Judaism. Ambiguity may even be said to constitute the principal characteristic of Judaism. In the case in question, one must observe that the Jews know how to rationalize their war around the Biblical texts.
See for example, the film Chinatown, by Roman Polanski (USA, 1974): at Los Angeles, in the 1930s, a drought compels small farmers to sell their land. The land is purchased at rock-bottom prices by large landowners with the connivance of the municipality, which releases the badly needed, precious water over a spillway every night. Jack Nicholson, private detective, investigates the affair, which displeases powerful enemies. At the end of the film, the beautiful Faye Dunaway, slapped by Nicholson, finally admits that the little girl she has been hiding from everyone is both her daughter and her sister. Her father is a monster, a rich landowner. This is a typical example of the manner in which an intimate and highly sensitive, almost uniquely Jewish problem is projected onto the goyim, by a Jew who is a child rapist himself, Roman Polanski. Examples of this genre are very numerous.
Incest may also be depicted as occurring between father and son. Director and actor Tim Roth, for example, has admitted being abused by his own father. In his film The War Zone (Great Britain, 1999) he denounces the incestuous relations between a father and his daughter. The horror finally ends when Tom and his sister stab their father to death.
An article in the Israeli newspaper Haaretz, on 13 December 2006, reports interesting statistics. We learn that Israel, over the course of the year, received more than 2,000 complaints alleging the sexual abuse of children under the age of 12, and nearly 2, 500 others concerning adolescents aged between 13 and 18 years. 90% of the victims were attacked by someone they knew; 60% of the cases involving children below the age of 12 were incestuous relationships. One must remember that, in the immense majority of cases, the victims of incest never bring charges.
In the film They Live, (USA, 1988), by John Carpenter, the hero, Nada, thanks to special glasses, discovers that a small part of the population consists of extra-terrestrials who look like everybody else, constituting an elite which governs the world through lies. Nada (“nothing”, in Spanish) we learn, was the victim of an abusive father.
Some mention must be made at this point of the famous “Jewish mother”, which means an over-possessive, abusive mother. Jacques Attali, Bernard-Henry Levi, Romain Gary, Alain Finkielkraut and many others have left more than just a few ambiguous testimonies on this subject. This is what Elie Wiesel wrote on the subject, in Talmudic Celebration (1991): A woman visits Rabbi Yeoshoua.
“So what’s the problem?”
Here it is: ‘B’nai hakatan mibni hagadol’, she says, “my younger son’s father is my older son”. […] “Jewish mothers are always guilty of what happens to their beloved children”.
Wiesel puts it elliptically:
“As a good Jewish son, he loved his mother — a little bit too much”.
The philosopher Alain Finkielkraut felt the need to see a psychiatrist:
“My fears and problems were no doubt a result of our frenzied intimacy… whether it was irritation or just weariness, it has happened to me to be weak and offer my Jewishness to psychoanalysis”.
Finkielkraut himself writes:
“Hysterical, I had become Jewish to make people look at me”.
The American novelist Philip Roth, in Portnoy’s Complaint (1967), also “let go” a little (cfr. Jewish Fanaticism):
“Please, who crippled us so? Who made us so morbid, so hysterical and weak? … Doctor, what do you call this sickness I have? Is it the Jewish suffering which I used to hear so much about?… My own mother. … Her beloved, she calls me!”
Jewish mothers, “in love” with their sons, no doubt imagine that they have given birth to the long-awaited Messiah of Israel.
And Philip Roth adds, sickened:
“What was it with these Jewish parents, what, that they were able to make us little Jewish boys believe that we were little princes on the other hand, unique as unicorns on the one hand, geniuses and brilliant like nobody had ever been brilliant and beautiful before in the whole history of childhood?”
The feminist Elisabeth Badinter explains (XY: On Masculine Identity, 1992), that this is all quite natural:
“The good mother is naturally incestuous and paedophile. Nobody would ever dream of complaining of it, but they all wish to forget it, including the mother and son”.
There are many glimpses of this type in cosmopolitan cinema. In 1997, the Jewish director Milos Forman presented Larry Flynt, a film on the scandalous life of a pornographic magazine tycoon who became the flag-bearer of the struggle against the moral order in the United States. We see this “Pope” of porn (represented as a goy) persecuted by the representatives of the “moral order” for caricaturizing the moral order in his magazine and claiming to have had sex with his own mother in a toilet. Here again, accusatory inversion is the norm. In France, Catholic associations were successful in bringing about the withdrawal of the film poster, which represented a man being crucified on a woman’s pubis.
Incestuous relations between brother and his sister are made to appear rather common, at least judging by the cultural production of Jewish cinema. References to incest are seen to be very numerous in film as soon as one starts paying attention. Here are a few: in Land of Light (2008), director Stephane Kurc projects a history of incest between brother and sister among the French in Algeria, in a film dripping with anti-goy racism. There is also the film Disengagement by Israeli director Amos Gitai (2007); Kika by Pedro Almovodar (Spain, 1993), In Brotherhood of the Wolf (2001), Christophe Gans shows us the rape of a sister by her brother. The film is also very “anti-racist”: an Iroquois Indian beats the stuffing out of a load of French peasants, in the 18th century!
In the novel by Jonathan Littell entitled The Kindly Ones (Goncourt Prize 2006), the hero is a homosexual SS officer, madly in love with his twin sister Una. This is a clear case of accusatory inversion, traditional among Jewish intellectuals.
The novelist Isaac Bashevis Singer also projects his guilt onto others. In his novel entitled Scum, published in 1991, we read:
“In Argentina, Peru, in Bolivia, Chile and elsewhere, little girls are raped by their fathers, brothers sleep with their sisters, mothers have sex with their own sons. People do not always put a stop to such crimes. They go talk to the priest, confess, and they are absolved with a little holy water.”
In his book On Anti-Semitism, Stéphane Zagdanski himself warns us that the reader will have to “decode” his remarks and put the following sentence in the right place. With reference to “anti-Semites”, he writes:
“To be decoded: they are egotistically addicted to this obscure enjoyment of incest, access to which is prohibited to them. Anti-Semites, you understand, are very greatly disturbed by incest, which is logical, since they suffer from a lack of boundaries.”
Incest, as we see, is an absolute obsession among Jews. Mother and son, father and daughter, brother and sister, uncles and daughters, etc, … there are what are called “stovepipe” families, in which everybody “fits” into everybody else, from generation to generation. There is no doubt an urgent need for an official inquiry into the problem to provoke a discussion, intended to break the succession of “incestuous generations”.
At this point, there can no longer be any talk of any “Chosen People”; what the Jews need is a medical diagnosis. The “German poet”, Heinrich Heine, had the habit of declaring sardonically that Judaism is not a religion, but a “family misfortune” (Familienunglück). Freud himself no doubt also understood that the origin of Judaism is not religious in nature, but sexual. But he lacked the courage to reveal to the world at large that the famous “Oedipus complex” was in reality nothing but an “Israel complex”, preferring to project the neurosis of Judaism onto humanity as a whole. One must always read the Jews with a mirror.
The Myth of the Oedipus Complex
The father of psychoanalysis built his theories based on the study of hysterical pathology, which was obviously no accident. Based on his personal case history and on a study of and his fellow Viennese Jews, he showed that incest was the major cause of hysteria.
In 1896, Freud categorically supported the notion that the specific cause of hysteria must be sought in some sort of sexual problem. Thirteen cases analysed by him permitted him to arrive at this conclusion. Hysteria, he affirmed, was caused by a serious incident of a sexual nature, passively experienced and occurring before puberty.
What his biographer Ernst Jones writes is edifying, as long as one understands that we are only speaking of the Jewish community:
“From May 1893, the time in which he speaks for the first time to Fliess, in September 1897… he admitted that a sexual seduction committed against a child by an adult — most often the father — was the essential cause of hysteria. The proofs provided by the analytical materials seemed irrefutable. For more than four years, his conviction remained unshakeable, although the frequency of these so-called incidents surprised him more and more. Everything appeared to indicate that a great number of fathers were addicted to the commission of incestuous crimes. … Freud concluded that, judging by certain symptoms observable in his brother and a few of his sisters, his father might have been guilty, too” (letter to Fliess, 11 February 1897).
In this letter, as Freud wrote to his great friend, Dr. Wilhem Fliess,
“Unfortunately, my own father was one of these perverts: he is the cause of my brother’s hysteria (whose condition I am still striving to diagnose), and some of my younger sisters …”
In 1897, however, after his father’s death, which occurred at the end of October 1896, Freud abandoned the “seduction theory” and adopted the “fantasy theory”: hysterical women were no longer the unfortunate victims of incest committed against them during their childhood, but were now merely fantasizing about their fathers! His father was henceforth washed clean of any suspicion. Parents were no longer guilty. It was now necessary to believe that the children were in love with their parent of the opposite sex and desired incestuous relations.
Ernst Jones writes here:
“During the winter following the death of his father (more precisely, in February), Freud accused his father of acts of seduction; three months later (on 31 May 1897), an incestuous dream he had put an end to his doubts relating to the seduction story”.
In his letters of 3, 4, and 15 October 1897, Freud described the progress of his self-analysis and acknowledged “his father’s innocence” — or so it would appear. Ernst Jones appears satisfied with this explanation and supported the Freudian hypothesis:
“What is important above all, more than the parent’s incestuous desires, even more than occasional acts of this kind, was the general fact of incestuous desires inspired in the child by the parent of the opposite sex”.
Et voilà: “infantile sexuality” and the “Oedipus complex” were born!
Freud was obviously the object of very heavy pressure from his fellow Jews while he was still in the process of constructing his theories on the origins of hysteria, so as to avoid revealing to the world the heavy secret of Judaism. By inventing the theory of the “Oedipus complex”, he concealed the reality of incest within Jewish families while exculpating Jewish parents. And he covered his tracks even further by projecting this Jewish specificity onto a universal plane, through the mechanism of a Greek hero (Oedipus). In reality, the famous “Oedipus complex” is in reality and above all nothing more than an “Israel complex”, i.e., the complex of a son who has slept with his own mother, and who wishes to “kill his father”, for quite understandable reasons.
We nevertheless owe it to Freud for raising the question of incest, which is the one true great secret of Judaism. The only thing we need to do now is place this “psychoanalytic theory” in front of a mirror, which will then reflect the following conclusion:
“Judaism is the illness which psychoanalysis sets out to cure”.
Everything written by Jews must be read with a mirror. The truth is that everything they ever say about others and about “humanity” is, at bottom, nothing but the reflection of themselves.
After Freud, psychoanalysts replaced priests in caring for the souls of the faithful. The only difference, really — from the Jewish point of view — was that while priests were free of charge, while psychoanalysts demand to be paid cash on the barrel head! Or possibly credit card. Just the same, it’s a little bit comical to see all these “sick people” (the phrase is from Jacques Attali) forming the heavy battalions of all those who set out to cure humanity of its ills. But this is just one of the “paradoxes” of Judaism. The truth is that Jewish psychoanalysts don’t just practice their profession to treat their patients; rather, they treat their patients to try to treat themselves.
Typically, in claiming that the origin of neurosis were to be found in the repression of sexual impulses by Christian morality, Freud was, once again — and, once again, typically — deliberately projecting his own neurosis — and the neurosis of Judaism — onto a civilization which he consciously hated. He himself warned us, in embarking for America:
“They do not know that we are bringing them the plague”.
The Hysterical Sect
On the individual level, hysteria is very common in the Jewish community, more than in any other. But in reality, it is Judaism as a whole, the Jewish “mission” with universal pretensions, in its various political, intellectual and artistic expressions, which appears to be an expression of hysteria. Here we find the pathology common to all the ingredients of intellectual Judaism: egocentrism, histrionics, introspection, anguish, emotional fragility, a tendency to dramatize, manipulation, paranoia, a “great intolerance of frustration”, plasticity of identity, the idea of a “mission”, selective amnesia, fantasizing, over-abundant imagination, frequent suicides: everything in Judaism matches the symptoms of hysteria point by point; and we are not thinking of “nervous pregnancy” or the “birth-pangs of the Messiah”.
The same pathology which attracted the attention of Sigmund Freud is also characterized by an extremely great contagiousness: it is no wonder that the Jews are the great specialists in all those exercises in politico-religious delirium which regularly set humanity on fire. This can all summed up in ten words: Judaism is the illness which psychoanalysis set out to cure. Or in three words, if you prefer: Jew = incest = hysteria.
Many Jews who suffer from membership in this “incestuous sect” and who would like to find the strength free themselves, breaking the walls of the “Jewish prison” (the phrase is Jean Daniel’s), so as to become part of humanity. The American novelist Philip Roth gave very graphic expression to Jewish neurosis in several novels. The most representative passages are quoted in Jewish Fanaticism (2007).
In reply to the question of “What is a Jew?”, Nobel Prize Winner Isaac Bashevis Singer, interviewed in The New York Times Magazine of November 1978, replied:
“It is someone who, when he is unable to sleep, keeps everyone else from going to sleep.”
Need for Love
A study of the cultural production of Judaism shows that the Jews appear to suffer profoundly from the lack of love for them on the part of the rest of the world, which seems not to appreciate the mission of the “Chosen People”. The Jewish people are alone, very much alone, in the midst of the nations. “The Jews are a people whom one must admire but who are very difficult to love”, writes Nahum Goldmann.
Jewish directors thus compensate for this suffering by imagining the Jew finally recognized for what he is: a brilliant being, definitively a genius, who deserve to be worshipped with incense and applauded until the roof falls in. This image is found at the end of the film The Last Metro (France, 1980), by Francois “Truffaut” (Levy): Lucas Steiner, a theater director who was compelled to hide in a cave throughout the war, finally reveals himself to the public at the moment of the Liberation. Following a stage show, he goes up on the stage and is applauded frenetically by the delirious goyim who recognize his genius.
We find this image at the end of the Woody Allen film Deconstructing Harry (USA, 1997), the hero of the film, who is a novelist, is applauded at length by all the characters around him. Here again, the Jewish hero is welcome with a “standing ovation”. Woody Allen has once again expressed this need to be loved and recognized in Zelig (1983), which tells the story of a chameleon-man, already desiring to resemble “the Other”, to be loved (see, in particular, the chapter on the “plasticity of identity” and “Jewish humour” in The Psychoanalysis of Judaism, 2006).
Or again, the film Barton Fink, by the Cohen brothers (USA, 1991): at the beginning of the film, the young playwright is applauded frenetically by the entire hall, in delirium: it is the beginning of a great career in Hollywood.
In Rollerball, by Norman Jewison (USA, 1975), the action takes place in 2108; by this date, all nations have been abolished, and politicians have been replaced by technocrats. It is a whole civilization of leisure, with a game which impassions the planet: Jonathan (James Caan) is the most popular of these new heroes. The crowd chants his name wildly.
This image is found again in a short novel by Jacques Lanzmann, entitled The Seventh Heaven (1985). A certain “Moses” has the nerve to name his only pure-bred “Long Live the Jews”, so the crowds acclaim them both!
The Jews are hardly fascinated by the beauty of the world. Their inclination to permanent militancy, fed by the Messianic obsession of a “world without borders”, prevents them from simply seeing the world as it is and appreciating its beauty. In 1968, the novelist Albert Cohen, in Her Lover (Belle du Seigneur), expressed this fact with great clarity:
“Israel is the people that combat the laws of nature, and the bearer of a crazy hope which nature abhors”.
And he continues, in the tone of a prophetic trance:
“Men’s noblest qualities are rooted in the Jewish soul and the rock on which they stand is the Bible O my lovely Jews to whom I speak in silence know your people Israel venerate your people for having sown schism and separation and for having taken up arms against nature and against nature’s laws” (pp. 878-79).
The feminist Elisabeth Badinter has also expressed the Jewish inclination to go against the laws of nature:
“The hold of nature withdraws and, with it, the difference which separates the sexes”. (Man/Woman: The One Is the Other, 1986).
Edouard Valdman has also written:
“They will never again be the slaves of nature, of the nation, of repetition, of the soil”.
The fact is that after three thousand years of history, Jewish artistic production has remained remarkably mediocre. Jews who have tried their hand at the plastic arts over the past few decades, transgressing the well-known Biblical proscription (“thou shalt make no graven images”), have presented the world with nothing but deformities, corresponding to the very essence of their imbalanced nature. Every one of their sculptures is each more twisted than the last; their paintings are hideously deformed. This is obviously why they take refuge in abstract art.
Jewish art does not therefore have as its function the distorting, or deliberately soiling, “Aryan” art, as maintained by a rather simplistic anti-Semitic orthodoxy: rather, it corresponds to a spirit, a mental universe, an imaginary world which is very specific to the incestuous sect of Judaism. All this is much less the sign of a desire to “pervert” what is beautiful, than it is the expression of a neurosis.
The Jewish Prison
There are many novels depicting Jews in their attempts to escape from Judaism; in each case, the protagonist is compelled to return, drawn by a mysterious force. In the contrary event, the hero is ineluctably compelled to commit suicide. This is the manner in which the rabbis and Jewish intellectuals attempt to compel the Jews to remain in their community. Henri Bean’s film, The Believer, USA, 2001) is a very good illustration of this technique: Danny Balint is a young New York skinhead, ultra-violent and furiously anti-Semitic. He wants nothing to do with his family, with his “people”, with their inept religion. Balint is a neo-Nazi, passionate and determined, who wears his swastika T-shirt with pride … until the day when, inevitably, the conflict of identity resurfaces and compels him inexorably to suicide.
You really must see this film: it depicts what is commonly called “self-hatred”, but which is, in reality, none other than a healthy awareness of Judaism’s deep hostility towards the rest of humanity. Since the director himself forms part of this community, it is really no surprise that Danny’s attempt to free himself is doomed to failure. One must in fact understand that the film is addressed, first and foremost, to the Jews themselves, so as to place them on guard against any attempts of this kind. The message of the film could be summarized as follows:
“It is useless to try to leave Judaism: you will not succeed”.
The novelist Isaac Bashevis Singer, in The Crown of Feathers, or the English novelist Israel Zangwill, in his short story Joseph the Dreamer (cf. The Mirror of Judaism, 2009), depict the conflict of identity characterising the Jewish personality and the determination of certain Jews to break the walls of the “Jewish prison”.
This is how Jewish novelists shore up the myth of a Jewishness which is supposed to inalterable. According to them, Jews who forget their Jewishness will be fated to witness its inevitable return, sooner or later, even several generations later. This is what could be called “the myth of the incubating Jew” (cf. The Mirror of Judaism). These stories are written to incite the Jews to remain within the fold; but ever since they left the ghetto, Jewish intellectuals have all had occasion to witness the manner in which hundreds of thousands of other Jews have successfully left the Jewish prison, forgetting Judaism once and for all. Nahum Goldman said:
“If a Jew no longer wishes to be a Jew, if he denies Judaism, if he gives his children no Jewish education, or if he baptizes them, then he can cease to be a Jew. This is why so many Jews have disappeared over the course of the centuries; otherwise, there would be hundreds of millions of us”.
Under these conditions, anti-Semitism is quite useful, since it tightens the ranks of the community. It also serves the purpose of attracting to the Jewish community any individual who might have discovered by chance a drop of Jewish blood in his veins. But this only happens in the imagination of Jewish novelists: history records not one single known case of an “anti-Semite” who suddenly began to adore the “Chosen People” after discovering a remote Jewish ancestor. In truth, the result of such a discovery in one’s family tree is more likely to bring about a radicalization of anti-Semitic sentiment than anything else.
The Symptoms of Insanity
In 1967, the famous Isaac Bashevis Singer published a novel entitled The Manor. The story takes place in pre-WWII Poland. “Bonifratov Hospital” is a lunatic asylum: “There were an impressive number of Messiahs among the Jewish patients”, writes Singer. We refer the reader here to our book Jewish Fanaticism (2007). Nor shall we cite here all the horror films we’ve seen depicting maniacs and bloodthirsty psychotics. At this point, we shall simply restrict ourselves to observing that, here again, this is an industry dominated by “cosmopolitan” film directors.
The film Hostel (USA, 2005), for example, tells the story of three American students on holiday, discovering Europe. They decide to visit Slovakia, a country full of promiscuous young girls, a country described as the paradise of debauchery. They arrive by train in a promising little Slovakian village, and are immediately seduced by enticing young beauties. But they have fallen into a trap: it will not be long before they experience true horror. An abandoned factory in the countryside has been transformed into an immense slaughterhouse for human flesh, in which the victims are tortured on all floors: with scissors, with pincers, with chain-saws! Western perverts pay high prices for this form of gratification, and the horrible Slovakians give them whatever they want! Obviously, the director Eli Roth does not like Slovakians very much; perhaps a case of bad conscience. … Let us note as well that the film was produced by one of the director’s personal friends: Quentin Tarantino.
The inventor of “gore” cinema was a certain Herschell Gordon Lewis, who became well-known in 1963 by revolutionizing the horror film industry with his film Blood Feast. The same person was later arrested for fraud, putting an end to his career in “vomit films”.
Perhaps now it will be easier to understand why, in One Flew Over the Cuckoo’s Nest (USA, 1975), Milos Forman attempted to convince us that madmen are not as crazy as all that; rather, they are the victims of an oppressive society.
The Suicidal Jew
It is hardly surprising to find that some Jews take refuge in suicide rather than remain the prisoners of the incestuous sect of Judaism, whose lofty talk of “universal and lasting peace” can barely conceal a plan to enslave humanity. There are no statistics on this matter, but the examples we have been seen so far lead us to conclude that the Jewish community is, by far, the most suicidal community in the world.
The famous “Austrian” novelist Stefan Zweig killed himself in Brazil in 1942 — and the Nazis had nothing to do with it (see Jewish Fanaticism, 2007). The philosopher Walter Benjamin committed suicide in 1940 after crossing the Spanish border. The German dramatist Kurt Tucholsky killed himself in 1934 by swallowing sleeping pills, just like his fellow Jew Ludwig Fulda, who killed himself in 1939, etc.
At this point, Jewish intellectuals always blame the usual scapegoat: the “Nazis”. “If the Jews commit suicide, it’s the fault of the Nazis, and nobody else”. But in reality, Jews didn’t have to wait for the Nazis to come along before they started killing themselves. They were busy killing themselves long before the war: the “Italian” philosopher Felice Momigliano committed suicide in 1924.
The Viennese physician and philosopher Ludwig Boltzmann hanged himself in 1906. The Austrian philosopher Otto Weininger shot himself in mid- October 1903. In 1928, the only daughter of the “Austrian” Arthur Schnitzler committed suicide with a revolver in Venice, at the age of 19. The eldest son of the Austrian poet Hugo von Hofmannsthal committed suicide at the age of 26 — once again, with a revolver. Not to mention two of Karl Marx’s daughters. The daughter of the grand rabbi Weil threw herself off the Eiffel Tower, etc.
At the beginning of the 20th century, Kafka spoke of the pathological oddness and mental imbalance of his fellow Jewish students at the German high school in Prague. “Many of them”, he wrote, “killed themselves during their student years”. Or just look at Yosseph Hayim Brenner, a Jewish novelist born in the Ukraine in 1881. His two heroes in Around the Point succumb to despair, one by suicide, the other by going insane.
The novelist Romain Gary committed suicide in 1980; so did the “philosopher” Albert Caraco, in 1971.
The well-known “Italian” writer Primo Levi committed suicide in 1987, after a lifetime of “bearing witness” to his experiences in the “death camps”; but he had already attempted suicide as an adolescent. Jerzy Kosinski, another fantasizing “witness”, ended up a suicide in 1991, with barbiturates.
The “historian” of the “death camps”, Joseph Wulf, killed himself in 1974.
In 1970, the painter Rothko put an end to his career in abstract art by cutting his veins. In the same year, the German Jewish poet Paul Celan threw himself in the Seine. The mother of the Israeli writer Amos Oz committed suicide in 1952, at the age of 39. And the writer Elie Wiesel is surrounded by a veritable massacre of suicides on all side.
Boris Fraenkel, one of the founders of the International Communist Organization (OCI) committed suicide in 2006 by throwing himself in the Seine. Michel Recanati, a Trotskyite leader in May 1968, committed suicide in 1978. The 18 November 2008 edition of the Communist newspaper Liberation contained the testimony of a former Maoist — also a Jew — who declared that suicide was a very common cause of death among radical militants in his group in the 70s: 15 out of 35.
Bruno Bettelheim, the child psychiatrist of worldwide fame, committed suicide as well. Bettelheim specialised in infantile autism in particular, claiming to have treated hundreds of schizophrenics. The international media made a star out of him, admired by millions. In reality, as revealed by the biographical investigations of Paul Roazen in 1992, Bettelheim was a mythomaniac and a faker — like Primo Levi, like Marek Halter, like Elie Wiesel, like Simon Wiesenthal, like Einstein, Freud, and so many others. Bettelheim committed suicide in March 1990, asphyxiating himself with a plastic bag (The Mirror of Judaism, 2009).
Looking more closely, then, we see that the total, absolute and lasting “universal peace”, as dreamt of by the prophets of Israel, more than anything else, is a “peace” which Jews cannot find within themselves. It is their neurosis which impels them to invest themselves with plans for “world unification”.
At the beginning of this, the third millennium, this hysterical contagion is propagating itself in all homes, threatening all cultures, all religions, all identities. Nothing seems capable of stopping the advance of this unifying, anti-racist, materialistic and — in the end — destructive frenzy, which represents a deadly threat to all of humanity.
Reading the Jews with a mirror, the following words become finally visible as well:
“Judaism is a Crime against Humanity”.
Using a mirror, once again, then permits us, for the first time, to interpret Jewish eschatology in its correct sense: in the realization that the coming of the Messiah will occur only after the apostasy — the disappearance of the last Jew.
Such is the tragedy of every Jew on earth. Invested with the mission to “save humanity”, he can only choose to destroy humanity or destroy himself. The tragedy of the Jewish condition is revealed here in its full light … in the reflection of a mirror.
Paris, April 2012
 Books by Hervé Ryssen. http://herveryssen.over-blog.com/
 Herve Ryssen’s latest book is Les Milliards d’Israël, Escrocs juifs et financiers internationaux [The Billions of Israel, Jews and international financial Crooks]
Les Milliards d’Israël. Escrocs juifs et financiers internationaux
Notre nouveau livre intitulé Les Milliards d’Israël, Escrocs juifs et financiers internationaux (336 pages) sera disponible en librairie le 17 septembre 2014. Le livre pourra être acheté en prévente au mois d’août ou début septembre afin de payer l’imprimeur. Nous vous tiendrons au courant d’ici peu sur la démarche à suivre.
Pour les flics de la pensée et autres censeurs, sachez que le fichier est entre de bonnes mains, et que même s’il devait m’arriver un malheur, le livre serait publié de toute manière. Juifs, si vous avez peur des livres, c’est que vous avez sans doute des choses à vous reprocher !
A très bientôt, chers lecteurs, pour plus d’informations.
PS : Je me demande si je ne vais pas dédier ce livre à Claire Lafoix, la présidente de la 17e chambre correctionnelle de Nanterre, qui m’a condamné le 9 avril 2014 à un mois de prison FERME, pour le simple port d’une bombe lacrymogène.
Il est vrai qu’elle entre en compétition avec les guignols de la 17e chambre correctionnelle de Paris, qui eux, m’ont condamné à deux mois de prison FERME pour une simple blague sur les moeurs de Bertrand Delanoë.
Auront-ils le courage de mettre un écrivain en prison ?
Sont-ils assez crétins pour aller jusque là ?
L’avenir nous le dira !
From Google Translate:
Our new book, The Billions of Israel, Jews and international financial Crooks (336 pages) will be available in bookstores on September 17 2014. The book can be ordered in advance in the month of August or early September via the printer. We will keep you posted shortly on how to proceed.
For the cops and other critics, know that the file is in good hands, and that even if a disaster should happen to me, the book would be published anyway. Jews, if you are afraid of books it is because you probably have something to hide!
See you soon, dear readers, for more information.
PS: I wonder if I’m not going to dedicate the book to Claire Lafoix, the 17th president of the criminal court of Nanterre, who sentenced me April 9, 2014 to one month FARM prison for simply wearing a tear bombs.
True, it competes with the horns of the 17th Criminal Chamber of Paris, who themselves have sentenced me to two months in prison for simple FARM joke about the morals of Bertrand Delanoë.
Will they have the courage to put a writer in prison?
Are they fools enough to go that far?
The future will tell!
Click to go to: Understanding the Jews, Understanding Anti-Semitism – Part 1
Click to go to: Understanding the Jews, Understanding Anti-Semitism – Part 2
Click to go to: Understanding the Jews, Understanding Anti-Semitism – Part 3
Click to go to: Understanding the Jews, Understanding Anti-Semitism – Part 4
Click to go to: Understanding the Jews, Understanding Anti-Semitism – Part 5
PDF of this post. Click to view or download (0.5 MB). With images>> Understanding the Jews, Understanding Anti-Semitism – Part 6