part four of seven of the chapter “Incest and the Jews” of Hervé Ryssen’s Jewish Fanaticism
Jacques Attali, as we know, had raised the issue surreptitiously in 1994, in the course of a passage from his novel entitled Il viendra. [“It Will Come”]
Jacques Attali, economist, banker, writer
In his first novel from 1989, he had already made an allusion to it. His La Vie éternelle [“Eternal Life”] is a novel that is almost incomprehensible, and in any case terribly boring – which did not prevent its author from getting [ed.--of course, in France] theGrand Prix du Roman []”Grand prize for novels”] of the Société des gens de Lettres [“Society of men/women of letters”]. This is a book for insiders. The author expresses himself by means of ellipses, so that only Jews can understand what is going on. Here is what the cover reads: “Down there, on an isolated island ─ or up there, on some distant star ─ a people cut off from everything by a major disaster repeats the history of man from his origins, including persecution, exile and then the massacre of a minority distinguished by its traditions, its magical powers and the eternal life attributed to it… Memory and prophecy are confused and this ‘faraway world’ begins to resemble or be mistaken for the oldest stories that humanity has lived through in its barbaric excesses, in its worst genocides and the wildest hopes of the makers of eternity.” And the “humanity” mentioned here, you understand, strangely resembles a small well-known people.
The book began quite well for this researcher [Ed. i.e., Hervé Ryssen], and promised a few pearls. Here is the first sentence: “In this small township of the universe there survived in contrition seventeen million men and women imprisoned by their enigmas, ashamed of their triumphs, heavy with their oblivion, terrified by their hopes, and drunk with their loneliness.”(p. 15).
It is difficult to summarize in as few words all the hysteria of Judaism.
But the rest, alas, is a shapeless gibberish, in which Attali tries to convince his cogenerates that he is speaking of them, of them only and of no one else. There are a few somewhat more explicit allusions: “The ‘Siv,’” he says, “became renowned professors, wise bankers, and celebrated and capable senior officials.” (p.63). And Attali concludes by declaring to us at the end of his book that the Jews are definitely the only “humanity” worth anything:
“It’s your turn now. I trust you. Please, protect yourself: you are the last spark of humanity.”
There is also, in this fairy tale, the issue of a “Big Book of Secrets”, belonging to a “Grand Orator.” The heroine is called Golischa: “Of her father she knows nothing: neither his name nor his face, nor his history. She has learned from some officers of the guard that he was an adventurer who died before her birth, having fallen in an ambush. . . One day, she even heard one of her servants assert to a small group that her grandfather was also her father–which, he said, explained both the prostration of the mother and the imprisonment of the girl.”
Clearly, her grandfather had slept with his own daughter.
We will conclude this chapter on incest with an analysis of film productions, almost certainly incomplete. We should, indeed, review all the films of Jewish directors from the perspective provided by our new knowledge of a mental world that is very peculiar to Jewish intellectuals.
The first two times we viewed Roman Polanski’s film Chinatown (1974) a few years ago, we noticed nothing specifically Jewish — for the simple reason that we were not paying attention. To summarize the story: In Los Angeles, in the thirties, drought forces small farmers to sell their land. These are bought cheaply by large landowners, with the complicity of the municipality, which discards at night the precious water from the dam. Jack Nicholson, as a private detective, investigates the case, which does not please everyone. He will therefore receive a warning and end up with a bandage on his nose to treat the nostril that was sliced. Does it hurt? “Only when I breathe.”
We note that at the end of the film, the beautiful Faye Dunaway, slapped by Nicholson, finally confesses who a girl is that she has been hiding from all eyes: she is both her daughter and her sister. She therefore had a daughter by her monstrous father, a large landowner. Here Roman Polanski has, in a classic maneuver, projected on goyeem a problem that seems to torment the Jewish community. Remember that Polanski is still wanted by the American justice system for pedophilia.
Roman Polanski in the 1960s, with a smart-aleck smirk. This pedophile Jew was initially charged with the rape, at age 44 of 13-year-old Samantha Geily by use of drugs, perversion, sodomy, lewd and lascivious act upon a child under 14, and furnishing a controlled substance (methaqualone) to a minor (now called “date rape”), but these charges were dismissed under the terms of his plea bargain, and he pleaded guilty to the lesser charge of engaging in unlawful sexual intercourse with a minor. In February 1978 he fled the US for Britain, and then France, where he continues to direct movies as well as in his native Poland.
Now let us examine a film by the famous director Joseph Mankiewicz [1909-1993], Suddenly Last Summer (1960): A rich American (Katharine Hepburn) traumatized by the death of her son, appeals to a famous doctor to lobotomize her niece (Elizabeth Taylor ), interned in a psychiatric hospital since the son’s death, whom she accuses of having separated her from her “dear son”. Again an incestuous relationship–here between a mother and her son–is strongly suggested. And again, the director has very classically projected his obsessions on a Christian family. Note that the only balanced character of history, the “great surgeon,” is called “Cukrowicz,” but Joseph Mankiewicz chose a handsome Aryan (Montgomery Clift), to play the role, in order to better cover his tracks.
Mankiewicz.
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