The Sleight-of-Hand of Simon Wiesenthal

"Falsus in Uno, Falsus in Omnibus"

Mark Weber and Keith Stimely

For many years Simon Wiesenthal has made a highly successful career for
himself as the world's foremost "Nazi hunter." The American mass media have
elevated him to secular sainthood and the U.S. Congress awarded him a special
gold medal.

In reality Wiesenthal is a proven liar. The most infamous
example was his charge that an elderly Polish refugee living in Chicago, Frank
Walus, was a Gestapo official responsible for killing Jews during the Second
World War. Only a long and costly court battle by an unusually tenacious
attorney saved Walus from almost certain death. The government prosecutors were
forced to drop their case ignominously. The popular Chicago Weekly Reader
and the highly respected Chicago Lawyer published devastating expose's of
Wiesenthal's role in the frame-up of Walus. Eventually even the Washington
Post acknowledged his sordid role in the affair.

In Canada, the Toronto Sun, commenting on another "war criminal" case
in which Wiesenthal was involved, and the accused finally determined to be
innocent, editorialized: "It seems that material provided by professional Nazi
hunter Simon Wiesenthal is wrong, but repeated [by the print and broadcast
media] anyway."

Recently yet another example of Wiesenthal's blatant distortion of
historical truth came to light.

In 1946 Wiesenthal published a book in Austria entitled _KZ
Mauthausen_ [Concentration Camp Mauthausen]. It consists mainly of mediocre
sketches by the young "Nazi hunter" purporting to represent the horrors of the
Mauthausen concentration camp. One of the drawings depicts three Mauthausen
inmates bound to posts who had apparently been sadistically put to death by the
Germans. Another graphic example of murderous Nazi treatment of inmates!

Actually, the sketch is completely phoney.

In January 1945 Life Magazine published a series of photos
graphically recording the firing-squad execution of three German soldiers who
had been caught operating as spies behind the lines during the "Battle of the
Bulge." Photographer Johnny Florea recorded the execution in December 1944
near Bastogne. The three soldiers died "singing patriotic German songs,"
Life reported.

In its issue of 16 December 1983 the West German weekly newspaper
Deutsche National-Zeitung published the Life photos and the
Wiesenthal sketch together. Even a quick comparison makes clear beyond any doubt
that the "Nazi hunter" HAD COPIED HIS DRAWING FROM THE PHOTOGRAPHS. Wiesenthal's
gruesome depiction of German barbarism in Mauthausen is actually the deceitful
product of his malicious mind.

Another example of the generally spurious character of Wiesenthal's 1946
Mauthausen book is his citation therein of the supposed "death bed" confession
of Commandant Franz Ziereis that FOUR MILLION inmates were gassed to death at
the Hartheim satellite camp. Along with Dachau, Ravensbrueck, and Buchenwald,
"Holocaust" historians no longer even mention Mauthausen as a "death camp" or
gassing center. According to the official tourist brochure now distributed at
the camp, a total of only 206,000 persons WERE EVER INMATES at Mauthausen and
its satellite camps.

Question: How long can a self-respecting world continue to even put up with,
let alone shower honours on, this man Simon Wiesenthal -- one of the biggest
lying fakers of our age?

Above: "Life" magazine in January 1945 published these photos of three
German soldiers shot by their American captors during the Battle of the Bulge.

WIESENTHAL FORGED AND LIED Above: Simon Wiesenthal's drawing (from his book
"KZ Mauthausen," 1946) depicting three murdered inmate victims of German
barbarity in the concentration camp of Mauthausen. Note the striped inmate garb
on the figures. But did Wiesenthal really see this in Mauthausen? Compare this
drawing and the three photos on the facing page and you will know what
Wiesenthal drew from. With all his talk about the "millions" of victims of Nazi
brutality, why is it that Simon Wiesenthal couldn't seem to find any of those
for his graphic deptiction of such brutality? Why did he have to resort to
copying from a scene of GERMAN VICTIMS of an AMERICAN EXECUTION?

ABOUT THE AUTHOR

Mark Weber is editor of The Journal of Historical Review, published six times
yearly by the Institute for Historical Review. He studied history at the
University of Illinois (Chicago), the University of Munich, Portland State
University, and Indiana University (M.A., 1977). For five days in March 1988, he
testified as a recognized expert witness on the "final solution" and the
Holocaust issue in a Toronto District Court case. He is the author of many
published articles, reviews and essays on various aspects of modern European
history. Weber has appeared as a guest on numerous radio talk shows, and on the
nationally-syndicated "Montel Williams" television show.

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