Is This What We’ve Become?
by Kenneth Roberts
APPARENTLY THERE IS only one memorial to the infamous Jewish fictionalized character Anne Frank in the whole of America, which is remarkable enough. The way it is with Jews you’d think they’d milk that saccharine fable until Joe Biden joins the National Alliance. But the most remarkable thing of all is that this lone testament to this biggest of lies is in Idaho.
Boise, Idaho to be more exact. You’d think this single memorial to this preposterous deception would be in Jew York or Jew Angeles but then again Idaho is still ninety percent White, just like America used to be. I figure they think wherever that many White people are congregated it is necessary to rub their noses in Jewish falsehoods in order to shame them. This tribute to female faker Frank (not to be confused with male faker Frank) is at a well-funded institution with the Light-unto-the-Nations-sounding name of the “Wassmuth Center for Human Rights.” The Web site of this unholy abomination says that it “confronts anti-Semitism and racism” which means that it attacks White folks. Look it up for me if you get the chance — a hundred to one says the name “Wassmuth” is Jewish.
But what happens when you put something called a Wassmuth Center for Human Rights right in the middle of a large gathering of self-respecting White people is you get hit back. Just the other day a group unknown to us, that the controlled media called “neo-Nazi,” put eight stickers at various places at the facility. The stickers featured a swastika and the words “We Are Everywhere.” It’s true. We are everywhere.
One of the stickers was placed directly on the diary which the statue of fallacious Frank was holding. (The National Alliance advocates putting enlightening material only in the hands of our own people, not in the hands of others. And what goes into our people’s hands should be National Alliance material, and not anonymous. So that’s an error. But when it’s an error this hilarious, it sure is hard to stop ourselves from shouting “Bulls-eye! Good going, lads!”)
Here’s the thing about Miz Frank. Even by the Jews’ own accounting, as a young Jewess in war-torn Europe she dreamed of “hitting it big” as a writer. She thus kept a diary and when, listening to the radio, she heard from the BBC that they were looking for on-the-scene writing from mainland Europe, she quickly began to re-write her diary. That is, she now wanted other people, especially money-laden publishers, to read her diary, and it quickly became an embellished and embroidered and edited thing. Much more dramatic, much more lurid, with heightened tension: evil Nazis who, despite being ten feet tall, still couldn’t hear “hidden” people yelling loudly fifteen feet away. And other secret ingredients. So even if you believe the official story (and you shouldn’t) what we have is the novel of an ambitious Chosen female who hoped one day to publish it under the ominous-sounding title The Secret Annex.
And then there’s that lethal bit about the ball point pen.
No, the fable of Anne Frank is the fable of the Jew: innocent near-angelic Jewish victim preyed upon by monstrous sub-animal crazed-with-hatred genocidal Germans. Talk about projection! If Anne Frank never happened they would have had to invent her. Which they did.
But what the great and august event of the Swastikas on the Statue really puts me in mind of is a new variant on the old joke about Frank: Why is it that they can no longer perform the stage version of The Diary of Anne Frank anywhere in Idaho? Because they tried it a time or two — but every time they did they found that, invariably, near the end of the play, when the Nazis walked on stage, some hero in the back stood up and yelled out: “She’s in the attic!”
And as the news ripples out about this “horror” in Idaho some Coastal Elite lackey will invariably sadly and plaintively cry: “Is this what we’ve become?”
One can only hope so.
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