The special prosecutors’ office in Germany is planning to file charges against an 87 year old man who prosecutors think served as a prison guard at Auschwitz. The case comes only a few months after the death of John Demjanjuk, who after a lifetime of working in an auto plant in Ohio, was convicted of serving as a guard at Sobibor.
The question of tracking down and prosecuting the Nazi war criminals was much more on peoples’ minds in the 1960s; Adolf Eichmann, of course was tried and convicted in 1961, and executed a year later, for his role in the Holocaust. In 1967, Franz Stangl was arrested in Brazil, and convicted in 1970. A warrant was issued in 1963 for the arrest of Eduard Roschmann; Karl Silberbauer was tracked down in 1962, but never tried. Between 1963 and 1965, 22 defendants were tried for their roles in the Holocaust;
In 1966, Karl Frenzel was sentenced to life in prison.
The question of the lengths to which the Allies should go to track down and prosecute Nazi leaders was an important one among intellectual leaders of the time. In 1954, Jacob Bronowski’s radio play on the subject, The Face of Violence, won the Italia Prize, then something like an Emmy. In Bronowski’s play—which relies heavily on the works of William Blake—a war survivor tracks down a camp guard he witnessed murdering a child, only to find that the guard has now married the mother of the child he killed. Like Blake, Bronowski argues that the crimes of the past can never be recompensed, only mercifully forgiven. In 1963, Hannah Arendt’s classic, Eichmann in Jerusalem, was published, criticizing that trial on due process grounds and questioning whether, notwithstanding the evil of the Holocaust’s perpetrators, the case was less about justice than about political advantage.
The Star Trek episode “The Conscience of The King,” written by Barry Trivers, aired on December 8, 1966, putting the question about the limits to which justice should go in tracking down criminals not only in the context of the twenty-third century, but of the works of William Shakespeare. Captain Kirk, one of the few survivors of a massacre perpetrated by the dictator Kodos The Executioner, discovers that a traveling Shakespearean actor is in reality the dictator, on the run from justice. Kodos’ beautiful daughter, Lenore, has been helping him to keep his secret by murdering those who learn of his identity—although Kodos does not realize that she has been killing the witnesses.
Comments policy