Customer Reviews

The Plot: The Secret Story of The Protocols of the Elders of Zion

5 star:		(24)
4 star:		(13)
3 star:		(4)
2 star:		(1)
1 star:		(0)

 

 

There are lies, damn lies, and then there are the Protocols of the Elders of Zion. Perhaps no other single document has been responsible for more bloodshed than the Protocols. A thoroughly nasty hoax and complete forgery the Protocols reputed to be the minutes of a secret meeting of world Jewry that took place in conjunction with the first Zionist Congress in Switzerland in 1897. The minutes detailed a conspiracy by these "Elders" to take over the world. Despite being revealed repeatedly as a hoax the Protocols have taken on a life of their own and continue to be brought up in areas around the world.

Will Eisner, perhaps the most creative and influential cartoonist, graphic artist, and/or sequential artist (whatever term one finds applicable), of our time spent the last twenty years of his life trying to unravel the origins of this deadly hoax. Bit-by-bit over the last twenty years Eisner read up on the Protocols and did significant amounts of research, including a review of files released in Russia (most of which dated to Tsarist and early revolutionary days) after the fall of communism. Eisner completed this graphic history book one month before he died, at the age of 87. The compelling art and narrative in "The Plot" helps to make Eisner's last work a wonderful epitaph for a creative giant. The year 2005 also marks the 100th anniversary of the Protocol's introduction in Russia in response to the 1905 Revolution. The bloody pogroms that followed bear stark witness to the horrid power of the Protocols.

After a brief but moving introduction by Umberto Eco, Eisner lays out a sequential history of the birth and strange life of the Protocols. The story begins with the creation of a book entitled "The Dialogue in Hell Between Machiavelli and Montesquieu" by a French writer named Maurice Joly. Joly's book was a thinly-disguised attack on Napoleon III's rule. The story continues and Eisner takes us into the life and less than wholesome career of Mathieu Golovinski. Golovinski, in conjunction with the Okhrana (the Tsar's version of the KGB) creates the Protocols by plagiarizing Joly's book almost completely. From there we see the Protocols exposed as a hoax by The Times of London in the 1920s. Yet despite that expose the Protocols are then used by both Adolf Hitler and the American car magnate Henry Ford. It is still being distributed today.

A significant portion of the book consists of side-by-side comparison of Joly's Dialogue In Hell and Golovinski's Protocols. The results are both compelling and conclusive. There may be some who feel that this rather lengthy insert is not appropriate for a graphic work such as this. I tend to think it both necessary and effective. Mere claims of fraud are not sufficient. It is important to set it out in black and white. Eisner does this to great effect.

It has been said that a graphic novel may not be the best method for discussing such a serious topic. I disagree. I think that the information provided by Eisner is absorbed very well by the reader. It is not an academic treatise to be sure but it was not intended to be. The information is easily absorbed even if one takes time to admire Eisner's graphic art which is powerful and compelling.

Eisner's last work is a fitting tribute to his life for at least two reasons. First, it provides an excellent overview of a publication that has caused havoc over the last 100 years. As Umberto Eco says in his introduction, "one must fight the Big Lie and the hatred it spawns". Eisner has done this to great effect. Second, "The Plot" provides yet one more piece of supporting evidence for the assertion that the graphic arts is a serious, provocative medium that need not play second fiddle to what may sometimes be referred to as pure `literature' or `the arts'. Eisner's legacy in this field is secure and The Plot serves as a fitting grace note to a long, distinguished career.

In what is the final work from Sequential pioneer Will
Eisner (1917-2005), the great graphic storyteller turns
his wide-ranging attention to the depiction of a
grievously non-fictional wrong. In THE PLOT, Eisner
culminates a decades-long examination of the historical
fabrication which is widely considered the source of
anti-Semitic propaganda which spans a century, working
its poison around the world, even now.

THE PLOT is an astute Sequential narrative denoting the
concoction of THE PROTOCOLS OF THE ELDERS OF ZION, and
painstakingly follows the blind establishment of this
gross and clumsy lie as authenticated fact across the
ages. A disgruntled Russian bureaucrat plagiarizes the
work of an 19th century Parisian satirist, transforming
a poke at the tyrannies of a French emperor into a
damning denigration of an entire group of human beings.

The astonishing point made by Eisner, more astonishing
than the hatching of a genocidal conspiracy for the sake
of political convenience, is the manner in which this
lie has endured, and spread its evil message across the
years... even after THE PROTOCOLS have been methodically
and repeatedly exposed as the malicious lie that it has
always been! From Tsarist Russia, this cancerous document
has sown its seeds of hate everywhere, from England's
Winston Churchill and America's Henry Ford in 1920 to
the atrocities perpetrated by the Nazis from 1921 on through
WW II.
Even now, the bigotry engendered by the propagation of
THE PROTOCOLS wreaks havoc with the common sense of the world,
as reflected through its avid usage by the worst participants
of fundamentalism, whether engaged in the burning of crosses,
the bombing of mosques, or the terrorism of those taking
revenge for Crusades past with more blind slaughter.

Eisner's artistry, setting precedents for 70 years, is
prodigious here. His depiction of THE PLOT's unveiling
tableau, stark in its black & white tones while elusively
gray in its basic textures, is an ingeniously succinct
way to impart this penetrating tale of wrongdoing which
perversely endures, and a virtue which must never falter.

In utilizing the gifts which he has honed over the course
of a lifetime, Will Eisner has set a standard for the ages;
further establishing the Sequential field as a literary
arena far more diversified than the narrowing yardstick
applied to "funny pages", while taking a concrete stand
for Clarity and Justice.
Make no mistake about THE PLOT. There's nothing comic about
this tale, or what's at stake if we, as human beings do not
heed the truth, at last.

Actually, this is quite a powerful and scholarly book.

Yes, it is in comic book format. But there is no mistaking its seriousness. We see how a satirical French work which had nothing to do with Jews was transformed by some Russians into a libel against Jews in general. And we see the history of this fabrication as it makes its way through Europe and World War II, as well as into the Arab world, the Americas, and elsewhere.

If there is one thing on this planet that outrages me more than anything else, it is anti-scholarly lies. We humans aren't worth much without our brains, and our brains are not worth much unless we value truth. Lies are major causes, in my opinion, of many human misfortunes, including plenty of unnecessary wars. And I think lies such as the fabricated "Protocols" need to be exposed.

A minor point that occurs to me is that many people call "The Protocols" a "forgery." While that is certainly true, it can give a few people a misleading impression that there is a genuine Protocols and they are reading the wrong one! I prefer to call "The Protocols" a fabrication.

In this book, we see many people claim victory over this lie, only to see "The Protocols" arise again, like some sort of undead monster. But I think this misses a big point. Namely that there is a difference between a lie, produced with a serious intent to deceive, and a taunt (such as, say, "your mother is a garbage truck") which is designed to insult and certainly is untrue, but does not have deception as a primary goal. A taunt can't have deception as a primary goal (imagine the taunted victim admitting that yes, her mother truly is a garbage truck, and here is a photo of the truck and a birth certificate).

That means that "The Protocols" really can be defeated. Oh yes, copies will still be sold here and there. But most responsible people will dismiss this as a taunt, not as a controversial or serious work. And that is indeed happening. I think the deceptive power of this fabrication is diminishing, maybe significantly.

There will be other lies in the future. And "The Protocols" is still around. But, with that big stake through its heart, this libel is indeed in just the kind of trouble it deserves.

I recommend this book.

Cartoonist Will Eisner's graphic narrative format is ingeniously well-suited for portraying the absurdity of the fraudulent and ridicule-worthy #1 antisemitic book of all time: The Protocols of the Elders of Zion, a plagiarized fiction passed off as fact. Both the format and the eerily intriguing cover might be especially attractive to teens, and the book would be a great addition to any high school library.

Eisner starts off with The Protocols' origin in France and Russia, then traces its resilient spread through time and geography. One of the most impactive parts of the book is when it visually depicts side-by-side comparisons of the Protocols with Maurice Joly's Dialogues in Hell Between Machiavelli and Montesquieu, the near-identical similarities so outrageous how anyone can believe this stuff as true is dumbfounding. The fascinating story maintains a fast pace, noting The London Times exposing of The Protocols as fraudulent, Henry Ford's appropriation of the lie, use of it by Hitler, legal rulings against the Protocals in Switzerland and South Africa, and more...yet it will not die, even after a U.S. Senate report busting it as a "Fabricated 'Historical' Document." Spain, Argentina, USSR, India, Egypt, Italy, the KKK, Lebanon, Japan, Turkey, Hamas, and so many others helped perpetuate the myth of an international Jewish conspiracy responsible for every bad event. The book ends with 2004, and so does not cover the present-day use of the Protocols on Islamic websites, the 2006 incident of a Hollywood figure spouting off about Jews responsibility for all wars, or any of the other new forms of Protocolsesque propaganda such as blaming social and political ills on some conspiratorial controlling "Israel lobby."

The Plot keeps its focus on key peoples, places and events involved in The Protocols' history, not delving much into the historical contexts or the specifics of The Protocols' 24 items. The strength of the book is in its appealing format that manages to make a powerful presentation without being pedantic, an enjoyable read about a descpicable topic. There is one serious (and ironic) flaw early in the book: In the Preface Eisner in talking about "devices that antisemites used to promote their message" says, "There had to be some weapon other than the ancient Christian Gospels' condemnation of Jews that appeared again and again and resurrected itself, vampire-like, to reinforce antisemitism." This is a sure way to alienate Christians, surely part of the target audience for this educational book, who might likely not make it to page one of the book proper, because of Eisner's misrepresentation of the Gospels and perpetuation of what we Christians consider to be a "big lie" or myth about our faith and because of the loss of credibility caused by Eisner purporting to be correcting a prejudicial lie while hypocritically propagating another. By his general, out-of-context reference to "Christian Gospels' condemnation of Jews," Eisner does what antisemites misrepresnting the name of Christ have done, that is he falsely makes it seem as if the Gospels are against the Jewish people and thereby justify antisemitism. Hopefully future editions of this book will remove this divisive and dishonest statement that isn't even about the focus of the book anyway, and is the reason for the 4-star rating.

And the Spirit doesn't strike again! That Will Eisner is a master of the ilustrated narrative everyone knew, but that he was a master of political causes, well, I didn't know. One had glimpses of it, from his string of Graphic Novels, dealing with racial tensions, housing issues, and other questions, but they all seemed to have something to do with the story, it was never the "issue" for the issue. Now, with the history of the infamous libel, the protocols of the elders of zion, this can be almost considered a school book: it's didactic, it has a clear theme presentation methodology, it clearifies the reaserch method... A must read!

This is a very accessible overview of the Protocols of the Elders of Zion, its history, the principle players in its creation and distribution, as well as the numerous court cases that have debunked its validity. The text is a bit dry, but it would be very useful in the context of a high school classroom or library.

The Protocols, as other reviewers have noted, is a persistent libel, a conspiracy theory that seduces the innocent and comforts the already committed anti-Semite who could care less whether it can be proven or not. The Big Lie's seductiveness is that it dovetails beautifully with some cherished Judaeophobic myths...the cabal of international Jewish bankers (the pre-eminence of the Rothschilds) and media manipulators led by some kind of ritualistic clique of rabbis (Elders of Zion) to ruin the Gentile financial markets and gain control for the evil Jewish coterie who would then dominate the world. This fabrication, as loopy as it may sound to anyone with an open mind, has managed to persist in a world where Israel is considered but the latest manifestation of this evil Plot.

Books have been written that have decisively debunked this screed, but so complicated is the evolution of the forgery that the average reader cannot or will not devote the time and effort to get into all the excruciating detailed twists and turns of how it was perpetrated.

Thus, Eisner's graphic novel technique is perfect for reaching the larger audience that the expose requires. Even if the devotees of the Protocols won't read and digest Eisner's riposte, it is a valuable tool to assist the enlightened or committed to make their case.

Is is not a "novel" per se, but rather an expose. That said, there is a good dose of lively drama and character development, done in the mood-evoking "dark" style that made Eisner the dean of the graphic novel.

The Plot accomplishes what a score of well-reasoned academic texts can not. It sticks it to the heirs of the Hitlerites and the current day Islamisist Judeophobes.
It amazes me that those who cry crocodile tears over a "stolen" Palestinian homeland
barely supress a yawn when one points out that the Palestinian Authority, so recently "reconciled" with the Jew-baiting Hamas, has condoned the dissemination of the Protocols. Perhaps those who think the Palestinians have pure motives should read this book.

Eisner is justly remembered as a graphic innovator and the topic here; portraying the true origins of this contemptible "document" is admirable, so why didn't this work better? The basic problem is that the history of the protocols does not lend itself to creativity in presentation. Like a textbook THE PLOT serves an important purpose and Eisner does his best to add some drama to the basic tale of how a petty group of Russian bureaucrats decided to create this foul work to support their political agenda and from there groups all over the world have used it to foster hatred; but the material is too dry to support anything but the facts. Eisner gives it a try but basically the book is a series of talking heads, and no matter what approach Eisner uses it never really becomes anything more than that. It just doesn't make for an exciting read in this medium. Despite my complaints it is my hope that like Nast's cartoons helped bring down Tammany Hall, THE PLOT too will serve its purpose and enlighten people to the lies behind the protocols of Zion.

Even in old age, comics genius Will Eisner, the pioneer of the graphic novel, was not afraid to try new things. The Plot is his only foray into graphic history. In it, he tells the tale of the Protocols of the Elders of Zion, a fraudulent document often offered by anti-Semites to prove that Jews have a secret plan to take over the world. Eisner takes us from its inception as an effort to influence Czar Nicholas of Russia to take a harder line against Western reform, through its later debunking, to its remarkable resurrections in the hands of the ignorant to this day.

Eisner presents comic-book dramatizations of key chapters in the history of the Protocols, interspersed with occasional pages of heaviliy illustrated text. In the middle of the book he adds great textual detail, comparing the Protocols side by side with passages from an obscure French book of political protest. The lengthy comparison is solid proof that the Protocols, supposed to be the minutes of a secret meeting of Jewish conspirators, is actually a thinly disguised plagarization of the French book intended as a satire of Emperor Napoleon III, with Jews replacing the French Emperor as the villain.

The comparisons are, in my opinion, the most valuable part of Eisner's book. He selects them well, and their quantity shows that the similarity is more than mere coincidence. But, as Eisner observes in the later portions of the book, the Protocols have been thoroughly debunked before. The invulnerable ignorance of anti-Semites has always caused the Protocols to rise again as a new generation discovers them anew and accepts them uncritically because they validate pre-existing prejudices.

As for the rest - well, though Eisner gets credit for trying, this kind of subject makes for a very exposition-heavy comic book. Eisner is the best, doing the best with what he has, but no one is likely to want to read this graphic history for pure entertainment. Still, though it is an imperfect experiment as a work of sequential art, this book, Eisner's final work and a labor of love, deserves a place next to Denying History on the shelf of anyone concerned about Holocaust denial and other fallacies of Nazi sympathizers.

If you loved Maus and works like that, you will be blown away by Eisner's final work. In it, he meticulously follows the path of the Protocols of Zion and goes about debunking them at every turn.

More importantly, he's able to shine a light into why they continue to hold such a strong power over people even after 100+ years.

Eisner's work is as clear as ever, making this an excellent "gateway" book to people who are not used to graphic novels. The extensive use of an index and bibliography show us how much research went into it and the introduction by Umberto Eco will draw in many people who haven't touched a "comic book" since they were teens.

I think after reading this work, they might change their minds some. I just wish Eisner had survived to see how well this was received.