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Let's unpack. This NYT article claims to examine the controversy around Handke & genocide denial. Titled "Genius, Genocide Denier or Both?", it is written by and , with as the editor of the NYT culture section.
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After noting the storm of arguments around Handke's writings on the Yugoslav Wars & some biographical filler, the journalists state it was that Handke's 1995-96 texts—"Winter Journey" + "Summer Addendum"—that launched the controversy over his relativization of genocide in Bosnia.
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But almost half of the actual substance of the article—on the subject of 1990s Wars & genocide denial—is based around quotations & claims of three authors: Scott Abbott, Zarko Radakovic, and Malte Herwig. Who are they? Why are these choices so problematic? What's missing?
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Let's look at Scott Abbott, described as "an American translator who accompanied Handke on a visit to Serbia," and Zarko Radakovic, "a friend who has traveled in the region with Handke, and who has translated his work." This is a deeply misleading framing stripped of key context.
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In 1990s, it was Scott Abbott & Zarko Radakovic who accompanied Handke *in texts* at the heart of the controversy! Open the intro to "Winter Journey," the text that kicked off the genocide denial controversy. You'll find Handke with Abbott & Radakovic in a buddy road movie
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This alone is a massive blind spot. The article omits (intentionally or unintentionally) key information about the much-quoted Abbott & Radakovic. They are not detached "experts," but literally the fellow travelers in the texts charged with genocide denial. Why omit this?
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Abbott & Radakovic's book is full of gems. They describe Handke on another buddy road trip to genocide country in 1998. The gang is back together—Handke & A&R—but this time joined by Thomas Deichmann, a freelancer denialist who claimed the Bosnia concentration camps were lies.
Abbott, Zlatko B, then Bajina Basta host, Thomas Deichmann, Peter Handke, the hostess, the historian, and the owner of the bus firm--photo by Zarko Radakovic.
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But Deichmann then entered another losing battle against the facts. In a notorious case, he accused ITN, inc , of deliberately fabricating stories & "lies" about the Trnopolje concentration camp. ITN sued LM & Deichmann & won on libel charges.
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But Deichmann found friends & fellow-travelers in Handke, Abbott, and Radakovic, the trio at the heart of the NYT article. Here is an excerpt by Abbott & Radakovic in their book repeating Deichmann's claims that can be only described as genocide denial
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Did they do background research on genocide denial, as it is a difficult topic? Why did they omit crucial information about the key interviewees in their article? Aside from Handke's fellow travelers, did the NYT journalists reach out to other writers who criticized Handke?
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(Btw I know it'd be too much to ask the NYT culture section to talk to those of us who made it out of the 1990s alive—people like Faruk Sehic, Aida Hozic, Sasha Hemon, Svetlana Slapsak, etc—to NYT we're all too biased by existing—so I'm just going to keep asking questions.)
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In a piece on contested pasts, why were no historians interviewed? In a piece on genocide denial, why were no actual experts who research genocide denial interviewed? Is NYT willing to remedy these crucial problems? Willing to ask more searching questions? If not, why not?
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Let's recap. In an essay on genocide denial, the NYT journalists chose to uncritically repeat the same worn-out talking points by the very people involved in the denial scandal, omitting key information about them and making no effort to challenge their claims.
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As a result, the NYT article on Handke is fundamentally, devastatingly misinformed & dangerously positioned to further spread the unchallenged views of the Handkes, the Deichmanns, and the many fellow travelers of genocide denial in this world.
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The absolute least that NYT should do is revise their article — in a profoundly critical way. By publishing this piece, NYT has brushed off genocide denial, a deadly serious and traumatic problem, as an ultimately irrelevant little matter of quaint literary taste.
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