"The history of the Khazarians, specifically the Khazarian Mafia (KM), the World’s largest Organized Crime Syndicate that the Khazarian oligarchy morphed into by their deployment of Babylonian Money-Magick, has been nearly completely excised from the history books."
Art imitating Life?
The major theme in Elizabeth's Kostova's 'The Historian' is how (the fictional) Dracula, through out history, uses librarians to bird dog research and documentation of his existence, acquires the work, and if the authors do not get the message, they get exsanguinated. Highly recommended to take your mind off things and to not take your mind off things at the same time.
Interesting about the film rights though...
https://en.wikipedia.org/wiki/The_Historian#Film
Life imitating Art?
"The thing that most haunted me that day, however, as I closed my notebook and put my coat on to go home, was not my ghostly image of Dracula, or the description of impalement, but the fact that these things had – apparently – actually occurred. If I listened too closely, I thought, I would hear the screams of the boys, of the 'large family' dying together. For all his attention to my historical education, my father had neglected to tell me this: history's terrible moments were real. I understand now, decades later, that he could never have told me. Only history itself can convince you of such a truth. And once you've seen that truth – really seen it – you can't look away."
The Historian /Elizabeth Kotova / 2005
From wiki:
As Kostova explains, "Dracula is a metaphor for the evil that is so hard to undo in history."For example, he is shown influencing Eastern European tyrants and supporting national socialism in Transylvania. He is "vainglorious, vindictive, [and] vicious". As Michael Dirda explains in The Washington Post, the novel conveys the idea that "Most of history's worst nightmares result from an unthinking obedience to authority, high-minded zealotry seductively overriding our mere humanity." It is in the figure of the vampire that Kostova reveals this, since "our fear of Dracula lies in the fear of losing ourselves, of relinquishing our very identities as human beings".[35] In fact, the narrator is never named in the novel, suggesting, as one critic explains, "that the quest for the dark side of human nature is more universal than specific to a concrete character".
Religion is also a dominant theme of The Historian. Dracula is Christian and, as Bebergal explains, "Much of what is frightening in the novel is the suggestion of heretical Christian practices and conspiratorial monks." Kostova herself notes that the world is still "wracked by religious conflict", therefore historical fiction about the topic is relevant. The portions of the novel set in Istanbul, for example, highlight the extent to which the real Vlad detested the Ottomans, waging holy war upon them. More specifically, Amir Taheri in Asharq Alawsat argues that the novel highlights the relationship between the West and Turkey. The West, which is laden with the "dead" weight of this past (represented by the vampires) needs the help of Turkey (and perhaps the entire Muslim world) to recover. As Taheri points out, one of the most appealing characters in the novel is Professor Bora, a Turkish professor who is part of an ancient Ottoman society dedicated to defeating Dracula. Taheri emphasizes that the novel highlights that "Western civilisation and Islam have common enemies represented by 'vampires' such as postmodernism in Europe and obscurantism in the Muslim world".
"The history of the Khazarians, specifically the Khazarian Mafia (KM), the World’s largest Organized Crime Syndicate that the Khazarian oligarchy morphed into by their deployment of Babylonian Money-Magick, has been nearly completely excised from the history books."
Art imitating Life?
The major theme in Elizabeth's Kostova's 'The Historian' is how (the fictional) Dracula, though out history, uses librarians to bird dog research and documentation of his existence, acquires the work, and if the authors do not get the message, they get exsanguinated. Highly recommended to take your mind off things and to not take your mind off things at the same time.
Interesting about the film rights though...
https://en.wikipedia.org/wiki/The_Historian#Film
Life imitating Art?
"The thing that most haunted me that day, however, as I closed my notebook and put my coat on to go home, was not my ghostly image of Dracula, or the description of impalement, but the fact that these things had – apparently – actually occurred. If I listened too closely, I thought, I would hear the screams of the boys, of the 'large family' dying together. For all his attention to my historical education, my father had neglected to tell me this: history's terrible moments were real. I understand now, decades later, that he could never have told me. Only history itself can convince you of such a truth. And once you've seen that truth – really seen it – you can't look away."
The Historian /Elizabeth Kotova / 2005
From wiki:
As Kostova explains, "Dracula is a metaphor for the evil that is so hard to undo in history."For example, he is shown influencing Eastern European tyrants and supporting national socialism in Transylvania. He is "vainglorious, vindictive, [and] vicious". As Michael Dirda explains in The Washington Post, the novel conveys the idea that "Most of history's worst nightmares result from an unthinking obedience to authority, high-minded zealotry seductively overriding our mere humanity." It is in the figure of the vampire that Kostova reveals this, since "our fear of Dracula lies in the fear of losing ourselves, of relinquishing our very identities as human beings".[35] In fact, the narrator is never named in the novel, suggesting, as one critic explains, "that the quest for the dark side of human nature is more universal than specific to a concrete character".
Religion is also a dominant theme of The Historian. Dracula is Christian and, as Bebergal explains, "Much of what is frightening in the novel is the suggestion of heretical Christian practices and conspiratorial monks." Kostova herself notes that the world is still "wracked by religious conflict", therefore historical fiction about the topic is relevant. The portions of the novel set in Istanbul, for example, highlight the extent to which the real Vlad detested the Ottomans, waging holy war upon them. More specifically, Amir Taheri in Asharq Alawsat argues that the novel highlights the relationship between the West and Turkey. The West, which is laden with the "dead" weight of this past (represented by the vampires) needs the help of Turkey (and perhaps the entire Muslim world) to recover. As Taheri points out, one of the most appealing characters in the novel is Professor Bora, a Turkish professor who is part of an ancient Ottoman society dedicated to defeating Dracula. Taheri emphasizes that the novel highlights that "Western civilisation and Islam have common enemies represented by 'vampires' such as postmodernism in Europe and obscurantism in the Muslim world".