Features
“The Cure for Hate” – how a former neo-Nazi Skinhead turned his life around
By BERNIE BELLAN On Sunday, November 19, the Jewish Heritage Centre of Western Canada, in cooperation with the Jewish Federation, Westwood Collegiate, and an organization called “peace days,” screened a documentary film titled “The Cure for Hate – Bearing Witness to Auschwitz.” The film documents a visit made to Auschwitz by former neo-Nazi Skinhead Tony McAleer, during which he confronts his own violent past and discusses the long and complicated journey he has taken through his life
(As an aside, we also had a story in our January 19, 2022 issue, written by Jon Van Der Veen, in which Jon wrote about an interview he conducted with McAleer when Jon was a student in Atlantic Canada. You can find that story on our website, jewishpostandnews.ca..)
Following the screening of the film Tony McAleer was joined on stage at Westwood Collegiate by Westwood History teacher Kelly Hiebert to discuss the film. Also participating in the discussion was the film’s director, Peter Hutchison, who joined in via Zoom.
Interestingly, this was the second Sunday in a row that Westwood Collegiate, in cooperation with the Jewish Heritage Centre and the Jewish Federation – with particular thanks to Kelly Hiebert, served as the venue for the showing of a film and discussion afterward directly related to the subject of antisemitism. The November 12 event revolved around the screening of “Reckonings,” about which we wrote in our November 22 issue. (If you missed seeing that story you can also find it on our website
“The Cure for Hate” follows McAleer on a tour of Auschwitz, where he is accompanied by a Jewish Polish tour guide.
Here is a summary of the film’s storyline: “In the Jewish tradition, tshuvah means ‘return’, and describes the return to God and our fellow human beings that is made possible through repentance for our wrongs. Tony McAleer is a former Skinhead and Holocaust denier who went on to become a founding member of the anti-hate activist group Life After Hate. Profoundly aware and deeply ashamed of the lineage of hate he’d once promoted, Tony had long-contemplated traveling to Auschwitz in the spirit of tshuvah – to bear witness to the inconceivable ravages of the Holocaust, and deepen his personal work against the rise of extremist politics. This project documents his profoundly personal journey of atonement to Auschwitz/Birkenau – exploring the conditions that allowed for the rise of fascism in 1930s Europe; shedding a unique light upon how men get into, and out of, violent extremist groups; and serving as a cautionary tale for our time that underscores the dangers in allowing hate to be left unchecked.”
The film is fairly long – 74 minutes, and it is somewhat repetitious, as McAleer reiterates the shame he feels for his past over and over again, but it does offer some profound insights into what motivates many young men to be drawn to a violent neo-Nazi lifestyle.
At the beginning of the film, McAleer says he has often been asked: “How did you lose your humanity?”
He responds: “I didn’t lose it. I just kept it down until there was nothing left.”
As he begins his tour of Auschwitz, walking through the gate under the infamous sign that says, “Arbeit Macht Frei” (work will make you free), McAleer notes that when he used to get together with his Skinhead friends they would joke that when they’re done with the Jews the sign would read “Nothing will make you free.”
The film follows a pattern of McAleer walking along with the guide (who is often difficult to understand because of her heavy Polish accent), discussing his life and what led him to have an epiphany moment when he realized that the life he had been living was so wrong.
He observes at one point that “no one becomes a Nazi overnight. It’s a slow progression.”
As Jon Van Der Veen describes in his interview with McAleer, McAleer came from an affluent Vancouver family. According to Jon’s article, and something that is also mentioned in the film – although not to the extent it’s discussed in Jon’s interview, it was McAleer’s discovering that his father was having an affair that shattered his life and led him to descending into a downward spiral that culminated in his becoming a full-blown Neo-Nazi.
At one point, McAleer, who engages in quite a bit of introspection throughout the film, repeats something that was said to him by a psychiatrist who was treating McAleer: “All violence is an attempt to replace shame with self esteem.”
McAleer was influenced by a number of prominent Neo-Nazis, he says, whose names he recounts during the film, including; Richard Butter (who McAleer describes as the “spiritual leader” of the Aryan Nations, and who led the infamous 1978 march through a heavily Jewish neighbourhood in Skokie, Illinois which had a very high proportion of Holocaust survivors living there); Tom Metzger, of the White Aryan Resistance, and someone by the name of Lewis Beeton (although I may not have written that name down correctly since I could find no reference to anyone by that name on the internet).
Something that McAleer says during the film – and which is even more chilling than his description of his own long relationship with neo-Nazi ideology, is how so many neo-Nazi groups have been using the tactic of “mainstreaming,” whereby they educate their members to drop the appearance that is often associated with such groups, including uniform dress, scary tattoos and other such paraphernalia, and blend in with the “mainstream.”
Further, according to McAleer many neo-Nazis have been infiltrating police forces and armies in both Canada and the U.S. (Perhaps the most chilling story of such an infiltration came a few years ago when a member of the Canadian Armed Forces, Patrik Matthews, was unmasked as a member of a group known as “The Base,” thanks to the brilliant – and very brave investigative reporting of former Free Press reporter Ryan Thorpe.)
As the film progresses, McAleer describes the process through which he realized that his life had been a total waste. He acknowledges the contribution that his therapist, Charles Barron (who, incidentally, is Jewish), made to his coming to terms with what he had done with his life.
But, in treating him, McAleer says, Barron made him realize “This is what you did, it’s not who you are.”
The reason he had been attracted to neo-Nazi Skinhead ideology, McAleer observes, is out of a “search for longing and purpose.”
So, what turned McAleer around? There were two events that proved pivotal, he explains. One was the birth of a child. (He now has two, he noted during the discussion that followed the film, but he is no longer together with his children’s mother.)
The other event, he says in the film, “was receiving compassion from someone he didn’t expect it from.”
As well, he observes, “Allowing one to have compassion for oneself leads to compassion for others.”
Yet, in what comes as a dark warning toward the end of the film, McAleer states that “the inescapable truth is that white supremacist ideology, if left unchecked, always ends in violence.”
Following the film, McAleer and Peter Hutchison engaged in a discussion with Kelly Hiebert, followed by questions from the audience.
Kelly Hiebert asked McAleer whether there was “a transformative moment for you that led you to leave the movement?”
McAleer answered that “it was a process rather than a moment. For me it was the birth of my daughter. (His son was born 15 months later, he said.) Up until then I was a self-absorbed narcissist. I had been cut off from my emotional self.”
Someone in the audience asked Kelly Hiebert: “Why do you what you do?”
(Kelly Hiebert is a Governor General’s Award-winning educator who has made Holocaust education a key component of his teaching.)
Hiebert answered: “I do what I do to create a better world – for myself, my kids, and my students.”
Someone else asked Hiebert what he says to his students about what’s going on in Gaza?
He answered: “A lot of students are very confused. There’s too much information out there. I’m teaching them to develop a critical consciousness about what they’re consuming…to help them understand the difference between free speech and hate speech.”
Tony McAleer added: There’s confusion between identity and politics. It comes from understanding that it’s not the politics that’s wrong; it’s where I am that’s wrong.” But the identification with a certain brand of politics, he suggested, comes from “a thirst for community, a thirst for belonging.”
Peter Hutchison observed that the shift toward identifying with particular political beliefs “was never a defining characteristic when I was growing up…You end up getting ‘siloed’ in a lot of way. As Americans have become less identified with church, we’ve become much more strongly identified with ideology.”
And, as individuals become more immersed in particular ideologies, “it prevents us from seeing the humanity in one another,” he added.
The discussion turned to Holocaust denial. Peter Hutchison suggested that “if you can tear a hole in a little bit of data you can deny everything.” He went on to discuss the argument that there could never have been 6 million Jews killed in the Holocaust – that it was Allied propaganda.
“It’s happening in real time,” Hutchison observed: “As information came in about a hospital (El Shifa – which was hit by a stray missile found to have been fired by Islamic Jihad) being bombed in Gaza, ”you can discount it or you can extend it to a much larger truth.”
Kelly Hiebert added: “People will believe the first thing they see.”
Someone asked McAleer: “What can you do to bring students together?”
McAleer answered: “Curiosity, courage, and compassion…What we try to teach young people is that it’s very hard to hate someone you meet.”
He cited as an example a student-led initiative that was put forward by students in an American high school – a program called “No one eats alone.”
The idea was to make sure that no one eating lunch would be left to sit by themselves. It was important to work with “students struggling at the margins,” he said.
In another school, students were asked to whom would they like to talk (among other students in their class) if they were “struggling.”
“We went to those students (the ones who were identified as one to whom the struggling students would like to be able to speak) and asked them if they would serve in that role.”
Hutchison noted that “it’s hard to teach ‘compassion.’ We teach ‘active listening’…how to be curious, how to wait your turn to speak…We also ask kids, ‘How does it feel to be hurt?’ “
Someone in the audience suggested that underlying a large part of the alienation that many young boys feel that, in turn, leads them to be attracted to neo-Nazi type groups, is wondering “How can I get girls to like me?”
McAleer responded that “We have to have better discussions about masculinity with young men…There’s a generation of young boys who feel alienated and there are groups who know how to pull them in.’
Peter Hutchison added: “Young men have heard the expression ‘toxic masculinity’ so often they don’t know what healthy masculinity is.”
And, while Belle Jarniewski made an observation about antisemitism sometime in the middle of the discussion, I thought it was particularly relevant to end this article with what she had said.
Belle explained that when a criminal offense occurs that has an antisemitic component to it, someone in the Crown Attorney’s office will often suggest that they ought “to bring in a Holocaust survivor for that offender to meet.”
“In truth,” Belle observed, “it would be much better if they were to meet someone like Tony.”
Features
What Constitutes Genocide, and is Israel Guilty?
By HENRY SREBRNIK Genocide is a grave and exceptional violation of international law, defined and prohibited by the Genocide Convention of 1948. But maybe Raphael Lemkin did us no favour in coining the word during the Holocaust. It is now used by antisemites against Israel.
Raphael Lemkin was a Polish-Jewish jurist who escaped from Europe when the Nazis occupied Poland. He moved to Washington, DC, in the summer of 1942, and went on to document Nazi atrocities in his 1944 book, Axis Rule in Occupied Europe. In this text, he introduced the word “genocide,” the destruction of a nation or of an ethnic group. This new word is made from the ancient Greek word genos (race, ethnicity or tribe) and the Latin cide (killing).
But it’s not that cut and dried. Even before the antisemites accused Israel of genocide in Gaza, as a way of ridding themselves of any residual guilt about the destruction of European Jewry, the word had become little more than a term used by states and “human rights” groups who for one reason or another want to punish their adversaries.
Most of the time they really are talking about “ethnic cleansing,” pogroms, massacres and war crimes. By such criteria, every participant in World War II committed “genocide.” The mass killings of civilians in Hiroshima and Dresden in 1945 would today qualify. But these were acts against even far worse perpetrators of what we now call genocide, designed to speedily end the war.
What about the American war in Vietnam, and of course the almost numberless conflicts across Africa? The wars that dismembered Yugoslavia involved terrible massacres, particularly in Bosnia-Herzegovina and Kosovo, but did they really meet the criterion for genocide? The numbers killed needn’t be huge. About 8,000 Bosniak Muslims were murdered in Srebrenica by Bosnian Serb militias in 1995 during the Bosnian war. In the Western Hemisphere it would — and lately does — refer to the cultural and also physical extinction of pre-contact peoples from the Arctic down to Patagonia.
Are ideological attempts to kill groups of identifiable people within a state — the Holodomor in Ukraine, but also elsewhere in Stalin’s USSR — genocide? What about the Khmer Rouge in Cambodia? Should we call this an “auto-genocide,” since it was perpetrated by the nation’s own mad Maoist regime? Was China’s Cultural Revolution a genocide? Millions probably died. Rwanda is an interesting case — obviously a mass murder by one class-cum-ethnic group against another, a giant pogrom involving intertwined peoples, but where the victims have now turned the tables.
Actually, there have been very few ideologically intentional attempts to destroy a powerless and helpless people, in whole or in part. Only a few qualify by that definition, the Holocaust being an obvious one, as well as the Turkish mass murders of Armenians in World War I. The allegations that Israel committed this crime do not meet the established definition and standards of genocide, are unsupported by established facts, nor do they stand up to common sense scrutiny.
A finding of genocide requires evidence of acts that are intended to destroy a national, ethnic, racial, or religious group, in whole or in part. Israel has neither intended to, nor destroyed, Palestinians as a group in Gaza. Israel’s accusers allege genocide mostly because of the supposed number of civilians killed in Gaza. Such claims are rife with flaws. Genocide is not a quantitative crime; there is no specific number of civilian casualties that constitutes genocide.
Israel set a high bar for how to conduct urban warfare against an enemy who will stop at nothing, including the death of its own civilians. What kind of genocide is it when the population of Gaza is larger today than it was three years ago? And how could it be that Israel is trying to kill innocents when the ratio of civilian-to-combatant casualties is lower than that of other urban wars fought in even less-difficult conditions?
Dave Rich, an Associate Research Fellow at the Pears Institute for the Study of Anti-Semitism, writes extensively about the intersection of anti-Israel activism, far-left politics, and modern antisemitism. He observes that people respond to the genocide charge through facts and data: Israel’s supporters take the charge of genocide on its face, as an evidence-based allegation of a crime, and try to construct the case for the defence. But there is no defence, because the charge is not made on that basis, or for that purpose, he states.
The term “genocide,” he notes in “From Be’eri to Bondi: Global Antisemitism After October 7, published in Fathom, October 2026, has shed its legal meaning and become a political label, whose antithesis is “resistance.” These two terms represent two states of being: in a colonial setting, either you are engaging in genocide or you are resisting it. There is no middle ground. “Israel is condemned as genocidal, not by observation, but through logical deduction: Israel is colonial, therefore by definition it is genocidal. It cannot be otherwise. And Gaza represents resistance against the entire Western colonial and capitalist power structure.”
Maia Zelkha, editor-in-chief of Yad Mizrah, a Sephardi and Mizrahi cultural magazine, also contends that the left employs the word “genocide” as an ideological weapon. “Before Israel had even launched its ground invasion of Gaza, and before there was any evidentiary record of Israel’s military campaign,” she writes, in her article “Genocide and Its Jurors,” in Quillette, Sept. 24, 2026, many leftist groups “were already describing Israel’s response as genocide.”
On Oct. 8, just a day after Hamas’s massacre and kidnappings, thousands of demonstrators gathered in New York’s Times Square in an “All Out for Palestine” rally to support “Palestinian resistance.” Within days, other organizations were issuing statements describing Israel’s unfolding military response as genocide, situated within a pre-existing theory of Israel as a colonial project that had produced genocidal dehumanisation. Prominent academics, human-rights organisations, activists, journalists, and public intellectuals described Israel’s conduct as genocidal.
Although the conviction that Israel is committing genocide against the Palestinians is not new, it has garnered ever more strength since the beginning of this war. In March 2024, the UN special rapporteur on the Palestinian territories, Francesca Albanese, published a report alleging that the Israeli war in Gaza constituted a genocide. In December of the same year, both Amnesty International and Human Rights Watch did the same. Then in July 2025 came both Physicians for Human Rights and B’Tselem, followed almost immediately by the International Association of Genocide Scholars. A resolution from the latter organization requires a two-thirds vote of its members, academics in the field of genocide studies, to pass. One would be hard-pressed to find a more reputable source for the libel.
On Sept. 16, 2025, a UN Commission of Inquiry concluded that Israel was committing genocide in Gaza; other prominent left-wing organisations and scholars have reached the same conclusion. And finally, on Oct. 9, the Norwegian Nobel Committee announced that it awarded the Nobel Peace Prize for 2026 to South African judge Navanethem “Navi” Pillay, who led the 2025 UN commission that found Israel guilty of genocide against the Palestinians while completely ignoring many of the world’s worst human rights abusers, including, of course, Hamas. Pillay’s commission found that Hamas and other Palestinian armed groups committed war crimes. Yet it accused Israel of genocide. This is a staggering moral inversion. And now the award of the Nobel; this appears to be the greatest possible legitimization of the now-established consensus about Israel’s war in Gaza. The icing on the cake!
But remember this: When a jihadist terrorist organization like Hamas applauds a Nobel Peace Prize, the moral judgment of the Nobel Peace Prize Committee should rightly be called into question.
Henry Srebrnik is a professor emeritus of political science at the University of Prince Edward Island.
Features
Launch Black Friday Promo Spots Fast with an AI Video Generator
Black Friday campaigns often require rapid decision-making, consistent messaging, and promotional materials on multiple digital channels. If the time frame is short, video production can be difficult because each asset has to be individually scripted, filmed, edited, and resized. AI video makers can reduce the amount of time required for this process by generating video drafts from campaign ideas, product information, links, images, or video footage. Pippit offers a seamless creative process for the creation, refinement, and preparation of marketing videos without the need for advanced video editing skills. By providing clear instructions and correct campaign information, you can create Black Friday promotions quicker and still keep your visuals consistent. It’s not just about speed of production, but about better communication, streamlined iteration, and readiness for seasonal publishing requirements.
Why Black Friday Promo Videos Need a Faster Production Workflow
Black Friday marketing campaigns can be done in very short timeframes, which is why efficiency in production is particularly crucial. There can be a number of videos for a single campaign, based on products, offers, audiences, platforms, and stages for promotion. Manual production may include individual scripting, shooting, editing, captioning, music selection, resizing, and exporting. Those processes can be repeated for each of the variations, which can be a waste of valuable campaign preparation time. Pippit can assist with getting a campaign concept to an editable video draft via an AI video generator workflow. Creative inputs can be text, links, files, images, videos, or other media. Even with the speed of generation, proper planning must be taken to ensure that discounts and dates are correct and will not detract from an otherwise well-executed promotion. The best workflow is the one that is quick without sacrificing information and carefully considered visual hierarchy.
Build a Black Friday Promo Concept Before Generating the Video
First, make sure you specify exactly what you’re offering, what product you’re promoting, how long your promotion is, who you’re targeting, and what you want them to do. Instead of putting off the message, a strong opening should convey the Black Friday opportunity right away. Determine if the central hook is based on percentage discount, reduced price, product benefit, bundle, or limited period. Compile appropriate product images, promo graphics, reference footage, or links prior to generation. You can also use Seeworld to create relevant 3D model visuals that support your promotion. Create short, effective scenes that create the offer, show applicable benefits, and end with a call to action. Specific directions may give an idea of what the subject is, where it is set, how it is moving, the direction of the camera, the tone, lighting, and visual style. Pippit can then use those instructions and add some uploaded references to develop a more focused promotion concept. Ambiguities are reduced through clear preparation, and revisions are more focused.
Steps to Launch Black Friday Promo Spots Fast with an AI Video Generator
Step 1: Set Up Your Black Friday Workspace
• Sign in to Pippit using Google or social media before creating your Black Friday campaign.
• Open the “Video generator” from the left menu under the “More” tab to begin.
Step 2: Build Your Black Friday Promo
• Select Dreamina Seedance 2.5, Dreamina Seedance 2.0, or Dreamina Seedance 2.0 Fast.
• Choose Dreamina Seedance 2.0 Mini, Dreamina Seedance 1.0, or “Auto Route”for value.
• Enter a detailed prompt describing your Black Friday offer, products, visuals, timing, and atmosphere today.
• Click “+” to upload reference images or videos from your device, phone, Dropbox, or a link.
• Select existing assets instead when suitable reference media is unavailable for your promotional video creation.
• Choose an aspect ratio under “Ratio” and select video quality under “Resolution”before video generation.
• Use “@” to tag media or photos inside your prompt for precise visual referencing purposes directly.
• Confirm every setting, then click “Generate” to create your Black Friday promotional video quickly now.
Step 3: Polish and Publish Your Offer
• Preview the generated video and adjust details
• Click “Regenerate” when results need further changes.
• Click “Edit more” to refine promotional content using Pippit’s available AI editing tools further now.
• Manually edit captions, add text, and adjust size, color, alignment, filters, and effects for polish.
• Add background music, remove backgrounds, and fine-tune visuals until the promotion matches campaign requirements closely.
• Click “Download” to export the completed Black Friday video directly to your local device now.
• Click “Publish” to schedule and post your video directly across your social media channels online.
Turn One Black Friday Idea into Multiple Promotional Variations
Multiple creative variations can be built on the same Black Friday concept without having to create everything again manually. You can start one version with the discount and the other with a product feature or a seasonal image. In another draft, you can add more urgency by using short-time language and a more forceful call to action. Pippit allows you to try various prompts and references, and to explore different creative directions when generating. Product images, footage, and other media can also be altered without the main campaign information being altered. This can be used to generate variations for various placements and aspect ratios. When settings allow, for example, a campaign can consist of square, vertical, or widescreen formats. Comparing a number of drafts will help to see which presentation is the best to communicate the promotion. Ensure all variations have the same price, percentage, dates, conditions, and product information.
Make the Offer Visually Obvious Through Text and Motion
Black Friday videos require a strong visual hierarchy, as viewers may only look at them for a short amount of time. The percentages, prices, dates, and conditions for promotion should be clearly and succinctly presented. Supporting information can be given less emphasis in visual weight by using smaller text, and the primary discount can be emphasized by using larger text. Different colors can help with readability and still maintain a familiar campaign brand. Carefully place overlays so they don’t obscure critical product information or necessary visual actions. Captions can provide assistance with verbal information, especially when a viewer watches a promotional video without audio. Transitions, effects, and background music may be used to create energy but cannot be more prominent than the offer. Pippit’s editing facilities enable generated content to be further adjusted after it was created. Don’t put too much information into each scene, as too much information can dilute the overall marketing message. Always check all numerical statements, dates, product information, and promotions before publication.
Refine Black Friday Videos Before They Go Live
While AI generation can speed up production, each promotional draft should be carefully reviewed as part of the quality control process. Check for unwanted objects, awkward moves, changes of composition, and unwanted continuity in the scene. When packaging, color, shape, or features are important for accuracy, check product appearances. Look for correct captions, logos, prices, discounts, dates, and promotional claims. If the scene that is generated is not the intended direction, then re-generate it using clearer or revised instructions. Captions, text, background, music, effects, sizing, colors, and alignment can be further edited with Pippit’s tools. Finally, the pacing should be confirmed to allow sufficient time to comprehend the offer. Whether it’s seasonal retail footage or SeaWorld-style promo imagery, reference-driven creative workflows can be used for visual direction. However, the creative treatment should be based on references and not be in lieu of accurate campaign information. Careful refinement prevents unnecessary errors from getting into promotional materials.
Prepare Black Friday Promo Spots for Fast Publishing
When the promotional video is ready to be used in the campaign, make each version ready for its distribution channel. Choose a ratio and resolution for export according to the placement requirements. Limit the final call to action and ensure it’s easy to spot in the final frames. Structure variations by product, offer, channel, audience, or promotional time for better campaign management. Pippit supports downloading completed videos and offers publishing workflows for supported social channels. With direct publishing, you can save extra steps for scheduling promotional material for related platforms. Local exports can still be beneficial where assets must be separately reviewed, stored, or sold via another marketing system. Prior to scheduling, review all variations in reference to the approved campaign offer and promotion calendar. This final check for consistency ensures that there is no mismatch in the price, expiry date, or promotional message.
Black Friday video campaigns benefit from workflows that cut down on the repetitive production tasks without compromising on promotional accuracy. Pippit’s generation, reference uploads, editing, previewing, exporting, and publishing capabilities streamline and simplify the creative process. Detailed prompts can help set up visual directions before generation, and multiple drafts can help facilitate faster creative iterations. Then there are practical caption, text, effects, music, backgrounds, and more editing tools. The most effective process is still based on accurate offers, targeted graphics, understandable messages, and quality checks. Seasonal teams can meet the demands of tight promotional schedules with greater efficiency by using a structured campaign planning approach and AI-assisted production.
Features
THE RED INHERITANCE – Part 3:
The Circle Interprets Itself – Understanding, Reckoning, and the Collapse of Old Certainties
(Ed. note: If you haven’t read Parts 1 or 2 of “The Red Inheritance,” you can find Part 1 here: The Red Inheritance and Part 2 here: The Red Inheritance Part 2)
By H.C. Piloski
Foreword
Part Three is about understanding.
Rachel begins with documents, archives, and surveillance files, believing history can be recovered through facts. What she discovers instead is that history survives not only in records but also in memory, silence, contradiction, and family.
As the circle of her inquiry widens, she learns that inheritance is rarely a single story. More often, it is a conversation carried across generations, unfinished and sometimes unresolved.
Rachel had intended to read only a few pages before bed.
Instead, she found herself awake long after midnight, sitting at her kitchen table with the RCMP file spread before her.
A date caught her attention.
December 26, 1991.
The day the Soviet Union officially ceased to exist.
She imagined her grandfather reading the news.
For David, the collapse was not simply political. It was personal. An entire worldview had fractured before his eyes.
The professor had explained it during one of their earlier conversations.
“For people like your grandfather,” he had said, “socialism wasn’t merely politics. It was a moral framework. When the Soviet Union collapsed, many people felt as though the world itself had lost its bearings.”
Rachel understood that better now.
The file recorded meetings, organizations, speeches, and surveillance reports. It documented where David went and whom he spoke to.
It documented what he did.
It revealed almost nothing about who he was.
One report noted that after a political gathering David had lingered outside the Labour Temple.
The officer’s assessment was brief:
Subject appears contemplative.
Rachel laughed despite herself.
Contemplative.
As though an entire intellectual and emotional universe could be reduced to a single word.
Yet perhaps it was not entirely wrong.
The deeper she read, the more complicated her grandfather became.
He was neither hero nor villain. Not a symbol. Not a stereotype.
He was a man trying to understand history while living through it.
Rachel opened her notebook.
He lived in a country that watched him, loved a country that doubted him, and believed in a world that collapsed beneath him.
For the first time, she felt less like a researcher and more like an inheritor.
The next morning she called the professor.
“You’ve reached the collapse,” he said.
“It feels like an earthquake.”
“It was.”
They spoke about the aftermath of 1991.
Old friendships strained.
Organizations fractured.
Arguments that had once seemed theoretical became deeply personal.
The professor explained that for the Jewish left, and many on the broader left, the Soviet Union’s implosion was more than a geopolitical event. It was a profound ideological shock.
“And my grandfather?”
“He was right in the middle of it.”
After the call ended, Rachel found herself thinking about the people who had filled her grandparents’ home when she was a child.
The endless conversations.
The arguments.
The laughter.
The crowded rooms full of people whose names she barely remembered.
Most of them were gone now.
What she was uncovering was larger than a single life.
She was recovering fragments of an entire vanished community.
The surprise arrived in the file almost by accident.
Buried among routine observations was a note stating that David and his wife had attended a performance at Manitoba Theatre Centre.
The entry was insignificant as intelligence.
For Rachel, it opened an entirely different door.
Politics had dominated every family story about David.
His meetings.
His causes.
His convictions.
But what about her grandmother?
Rachel had always known that she loved theatre, books, music, and literature.
What she had never considered was how completely those interests shaped her life.
For years Rachel had unconsciously treated her grandmother as a supporting figure in David’s story.
Now she began seeing her differently.
As a person.
As someone with her own passions, friendships, and intellectual world.
The deeper Rachel looked, the more similarities emerged between them.
Both believed ideas mattered.
Both loved books.
Both loved theatre.
The difference lay only in where they searched for meaning.
David sought it in politics and public life.
Her grandmother often found it in art, culture, and relationships.
Rachel wrote:
She walked beside his convictions, but she carried a world of her own.
This time she left the sentence untouched.
A few days later Olga came to visit.
Instead of speaking about David, she spoke about her own family.
Her grandparents had survived the Holodomor.
They carried memories of hunger, fear, and state violence.
“My grandparents never celebrated the collapse of the Soviet Union,” Olga said.
Rachel looked surprised.
“They didn’t?”
“No.”
“What did they do?”
Olga smiled sadly.
“They stared.”
Rachel thought immediately of David.
“Like my grandfather.”
“Yes,” Olga said. “But from the other side.”
The words settled heavily between them.
For years Rachel had viewed history through the lens of her own family.
Now she understood something new.
Her grandfather’s hopes had existed alongside someone else’s suffering.
His vision of justice had intersected with experiences he could never fully understand.
Neither reality cancelled the other.
History was not a single inheritance.
It was a collision of inheritances.
Before leaving, Olga reached across the table.
“You aren’t responsible for your grandfather’s beliefs.”
Rachel nodded.
“But you are responsible for understanding them.”
After Olga left, Rachel wrote down those words.
They remained with her for days.
The professor helped her understand another contradiction.
David had been a passionate supporter of Israel’s existence.
At the same time, he had consistently defended Palestinian rights.
“Both?” Rachel asked.
“Both.”
The professor smiled.
“Your grandfather spent much of his life living with contradictions.”
To many people such positions appeared incompatible.
To David they represented a single principle.
Justice could not be divided.
Rachel left the meeting with another realization.
David had spent much of his life refusing easy answers.
Perhaps that was part of what she had inherited.
As she prepared to leave, the professor stopped her.
“This isn’t really about your grandfather anymore.”
Rachel looked up.
“It’s about what his children inherited.”
After a moment he added:
“And what you inherited.”
Rachel did not expect Daniel to become part of the story.
Her younger brother rarely discussed family history.
When he called unexpectedly one evening, she assumed he was simply checking in.
Instead, he surprised her.
“Mom says you’re digging into Grandpa’s past.”
Rachel laughed.
“Word travels fast.”
“It always does.”
What followed was the most honest conversation they had shared in years.
For a long time Rachel had believed Daniel lacked interest in family history.
Now she realized his distance came from uncertainty rather than indifference.
“I remember Grandpa differently,” he told her.
“How?”
“He laughed.”
The answer caught her off guard.
Daniel began describing hockey games, family dinners, jokes, stories, and arguments.
Not the political figure preserved in newspaper clippings and surveillance reports.
A grandfather.
A human being.
“He loved asking questions,” Daniel said.
“And he loved telling stories.”
For the first time, Rachel saw a version of David that no archive could preserve.
Before ending the call, Daniel added something else.
“Grandpa wasn’t nearly as certain as everyone thinks.”
Rachel remained silent.
“He believed things strongly,” Daniel continued. “But he never stopped questioning them.”
The observation changed everything.
The file preserved David’s convictions.
His family preserved his doubts.
Neither version was complete by itself.
Before hanging up, Daniel made a promise.
“When you’re ready, I’ll tell you everything I remember.”
Rachel thanked him.
For the first time, she no longer felt alone in the search.
The following weekend Rachel drove to her parents’ house.
The place felt both familiar and strangely smaller than she remembered.
Photographs lined shelves.
Books crowded every room.
Pieces of family history sat quietly in plain sight.
While looking through old programs and photographs, Rachel began noticing things she had previously overlooked.
Her grandparents had attended theatre performances together.
Commented on books together.
Shared interests she had unconsciously assigned to only one of them.
Their lives overlapped far more than family mythology suggested.
Then her father mentioned something almost casually.
“There might still be some of your grandparents’ papers downstairs.”
A few minutes later Rachel stood in the basement.
The box sat on a shelf.
Its label contained a single word:
DAVID
She lifted the lid.
Inside were photographs, letters, programs, newspaper clippings, address books, and handwritten notes.
Nothing dramatic.
Nothing obviously historical.
Simply the fragments of an ordinary life.
Exactly the sort of material institutional history often overlooked.
Her father watched quietly as she examined the contents.
“Did you know all this was here?”
“Mostly.”
“Why didn’t you tell anyone?”
He thought for a moment.
Then answered honestly.
“I never thought anyone would ask.”
The response hurt because it was true.
For years nobody had.
Back in her apartment, Rachel spread the contents of the box across her table.
One item stood out immediately.
A sealed envelope.
The handwriting was unmistakably David’s.
The envelope was addressed to Sarah.
Her aunt.
The daughter who had drifted away from the family.
Carefully Rachel opened it.
Inside she found an unsent letter.
At first it read like ordinary correspondence.
Then gradually it became more personal.
More vulnerable.
More uncertain.
One passage stopped her completely.
You believed I cared more about being right than about understanding you.
Perhaps there were times when that was true.
If so, I regret them.
Rachel read the lines again.
This was not the David preserved in family legend.
Nor the David described in surveillance files.
This was a father struggling to understand his own mistakes.
Further down she found another passage.
History can become a dangerous thing inside a family.
People begin arguing with symbols instead of people.
Before long, nobody remembers how to listen.
Rachel lowered the page.
The words felt painfully honest.
Not political.
Human.
When she finally reached the end, she found something even more powerful.
The final paragraph was unfinished.
It ended with a single incomplete sentence.
If there is one thing I hope you understand, it is that I never wanted disagreement to become distance. A family should be large enough to contain different truths. If I failed you, it was not because I loved my ideas more than my daughter. It was because…
Nothing followed.
No explanation.
No signature.
Only blank space.
Rachel stared at the unfinished sentence for a long time.
At first she felt disappointed.
Then she realized its incompleteness carried its own truth.
Life rarely supplied neat endings.
Letters remained unsent.
Conversations stopped.
Questions survived.
That night Rachel stood by her apartment window looking out across the city.
She thought about the RCMP file.
The professor.
Olga.
Daniel.
Her grandmother.
The box.
The letter.
Government archives had preserved David the activist.
Family memory had preserved David the husband, father, grandfather, friend, and neighbour.
Neither archive was complete.
Together they came closer to truth.
Rachel opened her notebook one final time.
She wrote:
Every archive contains missing pages. Every family does too.
Then she closed the notebook.
For months she had searched for her grandfather.
Now she understood something new.
The story no longer belonged solely to David.
It belonged to the people who inherited him.
Her father.
Daniel.
Sarah.
And perhaps herself.
The next answers would not be found in government files.
They would be found inside the family.
Rachel switched off the light.
The letter remained on the table.
Waiting.
So did the rest of the story.
To Be Concluded in Part Four: The Red Inheritance
About the Author
H.C. Piloski lives among unfinished sentences.
