On Wednesday, J.K. Rowling implicitly denied that transgender individuals were targeted and that books about them were burned in Nazi Germany. This assertion contradicts abundant evidence that transgender people were among the first targeted by the Nazis' rise to power in Germany. This culminated in the looting of the Magnus Hirschfeld Institute of Sexology and the infamous burning of the initial decades of transgender healthcare research, as well as the internment, forced detransition, and murder of transgender citizens. When confronted with numerous scholarly sources, she instead linked to another thread that labeled the first transgender patient a "troubled male.”
The claims emerged after Rowling argued that doctors providing gender affirming care to transgender youth should face prison time. She also advocated for imprisoning leaders of Stonewall and Mermaids, charities serving transgender and queer individuals. Recently, the author has adopted more extreme positions regarding transgender people, including describing a prominent transgender woman and journalist in the United Kingdom as "A man…cosplaying."
Holocaust
“Genocide becomes ambient to their lives”: that is how Glazer has described the atmosphere he attempted to capture in his film, in which his characters attend to their daily dramas – sleepless kids, a hard-to-please mother, casual infidelities – in the shadow of smokestacks belching out human remains. It’s not that these people don’t know that an industrial-scale killing machine whirs just beyond their garden wall. They have simply learned to lead contented lives with ambient genocide.
It is this that feels most contemporary, most of this terrible moment, about Glazer’s staggering film. More than five months into the daily slaughter in Gaza, and with Israel brazenly ignoring the orders of the international court of justice, and western governments gently scolding Israel while shipping it more arms, genocide is becoming ambient once more – at least for those of us fortunate enough to live on the safe sides of the many walls that carve up our world. We face the risk of it grinding on, becoming the soundtrack of modern life. Not even the main event.
Glazer has repeatedly stressed that his film’s subject is not the Holocaust, with its well-known horrors and historical particularities, but something more enduring and pervasive: the human capacity to live with holocausts and other atrocities, to make peace with them, draw benefit from them.