Category Archives: Holocaust

Students at SOAS told that Zionists paraded dead and mutilated Arab bodies through Jerusalem.

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There is currently a hate-filled anti-Israel exhibition in the library at SOAS. It has been up since October 25th and finishes on November 30th. During this time thousands of SOAS students will have been subjected to sick lies about Israel.

One exhibit is a cake filled with M16 bullets supposed to represent the time an Arab girl baked a cake for her sister in “Fawwar refugee camp near Hebron” in 1967.

The exhibition is called Memory Metamorphosis: An Exhibition of Palestine Remembered. The exhibits are based on interviews with Palestinians.

The exhibition will transfer to the Menier Gallery from 5th to 9th December when it will be sponsored by anti-Israel charity War On Want.

The introduction to the exhibition states:

“There are 6 million Palestinians living in the diaspora; most were displaced or expelled over the past 68 years by war and occupation. When a people’s history, culture and existence are being altered, erased or appropriated, holding onto their memories and creating their own historical record…is empowering and can be seen as an act of resistance.”

This 6 million figure is highly questionable and no proof is supplied. 6 million is, however, the number of Jews murdered in the Holocaust so one has to ask whether the real aim here is to create a shameful Holocaust equivalence.

Another exhibit, by Father Khader N. El-Yateem, titled A Longing Heart is a picture of hearts pricked with thorns. The description contains the statement:

“Life in Palestine has a lot of unique characteristics…Unfortunately, this life has been marred by the Israeli occupation, its checkpoints and the racist separation wall, which upsets the mood of anyone coming back to visit after a long absence.”

Obviously absent is the narrative that Israel had to build the wall to stop Hamas blowing up Israeli teenagers outside nightclubs like the Dolphinarium where 21 Israeli younsters were murdered.

On Thurdsay night I went to a discussion at SOAS about this exhibition chaired by SOAS lecturer Rafeef Ziadah. On her panel were two of the artists; Jacqueline Reem Salloum and Suhel Nafar. Also on the panel was Hazem Jamjoum from New York University.

Jamjoun explained that someone they tried to interview for the exhibition had lived in Deir Yassin. Jamjoun told the audience what apparently happened there:

“There was a retributory attack on Deir Yassin. The bodies of the people who were killed and mutilated were then paraded around the Zionist neighbourhoods of western Jerusalem. It was a very intentional psychological warfare of getting stories of murder, rape and killing pregnant women to go far because it would scare and was extremely effective.”

A new book describes there being nothing of the sort having happened at Deir Yassin.

Jacqueline Reem Salloum told us how upset she was seeing Israelis cooking falafel which she described as being “our food”. She needs reminding that Jews have been living in Israel for over 2,000 years so it has been Israeli food also. She also told us that her cake exhibit was made of decommissioned bullets bought off the internet. So not even Israeli bullets, which kind of defeats her point.

She said they’d eventually expand the exhibition to include interviewees from Syria, Iraq and Yemen. I doubt that will come to fruition. Why would they want to dilute their anti-Israel propaganda?

Meanwhile it’s unsurprising War On Want are involved, again wasting resources that should be going to those in need on sick political agitprop instead. And the Menier Gallery is complicit in this by its hosting.

Banksy-inspired film that demonises Jews is shown at SOAS.

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Jews are about to be demonised in the soon to be released From Balfour To Banksy, a new documentary film by Martin Buckley. In it Jews are portrayed as Nazis, thieves and thinking they’re the superior race.

Buckley is ex-BBC and now senior lecturer in journalism at Southampton Solent University. In From Balfour To Banksy, which was shown at SOAS on Monday night, he interviews Palestinians living next to Israel’s security wall. His cameraman/editor is Alexander Wilks, a 23-year-old graduate just out of film school. The producer is Miranda Pinch, a Christian-believing Jewish woman.

Soon into the film we hear a Palestinian describe Gaza as a “child concentration camp”. This evokes the image of Jews as Nazis.

We are also sold the lie that “Jewish-only highways feed the settlements”. Then, after more accusations that Israel is an “apartheid state”, Buckley says:

“It’s surely amazing that Israel, built by the survivors of Hitler’s Holocaust, could be accused of the notorious human rights violation that scars South Africa. But for over a decade critics outside and inside Israel, Jews as well as Arabs, have been accusing Israel’s right-wing governments of practising apartheid. Shocking as the accusation of apartheid is it has serious formal backing.”

In Jerusalem Buckley then finds a Jewish-Israeli family who invite him over for dinner. One of the family members tells Buckley that Israeli children are taught in school: “We are the chosen ones, everyone else is beneath us.” This false accusation is an antisemitic trope.

The scene moves to Tel Aviv where we are told “Palestinians have lived for hundreds of years”, eventhough Tel Aviv was founded in 1909. Buckley interviews Palestinian students at Tel Aviv University.  The claim is made that TAU is built over a Palestinian village.

A student tells him that when Palestinians had left their houses in Tel Aviv Jews simply chose which ones they wanted to live in. She said they “found gold and money” in these houses. It was also claimed that Palestinians are not allowed to tend their graves there.

There were some disturbing scenes of Israeli soldiers hitting Palestinians. The scenes were possibly culled from the websites of Breaking The Silence and B’Tselem. We are not told what, if any, criminal action was taken against the soldiers.

These scenes end with Israeli soldier Elor Azaria shooting dead a Palestinian terrorist in Hebron. It merely looks as if Azaria has shot dead an innocent Palestinian. There is no explanation, no context and no information about Azaria’s manslaughter conviction and jail sentence.

In another scene Buckley stands in front of a building and claims that on its balcony a Palestinian child was shot dead. We don’t get to see who the child was or learn his or her name, just that the child was “taken out” by an Israeli soldier.

Buckley then stays at Banksy’s Walled Off Hotel in Bethlehem. It’s situated next to the security wall. The hotel contains, inter alia, a statue of Lord Balfour and cheesy souvenirs from England like Lady Diana bric-a-brac. Buckley thinks this symbolises “the little Englandism of Brexit”.

The film ends claiming Israel “sells weapons to dictatorships and rogue regimes”.

Throughout the film there is no criticism whatsoever of Hamas and other Palestinian terror groups or interviews with Israeli victims of their bombings which would put the security wall in context.

During the Q&A I asked Buckley whether he found the reference to Gaza being a “child concentration camp” offensive. He merely answered that what was offensive was Palestinians living behind a wall.

He also said that many Palestinian views didn’t make it into the film for fear of offending. I’m not sure what could be more offensive than considering Gaza a “child concentration camp”.

With about 10 minutes left of the Q&A things got heated. Eventually some Israeli flags came out and Am Israel Chai was sung. I’m happy to report myself and others then had some decent discussions with other audience members.

Meanwhile, Wilks would do himself a favour by splitting from Buckley and Pinch while the film is still a rough cut. Its vile antisemitic rhetoric shouldn’t see the light of day again.

The Guardian provides a platform for Daniel Barenboim to slam Israel.

Last week Aditya Chakrabortty interviewed Israeli, or to be more accurate Israeli and Palestinian, conductor Daniel Barenboim for the Classical music section of the Guardian.

In his article headlined “Daniel Barenboim on ageing, mistakes and why Israel and Iran are twin brothers” Chakrabortty included political views which would have been more at home in an opinion piece than the Classical music section.

Barenboim conducts the West-Eastern Divan Orchestra, a mix of Israeli and Arab musicians, which played at the London Proms last week prompting a 5 star review by the Guardian’s Andrew Clements. The review was delightfully free of politics.

Barenboim’s interview with Chakrabortty  goes into how and why the Orchestra came together in the first place, the perfectionist that Barenboim is, how hard he works his musicians and questions whether the Orchestra is actually achieving anything positive.

Then the interview enters its gratuitous political mode. After describing the insults Barenboim received after playing Wagner, the Nazis’ favourite composer, in Israel Chakrabortty writes

“For his part, the musician has called the Israeli occupation of Gaza and the West Bank “immoral” and backed a boycott of the Israeli government.”

I fail to see any connection between playing Wagner in Israel and what happens in Gaza and the West Bank but, for the record, Gaza is certainly not occupied after Israel withdrew in 2005. The European Court of Human Rights has said so and even Hamas, which is in full control of Gaza, admits it. Hamas has even been showing off how nice Gaza actually is.

I will give Barenboim the benefit of the doubt that he may have been referring, in error, to Israel’s legal naval blockade of Gaza but even then ships can dock at Ashdod and have goods transferred overland to Gaza after security checks.

And what did Barenboim mean when he “backed a boycott of the Israeli government”? This is the government Israelis voted in. Barenboim is proposing boycotting their democratic decision.

Chakrabortty writes that Barenboim holds “both Israeli and Palestinian nationalities” so why is Barenboim not calling for a boycott of the Palestinian government with its incitement against Jews via its Prime-Minister and official television outlet?

For Israel’s enemies “a boycott of the Israeli government” actually means a boycott of anyone who receives Israeli government support, which is why so few Israeli artists have visited the UK in recent years after the Israeli Philharmonic Orchestra in 2011, Israel’s national theatre company in 2012 and Israel’s youth dance company also in 2012 had their London performances viciously interrupted by anti-Israel protesters.

Does Barenboim support these disruptions?

The interview then discusses Barenboim’s attempts to take his Orchestra to Tehran. Barenboim states:

“The Iranian government still denies the Holocaust – so you can’t take them seriously. And the Israeli government spreads rumours and disinformation about Iran – because it needs to for the creation of panic. I find these theological states – and in this respect Israel and Iran are twin brothers – very, very dangerous.”

Again, what is the connection? How can Barenboim seriously equate Holocaust denial from a government that hangs gays and Israeli government politics?

Let me provide the following possible explanation.

Anyone that plays Wagner at Israel’s premier music festival in Jerusalem and, in doing so, causes so much hurt and pain to Holocaust survivors will have no qualms selling out Israel in such a way to the Guardian.

(Also published at UKMediaWatch)

Guardian highlights film in which Palestinians play Anne Frank.

Henry Barnes, site editor of theguardian.com/film, recently wrote about Anne Frank: Then and Now “starring Palestinian girls reading from the German-born Jew’s diary” which, quoting Deadline.com, Barnes described as a “clandestine cultural breakthrough” because it was secretly shown in Iran.

According to Barnes it “was filmed during the 2014 Israel-Gaza conflict. The film is split between an educational documentary about Frank’s time hiding from the Nazis in occupied Holland and excerpts from the diary acted by two Israelis and eight Palestinian girls, one of whom performs in front of the rubble from an Israeli airstrike.”

The main aim of Croatian director Jakov Sedlar seems to be to “help spread information about the events of the Holocaust in Iran” and Arab countries.

This is a noble aim but why use Palestinian actors in Gaza? Why not just show, for example, Son of Saul which is the most explicit portrayal of the Holocaust imaginable.

Anyone viewing Anne Frank: Then and Now without any knowledge of the Holocaust will be left with the strong impression that the Palestinians are going through the same as the Jews did under the Nazis. The title of the film strongly implies that also.

My experience is that for anti-Israel activists one of their main planks of activism is comparing the Palestinians to the Jews in Nazi Germany and invoking Anne Frank. This tactic is, sadly, ubiquitous.

One of the worst examples was at an event attended by now Labour leader Jeremy Corbyn MP and the then Labour shadow justice minister Andy Slaughter MP where Love Letters to Gaza were read out on stage by actors. Here is a verse from one poem and here’s my clip of it:

“It is not now the Nazi state but Israel that blocks the seas.
It is not Auschwitz that stops the ship that carries hope and messages,
But those that might have died there.”

Then there is Caryl Churchill’s Seven Jewish Children that portrays the Jewish people slowly metamorphosing from victims under the Nazis into oppressors of the Palestinians. The play was staged by the Palestinian Solidarity Campaign at the Polish Centre in London.

And here is my clip of an activist in parliament saying that Palestinian children are suffering worse than Anne Frank did.

This is par for the course of anti-Israel activism and I have witnessed many more examples of which this film seems to be, sadly, another.

I would like to be proved wrong about Anne Frank: Then and Now. I have not seen it in full. We have been provided with just one clip which the Guardian imbeds into Barnes’ piece. No other British newspaper seems to be highlighting this film, although the Israeli media is writing about its having been shown secretly in Iran.

But, for me, the biggest alarm bells about the film’s veracity are in Deadline.com which Barnes links to:

deadline guardian then and now

So David Robb of Deadline.com writes that as a Gazan actor speaks her lines “two men in gas masks run behind her”.

Maybe Robb, or Barnes for that matter, could explain to us the following: how could the cast and crew carry on filming if there was a need for gas masks to be worn by others in their immediate vicinity?

(also published at UKMediaWatch)

Tariq Ali: “The end of Israel will benefit all Israelis.”

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Arthur Goodman, Lindsey German, Walter Wolfgang, John Rose, chairperson, Weyman Bennett, Tariq Ali at ULU last night.

Just when you think you have heard it all along comes Tariq Ali to lecture Israelis on how the end of the Jewish state will benefit not only Palestinians but Israelis as well.

For Ali the main problem in Europe isn’t anti-Semitism but Islamophobia. He admitted there was some anti-Semitism in the Arab world but it was only brought about by reaction to Israel and that once Israel has disappeared antisemitism will disappear.

Ali was speaking last night at the University of London’s Student Union in front of an audience of 300 alongside anti-Israel author John Rose, Weyman Bennett of Unite Against Fascism, Lindsey German of Stop the War Coalition, Arthur Goodman of Jews for Justice for Palestinians and “As a Jew” activist Walter Wolfgang .

The main message of the evening was that antisemitism is being used merely to attack Labour leader Jeremy Corbyn and to silence all criticism of Israel (aka the Livingstone formulation). Both John Rose and Ali then went on to explicitly call for the demise of Israel.

On entering we were handed an unsigned leaflet headed “Labour Jews Assert” which stated that “Some people…are wielding ‘antisemitism’ allegations as a stick to beat the Corbyn leadership”. Luckily, Jonathan Hoffman was on hand to circulate printed copies of the EUMC Working Definition of Antisemitism. EUMC shows that what these people claim isn’t antisemitism actually is!

Arthur Goodman said it wasn’t surprising that people conflate Jews and Israel when the British Jewish establishment says all Jews support Israel and Netanyahu says Israel represents all Jews.

He said that Jewish groups shouldn’t be allowed to define what antisemitism is as they have a vested interest. He called for an objective definition instead before going on to outrageously claim that Israel “ethnically cleansed” the Palestinians in 1948.

Goodman said that although the same had happened to the indigenous people of America their dispossession had finished long ago so it was wrong to revive any such similarity today. And he said for most UK Jews a love of Israel is part of their identity and so they see criticism of Israel as criticism of them.

Weymann Bennett said that Left was in the forefront of fighting antisemitism and gave as an example UAF’s protests against the leader of Jobbik when he visited the UK and he said similar protests will take place when Marine Le Pen visits.

Lindsey German didn’t like the fact that Israel’s new Ambassador Mark Regev was immediately allowed on Andrew Marr’s BBC show and said that this is going to happen a lot now (I hope she’s right!).

And she said that Zionism is a political ideology criticism of which should be allowed. She also said that many Jews do not support what Israel does (she didn’t say many Muslim people also don’t support what the Palestinians do).

Walter Wolfgang told us he was speaking “As a  Jew”. He gave us his own history of Zionism; he quoted Ahad Ha’am who, he said, wanted merely a cultural as opposed to a political centre in historic Israel, he (wrongly) claimed that in 1948 the Palestinians were “driven out of their habitations” and he (wrongly) asserted that Jabotinsky wanted Israel established by force of arms.

Wolfgang wanted Israel to exist but within the (indefensible) 1948-1967 ceasefire lines and a just settlement for “Palestinian refugees”.

The villains with the biggest lies of the evening were John Rose and Tariq Ali.

Ali (wrongly) claimed it was Israeli government policy to brand everyone who criticises Israel as antisemitic (see clip 1 below).

He also said that the way the Holocaust is “taught as a unique crime is not that helpful” because there were other crimes like in the Congo and if these other crimes are not taught in schools then no one will understand what the Muslims are suffering today (clip 2). And he continued:

“If what is being done with Muslim communities today were being done to the Jews again how many would tolerate it? Very few. And these are the double standards.” (clip 2)

He said that antisemitism is used to stop any campaigning against Israel but if there was a so-called one state solution then antisemitism and criticism of Israel would disappear and that Israelis and their children and grandchildren would benefit (clip 3).

Rose said he had spoken to an Israeli archaeologist who said the “Palestinians had all become Islamic terrorists”. This, Rose claimed, was symptomatic of the levels of racism in Israeli society today (clip 4).

Rose wanted (clip 5) there to be one person-one vote for Israelis and Palestinians including the so-called Palestinian refugees (90% of whom are not refugees at all by the way). Obviously Israelis would be outvoted so Rose is basically calling for the establishment of a 57th Muslim state in place of the only Jewish one.

Rose claimed that calling for a so-called one state solution isn’t antisemitic. However, in my opinion, denying the Jewish people their only state in their historic homeland (even when it could still be alongside a Palestinian one) can only be antisemitic especially when a boycott of Israel is also called for.

The superb Jonathan Hoffman took to the microphone during the Q&A to articulate Israel’s case under immense pressure (clip 6).

Last night there was no mention of Hamas and Hezbollah and their genocidal intent to destroy Israel and every Jewish person worldwide. Neither was it mentioned that Hezbollah flags are openly on display at Palestine Solidarity Campaign and Stop The War Campaign protests in London and that the Holocaust is flagrantly traduced.

This tells you ALL you need to know about PSC and STWC types however “anti-racist” they try to claim they are.

Relevant clips from last night:

Clip 1

Clip 2

Clip 3

Clip 4

Clip 5

Clip 6

Why you might not want to donate to Sport Relief (especially if you’re Jewish).

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War On Want Executive Director John Hilary at anti-Israel rally in 2014.

Today is Sport Relief (brought to us by Comic Relief) with millions of people throughout the country raising money for charity. It is set to dominate the BBC TV tonight.

It is a tragic question but one has to ask how much of these funds are used properly?

Comic Relief makes grants to certain charities one of which is War On Want whom I have been writing about for many years now and, in particular, its executive director John Hilary.

John Hilary’s War On Want has been spending War On Want time and precious resources on targeting one specific country; Israel. You know, the country that also happens to be the only Jewish one.

John Hilary’s behaviour has seen War On Want used to invade Sainsbury’s with activists removing Israeli produce from the shelves, produce fake guns so anti-Israel students can parade around campuses pretending to be Israeli soldiers, and sponsor meetings where speakers have suggested, inter alia, that Israel harvests organs from dead Palestinians and that “Palestinians live in apartheid ghettos“.

All disgusting lies of course with the sole intent of demonising the Jewish state.

A recent War On Want press release again talks of “Israeli Apartheid”. The accusation that Israel practices apartheid is a disgusting lie that only minimises the seriousness of the actual practice of apartheid.

One can also buy clothes on War On Want’s website with horrific anti-Israel slogans on them (see below).

And above you can see keffiyeh wearing John Hilary at an anti-Israel rally in 2014 which even attracted one anti-Israel demonstrator wearing a shirt comparing “Palestine” to the Nazi concentration camps Auschwitz and Dachau (see below).

One might have hoped Comic Relief would have relented from funding charities which squander scarce resources on crude, vulgar and racist political activism, but in response to its letter to Comic Relief Israel Advocacy Movement received this response:

Dear Joseph,

Thank you for your email and for bringing your thoughts to our attention.

As part of our commitment to pursuing our vision of a just world free from poverty, Comic Relief provides a number of grants to organisations that work to support slum dwellers and street vendors in some of the world’s most disadvantaged communities, as part of our People Living in Urban Slums programme. This includes grants to three projects run by War on Want – two projects in South Africa and one other in Kenya. Comic Relief has never made a grant to projects in, or relating to, Palestine or Israel and is not involved with War on Want’s campaigning work in this area.

The projects we fund War on Want to carry out help slum dwellers and street vendors to secure lasting improvements in their working and living conditions, avoid exploitation and get their voices heard in local issues such as housing and access to basic services such as water, sanitation and electricity.

We closely monitor all our grants to ensure the money is spent to good effect as outlined in the grant application and are reassured that the funds we have given to War on Want have been spent on appropriate project activities. As our grant-making policies state, we do not fund campaigning work that takes a partisan political stance. Comic Relief takes particular care to respect the guidance and regulation set out by the Charity Commission of England and Wales and the Office of the Scottish Charity Regulator around funding political activity and we expect all charities we fund to do likewise.

So, thank you once again for bringing your thoughts to our attention, but we are satisfied that the work we are supporting War on Want to do is making a real difference to the lives of slum dwellers and street vendors in Kenya and South Africa.

Best wishes,

Mark Hoult-Allen
Head of Grants Operations
——
Comic Relief

As you can read Comic Relief admits to continuing to fund War On Want and although the funding might not relate directly to anti-Israel political activism Comic Relief’s grant allows War On Want to divert resources that should have been used to help slum-dwellers to projects that demonise Israel instead.

At a time of rising anti-Semitism in the UK it is a shame that Comic Relief/Sport Relief funding is indirectly contributing to War On Want’s continued demonisation of the Jewish state and possible further attacks on British Jews.

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At same anti-Israel rally as War on Want’s Executive Director John Hilary in 2014.

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Currently available on War On Want’s website.

 

 

Author Tom Sperlinger: “Poem about ‘Zionist SS’ is not anti-Semitic.”

Tome Sperlinger reading from his Romeo and Juliet in Palestine on Thursday.

Tome Sperlinger reading from his Romeo and Juliet in Palestine on Thursday.

Tom Sperlinger is the author of a new book Romeo and Juliet in Palestine: Teaching Under Occupation. He launched the book last Thursday at Blackwell’s bookshop in the Institute of Education.

Sperlinger is Reader in English and Community Engagement at the University of Bristol and this is his first book. He has also been a regular contributor to the Guardian on education issues and his new book was reviewed in that very newspaper.

In 2013 Sperlinger taught English literature at the Abu Dis campus of Al Quds University for a term. The book is an account of his time there and the affinity he built up with Palestinian students while teaching them works like Hamlet and Romeo and Juliet.

Zero Books, his publisher which also published Gilad Atzmon’s anti-Semitic book The Wandering Who?, are selling it as an academic memoir with important questions like: “What does it mean to read under occupation? What might such encounters reveal about the nature of pedagogy and the role of university?”

However, from what I read of the book at the event it is just another anti-Israel diatribe which will now go into bookshops and libraries and onto student reading lists.

Before going into Sperlinger’s account of his time at Abu Dis the book opens with the usual biased account of Israel’s creation. Anti-Israel author Ilan Pappe is heavily quoted and Sperlinger mentions Ali Abunimah and Jeff Halper, both anti-Israel propagandists, for their writings on the so-called one state solution.

Sperlinger goes on to describe an Israeli soldier kicking a Palestinian child as the child is going to visit his father’s grave (P. 108). He also describes how he helped in the translation of the play Seven Jewish Children when it is staged by Palestinian students at Abu Dis (P. 65).

Seven Jewish Children is a very short anti-Semitic play which portrays Jews as slowly metamorphosing from being victims of the Holocaust into baby-killers.

When I put this to him Sperlinger didn’t agree Seven Jewish Children is anti-Semitic. He also didn’t agree that a poem by Tom Paulin is anti-Semitic.

Paulin has given an endorsement of Romeo and Juliet in Palestine for its front cover. I questioned Sperlinger about the poem and whether he might consider having Paulin’s endorsement removed in light of it. Sperlinger said he didn’t find Paulin’s poem anti-Semitic.

Here’s Paulin’s poem with its preceding quote as printed in the Guardian in 2001:

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CAMERA pointed out at the time: “While he (Paulin) condemns Zionists as Nazi murderers, his usage of the term “dumb goys” echoes Hitler’s similar use of it in Mein Kampf.”

The CAMERA article states that the quote chosen by Paulin to precede his poem is also anti-Semitic.

Considering Sperlinger is a Reader in Community Engagement it would have been reassuring for the Jewish community to think that he at least had a problem with “Zionist SS”, “dumb goys”, “Zionists…nosing after blood” and Seven Jewish Children.

Sadly, it seems, this isn’t the case.

Blackwell's selling Sperlinger's book with Tom Paulin's endorsement on front cover.

Blackwell’s selling Sperlinger’s book with Tom Paulin’s endorsement on front cover.

Blackwell's know their audience.

Blackwell’s know their audience.