As the author states at the outset of this Introduction to the first four volumes of his collected revisionist writings (écrits révisionnistes), they amount to a chronicle of the historical studies that he began not in 1974 but in 1960, and continued till his very last day in October 2018.
It was in 1960 that, perusing the German weekly Die Zeit, Robert Faurisson came upon an article by the head of a leading historical institute that singularly gripped his attention: “No gassing in Dachau”. The significance of this, as he grasped immediately, went far beyond that particular wartime camp (until then unquestioningly acknowledged, even by him, as having been an “extermination gassing center”), for the simple reason that the accusation against Germany of having systematically murdered millions of civilian inmates in gas chambers in numerous other camps – a monstrous crime unparalleled in all history both in its magnitude and its “industrial” character – was made on precisely the same grounds as those regarding Dachau, now admitted to be invalid…
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The explosive question that arose was: “How much of the extermination story can be true?” At the core of that question, another question: “How exactly are the instruments of extermination – the gas chambers – supposed to have functioned?” He then undertook an in-depth investigation into all facets of that story – not yet known as “the Holocaust” –, not only in the confines of libraries and archives but also on the spot at the alleged scenes of the “crime against humanity”. His studies, whose results he started making public in letters to newspapers in 1974, revealed it to be an enormous fraud, the historical lie of our age, an edifice that, imposing though it might be, was built on a foundation of unbridled rumor and the inventions of war propaganda and false witnesses.
In outlining a view on the Second World War afforded by decades of painstaking research to ascertain certain concrete facts, this 40-page piece with which Faurisson presented most of his work as it stood in 1998 serves as a practical introduction to “Holocaust” revisionism itself.