An instance of veracious editing as a form of political activism.The late U.S. Senator Alan Cranston was born in 1914, studied journalism at Stanford and then became a foreign correspondent in order to warn Americans about the rise of fascism. He traveled Europe and North Africa, covering Mussolini and Hitler and Ethiopia for the International News Service, but found himself frustrated with his role as a journalist, as he later recalled in an interview: "I became very concerned about American isolationism, the fact that there were many Americans wanting to have nothing to do with what was happening in the rest of the world," he said. "I didn't want to spend my life writing about such evil people and their terrible deeds; I'd rather be involved in the action."
When he returned to the United States, he saw a translation of Hitler's Mein Kampf for sale and, having read the original, recognized that it had been watered down to make it less worrisome to Americans, he said. So he quickly brought out an unauthorized, fuller translation and sold half a million copies of it for 10 cents apiece until the Third Reich sued him for copyright violation.
A full obiturary of Cranston is available on my Holocaust site.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
