Jim Keegstra taught anti-Semitism in his high-school history class for 14 years in rural Alberta. He went way beyond--shall we just say--the curricular guidelines set out by the county, so there was little give in the decision county supervisors should have made to warn him first and then again and then fire him. But, again, it took fourteen years. He had tremendous local support and the school board (and others) were overwhelmed by the popular defense. He taught that the American Civil War was a Jewish plot. He taught that World War II was caused by the Jews and that Hitler didn't kill any Jews. (Where did they go? "Hundreds of thousands went to Madagascar.") He made his students memorize the "fact" of the story of the Illuminati - a sect of Jews in colonial America who were given their instructions by the devil. He taught that John Wilkes Booth was Jewish. When a student wrote in a paper that Lenin and Trotsky were athiestic, he scrawled in the margin that that was incorrect--that they were Jewish, for the communist revolution in Russia was primarily a Jewish plot against the state. He says he most fears "that hard-core communist Jew, the financier, that hard-core rebel, that rabbinical Jew."
"The people who oppose me just do not know their history," says Keegstra.
A Canadian TV magazine - like 60 Minutes - ran a 20-minute segment on Keegstra. It was called "Lessons in Hate." I'm now making this segment available here.
"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 
