The Yiddish poet Chaim Grade survived World War II by fleeing his city, Vilna, now Vilnius, and wandering through the Soviet Union and its Central Asian republics. His wife and mother stayed behind and were murdered, probably in the Ponary forest outside Vilna, along with 75,000 others, mostly Jews. After the war, Grade moved to the United States and wrote some of the best novels in the Yiddish language, all woefully little known.

Before he left for America, however, he went back to Vilna, previously a center of Eastern European Jewish cultural, intellectual, and religious life—“the Jerusalem of Lithuania.” In his memoir, My Mother’s Sabbath Days, he describes what he found there. The impossibility of conveying in ordinary Yiddish the experience of walking through the empty streets of one’s eradicated civilization pushes Grade into a biblical register. His mother’s home is intact, he writes, but cobwebs bar his entry “like the angels with flaming swords who barred Adam and Eve from returning to Eden.”

Later, he goes to the Synagogue Courtyard. With its impressive library, ritual bath, and houses of worship great and small, it was the Lithuanian Jerusalem’s functional equivalent of the Holy Temple. Now the courtyard lies in ruins, and in his anguish, Grade’s voice takes on the proclamatory cadences of a prophet. Not just any prophet but, I think, Ezekiel, the subject of an early poem of his. Ezekiel did his prophesying from exile before and after the destruction of the First Temple in the Babylonian conquest of 586 B.C.E., another defining cataclysm in Jewish history. In Ezekiel’s most famous vision, he sees a valley full of dried bones and, channeling the words of God, raises the bones, creating an army of the resurrected. Grade wouldn’t have encountered bones—the Nazis ordered Ponary’s corpses to be dug up and burned during the war—but from under the heaps of stones come prayers, “all the prayers that Jews have uttered for hundreds of years.” He hears them without hearing them, because what screams, he says, is the silence.

[Chris Heath: A secret diary of mass murder]

Grade was born in 1910, came to the U.S. in 1948, and died in New York in 1982; he devoted the second half of his life to re-​creating the universe wiped out in the first half. He turned to prose, a form better suited than poetry to inventorying the psychological and material conditions of a complex and divided society, and he developed an almost Flaubertian passion for detail. His main subjects were poor Jews—he himself grew up in a dark cellar behind a smithy—and the hermetic world of Lithuanian Misnagdic rabbis and their yeshivas, which relatively few Yiddish writers of the time knew or wrote much about. Scholarly and strict about Jewish law, Misnagdic Jews looked down on the anti-intellectual, antinomian mysticism of Hasidic Jews. If your image of Old World Jewry comes from Grade’s contemporary Isaac Bashevis Singer, with his kabbalists, dybbuks, and elaborate rabbinic courts, swap in Lithuanian Talmudists conducting self-critique and doing pilpul—close textual analysis—in spartan houses of study.

Grade’s father was a maskil, an intellectual who adhered to the Haskalah, or Jewish Enlightenment, movement. But the general penury that followed World War I reduced him to working as a night watchman, and he died young, leaving Grade’s mother to support herself and Grade by selling fruit. She sent him to a yeshiva mostly because she could afford it, but also because she was devout. There he was trained in musar, a particularly rigorous—you might even say puritanical—strain of Misnagdic Judaism.

Grade studied rabbinics into his 20s, then turned secular and became a member of Young Vilna, a now-legendary group of leftist, modernist Yiddish writers. Although he never became a practicing Jew again, he didn’t turn against his teachers and their maximalist approach. On the contrary, Grade observes their fictional counterparts with a knowing, sometimes cynical, but always loving eye. He doesn’t ridicule them, at least not unduly, nor does he apologize on their behalf, and their single-minded pursuit of Torah can be inspiring.

Grade’s novels aren’t oracular, the way the section on postwar Vilna in his memoir was. But his ambition is still biblical. I don’t think the word overreaches. The Torah, thought to have been compiled over centuries in response to catastrophes and traumas, including that same Babylonian exile, is also a product of the impulse to preserve memories and knowledge all but lost in a calamity, lest the dispersed Jews forget who they’d been. Grade considered his undertaking a sort of holy assignment. “I’ve always found it strange that I have so little faith and yet believe, with complete faith, that Providence saved me and allowed me to live, in order to immortalize the great generation that I knew,” he wrote in a letter in 1977.

Another striking feature of Grade’s fiction is that it almost never acknowledges the imminent annihilation of the world it so meticulously reconstructs—as if by ignoring that obscene fact, he could annul it. “The mission of his prose after the war is to undo the Holocaust through literature, if you can imagine such a thing,” the historian David Fishman, a friend of Grade’s and lifelong champion of his work, said at a 2012 conference on the writer at the Yiddish Book Center.

The risk writers run when they set out to memorialize is that they’ll produce memorials, not literature. Grade didn’t do that. His novels jam almost too much life into their pages. That’s not a criticism, because the streets of prewar Jewish Eastern Europe also jostled and overflowed; Grade’s prose mimetically reproduces the way Jews thronged in their tight quarters. His major accomplishment, though, is at the level of the individual characters. They’re vortices of ambivalence, anxious and raw and at odds with themselves, hypercritical yet hypersensitive, repressed but not undersexed, subject to delusions of grandeur or abasement or both in turns. On the whole, they’re good people. They scheme and bicker and get on one another’s nerves, and yet they have deep family feeling, and few of his protagonists wholly free themselves from a yearning for contact with the divine. The dominant emotion in a Grade novel is tortured loyalty.

Sons and Daughters is Grade’s last novel, and the most recent of his fictional works to be translated and published. He wrote it in weekly installments that appeared in Yiddish newspapers, with intermittent interruptions, from 1965 to 1976. When he died a few years later, Grade had adapted some of the columns into the first volume of a novel, but hadn’t finished the second. Neither the first nor the uncompleted second volume saw the light of day until they were brought out this year as a single novel in an English translation by Rose Waldman.

Sons and Daughters unfolds during the early 1930s, primarily in shtetls in what was then Poland and is now mostly Lithuania and Belarus. It tells the stories of two families of rabbis that are fragmenting under the pressure of modernity. The rabbis, both of high repute, belong to different generations and display differing levels of stringency—the stricter is a grandfather; the other, his son-in-law, is more lenient but by no means lax. Both expect their own sons to become rabbis too, or at least Torah scholars, and their daughters to marry men of the same ilk. I can’t emphasize enough the intensity of the obligation felt by Jewish parents of the time to make sure that they vouchsafed a life of Torah to their children.

Predictably, the children have other ideas. One daughter, loving but stubborn, leaves for Vilna to study nursing. The youngest son, the darling of both families, upsets his father and grandfather by openly aspiring to join the halutzim, or Zionist pioneers; the pious Jews of the day abhorred Zionists because they had the audacity to try to found a state in the Holy Land without the intervention of the Messiah. Even worse, Zionists cast off religious strictures, dressing immodestly and eating treyf (nonkosher) food. The most treyf of the sons is not a Zionist, though. He goes to Switzerland for a doctorate in philosophy, marries a non-Jewish Swiss woman, and doesn’t circumcise their son. Whether his parents realize the extent of his apostasy isn’t clear. The way the family avoids talking about it, you might think that confronting it directly would kill them.

The theme of intergenerational conflict may sound familiar to anyone who is acquainted with Sholem Aleichem’s canonical “Tevye the Milkman” stories, or has seen Fiddler on the Roof, which is based on them—or, for that matter, has read Ivan Turgenev’s Fathers and Sons, or even D. H. Lawrence’s Sons and Lovers. The battle between parents and wayward children is the archetypal plot of modernization. But Grade has his own approach to it. Sholem Aleichem, the most important figure in the late-19th-century Yiddish renaissance, tells it from the father’s—Tevye’s—point of view. As Ruth Wisse points out in her study of Sholem Aleichem in The Modern Jewish Canon, all of his contemporaries writing on the same topic, in Yiddish or Hebrew or a non-Jewish language, more or less side with the rebels.

Grade doesn’t wholeheartedly endorse the values of either generation, though he is slightly more sympathetic to the parents. That makes sense: Nothing strengthens the case for tradition more than its destruction. The parents draw us into their earnest struggle to repress their horror at their children’s deviations from religious norms. The wife of the younger couple plays deaf and lets disturbing information slide by. Her husband, Sholem Shachne Katzenellenbogen, makes a valiant effort not to recriminate; he blames himself for his children’s choices. Would that he were a simple Jew in a poor village, Sholem Shachne thinks. Then he wouldn’t have spoiled his children.

His father-in-law, the more severe Rabbi Eli-Leizer Epstein, is not in the habit of second-guessing himself, and he will be harshly punished for his dogmatism by a deranged son. The son is his father’s fiendish double, an antic, self-loathing imp who, loudly proclaiming his adoration of Eli-Leizer, makes a mockery of him. This character may be Grade’s most magnificently grotesque creation, half demon, half schlemiel. His get-rich schemes end in disgrace; his marriage to a wealthy heiress bankrupts and breaks her. They move back to his hometown, ostensibly to run a store selling fancy china bequeathed to her by her father (which no one in the poor village wants, and which will soon be smashed to pieces), but really to stalk his father and demolish his reputation. Eli-Leizer comes to understand that his son’s aim is to hold up a hideously distorting mirror before him, “bringing him untold humiliation with the mimicking of his piety and his zealotry.”

Eventually parents and children start to soften toward each other, but because Grade didn’t finish the second volume, we don’t know for sure whether or how he would have resolved the tensions. In any case, as readers know even if the characters don’t, the Germans would occupy eastern Poland in a few short years, making all other concerns irrelevant. In the background, Grade tracks the whirlwind of history as it picks up speed. Jewish socialist youth groups parade through the marketplace and put on a tumbling show that highlights their muscular and shockingly exposed limbs (they wear shorts). More menacingly, anti-Semitic Polish-nationalist hooligans have mounting success enforcing a boycott against Jewish merchants in villages across the region. All of this really happened in the ’30s.

Toward the end of the book, Grade unites life and fiction in the character of a lapsed yeshiva bocher (student) named Khlavneh who has become a Yiddish poet. He is the fiancé of Sholem Shachne’s daughter, the one who went to Vilna to study nursing. Lest we fail to grasp that Khlavneh is a self-portrait, Grade drops hints. The daughter, for instance—an attractive, spirited woman, perhaps the most appealing figure in the novel—is named Bluma Rivtcha, a rhyming echo of Frumme-Liebe, the name of Grade’s murdered first wife, also a nurse and also the daughter of a rabbi.

Bluma Rivtcha brings Khlavneh home to meet the family. Over Shabbos dinner, the brother who moved to Switzerland and no longer observes Jewish laws ridicules him for writing poetry in “jargon”—that is, Yiddish, the bastard language of the uneducated Jew, “a common person, an ignoramus, a boor”—rather than in Hebrew, and for thinking that he and his fellow Yiddish writers could capture the spirit and poetry of Jewish life without following Jewish law themselves. Khlavneh refutes the brother in a brilliant show of erudition, then concludes: “You hate the jargon boys and girls because they have the courage to be different from their fathers and grandfathers, even to wage battles with their fathers and grandfathers, and yet, they don’t run away from home.” The father, who everyone thinks will be offended by a guest’s outburst at the Sabbath table, laughs in delight. Grade, having fashioned a world in which the old fights mattered, now gets to win them.

In Grade’s lifetime, he was considered one of the most important living Yiddish novelists—by those who could read Yiddish. When Isaac Bashevis Singer won the Nobel Prize in Literature in 1978, some fellow Yiddish writers believed it should have gone to Grade instead. (In a 1974 review, Elie Wiesel had called him “one of the great—if not the greatest—of living Yiddish novelists,” and “the most authentic.”) But he never received the wider recognition he deserved. In 1969, Cynthia Ozick published a short story in Commentary called “Envy; or, Yiddish in America,” which paints a comi-tragic picture of a literary universe that has room for only one famous Yiddish writer. An obscure Yiddish poet in New York named Edelshtein rages against an old friend and enemy—Ostrover, another Yiddish writer in New York—who is internationally acclaimed for his colorful tales of love and sexual perversion, dybbuks and other folkloric creatures. In a harassing late-night call, Edelshtein howls at Ostrover that the murder of Yiddish has turned him into a ghost who doesn’t even know he’s dead.

[From the January 1979 issue: Lance Morrow on the spirited world of I. B. Singer]

Ostrover is Singer, of course, and Edelshtein could have been Grade. Some scholars think he was; others say he was modeled on another forgotten genius, the poet Jacob Glatstein. Ozick herself once said that she’d based Edelshtein at least partially on an uncle, a Hebrew poet. Whichever writer she had in mind, it was a pitch-perfect portrayal of Grade’s situation. And he suffered an additional indignity: His name was posthumously all but erased by his widow, Inna. For whatever reasons, including possible mental instability, she foiled almost every attempt to publish his work, whether in Yiddish or in translation. After his death, she signed a contract with his English-language publisher Knopf to bring out Sons and Daughters (under a different title, The Rabbi’s House), but then she stopped responding to the book’s editor and the project stalled. His unpublished work became available to the public only after she died, in 2010.

In the four decades since Grade’s death, Yiddish has had a revival. Chairs in Yiddish have been endowed at major universities. Klezmer is cool. The number of haredim, or ultra-Orthodox Jews, who grow up speaking Yiddish has risen and keeps rising: The haredi community has the highest rate of growth in the Jewish world. To be sure, none of this guarantees that Grade will finally get his due. As a rule, haredim don’t engage with secular texts. And many of those who learn the language in college or read it in translation are drawn to it because it’s coded as politically and sexually radical. In the old days, Yiddish—especially written Yiddish—was associated with women, who were not taught Hebrew. Yiddish literature and theater had their golden age in the late 19th and early 20th centuries, when a Jewish left and a Jewish avant-garde defiantly embraced the then-stigmatized dialect. Today, it appeals to some in search of an alternative Judaism: Yiddish is not Hebrew, and therefore not Israeli. In the latest twist in the singular history of Yiddish, it has become the emblematic language of Jewish diasporism, the quest to reinvent a Judaism without a Jewish homeland.

Grade’s work, however, is not radical. He dabbled in socialism in Vilna, but then he encountered Soviet Communism. He wrote sympathetically about women and created formidable female characters, but his protagonists are mostly male (as is rabbinic society), and I wouldn’t call him a feminist. Nor does Grade’s account of life in prewar Europe support the diasporist claim that Jews would be perfectly safe without a state.

In the introduction to Sons and Daughters, Adam Kirsch calls it “probably the last great Yiddish novel.” In all likelihood, he’s right, but I like to think that a vibrant Yiddish literary culture just might emerge from the ranks of the religious, as it did in 19th-century Europe. Ex-haredim such as Shalom Auslander are writing remarkable memoirs and novels. Admittedly, they’re in English. Any real renaissance of the Yiddish novel would require a critical mass of native Yiddish speakers and writers, who almost certainly would have to come from ultra-Orthodox enclaves—which is not unimaginable. Hasidim are already producing historical and adventure novels in Yiddish.

In 2022, the Forward ran an essay by Yossi Newfield, who was raised as a Hasidic Jew, about his discovery of Grade’s novel The Yeshiva: “The struggles Grade so masterfully described between faith and doubt, between Torah and the world, in his words, di kloyz un di gas, were my own.” Intentionally or not, Newfield echoed something Grade wrote in a letter in 1973: “The writer inside me is a thoroughly ancient Jew, while the man inside me wants to be thoroughly modern. This is my calamity, plain and simple, a struggle I cannot win.” The struggle may be an affliction, but it fueled Grade’s masterpieces. Who knows? The next great Yiddish novelist may be growing up in haredi Brooklyn right now.

This article appears in the April 2025 print edition with the headline “The Last Great Yiddish Novel.”

Before it burned, Charlie Springer’s house contained 18,000 vinyl LPs, 12,000 CDs, 10,000 45s, 4,000 cassettes, 600 78s, 150 8-tracks, hundreds of signed musical posters, and about 100 gold records. The albums alone occupied an entire wall of shelves in the family room, and another in the garage. On his desk were a set of drumsticks from Nirvana and an old RCA microphone that Prince had given to him at a recording session for Prince. A neon Beach Boys sign—as far as he knows, one of only eight remaining in the world—hung above the dining table. In his laundry room was a Gibson guitar signed by the Everly Brothers; near his fireplace, a white Stratocaster signed to him by Eric Clapton.

Last month, the night the Eaton Fire broke out, Charlie evacuated to his girlfriend’s house. And when he came back, the remnants of his home had been bleached by the fire. The spot in the family room where the record collection had been was dark ash.

I’ve known Charlie for as long as I can remember. He and my father met because of records. In the late 1980s, Charlie was at a crowded party in the Hollywood Hills when he heard someone greet my father by his full name. Charlie whipped around: “You’re Fred Walecki? I’ve been seeing your name on records.” Dad owned a rock-and-roll-instrument shop, and musicians thanked him on their albums for the gear (and emotional support) he provided during recording sessions. Charlie was a national sales manager at Warner Bros. Records and could rattle off the B-side of any record, so of course he’d clocked Walecki appearing over and over again. Growing up, I thought every song I’d ever heard could also be found on Charlie’s shelves; his friend Jim Wagner, who once ran sales, merchandising, and advertising for Warner Bros. Records, called it the Rock and Roll Hall of Fame West.

Charlie’s collection started when he was 6. He had asked his mother to get him the record “about the dog,” and she’d brought back Patti Page’s “(How Much Is) That Doggie in the Window?” No, not that one—he wanted a 45 of Elvis’s recently released single, “Hound Dog.” He’d cart it around with him for the next seven decades, across several states, before placing it on his shelf in Altadena. At age 8, he mowed lawns and shoveled snow in his hometown outside Chicago to afford “Sweet Little Sixteen,” by Chuck Berry, and “Tequila,” by the Champs; when he was 9, he got Ray Charles’s “What’d I Say.” And when he was 10, he walked into his local record shop and found its owner, Lenny, sitting on the floor, frazzled, surrounded by piles of records. Every week, Lenny had to rearrange the records on his wall to reflect the order of the Top 40 chart made by the local radio station WLS. Charlie offered to help.

“What will it cost me?” Lenny asked.

“Two singles a week.” Charlie held on to all of those singles, and the paper surveys from WLS, too.

When he was 12, he bought his first full albums: Surfin’ Safari, by the Beach Boys; Bob Dylan’s eponymous debut; and Green Onions, by Booker T. and the M.G.s. He entered a Wisconsin seminary two years later, hoping to become a priest. There, he and his friends found a list of addresses for members of Milwaukee’s Knights of Columbus chapter, and sent out letters asking for donations—a hi-fi stereo console, a jukebox—to the poor seminarians, who went without so much. Radios were contraband, but Charlie taped one underneath the chair next to his bed, and at night, while 75 other students slept around him, he would use an earbud to listen to WLS. “And I would hear records, and I would go, Oh my God, I gotta get this record. I have to. ” Seminarians could go into town only if it was strictly necessary, so he’d break his glasses, and run between the optometrist and the five-and-dime. That’s how he got a couple of other Beach Boys records, the Kinks’ “Tired of Waiting for You,” and the Lovin’ Spoonful’s “Daydream.”

Charlie dropped out of seminary in 1967, at the end of his junior year. All of those five-and-dime records had been in his prefect’s room, but when he left, the prefect was nowhere to be found. So, Charlie got a ladder, wriggled through a transom, and got his collection, stored in two crates which had previously contained oranges. (“Orange crates held albums perfectly,” he told me.) Then he hitchhiked to San Francisco and grew his hair out just in time for the Summer of Love. He moved into a commune of sorts, a 16-unit apartment building with the walls between apartments broken down, and got a job hanging posters for the Fillmore on telephone poles around the Bay Area. He’d staple up psychedelic artwork advertising Jefferson Airplane, Sons of Champlin, the Grateful Dead, or Sly and the Family Stone. (He still had about 75 of those posters.) He worked at Tower Records on the side but would hand his paycheck back to his boss: The money all went to records. Anytime one of his favorites—Morrison, Mitchell, Dylan, the Beach Boys—released a new album, he’d host a listening party for friends. When he moved back to Chicago, his music collection took up most of the car. The record store he managed there, Hear Here, would receive about 20 new albums every day to play over the loudspeakers. When Charlie heard Bruce Springsteen’s first album (two before Born to Run), he thought it was such a hit, he locked the shop door. “Until I sell five of these records,” he announced, “nobody is getting out of this store.”

Next, Charlie worked his way up at a music-distribution company, starting from a gig in the warehouse (picker No. 9). Later, at Warner Bros. Records, he’d work with stores and radio stations to help artists sell enough music to get, and then sustain, their big break. To sell Takin’ It to the Streets, he drove with the Doobie Brothers so they could sign albums at a Kansas City record shop; to help Dire Straits get their start, he lobbied radio stations to play their first single for about a year until it caught on. He was also on the shortlist of people who would listen to test pressings of a new album for any pops or crackles, before the company shipped the final version. Charlie held on to about 1,000 of those rare pressings, including Fleetwood Mac’s Rumours and Prince’s Purple Rain.

He moved to Los Angeles in the ’80s to be Warner’s national sales manager, and in 1991, he bought his home on Skylane Drive, in Altadena. Nestled in the foothills, the area smelled of the hay for his neighbors’ horses. Along the fence was bougainvillea, and in his yard, a magnificent native oak that our families would sit beneath together. He started placing thousands of his albums on those shelves in the family room, overlooking that tree.

In Charlie’s house, a record was always playing. He had recently papered the walls and ceiling of his bathroom with the WLS surveys he started collecting as a child, in his first record-store job. Every record he pulled off the shelf came with a memory, he told me. And if he kept an album or a memento in his house, “it was a good story.”

A gold record from U2, on the wall next to the staircase: “All bands, when they first start off, they’re new bands, and nobody knows who they are, okay? … I went up with U2, on their first album, from Chicago to Madison, and they played a gig for about 15 people, and then we went to eat at an Italian restaurant. I went back to the restaurant a couple years later, and the same waitress waited on me, and I said, ‘Wow, I remember I was in here with U2.’ And she goes, ‘Those guys were U2?’ I was like, ‘They were U2 then and they’re U2 now.’”

In the kitchen, a poster of Jimi Hendrix striking a power chord at the Monterey Pop Festival: “Seal puts his first record out, and I have just become a vice president at Warner Bros. And I go to my very first VP lunch, and I announce, ‘Hey, this new Seal record is going to go gold.’ The senior VP of finance says, ‘You shouldn’t say that. Why would you make that kind of expectation?’ And I’m like, ‘Because I know with every corpuscle in my body it’s gonna go gold’ … So we make a $1 gentlemen’s bet. About six weeks later, it’s gold.” At the next lunch, he asked the finance executive to sign his dollar bill. Just then, Mo Ostin, the head of the label, walked in and heard about their wager. “Mo said, ‘So Charlie, is there something around the building that you always liked?’ I was like, ‘Well, that Jim Marshall poster of Hendrix.’ And he goes, ‘It’s yours.’”

*Illustration sources: RCA / Michael Ochs Archive / Getty; Stoughton Printing / Jay L. Clendenin / Los Angeles Times / Getty; Warner Brothers / Alamy; Sun Records / Alamy

He was among the richest men in the world. He made his first fortune in heavy industry. He made his second as a media mogul. And in January 1933, in exchange for a political favor, Alfred Hugenberg provided the electoral capital that made possible Adolf Hitler’s appointment as chancellor. Before Hugenberg sealed his pact with Hitler, a close associate had warned Hugenberg that this was a deal he would come to regret: “One night you will find yourself running through the ministry gardens in your underwear trying to escape arrest.”

In my recent book, Takeover: Hitler’s Final Rise to Power, I chronicled the fraught relationship between the tyrant and the titan, but my story ended in January 1933, so I did not detail the subsequent impact on Hugenberg’s fortunes, let alone the catastrophic consequences that lay ahead for other corporate leaders, their companies, and their country.

In the ’20s and early ’30s, the Hitler “brand” was anathema to capitalists and corporate elites. His National Socialist German Worker’s Party was belligerently nationalistisch but also unapologetically sozialistisch—a true Arbeiter Partei, or “working man’s party.” Its 25-point political platform explicitly targeted bankers and financiers, calling for “breaking the bondage of interest,” as well as industrialists who profited from wartime production. Profits were to be confiscated by the state without compensation, and corporate executives charged with treason. Platform Point 13 was explicit: “We demand the nationalization of all existing corporate entities.”

Through the 1920s, businessmen preferred to place their political bets with conservative, centrist, business-friendly politicians, such as those in the Center Party or the Bavarian People’s Party or the right-wing but decidedly pro-business German Nationalists. Out of necessity, then, the National Socialists had to derive most of its financing via storm troopers standing on street corners begging for contributions and from admission fees to Hitler rallies. Among the exceptions to this were socialites—Viktoria von Dirksen, Helene Bechstein, Elsa Bruckmann—who were smitten with Hitler. But the most significant exception was Fritz Thyssen.

Thyssen, heir to one of Germany’s leading industrial fortunes, had been an early financier of the Nazi movement. He first met Hitler in the autumn of 1923 after attending a beer-hall rally. “It was then that I realised his oratorical gifts and his ability to lead the masses,” Thyssen recalled in his 1941 memoir, I Paid Hitler. “What impressed me most, however, was the order that reigned in his meetings, the almost military discipline of his followers.” Thyssen provided the party, by his own estimate, approximately 1 million reichsmarks—more than $5 million today—and also helped finance the acquisition and refurbishment of a Munich palace as the Nazi Party headquarters. Most important, Thyssen arranged for Hitler to speak to his fellow industrialists in Düsseldorf on January 27, 1932.

Hitler sits next to Hermann Göring at the Düsseldorf Industrieclub, while Fritz Thyssen, a wealthy industrialist who was one of Hitler’s early financial backers, speaks at the microphone, January 27, 1932. (Ullstein bild / Getty)

[Read: How Hitler dismantled a democracy in 53 days]

“The speech made a deep impression on the assembled industrialists,” Thyssen said, “and in consequence of this a number of large contributions flowed from the resources of heavy industry into the treasuries of the National Socialist party.” This financing, estimated at a still-cautious 2 million marks annually, was channeled through a trusted intermediary: Alfred Hugenberg.

Hugenberg had served as a director of Krupp A.G., the large steelmaker and arms manufacturer, during the Great War, and had subsequently founded the Telegraph Union, a conglomerate of 1,400 associated newspapers intended to provide a conservative bulwark against the liberal, pro-democracy press. Hugenberg also bought controlling shares in the country’s largest movie studio, enabling him to have film and the press work together to advance his right-wing, antidemocratic agenda. A reporter for Vossische Zeitung, a leading centrist daily newspaper, observed that Hugenberg was “the great disseminator of National Socialist ideas to an entire nation through newspapers, books, magazines and films.”

To this end, Hugenberg practiced what he called Katastrophenpolitk, “the politics of catastrophe,” by which he sought to polarize public opinion and the political parties with incendiary news stories, some of them Fabrikationen—entirely fabricated articles intended to cause confusion and outrage. According to one such story, the government was enslaving German teenagers and selling them to its allies in order to service its war debt. Hugenberg calculated that by hollowing out the political center, political consensus would become impossible and the democratic system would collapse. As a right-wing delegate to the Reichstag, Hugenberg proposed a “freedom law” that called for the liberation of the German people from the shackles of democracy and from the onerous provisions of the Versailles Treaty. The law called for the treaty signatories to be tried and hanged for treason, along with government officials involved with implementing the treaty provisions. The French ambassador in Berlin called Hugenberg “one of the most evil geniuses of Germany.”

Though both Hitler and Hugenberg were fiercely anti-Communist, antidemocratic, anti-immigrant, and anti-Semitic, their attempts at political partnership failed spectacularly and repeatedly. The problem lay not in ideological differences but in the similarity of their temperaments and their competing political aspirations. Like Hitler, Hugenberg was inflexible, stubborn, and self-righteous. When challenged, he doubled down. Hugenberg had spoken of a “third Reich” as early as 1919, well before Hitler was a force on the political scene, and he envisioned himself as the future Reichsverweser, or “regent of the Reich.” His followers greeted him with “Heil Hugenberg!” Joseph Goebbels noted that Hitler invariably emerged from his meetings with Hugenberg red-faced and “mad as shit.”

[Read: How Hitler’s enablers undid democracy in Germany]

But by late January 1933, the two men’s fates were inextricably entangled. Hugenberg, who had leveraged his wealth into political power, had become the leader of the German National People’s Party, which had the votes in the Reichstag that Hitler needed to be appointed chancellor. Hitler had the potential to elevate Hugenberg to political power. As one Hitler associate explained the Hitler-Hugenberg dynamic: “Hugenberg had everything but the masses; Hitler had everything but the money.”

After cantankerous negotiation, a deal was reached: Hugenberg would deliver Hitler the chancellorship, in exchange for Hugenberg being given a cabinet post as head of a Superministerium that subsumed the ministries of economics, agriculture, and nutrition. Once in the cabinet, Hugenberg didn’t hesitate to meddle in foreign relations when it suited him. Reinhold Quaatz, a close Hugenberg associate, distilled Hugenberg’s calculus as follows: “Hitler will sit in the saddle but Hugenberg holds the whip.”

The New York Times expressed astonishment that Hugenberg, an “arch-capitalist” who stood “in strongest discord with economic doctrines of the Nazi movement,” was suddenly in charge of the country’s finances. Hitler’s “socialist mask” had fallen, the Communist daily Red Banner proclaimed, arguing that “Hugenberg is in charge, not Hitler!” The weekly journal Die Weltbühne dubbed the new government “Hitler, Hugenberg & Co.”

As self-proclaimed “economic dictator,” Hugenberg kept pace with Hitler in outraging political opponents and much of the public. He purged ministries. He dismantled workers’ rights. He lowered the wages of his own employees by 10 percent. “The real battle against unemployment lies singularly and alone in reestablishing profitability in economic life,” one of Hugenberg’s newspapers editorialized, arguing that the goal of economic policy should be to rescue “the professions, and those most negatively affected: the merchant middle class.” Hugenberg declared a temporary moratorium on foreclosures, canceled debts, and placed tariffs on several widely produced agricultural goods, violating trade agreements and inflating the cost of living. “It just won’t do,” Hitler objected in one cabinet meeting, “that the financial burdens of these rescue measures fall only on the poorest.” Let them suffer awhile, Hugenberg argued. “Then it will be possible to even out the hardships.” The economy fell into chaos. The press dubbed Hugenberg the Konfusionsrat —the “consultant of confusion.”

Hugenberg didn’t care about bad press. He was accustomed to being one of the most unpopular personalities in the country. Vorwärts, the socialist newspaper, depicted him as a puffed-up frog with spectacles. Hitler called him a Wauwau, or “woof woof.” Even his close associates referred to him as “the Hamster.” But Hugenberg lived by the golden rule: He who had the gold ruled. Earlier, when disagreements had arisen over the rightward turn of the German National Party, Hugenberg simply expelled the dissenters and financed the party’s entire budget from his own resources. Hitler could aspire to be dictator of the Third Reich, but Hugenberg was already dictator of the economy.

In late June 1933, while Hitler was trying to assuage international concerns about the long-term intentions of his government, Hugenberg appeared in London at an international conference on economic development. To the surprise of everyone, including the other German-delegation members present, Hugenberg laid out an ambitious plan for economic growth through territorial expansion. “The first step would consist of Germany reclaiming its colonies in Africa,” Hugenberg explained. “The second would be that the ‘people without space’”—Volk ohne Raum—“would open areas in which our productive race would create living space.” The announcement made headlines around the world. “Reich Asks for Return of African Lands at London Parley,” read one New York Times headline. Below that, a subhead continued: “Also seeks other territory, presumably in Europe.”

[From the March 1932 issue: Hitler and Hitlerism: a man of destiny]

Konstantin von Neurath, Hitler’s foreign minister, tried to walk back the Hugenberg statement, asserting that Hugenberg had expressed only a personal opinion, not government policy. Hugenberg dug in his heels, retorting that, as economic minister, when he said something, he was speaking for the entire government. Foreign policy was just an extension of economic policy. Confusion and embarrassment followed.

Back in Berlin, Neurath insisted in a cabinet meeting that “a single member cannot simply overlook the objections of the others” and that Hugenberg “either did not understand these objections, which were naturally clothed in polite form, or he did not want to understand them.” Hitler sought to mediate, saying that “what had already happened was no longer of any interest.” But Hugenberg wouldn’t back down: He wanted the issue resolved and on his terms. “It was a matter between Hitler and me as to who was going to seize the initiative,” Hugenberg later admitted. Hitler prevailed. On June 29, 1933, Hugenberg resigned his minister post.

By then Hitler no longer needed either Hugenberg’s corporate contacts or his Reichstag delegates. The bankers and industrialists who had once shunned the crass, divisive, right-wing extremist had gradually come to embrace him as a bulwark against the pro-union Social Democrats and the virulently anti-capitalist Communists. Six months earlier, three weeks before Hitler’s appointment as chancellor, the banker Kurt Baron von Schröder had met with Hitler at Schröder’s villa in a fashionable quarter of Cologne. The arrangements were cloak-and-dagger: Hitler made an unscheduled, early-morning exit from a train in Bonn, entered a hotel, ate a quick breakfast, then departed in a waiting car with curtained rear windows to be driven to the Schröder villa while a decoy vehicle drove in the opposite direction. Hitler walked out of the meeting with a 30 million reichsmark credit line that saved his political movement from bankruptcy.

Once Hitler was in power, there was no longer need for secrecy or subterfuge. On Monday, February 20, 1933, Hermann Göring, one of two Nazis ministers in the Hitler cabinet and the president of the Reichstag, hosted a fundraiser at his official residence for the Nazi Party in advance of upcoming elections. The event was presided over by Hjalmar Schacht, a respected banker and co-founder of a centrist political party who saw Hitler as the best bet against left-wing political forces and had lobbied President Paul von Hindenburg to appoint Hitler chancellor.

Among the two dozen industrialists, bankers, and businessmen in attendance, the most prominent was Gustav Krupp von Bohlen, known as “the cannon king” for his armament production. “I was astonished,” Schacht recalled, “because I knew that this same Krupp von Bohlen had refused an invitation from Fritz Thyssen to attend an event with the Rhine-Westfalen industrialists four weeks earlier.”

Gustav Krupp von Bohlen (at left) and Adolf Hitler during a visit to the Krupp Factory in Essen. Krupp, another wealthy Hitler backer, supplied armaments to the Third Reich. (DPA Picture Alliance / Alamy)

Perhaps equally surprising was the presence at this fundraiser of four directors from the board of the giant chemical and pharmaceutical conglomerate I.G. Farben, which had to that point been staunchly pro-democracy, pro–Weimar Republic, and anti–National Socialist. (The Nazis derided the company, which employed many Jewish scientists, as “an international capitalist Jewish company.”)

Hitler himself stunned party attendees by showing up as the unannounced guest of honor. Clad in a suit and tie rather than a brown storm trooper’s uniform, Hitler addressed the assembled corporate elite, warning of the dangers of communism and trumpeting his appointment as chancellor as a “great victory” that he saw as a mandate for radical change. He outlined his plans to restore the power of the military, assert totalitarian control over the country, destroy the parliamentary system, and crush all political opponents by force. “Private enterprise cannot be maintained in the age of democracy,” Hitler told them.

[Jeffrey Goldberg: Trump: ‘I need the kind of generals that Hitler had’]

After Hitler departed, Schacht spoke of the need for additional campaign financing in advance of the upcoming elections. Hermann Göring added that the election, scheduled for March 5, “will surely be the last one for the next 10 years, probably even for the next 100 years.” By day’s end, the fundraiser had generated 3 million reichsmarks, the equivalent of $15 million today.

The following three weeks delivered a series of blows to the Weimar Republic that resulted in its demise: the arson attack on the Reichstag on February 27, which saw the very symbol of parliamentarian democracy consumed in flame; the March 5 elections from which the Nazis emerged with a mandate for Hitler’s reforms; and the passing of an “enabling law,” on March 23, that established Hitler as unchallenged dictator. In a letter to Hitler, Gustav Krupp wrote, “The turn of political events is in line with the wishes which I myself and the board of directors have cherished for a long time.”

German corporations, large and small, helped retool the Weimar Republic as the Third Reich. Ferdinand Porsche designed the Volkswagen, a “car for the people.” Mercedes-Benz provided Hitler and his chief lieutenants with bulletproof sedans. Hugo Boss designed the black uniforms for the SS. Krupp supplied armaments. Miele produced munitions. Allianz provided insurance for concentration camps. J.A. Topf & Sons manufactured crematoria ovens. A dismayed executive at Deutsche Bank, which was involved in the expropriation of Jewish businesses, sent a letter to the chairman of his supervisory board: “I fear we are embarking on an explicit, well- planned path toward the annihilation of all Jews in Germany.”

For the industrialists who helped finance and supply the Hitler government, an unexpected return on their investment was slave labor. By the early 1940s, the electronics giant Siemens AG was employing more than 80,000 slave laborers. (An official Siemens history explains that although the head of the firm, Carl Friedrich von Siemens, was “a staunch advocate of democracy” who “detested the Nazi dictatorship,” he was also “responsible for ensuring the company’s well-being and continued existence.”)

By October 1942, I.G. Farben and its subsidiaries were using slave laborers in 23 locations. The life expectancy of inmates at an I.G. Farben facility at Auschwitz was less than four months; more than 25,000 people lost their lives on the construction site alone. As corporate practices adapted to evolving political realities, the company aligned its wide technological and human resources with government priorities. Jews were purged from the corporate ranks. The I.G. Farben pharmaceutical division, Bayer, supported Nazi medical experiments. A postwar affidavit alleges that Bayer paid 170 reichsmarks for 150 female Auschwitz prisoners. “The transport of 150 women arrived in good condition,” the affidavit reads. “However, we were unable to obtain conclusive results because they died during the experiments,” and “we would kindly request that you send us another group of women to the same number and at the same price.” Although recent investigations have questioned the veracity of this particular affidavit, Bayer’s involvement in medical experimentation on Auschwitz inmates is undisputed.

The I.G. Farben company Degussa owned a chemical subsidiary that produced a cyanide-based pesticide known as Zyklon B, used primarily for fumigating ships, warehouses, and trains—and, after 1942, as a homicidal agent at Nazi extermination facilities. Company logs confirm the delivery of an estimated 56 tons of Zyklon B from 1942 to 1944; more than 23.8 tons were sent to Auschwitz, where it served as the primary instrument of death for the more than 1 million Jewish people murdered there.

In August 1947, 24 senior I.G. Farben managers were placed on trial for their role in Nazi aggression and atrocity. In his opening statement before the court, the prosecutor Telford Taylor said of these executives, “They were the magicians who made the fantasies of Mein Kampf come true. They were the guardians of the military and state secrets.” The 15,638 pages of courtroom testimony, along with the 6,384 documents submitted as evidence—purchase orders, internal memos, board minutes—indicated that these Farben executives knew the exact number of airplane and truck ties, the running feet of tank tread, the amount of explosives, as well as the precise number of canisters of Zyklon B gas delivered to Auschwitz. The defense attorney for the chairman of I.G. Farben’s supervisory board argued that his client was “no robber, no plunderer, no slave dealer,” but rather just a 60-year-old senior executive doing what senior executives were paid to do—run the company with an eye to the bottom line. If he collaborated with the government, it was out of “a feeling of personal responsibility to the company.” Twenty-three I.G. Farben directors were eventually charged with war crimes and crimes against humanity; 13 of them were convicted and sentenced to prison.

[From the February 1937 Issue: Hitler looks eastward]

At the International War Crimes Tribunal in Nuremberg in 1945, Gustav Krupp was indicted as a major war criminal alongside the likes of Göring and Hans Frank, but he was too ill to stand trial. Instead, his son was tried in 1947, in The United States of America v. Alfried Krupp, et al. The indictment charged the younger Krupp, alongside 11 Krupp corporate directors, with crimes against humanity and war crimes, for participating in “the murder, extermination, enslavement, deportation, imprisonment, torture, and use for slave labor of civilians.” Alfried Krupp reportedly never expressed remorse, at one point telling a war-crimes trial observer, “We Krupps never cared much about political ideas. We only wanted a system that worked well and allowed us to work unhindered. Politics is not our business.”

As for Alfred Hugenberg? Unlike other early private-sector Hitler enablers such as Fritz Thyssen and Hjalmar Schacht—both of whom ended up in concentration camps after crossing Hitler—Hugenberg got off lightly. Hugenberg withdrew to his sprawling estate, Rohbraken, in the former feudal province of Lippe, where he lived as the local regent while his business empire was gradually whittled away.

The German Nationalist Party was disbanded as soon as Hugenberg stepped down from his cabinet post in June 1933. In December of that year, the Telegraph Union was taken over by the ministry of propaganda and absorbed into a newly created entity, the German News Office. In 1943, Hugenberg’s publishing house, Scherl Verlag, was acquired by the Nazi publisher, Eher Verlag. By war’s end, the defrocked cabinet minister and disenfranchised media mogul was diminished and dissipated but still defiant.

On September 28, 1946, Hugenberg was arrested by the British military police. He was detained for five months, and his assets were frozen. After a formal hearing, Hugenberg was deemed to be a “lesser evildoer”—officially, a “Mitläufer,” the lowest order of complicity in the Nazi regime—on the grounds that he had left his cabinet post in the first months of the Hitler regime and had never been a member of the Nazi Party. With undiminished temerity, Hugenberg balked at even that lesser charge. Having been stripped of most of his business empire, Hugenberg saw himself as a victim of, not a participant in, the Nazi regime. He appealed the hearing’s determination and won. He was declared “untainted,” which allowed him to lay claim to his frozen assets. Unrepentant to his dying day, Hugenberg refused to publicly countenance any suggestion of guilt or responsibility for Hitler’s excesses.

On the morning of Tuesday, January 31, 1933, less than 24 hours after enabling Hitler’s appointment as chancellor, Hugenberg reportedly spoke with Carl Friedrich Goerdeler, a fellow conservative and the mayor of Leipzig. “I’ve just committed the greatest stupidity of my life,” Hugenberg allegedly told Goerdeler. “I have allied myself with the greatest demagogue in the history of the world.”