I just found this book by David Biale in the library. It is huge and looks to be an excellent resource.

Bumping this. I will probably post some excerpts tonight. This book is 1196 pages long.

Raises eyebrow. Told you so. More here on how the lie called 'The Holocaust' was manafactured years after WW2:

The Holocaust in Israeli Culture

"The image of Issac bound for slaughter also conjures up the Holocaust, especially in the poem "Issac" by Amir Gilboa (1917-1984), in which it is Abraham and not his son who dies in the forests of Europe. The terrible destruction of the Jewish civilization in Europe, the Shoah in modern Hebrew discourse, did not become part of Israeli culture until a generation later. Except for Gilboa's poems and Greenberg's great poem "The Breadths of the River" (Rehovat ha-Nahar, 1946), Israel did not produce a major work of art dealing with the Holocaust until the 1960s, Gilboa and Greenberg, the latter having literally prophesized the destruction of European Jewry in the 1930s, remained solitary -- albeit powerful -- voices. Otherwise, the Holocaust was repressed, relegated to the margins of Israel's cultural consciousness.

The Holocaust survivors who came to Israel found themselves in a society with which they could not communicate. In its early years, Israel's attitude contained more than an element of accusation: the victims of the Holocaust bore the responsibility for their tragedy because they had chosen to remain "exilic" Jews, that is, they were not Zionists and had not embraced the ethos of the new Jew. "Like lambs to the slaughter" was a phrase often used to describe the destruction of European Jewry. The physical appearance of the survivors ("so palid, not the least bit tan") and their scarred, traumatized psyches set them apart from the Israelis, who viewed them with derision and condescension. They were known as sabonim, bars of soap, a slang reference to the cosmetic products the Nazis allegedly extracted from the bodies of dead Jews. For many years the term sabon designated a person who obeys unquestioningly. The survivors themselves said nothing; the callousness of the surrounding culture conspired, as it were, with their desperate need to repress their tragedy so as to continue living.

This began to change in the early 1950s with the reparations agreement between Germany and Israel. The subsequent public outcry provoked a furious debate in the Knesset, the press, and in the literary world. But the watershed event was the Eichmann trial in Jerusalem in 1961, when the State of Israel positioned itself, symbolically, as the prosecutor of the German nation. The trial was broadcast on the radio (television was not introduced in Israel until the late 1960s) and followed by the entire population. The court proceedings provided, for the first time, details of the Nazi's systematic extermination of the Jews. Only then did the enormity of the tragedy enter into the consciousness of the nation as a whole. From that point on, the Holocaust became one of the most important subjects of Israeli memory: survivors began to recount their stories, and their presence became a powerful, dominant voice in the collective self.

Aharon Appelfeld now began to publish a literary portrait of Eastern European Jewry on the eve of World War II. He did not describe the horrors of the extermination, providing instead an anatomy of its genesis and development. His stories are sensitive and highly realistic portrayals of the Jewish bourgeoisie in progressively more hostile surroundings, up to the final collapse of that civilisation.

Dan Pagis, who began publishing poetry in the late 1950s, did not address the Holocaust until the early 1970s. His poems, unquestionably among the most important artistic statements on the Holocaust, are treasures of modern Hebrew literature."

David Biale (ed.), Cultures of the Jews: A New History (New York: Schocken Books, 2002), pp.1043-1044