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From jew agent Jonny Geller’s book Yes, But Is It Good for the Jews? (2006):

If you are the type of person who can no longer enjoy Great Works of Literature if you learn negative things about your favorite authors, then please skip this section. All the below are Not Good for the Jews. Their Judological rating is given beneath each entry. Remember, the lower the number, the less Good this writer is for the Jews.

Roald Dahl (1916-1990) Author of James and the Giant Peach (1961), The Twits (1980), The BFG (1982), Matilda (1988). Dahl once told a journalist: “There’s a trait in the Jewish character that does provoke animosity…I mean there is always a reason why anti-anything crops up anywhere; even a stinker like Hitler didn’t just pick on them for no reason.” This slip of the tongue — for what else could it be? — lost him his knighthood chances and made him even more embittered against the Jews. After all, the Child Catcher in Chitty Chitty Bang Bang, the movie he scripted, was nothing like a stereotype of a Jew — black hat, long black coat, and huge pointy nose. Some Judologists have argued that his most popular oeuvre, Charlie and the Chocolate Factory, can be read as a very dark fable — innocent children tricked into a concentration camp complex manned by strange subhumans who take them away one by one — but the Institute would like to distance itself from such a position.

Mark Twain (1835-1910) Author of The Adventures of Huckleberry Finn (1885), The Adventures of Tom Sawyer (1876). Described Jews as “simple, superstitious, disease-tortured creatures” who could only understand a transcendental idea “if it was written on their skins.”

Ernest Hemingway Author of The Sun Also Rises (1926), To Have and Have Not (1937), For Whom the Bell Tolls (1940). Often ranted about “kikes” in his letters. This often translated into less-than-flattering “Jew” characters such as Robert Cohn in The Sun Also Rises and self-indulgent tirades against Jews in stories such as “Fifty Grand.”

Charles Dickens (1812-1870) Author of The Adventures of Oliver Twist (1838), David Copperfield (1850), Bleak House (1853). In the first 38 chapters of Oliver Twist there are 257 references to “the Jew” against 42 to “Fagin,” who is described as “villainous looking and repulsive.” Dickens made no secret that Fagin was based on Jews of that period when he claimed “that class of criminal almost invariably was a Jew.” However, he did redeem himself with Our Mutual Friend, where he portrayed the noble character of Riah, an elderly Jew who looks after young fallen women. In a letter, Dickens said, “There is nothing but good will left between me and a People for whom I have a real regard.” Some of my best friends are…

Kingsley Amis (1922-1995) Author of Lucky Jim (1954), Girl, 20 (1971), The Old Devils (1986). An interview once asked Amis whether he was anti-Semitic. “Very, very mildly,” replied Amis. Pressed to elaborate, he offered this: “Well, when I’m watching the credits roll at the end of a TV program, I say to myself: ‘Oh, there’s another one.'”

Agatha Christie (1890-1976) Author of The Murder at the Vicarage (1930), Murder on the Orient Express (1934), Death on the Nile (1937). In The Mysterious Mr. Quin, this lovely description of Jews is included: “men of Hebraic extraction, sallow men with hooked noses, wearing flamboyant jewellery.” Peril at End House has a character referred to as “the long-nosed Mr. Lazarus,” of whom somebody says, “He’s a Jew, of course, but a frightfully decent one.” The original title of And Then There Were None was, of course, “Ten Little Niggers,” which might reflect an underlying attitude to people of other races.

Dorothy Sayers (1893-1957) Creator of Lord Peter Wimsey. In the 1940s, she wrote an essay in The Future of the Jews by J.J. Lynx in which she argues that Jews are bad citizens with little or no loyalty to the country they live in.

Graham Greene (1904-1991) Author of Brighton Rock (1938), The Third Man (1950), The End of the Affair (1951). “She deserved something better than a man named Furtstein…The domed Semitic forehead, the dark eyes over the rather gaudy tie” (The Confidential Agent). “How the financial crisis has improved English films! They have lost their tasteless Semitic opulence and are becoming — English” (The Spectator, April 7, 1939).

F. Scott Fitzgerald (1896-1940) Author of The Beautiful and the Damned (1922), The Great Gatsby (1925), Tender is the Night (1934). In The Great Gatsby, the narrator encounters Gatsby’s friend Meyer Wolfsheim, a shady gambler who “fixed the World Series in 1919.” The narrator describes him as ‘a small, flat-nosed Jew” who “raised his large head and regarded me with two fine growths of hair which luxuriated in either nostril. After a moment I discovered his tiny eyes in the half-darkness.” Every description of Wolfsheim that follows refers to his nose: he “covered Gatsby with his expressive nose,” “Mr. Wolfsheim’s nose flashed at me indignantly,” “His nostrils turned to me in an interesting way,” “As he turned away his tragic nose was trembling.”

John Fowles (1926-2005) Author of the The Collector (1963), The Magus (1965), The French Lieutenant’s Woman (1969). In his diaries, Fowles describes his publisher Tom Maschler: “Of all the Jews I know he is the most Jewish: the perfect example of the bitter, wandering, cast-out son of Israel.” Milton Shulman, the theater critic, was also described in such terms as a man who has “that Canadian Jewish love of being outrageous, a little comical, as talk-monopolizing as Dr. Johnson… These people (this state of mind) have far too much power.” Shame, I like The Magus.