At a certain distance yet still with access to many of the people who enabled and who opposed the führer and his Third Reich, Toland strove to treat this life as if Hitler lived and died a hundred years before instead of within his own memory. From childhood and obscurity to his desperate end, Adolf Hitler emerges as, in Toland’s words, “far more complex and contradictory . . . obsessed by his dream of cleansing Europe Jews . . . a hybrid of Prometheus and Lucifer.”

    Using a variety of resources, the Tusas are able to thoroughly layout new information from the trial. This was the closure for many to World War II, and it was one of the greatest judicial accomplishements. The Tusas provide a clear history of the events and fresh insight to what happened during the trial.

    From the Purple Machine to the Navajo Talkers to the breaking of Japan's JN-25 Naval Code to the shadowy world of decoding units like Hut-8 in Bletchley Park, he shows how crucial information-often obtained by surreptitious and violent means-was the decisive edge in the Battle of Britain, at Midway and against the U-Boats in the North Atlantic, and how Allied intelligence saved the Soviet Union from almost certain defeat. In an accessible account based on years of research, interviews and exclusive access to previously top-secret archives, Haufler demonstrates how cryptography enabled Nimitz and MacArthur to persevere in the Pacific and helped Eisenhower and Patton mount the assaults on Normandy. In compelling detail, Haufler shows us how it was done-as only one who was on the frontlines of the "secret war" could tell it.

    Originally published in Hungary in weekly installments starting in 1946, it tells the harrowing story of Béla Zsolt’s experiences in the ghetto and as a forced laborer in the Ukraine. It gives not only a rare insight into Hungarian fascism, but also a shocking exposure to the cruelty, indifference, selfishness, cowardice and betrayal of which human beings—the victims no less than the perpetrators—are capable in extreme circumstances.Apart from being one of the earliest writers on the Holocaust, Zsolt is also one of the most powerful. He bears comparison with Primo Levi, Elie Wiesel, or Imre Kertész. Both an accomplished novelist and a highly skilled journalist, he was reporting and analyzing these appalling events soon after they occurred with exceptional clarity and a devastating blend of angry despair and cool detachment.Zsolt was spared Auschwitz, but he witnessed and suffered some of the worst atrocities of the Holocaust elsewhere; his nightmarish but meticulously realistic chronicle of smaller and larger crimes against humanity is as riveting as it is horrifying. The rediscovery and publication of Nine Suitcases is an event of great historical importance.

    Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.

    By the time the war ended he was a veteran Marine pilot, still not quite twenty-one, and had flown more than a hundred missions in the Pacific theater. In this eloquent narrative, by turns dramatic, funny, and elegiac, Hynes recalls those extraordinary years during which he came of age. he makes real the places—the training fields and the liberty towns and the Pacific islands, and the people—the other young pilots, the girls and the young wives, even the enemy pilots. He remembers friendship, and the excitement and tedium of war, the high exhilaration of flying, and the dying. More than a tale of combat, Flight of Passage is a story of one boy's growth to manhood in the turbulent, testing world of war in the air.

    Since then, over 50,000 letters have poured in from around the country. Nearly two hundred of them comprise this amazing collection—including never-before-published letters that appear in the new afterword.Here are letters from the Civil War, World War I, World War II, Korea, the Cold War, Vietnam, the Persian Gulf war, Somalia, and Bosnia—dramatic eyewitness accounts from the front lines, poignant expressions of love for family and country, insightful reflections on the nature of warfare. Amid the voices of common soldiers, marines, airmen, sailors, nurses, journalists, spies, and chaplains are letters by such legendary figures as Gen. William T. Sherman, Clara Barton, Theodore Roosevelt, Ernie Pyle, Gen. Douglas MacArthur, Julia Child, Gen. Norman Schwarzkopf, and Gen. Benjamin O. Davis Sr. Collected in War Letters, they are an astonishing historical record, a powerful tribute to those who fought, and a celebration of the enduring power of letters.

    Anne-Marie O'Connor, writer for the Washington Post, formerly of the Los Angeles Times, tells the galvanizing story of the Lady in Gold, Adele Bloch-Bauer, a dazzling Viennese Jewish society figure; daughter of the head of one of the largest banks in the Hapsburg Empire, head of the Oriental Railway, whose Orient Express went from Berlin to Constantinople; wife of Ferdinand Bauer, sugar-beet baron. The Bloch-Bauers were art patrons, and Adele herself was considered a rebel of fin de siècle Vienna (she wanted to be educated, a notion considered "degenerate” in a society that believed women being out in the world went against their feminine "nature"). The author describes how Adele inspired the portrait and how Klimt made more than a hundred sketches of her-simple pencil drawings on thin manila paper. And O'Connor writes of Klimt himself, son of a failed gold engraver, shunned by arts bureaucrats, called an artistic heretic in his time, a genius in ours. She writes of the Nazis confiscating the portrait of Adele from the Bloch-Bauers' grand palais; of the Austrian government putting the painting on display, stripping Adele's Jewish surname from it so that no clues to her identity (nor any hint of her Jewish origins) would be revealed. Nazi officials called the painting, "The Lady in Gold" and proudly exhibited it in Vienna's Baroque Belvedere Palace, consecrated in the 1930s as a Nazi institution. The author writes of the painting, inspired by the Byzantine mosaics Klimt had studied in Italy, with their exotic symbols and swirls, the subject an idol in a golden shrine. We see how, sixty years after it was stolen by the Nazis, the Portrait of Adele Bloch-Bauer became the subject of a decade-long litigation between the Austrian government and the Bloch-Bauer heirs, how and why the U.S. Supreme Court became involved in the case, and how the Court's decision had profound ramifications in the art world. In this book listeners will find riveting social history; an illuminating and haunting look at turn-of-the-century Vienna; a brilliant portrait of the evolution of a painter; a masterfully told tale of suspense. And at the heart of it, The Lady in Gold-the shimmering painting, and its equally irresistible subject, the fate of each forever intertwined.

    Experience the forces that shaped an American icon -- and America itself.Long before George Takei braved new frontiers in Star Trek, he woke up as a four-year-old boy to find his own birth country at war with his father's -- and their entire family forced from their home into an uncertain future.In 1942, at the order of President Franklin D. Roosevelt, every person of Japanese descent on the west coast was rounded up and shipped to one of ten "relocation centers," hundreds or thousands of miles from home, where they would be held for years under armed guard.They Called Us Enemy is Takei's firsthand account of those years behind barbed wire, the joys and terrors of growing up under legalized racism, his mother's hard choices, his father's faith in democracy, and the way those experiences planted the seeds for his astonishing future.