Yet it was also an age of constant, harrowing warfare. Armies, not philosophers, shaped the face of Europe as modern nation-states emerged from feudal society. In Furies, one of the leading scholars of Renaissance history captures the dark reality of the period in a gripping narrative mosaic. As Lauro Martines shows us, total war was no twentieth-century innovation. These conflicts spared no civilians in their path. A Renaissance army was a mobile city-indeed, a force of 20,000 or 40,000 men was larger than many cities of the day. And it was a monster, devouring food and supplies for miles around. It menaced towns and the countryside-and itself-with famine and disease, often more lethal than combat. Fighting itself was savage, its violence increased by the use of newly invented weapons, from muskets to mortars.For centuries, notes Martines, the history of this period has favored diplomacy, high politics, and military tactics. Furies puts us on the front lines of battle, and on the streets of cities under siege, to reveal what Europes wars meant to the men and women who endured them.

    Iron Kingdom traces Prussia's involvement in the continent's foundational religious and political conflagrations: from the devastations of the Thirty Years War through centuries of political machinations to the dissolution of the Holy Roman Empire, from the enlightenment of Frederick the Great to the destructive conquests of Napoleon, and from the "iron and blood" policies of Bismarck to the creation of the German Empire in 1871, with all that implied for the tumultuous twentieth century.

    

    Preposterous though it was, however, supernatural thinking was inextricable from the Nazi project. The regime enlisted astrology and the paranormal, paganism, Indo-Aryan mythology, witchcraft, miracle weapons, and the lost kingdom of Atlantis in reimagining German politics and society and recasting German science and religion. In this eye-opening history, Eric Kurlander reveals how the Third Reich’s relationship to the supernatural was far from straightforward. Even as popular occultism and superstition were intermittently rooted out, suppressed, and outlawed, the Nazis drew upon a wide variety of occult practices and esoteric sciences to gain power, shape propaganda and policy, and pursue their dreams of racial utopia and empire.

    First published in Sweden in 1947, German Autumn, a collection of the articles written for that assignment, was unlike any other reporting at the time. While most Allied and foreign journalists spun their writing on the widely held belief that the German people deserved their fate, Dagerman disagreed and reported on the humanness of the men and women ruined by the war—their guilt and suffering. Dagerman was already a prominent writer in Sweden, but the publication and broad reception of German Autumn throughout Europe established him as a compassionate journalist and led to the long-standing international influence of the book.Presented here in its first American edition with a compelling new foreword by Mark Kurlansky, Dagerman’s essays on the tragic aftermath of war, suffering, and guilt are as hauntingly relevant today amid current global conflict as they were sixty years ago.

    Among them was a little boy named Wolfgang Samuel, who left his home with his mother and sister and ended up in war-torn Strasbourg before being forced farther west into a disease-ridden refugee camp. German Boy is the vivid, true story of their fight for survival as the tables of power turned and, for reasons Wolfgang was too young to understand, his broken family suffered arbitrary arrest, rape, hunger, and constant fear. Because his father was off fighting the war as a Luftwaffe officer, young Wolfgang was forced to become the head of his household, scavenging for provisions and scraps with which to feed his family. Despite his best efforts, his mother still found herself forced to do the unthinkable to survive, and her sacrifices became Wolfgang's worst nightmares. Somehow, with the resilience only children can muster, he maintained his youth and innocence in little ways–making friends with other young refugees, playing games with shrapnel, delighting in the planes flown by the Americans and the candies the GIs brought. In the end, the Samuels begin life anew in America, and Wolfgang eventually goes on to a thirty-year career in the U.S. Air Force.Bringing fresh insight to the dark history of Nazi Germany and the horror left in its wake, German Boy records the valuable recollections of an innocent's incredible journey."I think German Boy has all the qualities of greatness. I love the book." -- from the Foreword by Stephen Ambrose

    Alan Riding introduces a pageant of twentieth-century artists who lived and worked under the Nazis and explores the decisions each made about whether to stay or flee, collaborate or resist.We see Maurice Chevalier and Edith Piaf singing before French and German audiences; Picasso painting and occasionally selling his work from his Left Bank apartment; and Marcel Carne and Henri-Georges Clouzot, among others, directing movies in Paris studios (more than two hundred were produced during this time). We see that pro-Fascist writers such as Louis-Ferdinand Celine and Robert Brasillach flourished, but also that Camus's The Stranger was published and Sartre's play No Exit was first performed-ten days before the Normandy landings.Based on exhaustive research and extensive interviews, And the Show Went On sheds a clarifying light on a protean and problematic era in twentieth-century European cultural history.

    It is a tale of horror, not only in its evocation of Hitler's gathering menace but also in its hero's desperate attempt to discover logic where none exists. A psychological fable as wry and haunting as Badenheim 1939, The Death of the Adversary is a lost classic of modern fiction.

    It describes Hitler and Stalin’s strange, calculating, and miscalculating relationship before the German invasion of Soviet Russia, with its gigantic (and unintended) consequences. John Lukacs questions many long-held beliefs; he suggests, for example, that among other things Hitler’s first purpose involved England: if Stalin’s Communist Russia were to be defeated, Hitler’s Third Reich would be well-nigh invincible, and the British and American peoples would be forced to rethink the war against Hitler. The book offers penetrating insights and a new portrait of Hitler and Stalin, moved by their long-lasting inclinations. Yet among other things, Lukacs presents evidence that Hitler (rather than his generals) had moments of dark foreboding before the invasion. Stalin could not, because he wished not, believe that Hitler would choose the risk of a two-front war by attacking him; he was stunned and shocked and came close to a breakdown. But he recovered, grew into a statesman, and eventually became a prime victor of the Second World War. Such are the ironies of history; John Lukacs paints them with a shining narrative skill.

    As a young girl, Sophia falls deeply in love with Karim, but weds a rich goldsmith instead. A few years later, Karim is accused of an assassination he did not commit and Sophia saves his life. He promises that she will forever have his loyalty, no matter the risk to himself. Long after the incident is buried in memory, Sophia's only son, Salman, returns to Damascus after forty years of exile in Italy; when his photo appears in the newspaper, he is forced into hiding and fears for his life. Remembering Karims promise, Sophia decides to call on him for help in spite of the many years that have passed, and the lost opportunity of their once-consuming passion Set during the tumultuous years leading up to the Arab Spring, Sophia delivers the intricate plotting and lyrical prose that Schamis readers expect, and reveals the power of love to overcome all barriers of time and circumstance.

    When thunder and lightning strike on the morning of Zoe Clark's wedding, her seemingly perfect world is turned upside-down as she loses her fiance to a pregnant girlfriend she never knew he had. With her engagement shattered, all her life's plans seem over. Unemployed, sinking deeply into depression, and wrongly blaming God for her troubles, Zoe seriously contemplates ending her life. But God sends Chase Farr to reintroduce Zoe to the importance of having God in her life. Yet when Zoe's friendship with Chase turns romantic, he suddenly backs away--further confusing Zoe with his decision to remain a virgin. Through life's twists and turns of celebration and sorrow, Zoe ultimately learns what it means to truly trust in God--but in the end, does this revelation come too late to fix things with Chase?

    Netizel would later find another collection of transcriptions, twice as extensive, in the National Archive in Washington. These were discoveries that would provide a unique & profoundly important window into the true mentality of the soldiers in the Wehrmacht, the Luftwaffe, the German navy & the military in general--almost all of whom had insisted on their own honorable behavior during the war. Collaborating with renowned social psychologist Harald Welzer, Neitzel examines these conversations--& the casual, pitiless brutality omnipresent in them--from a historical & psychological perspective. In reconstucting the frameworks & situations behind these conversations, they've created a powerful narrative of wartime experience.

    It provides a vivid, poignant picture of life in Germany just before Hitler's takeover and focuses on a young married couple struggling to survive in the country's nightmarish inflation.

    Arendt explores the institutions and operations of totalitarian movements, focusing on the two genuine forms of totalitarian government in our time—Nazi Germany and Stalinist Russia—which she adroitly recognizes were two sides of the same coin, rather than opposing philosophies of Right and Left. From this vantage point, she discusses the evolution of classes into masses, the role of propaganda in dealing with the nontotalitarian world, the use of terror, and the nature of isolation and loneliness as preconditions for total domination.

    It contains bits of the story that got lost on the cutting-room floor; in a very real way it is the only way to understand the film. Michael Joseph of The Bookman wrote about the novel: "It is a remarkable piece of work, skillfully reproducing the atmosphere one has come to associate with the most ambitious German film productions. Suggestive in many respects of the dramatic work of Karel Capek and of the earlier fantastic romances of H. G. Wells, in treatment it is an interesting example of expressionist literature. ... Metropolis is one of the most powerful novels I have read and one which may capture a large public both in America and England if it does not prove too bewildering to the plain reader."