In life, and in the grisly manner of his death, Joseph Goebbels was one of Adolf Hitler’s most loyal acolytes. By the end, no one in the Berlin bunker was closer to the Führer than his devoted Reich minister for public enlightenment and propaganda. But how did this clubfooted son of a factory worker rise from obscurity to become Hitler’s most trusted lieutenant and personally anointed successor? In this ground-breaking biography, Peter Longerich sifts through the historical record—and thirty thousand pages of Goebbels’s own diary entries—to provide the answer to that question. Longerich, the first historian to make use of the Goebbels diaries in a biographical work, engages and challenges the self-serving portrait the propaganda chief left behind. Spanning thirty years, the diaries paint a chilling picture of a man driven by a narcissistic desire for recognition who found the personal affirmation he craved within the virulently racist National Socialist movement. Delving into the mind of his subject, Longerich reveals how Goebbels’s lifelong search for a charismatic father figure inexorably led him to Hitler, to whom he ascribed almost godlike powers. This comprehensive biography documents Goebbels’s ascent through the ranks of the Nazi Party, where he became a member of the Führer’s inner circle and launched a brutal campaign of anti-Semitic propaganda. Though endowed with near-dictatorial control of the media—film, radio, press, and the fine arts—Longerich’s Goebbels is a man dogged by insecurities and beset by bureaucratic infighting. He feuds with his bitter rivals Hermann Göring and Alfred Rosenberg, unsuccessfully advocates for a more radical line of “total war,” and is thwarted in his attempt to pursue a separate peace with the Allies during the waning days of World War II. This book also reveals, as never before, Goebbels’s twisted personal life—his mawkish sentimentality, manipulative nature, and voracious sexual appetite. A harrowing look at the life of one of history’s greatest monsters, Goebbels delivers fresh insight into how the Nazi message of hate was conceived, nurtured, and disseminated. This complete portrait of the man behind that message is sure to become a standard for historians and students of the Holocaust for decades to come.

    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.”

    Not since The Diary of Anne Frank has a young voice so vividly expressed the capacity for humanity and heroism in the face of Nazi brutality.

    A touching and thrilling story of a young girl's experiences at the battle of Gettysburg, first published in 1889.

    He was an almost unknown, and self-taught, speech therapist named Lionel Logue, whom one newspaper in the 1930s famously dubbed 'The Quack who saved a King'.Logue wasn't a British aristocrat or even an Englishman - he was a commoner and an Australian to boot. Nevertheless it was the outgoing, amiable Logue who single-handedly turned the nervous, tongue-tied Duke of York into one of Britain's greatest kings after his brother, Edward VIII, abdicated in 1936 over his love of Mrs Simpson.This is the previously untold story of the remarkable relationship between Logue and the haunted future King George VI, written with Logue's grandson and drawing exclusively from his grandfather Lionel's diaries and archive. It throws an extraordinary light on the intimacy of the two men, and the vital role the King's wife, the late Queen Elizabeth, the Queen Mother, played in bringing them together to save her husband's reputation and reign.'The King's Speech: How One Man Saved the British Monarchy' is an astonishing insight into a private world. Logue's diaries also reveal, for the first time, the torment the future King suffered at the hands of his father George V because of his stammer. Never before has there been such a personal portrait of the British monarchy - at a time of its greatest crisis - seen through the eyes of an Australian commoner who was proud to serve, and save, his King.

    The reminiscences of Miep Gies, the woman who hid the Frank family in Amsterdam during the Second World War, presents a vivid story of life under Nazi occupation.

    Corruption, incest, ruthless megalomania, avarice and vicious cruelty—all have been associated with their name. And yet, paradoxically, this family lived when the Renaissance was coming into its full flowering in Italy. Examples of infamy flourished alongside some of the finest art produced in western history.           This is but one of several paradoxes associated with the Borgia family. For the family which produced corrupt popes, depraved princes and poisoners, would also produce a saint. These paradoxes which so characterize the Borgias have seldom been examined in great detail. Previously history has tended to condemn, or attempt in part to exonerate, this remarkable family. Yet in order to understand the Borgias, much more is needed than evidence for and against. The Borgias must be related to their time, together with the world which enabled them to flourish. Within this context the Renaissance itself takes on a very different aspect. Was the corruption part of the creation, or vice versa? Would one have been possible without the other?           In this way, the Borgia too represent the greatest aspirations of the Renaissance. Condemning the Borgia is as futile as attempting to exonerate them. Their leadership and their depravity must both be taken into account, for it would appear that they are both part of the same picture. In the nineteenth century the German philosopher Nietzsche would outline his theory of the Will to Power. In the ensuing century this idea would be hijacked by the Fascists and put into ruthless practice. The Borgia were no Fascists, nor were they thinkers of the calibre of Nietzsche: yet it is arguable that they united both the idea and the practice of the Will to Power some four centuries prior to Nietzsche’s conception of this guiding human principle. Telling the story of the Borgias becomes both an illustration and an exemplary analysis of the strengths and flaws of this  evolutionary idea.The primitive psychological forces which first played out in the amphitheaters of ancient Greece: hubris, incest, murder, the bitter rivalries and entanglements of doomed families, the treacheries of political power, the twists of fate – they are all here. Along with the final, tragic downfall. All these elements are played out in full in the glorious and infamous history of the Borgia family.

    He was a womaniser, a heavy drinker and a bon viveur, but to them he became a saviour. This is the extraordinary story of Oskar Schindler, who risked his life to protect Jews in Nazi-occupied Poland and who was transformed by the war into a man with a mission, a compassionate angel of mercy.

    Index; illustrations.

    A masterpiece in its own right, this novel offers a compelling portrait of Michelangelo’s dangerous, impassioned loves, and the God-driven fury from which he wrested the greatest art the world has ever known.

    Carlo Ginzburg uses the trial records of Domenico Scandella, a miller also known as Menocchio, to show how one person responded to the confusing political and religious conditions of his time.For a common miller, Menocchio was surprisingly literate. In his trial testimony he made references to more than a dozen books, including the Bible, Boccaccio's Decameron, Mandeville's Travels, and a "mysterious" book that may have been the Koran. And what he read he recast in terms familiar to him, as in his own version of the creation: "All was chaos, that is earth, air, water, and fire were mixed together; and of that bulk a mass formed—just as cheese is made out of milk—and worms appeared in it, and these were the angels."

    Though she kept her private life a mystery, for some years Agatha had secretly written her autobiography, and when it was published after her death, millions of her fans agreed - this was her best story!From early childhood at the end of the 19th century, through two marriages and two World Wars, and her experiences both as a writer and on archaeological expeditions with her second husband, Max Mallowan, this book reveals the true genius of her legendary success with real passion and openness.

    After a dozen years at the court of Lodovico Sforza, the Duke of Milan, Leonardo was at a low point personally and professionally: at forty-three, in an era when he had almost reached the average life expectancy, he had failed, despite a number of prestigious commissions, to complete anything that truly fulfilled his astonishing promise. His latest failure was a giant bronze horse to honor Sforza's father: His 75 tons of bronze had been expropriated to be turned into cannons to help repel a French invasion of Italy. The commission to paint The Last Supper in the refectory of a Dominican convent was a small compensation, and his odds of completing it were not promising: Not only had he never worked on a painting of such a large size-15' high x 30' wide-but he had no experience in the extremely difficult medium of fresco.  In his compelling new book, Ross King explores how-amid war and the political and religious turmoil around him, and beset by his own insecurities and frustrations-Leonardo created the masterpiece that would forever define him. King unveils dozens of stories that are embedded in the painting. Examining who served as the models for the Apostles, he makes a unique claim: that Leonardo modeled two of them on himself. Reviewing Leonardo's religious beliefs, King paints a much more complex picture than the received wisdom that he was a heretic. The food that Leonardo, a vegetarian, placed on the table reveals as much as do the numerous hand gestures of those at Christ's banquet. As King explains, many of the myths that have grown up around The Last Supper are wrong, but its true story is ever more interesting. Bringing to life a fascinating period in European history, Ross King presents an original portrait of one of the world's greatest geniuses through the lens of his most famous work.

    I Will Bear Witness is a work of literature as well as a revelation of the day-by-day horror of the Nazi years.                           A Dresden Jew, a veteran of World War I, a man of letters and historian of great sophistication, Klemperer recognized the danger of Hitler as early as 1933. His diaries, written in secrecy, provide a vivid account of everyday life in Hitler's Germany.                          What makes this book so remarkable, aside from its literary distinction, is Klemperer's preoccupation with the thoughts and actions of ordinary Germans: Berger the greengrocer, who was given Klemperer's house ("anti-Hitlerist, but of course pleased at the good exchange"), the fishmonger, the baker, the much-visited dentist. All offer their thoughts and theories on the progress of the war: Will England hold out? Who listens to Goebbels? How much longer will it last?                          This symphony of voices is ordered by the brilliant, grumbling Klemperer, struggling to complete his work on eighteenth-century France while documenting the ever- tightening Nazi grip. He loses first his professorship and then his car, his phone, his house, even his typewriter, and is forced to move into a Jews' House (the last step before the camps), put his cat to death (Jews may not own pets), and suffer countless other indignities.                           Despite the danger his diaries would pose if discovered, Klemperer sees it as his duty to record events. "I continue to write," he notes in 1941 after a terrifying run-in with the police. "This is my heroics. I want to bear witness, precise witness, until the very end."   When a neighbor remarks that, in his isolation, Klemperer will not be able to cover the main events of the war, he writes: "It's not the big things that are important, but the everyday life of  tyranny, which may be forgotten. A thousand mosquito bites are worse than a blow on the head. I observe, I note, the mosquito bites."

    Through the dramatic characterization of the famous physicist, Brecht examines the issues of scientific morality and the difficult relationship between the intellectual and authority. This version of the play is the famous one that was brought to completion by Brecht himself, working with Charles Laughton, who played Galileo in the first two American productions (Hollywood and New York, 1947). Since then the play has become a classic in the world repertoire. "The play which most strongly stamped on my mind a sense of Brecht's great stature as an artist of the modern theatre was Galileo." - Harold Clurman; "Thoughtful and profoundly sensitive." - Newsweek.