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.

    Evans), Ian Kershaw's Hitler is a new, distilled, one-volume masterpiece that will become the standard work. From Hitler's origins as a failed artist in fin-de-siecle Vienna to the terrifying last days in his Berlin bunker, Kershaw's richly illustrated biography is a mesmerizing portrait of how Hitler attained, exercised, and retained power. Drawing on previously untapped sources, such as Goebbels's diaries, Kershaw addresses crucial questions about the unique nature of Nazi radicalism, about the Holocaust, and about the poisoned European world that allowed Hitler to operate so effectively.

    After 60 years of silence, 'The Diary of Mary Berg' is poised at last to gain the appreciation and widespread attention that it so richly deserves, and is certain to take it’s place alongside 'The Diary of Anne Frank' as one of the most significant memoirs of the twentieth century. From love to tragedy, seamlessly combining the everyday concerns of a growing teenager with a unique commentary on life in one of the darkest contexts of history. This is a work remarkable for its authenticity, detail, and poignancy. But it is not only as a factual report on the life and death of a people that 'The Diary of Mary Berg' ranks with the most noteworthy documents of the Second World War. This is the personal story of a life-loving girl’s encounter with unparalleled human suffering, a uniquely illuminating insight into one of the darkest chapters of history. Mary Berg was imprisoned in the ghetto from 1940 to 1943. Unlike so many others, she survived the war, having been rescued in a prisoner-of-war exchange due to her mother’s dual Polish-American nationality. Berg's diary was published in 1945 when she was still only 19, in an attempt to alert the world to the Nazi atrocities in Poland, when it was described as "one of the most heartbreaking documents yet to come out of the war" by the /New Yorker/. After the war, Berg remained in America in quiet anonymity.

    In the summer of 1939, Renia and her sister Elizabeth (née Ariana) were visiting their grandparents in Przemysl, right before the Germans invaded Poland.Like Anne Frank, Renia recorded her days in her beloved diary. She also filled it with beautiful original poetry. Her diary records how she grew up, fell in love, and was rounded up by the invading Nazis and forced to move to the ghetto in Przemsyl with all the other Jews. By luck, Renia's boyfriend Zygmund was able to find a tenement for Renia to hide in with his parents and took her out of the ghetto. This is all described in the Diary, as well as the tragedies that befell her family and her ultimate fate in 1942, as written in by Zygmund on the Diary's final page.Renia's Diary is a significant historical and psychological document. The raw, yet beautiful account depicts Renia's angst over the horrors going on around her. It has been translated from the original Polish, with notes included by her surviving sister, Elizabeth Bellak.

    Now this enigma of a man is unveiled in a monumental biography by a writer who came to know Speer intimately in his final years.Out of hundreds of hours of interviews, Sereny unravels the threads of Speer's personality: the genius that made him indispensable to the German war machine, the conscience that drove him to repent, and the emotional wounds that made him susceptible to Hitler's lethal magnetism. Read as an inside account of the Third Reich, or as a revelatory unsparing yet compassionate study of the human capacity for evil, Albert Speer: His Battle with Truth is a triumph."Fascinating...Not only a major addition to our knowledge of The Third Reich, but a stunning attempt to understand the nature of good and evil."--Newsday"More than a biography...It also constitutes a perceptive re-examination of the mysterious appeal of Adolf Hitler."--San Francisco ChronicleB&W photos.IntroductionPrologueAn Infusion of Stable Stock'I Felt He Was a Human Being'Dizzy with ExcitementA Kind of LoveA Shared Devotion'You've All Gone Completely Insane'A Slight DiscomfortUnleashing MurderA Grey Path IndeedA Moral SoreA Fatal AppointmentAn Irresistable ChallengeA Maelstom of IntriguesA Blinkered CommitmentThe Unbearable Truth'It Was Not Yet My Time'The 20th of JulyScorched Earth'I Stand Unconditionally Behind You'He Is the DreamThe One Interesting PersonA Common ResponsibilitySpandau 1Spandau 2A Twilight of KnowingThe Great LiePostscriptReferencesNotesIndex

    Yet its story is not fully known. In Auschwitz, Laurence Rees reveals new insights from more than 100 original interviews with Auschwitz survivors and Nazi perpetrators who speak on the record for the first time. Their testimonies provide a portrait of the inner workings of the camp in unrivalled detail—from the techniques of mass murder, to the politics and gossip mill that turned between guards and prisoners, to the on-camp brothel in which the lines between those guards and prisoners became surprisingly blurred.Rees examines the strategic decisions that led the Nazi leadership to prescribe Auschwitz as its primary site for the extinction of Europe's Jews—their "Final Solution." He concludes that many of the horrors that were perpetrated in Auschwitz were driven not just by ideological inevitability but as a "practical" response to a war in the East that had begun to go wrong for Germany. A terrible immoral pragmatism characterizes many of the decisions that determined what happened at Auschwitz. Thus the story of the camp becomes a morality tale, too, in which evil is shown to proceed in a series of deft, almost noiseless incremental steps until it produces the overwhelming horror of the industrial scale slaughter that was inflicted in the gas chambers of Auschwitz

    It begins in 2010 and moves backward and forward in time, from the present day to twentieth-century Poland, France, Germany, England, and America, ending in the courtroom of the Palace of Justice at the International Military Tribunal in Nuremberg in 1945. The book opens with the author being invited to give a lecture on genocide and crimes against humanity at Lviv University, welcomed as the first international law academic to give a lecture there on such subjects in fifty years. Sands accepted the invitation with the intent of learning about the extraordinary city with its rich cultural and intellectual life, home to his maternal grandfather, a Galician Jew who had been born there a century before and who’d moved to Vienna at the outbreak of the First World War, married, had a child (the author’s mother), and who then had moved to Paris after the German annexation of Austria in 1938. It was a life that had been shrouded in secrecy, with many questions not to be asked and fewer answers offered if they were. As the author uncovered, clue by clue, the deliberately obscured story of his grandfather’s mysterious life and of his flight first to Vienna and then to Paris, and of his mother’s journey as a child surviving Nazi occupation, Sands searched further into the history of the city of Lemberg and realized that his own field of humanitarian law had been forged by two men—Rafael Lemkin and Hersch Lauterpacht—each of whom had studied law at Lviv University in the city of his grandfather’s birth, each of whom had come to be considered the finest international legal mind of the twentieth century, each considered to be the father of the modern human rights movement, and each, at parallel times, forging diametrically opposite, revolutionary concepts of humanitarian law that had changed the world. In this extraordinary and resonant book, Sands looks at who these two very private men were, and at how and why, coming from similar Jewish backgrounds and the same city, studying at the same university, each developed the theory he did, showing how each man dedicated this period of his life to having his legal concept—“genocide” and “crimes against humanity”—as a centerpiece for the prosecution of Nazi war criminals. And the author writes of a third man, Hans Frank, Hitler’s personal lawyer, a Nazi from the earliest days who had destroyed so many lives, friend of Richard Strauss, collector of paintings by Leonardo da Vinci. Frank oversaw the ghetto in Lemberg in Poland in August 1942, in which the entire large Jewish population of the area had been confined on penalty of death. Frank, who was instrumental in the construction of concentration camps nearby and, weeks after becoming governor general of Nazi-occupied Poland, ordered the transfer of 133,000 men, women, and children to the death camps. Sands brilliantly writes of how all three men came together, in October 1945 in Nuremberg—Rafael Lemkin; Hersch Lauterpacht; and in the dock at the Palace of Justice, with the twenty other defendants of the Nazi high command, prisoner number 7, Hans Frank, who had overseen the extermination of more than a million Jews of Galicia and Lemberg, among them, the families of the author’s grandfather as well as those of Lemkin and Lauterpacht. A book that changes the way we look at the world, at our understanding of history and how civilization has tried to cope with mass murder. Powerful; moving; tender; a revelation.

    Following his escape from two American POW camps, his retreat into the mountains and out of Europe, and his path to an anonymous life in Buenos Aires, his pursuers are a bulldog West German prosecutor, a blind Argentinean Jew and his beautiful daughter, and a budding, ragtag spy agency called the Mossad, whose operatives have their own scores to settle (and whose rare surveillance photographs are published here for the first time). The capture of Eichmann and the efforts by Israeli agents to secret him out of Argentina to stand trial is the stunning conclusion to this thrilling historical account, told with the kind of pulse-pounding detail that rivals anything you'd find in great spy fiction.

    Separated first from his mother and then his father, Buergenthal managed by his wits and some remarkable strokes of luck to survive on his own. Almost two years after his liberation, Buergenthal was miraculously reunited with his mother and in 1951 arrived in the U.S. to start a new life. Now dedicated to helping those subjected to tyranny throughout the world, Buergenthal writes his story with a simple clarity that highlights the stark details of unimaginable hardship. A Lucky Child is a book that demands to be read by all.

    Approved by both the Anne Frank House Foundation in Amsterdam and the Anne Frank-Fonds in Basel, run by the Frank family, this work of literary criticism unravels the complex, fascinating story of the diary and effectively makes the case for it being a work of art from a precociously gifted writer.

    He called it Ravensbrück, and during the years that followed thousands of people died there after enduring brutal forms of torture. All were women. There are a handful of studies and memoirs that reference Ravensbrück, but until now no one has written a full account of this atrocity, perhaps due to the mostly masculine narrative of war, or perhaps because it lacks the Jewish context of most mainstream Holocaust history. Ninety percent of Ravensbrück's prisoners were not Jewish. Rather, they were political prisoners, Resistance fighters, lesbians, prostitutes, even the sister of New York's Mayor LaGuardia. In a perverse twist, most of the guards were women themselves. Sarah Helm's groundbreaking work sheds much-needed light on an aspect of World War II that has remained in the shadows for decades. Using research into German and newly opened Russian archives, as well as interviews with survivors, Helm has produced a landmark achievement that weaves together various accounts, allowing us to follow characters on both sides of the prisoner/guard divide. Chilling, compelling, and deeply unsettling, Ravensbrück is essential reading for anyone concerned with Nazi history.

    Based in part on previously classified documents, Patricia Posner exposes Capesius’s reign of terror at the camp, his escape from justice, fueled in part by his theft of gold ripped from the mouths of corpses, and how a handful of courageous survivors and a single brave prosecutor finally brought him to trial for murder twenty years after the end of the war. The Pharmacist of Auschwitz is much more, though, than a personal account of Capesius. It provides a spellbinding glimpse inside the devil’s pact made between the Nazis and Germany’s largest conglomerate, I.G. Farben, and its Bayer pharmaceutical subsidiary. The story is one of murder and greed with its roots in the dark heart of the Holocaust. It is told through Nazi henchmen and industrialists turned war criminals, intelligence agents and zealous prosecutors, and intrepid concentration camp survivors and Nazi hunters. Set against a backdrop ranging from Hitler’s war to conquer Europe to the Final Solution to postwar Germany’s tormented efforts to confront its dark past, Posner shows the appalling depths to which ordinary men descend when they are unrestrained by conscience or any sense of morality. The Pharmacist of Auschwitz is a moving saga that lingers long after the final page.

    In 1941, in Berlin, Helga Schneider's mother abandoned her along with her father and younger brother. Let Me Go recounts Helga's final meeting with her ailing mother in a Vienna nursing home some sixty years after World War II, in which Helga confronts a nightmare: her mother's lack of repentance about her past as a Nazi SS guard at concentration camps, including Auschwitz, where she was responsible for untold acts of torture. With spellbinding detail, Schneider recalls their conversation, evoking her own struggle between a daughter's sense of obligation and the inescapable horror of her mother's deeds.

    It was a mystery of sorts: a young Jewish girl named Lientje had been taken in during the war by relatives and hidden from the Nazis, handed over by her parents, who understood the danger they were in all too well. The girl had been raised by her foster family as one of their own, but then, well after the war, there was a falling out, and they were no longer in touch. What was the girl's side of the story, Bart wondered? What really happened during the war, and after?So began an investigation that would consume Bart van Es's life, and change it. After some sleuthing, he learned that Lientje was now in her 80s and living in Amsterdam. Somewhat reluctantly, she agreed to meet him, and eventually they struck up a remarkable friendship, even a partnership. The Cut Out Girl braids together a powerful recreation of that intensely harrowing childhood story of Lientje's with the present-day account of Bart's efforts to piece that story together, including bringing some old ghosts back into the light.It is a story rich with contradictions. There is great bravery and generosity--first Lientje's parents, giving up their beloved daughter, and then the Dutch families who face great danger from the Nazi occupation for taking Lientje and other Jewish children in. And there are more mundane sacrifices a family under brutal occupation must make to provide for even the family they already have. But tidy Holland also must face a darker truth, namely that it was more cooperative in rounding up its Jews for the Nazis than any other Western European country; that is part of Lientje's story too. Her time in hiding was made much more terrifying by the energetic efforts of the local Dutch authorities, zealous accomplices in the mission of sending every Jew, man, woman and child, East to their extermination. And Lientje was not always particularly well treated, and sometimes, Bart learned, she was very badly treated indeed.The Cut Out Girl is an astonishment, a deeply moving reckoning with a young girl's struggle for survival during war, a story about the powerful love of foster families but also the powerful challenges, and about the ways our most painful experiences define us but also can be redefined, on a more honest level, even many years after the fact. A triumph of subtlety, decency and unflinching observation, The Cut Out Girl is a triumphant marriage of many keys of writing, ultimately blending them into an extraordinary new harmony, and a deeper truth.

    An important and fascinating firsthand account of life with Hitler from 1942 until his death in the Berlin bunker in 1945, by the young woman who was his last secretary.