Twenty years after the end of the war, this was the first time that the German people were confronted with the horrific details of the Holocaust executed by 'ordinary men' still living in their midst.The trial sent Krüger back to his childhood in the 1930s, in an attempt to understand 'how it really was, that incomprehensible time'. He had grown up in a Berlin suburb, among a community of decent, lower-middle-class homeowners. This was not the world of torch-lit processions and endless ranks of marching SA men. Here, people lived ordinary, non-political lives, believed in God and obeyed the law, but were gradually seduced and intoxicated by the promises of Nazism. He had been, Krüger realised, 'the typical child of innocuous Germans who were never Nazis, and without whom the Nazis would never have been able to do their work'.This world of respectability, order and duty began to crumble when tragedy struck. Krüger's older sister decided to take her own life, leaving the parents struggling to come to terms with the inexplicable. The author's teenage rebellion, his desire to escape the stifling conformity of family life, made him join an anti-Nazi resistance group. He narrowly escaped imprisonment only to be sent to war as Hitler embarked on the conquest of Europe. Step by step, a family that had fallen under the spell of Nazism was being destroyed by it.Written in accomplished prose of lingering beauty, The Broken House is a moving coming-of-age story that provides an unforgettable portrait of life under the Nazis. Yet the book's themes also chime with our own times - how the promise of an 'era of greatness' by a populist leader intoxicates an entire nation, how thin is the veneer of civilisation, and what makes one person a collaborator and another a resister.

    By the end of the war, all but a few hundred of them had died in bombing raids or, more commonly, in death camps. This is the real-life story of some of the few of them - a young mother, a scholar and his countess lover, a black-market jeweler, a fashion designer, a Zionist, an opera-loving merchant, a teen-age orphan - who resourcefully, boldly, defiantly, luckily survived. In hiding or in masquerade, by their wits and sometimes with the aid of conscience-stricken German gentiles, they survived. They survived the constant threat of discovery by the Nazi authorities or by the sinister handful of turncoat Jewish "catchers" who would send them to the gas chambers. They survived to tell this tale, which reads like a thriller and triumphs like a miracle.

    With several thousand black and white members, the Hairstons share a complex and compelling history: divided in the time of slavery, they have come to embrace their past as one family.The black family's story is most exceptional. It is the account of the rise of a remarkable people—the children, grandchildren, and great-grandchildren of slaves—who took their rightful place in mainstream America.In contrast, it has been the fate of the white family—once one of the wealthiest in America—to endure the decline and fall of the Old South, and to become an apparent metaphor for that demise. But the family's fall from grace is only part of the tale. Beneath the surface lay a hidden history—the history of slavery's curse and how that curse plagued slaveholders for generations.For the past seven years, journalist Wiencek has listened raptly to the tales of hundreds of Hairston relatives, including the aging scions of both the white and black clans. He has crisscrossed the old plantation country in Virginia, North Carolina, and Mississippi to seek out the descendants of slaves. Visiting family reunions, interviewing family members, and exploring old plantations, Wiencek combs the far-reaching branches of the Hairston family tree to gather anecdotes from members about their ancestors and piece together a family history that involves the experiences of both plantation owners and their slaves. He expertly weaves the Hairstons' stories from all sides of historical events like slave emancipation, Reconstruction, school segregation, and lynching.Paradoxically, Wiencek demonstrates that these families found that the way to come to terms with the past was to embrace it, and this lyrical work, a parable of redemption, may in the end serve as a vital contribution to our nation's attempt to undo the twisted historical legacy of the past.

    Produced in association with The Anne Frank House and filled with never-before-published snapshots, school pictures, and photos of the diary and the Secret Annex, this elegantly designed album is both a stand-alone introduction to Anne's life and a photographic companion to a classic of Holocaust literature.

    Their account is complete, covering the lives of Anne's parents, Edith and Otto; Anne's first years in Frankfurt; the rise of Nazism; the Franks' immigration to Amsterdam; war and occupation; Anne's years in the Secret Annex; betrayal and arrest; her deportation and tragic death in Bergen-Belsen; the survival of Anne's father; and his recovery and publication of her astounding diary.

    He interviewed her closest friends and colleagues as well as some of her many lovers. But Wilson also traces Highsmith's literary roots in the work of Poe, noir, and existentialism, locating the influences that helped distinguish Highsmith's writing so startlingly from more ordinary thrillers. The result is both a serious critical biography and one that reveals much about a brilliant and contradictory woman, one who despite her acclaim and affairs always maintained her solitude.

    When his captors discover that he speaks several languages, he is put to work as a Tätowierer (the German word for tattooist), tasked with permanently marking his fellow prisoners.Imprisoned for more than two and a half years, Lale witnesses horrific atrocities and barbarism—but also incredible acts of bravery and compassion. Risking his own life, he uses his privileged position to exchange jewels and money from murdered Jews for food to keep his fellow prisoners alive.One day in July 1942, Lale, prisoner 32407, comforts a trembling young woman waiting in line to have the number 34902 tattooed onto her arm. Her name is Gita, and in that first encounter, Lale vows to somehow survive the camp and marry her.A vivid, harrowing, and ultimately hopeful re-creation of Lale Sokolov's experiences as the man who tattooed the arms of thousands of prisoners with what would become one of the most potent symbols of the Holocaust, The Tattooist of Auschwitz is also a testament to the endurance of love and humanity under the darkest possible conditions.

    Glowingly reviewed, What I Saw introduces a new generation to the genius of this tortured author with its "nonstop brilliance, irresistible charm and continuing relevance" (Jeffrey Eugenides, New York Times Book Review). As if anticipating Christopher Isherwood, the book re-creates the tragicomic world of 1920s Berlin as seen by its greatest journalistic eyewitness. In 1920, Joseph Roth, the most renowned German correspondent of his age, arrived in Berlin, the capital of the Weimar Republic. He produced a series of impressionistic and political essays that influenced an entire generation of writers, including Thomas Mann, and a young Christopher Isherwood. Translated and collected here for the first time, these pieces record the violent social and political paroxysms that constantly threatened to undo the fragile democracy that was the Weimar Republic. Roth, like no other German writer of his time, ventured beyond Berlin's official veneer to the heart of the city, chronicling the lives of its forgotten inhabitants: the war cripples, the Jewish immigrants from the Pale, the criminals, the bathhouse denizens, and the nameless dead who filled the morgues. Warning early on of the dangers posed by the Nazis, Roth evoked a landscape of moral bankruptcy and debauched beauty—a memorable portrait of a city and a time of commingled hope and chaos. What I Saw, like no other existing work, records the violent social and political paroxysms that compromised and ultimately destroyed the precarious democracy that was the Weimar Republic.

    In the 1950s, Noah's grandparents raised their children on Holocaust stories. But because tales of rebellion and death camps gave his father and aunt constant nightmares, in Noah's adolescence Grandma would only recount the PG version. Noah, however, craved the uncensored truth and always felt one right question away from their pasts. But when Poppy died at the end of the millennium, it seemed the Holocaust stories died with him. In the years that followed, without the love of her life by her side, Grandma could do little more than mourn. After college, Noah, a travel writer, roamed the world for fifteen months with just one rule: avoid Poland. A few missteps in Europe, however, landed him in his grandparents' country. When he returned home, he cautiously told Grandma about his time in Warsaw, fearing that the past would bring up memories too painful for her to relive. But, instead, remembering the Holocaust unexpectedly rejuvenated her, ending five years of mourning her husband. Together, they explored the memories--of Auschwitz and a half-dozen other camps, the Warsaw Ghetto Uprising, and the displaced persons camps--that his grandmother had buried for decades. And the woman he had playfully mocked as a child became his hero. I was left with the stories--the ones that had been hidden, the ones that offered catharsis, the ones that gave me a second hero, the ones that resurrected a family, the ones that survived even death. Their shared journey profoundly illuminates the transformative power of never forgetting.

    The Third Reich has been studied in more depth than virtually any other period in history, and yet until now there has been no history of the camp system that tells the full story of its broad development and the everyday experiences of its inhabitants, both perpetrators and victims, and all those living in what Primo Levi called "the gray zone." In KL, Wachsmann fills this glaring gap in our understanding. He not only synthesizes a new generation of scholarly work, much of it untranslated and unknown outside of Germany, but also presents startling revelations, based on many years of archival research, about the functioning and scope of the camp system. Examining, close up, life and death inside the camps, and adopting a wider lens to show how the camp system was shaped by changing political, legal, social, economic, and military forces, Wachsmann produces a unified picture of the Nazi regime and its camps that we have never seen before. A boldly ambitious work of deep importance, KL is destined to be a classic in the history of the twentieth century.

    They smuggled arms through Europe, harbored parachuting agents, coordinated communications between regional sectors, trekked escape routes to Spain and hid Jewish children in scattered apartments. They were arrested by French police, interrogated and tortured by the Gestapo. They were subjected to a series of French prisons and deported to Germany. The group formed along the way, meeting at different points, in prison, in transit, and at Ravensbrück. By the time they were enslaved at the labor camp in Leipzig, they were a close-knit group of friends. During the final days of the war, forced onto a death march, the nine chose their moment and made a daring escape.Drawing on incredible research, this powerful, heart-stopping narrative from Gwen Strauss is a moving tribute to the power of humanity and friendship in the darkest of times.

    The film, shot long ago by his grandfather on a sightseeing trip to Europe, includes shaky footage of Paris and the Swiss Alps, with someone inevitably waving at the camera. Astonishingly, David Kurtz also captured on color 16mm film the only known moving images of the thriving, predominantly Jewish town of Nasielsk, Poland, shortly before the community's destruction. "Blissfully unaware of the catastrophe that lay just ahead," he just happened to visit his birthplace in 1938, a year before the Nazi occupation. Of the town's three thousand Jewish inhabitants, fewer than one hundred would survive.Glenn Kurtz quickly recognizes the brief footage as a crucial link in a lost history. "The longer I spent with my grandfather's film," he writes, "the richer and more fragmentary its images became." Every image, every face, was a mystery that might be solved. Soon he is swept up in a remarkable journey to learn everything he can about these people. After restoring the film, which had shrunk and propelled across the United States; to Canada, England, Poland, and Israel; and into archives, basements, cemeteries, and even an irrigation ditch at an abandoned Luftwaffe airfield as he looks for shards of Nasielsk's Jewish history.One day, Kurtz hears from a young woman who had watched the video on the Holocaust Museum's website. As the camera panned across the faces of children, she recognized her grandfather as a thirteen-year-old boy. Moszek Tuchendler of Nasielsk was now eighty-six-year-old Maurice Chandler of Florida, and when Kurtz meets him, the lost history of Nasielsk comes into view. Chandler's laser-sharp recollections create a bridge between two worlds, and he helps Kurtz eventually locate six more survivors, including a ninety-six-year-old woman who also appears in the film, standing next to the man she would later marry.Painstakingly assembled from interviews, photographs, documents, and artifacts, Three Minutes in Poland tells the rich, harrowing, and surprisingly intertwined stories of these seven survivors and their Polish hometown. "I began to catch fleeting glimpses of the living town," Kurtz writes, "a cruelly narrow sample of its relationships, contradictions, scandals." Originally a travel souvenir, David Kurtz's home movie became the most important record of a vibrant town on the brink of extinction. From this brief film, Glenn Kurtz creates a poignant yet unsentimental exploration of memory, loss, and improbable survival--a monument to a lost world.

    Overwhelmed by the horror of his discoveries as they become entangled with his own feverish imaginings, he organizes a class trip. The school bus becomes Götz and Meyer’s truck, and the teacher and his students merge with Belgrade’s lost souls in a sacred act of remembering.

    When a Nazi death squad raided his village at the outset of World War II, Jewish five-year-old Alex Kurzem escaped. After surviving the Russian winter by foraging for food and stealing clothes off dead soldiers, he was discovered by a Nazi-led Latvian police brigade that later became an SS unit. Not knowing he was Jewish, they made him their mascot, dressing the little ?corporal? in uniform and toting him from massacre to massacre. Terrified, the resourceful Alex charmed the highest echelons of the Latvian Third Reich, eventually starring in a Nazi propaganda film. When the war ended he was sent to Australia with a family of Latvian refugees. Fearful of being discovered?as either a Jew or a Nazi?Alex kept the secret of his childhood, even from his loving wife and children. But he grew increasingly tormented and became determined to uncover his Jewish roots and the story of his past. Shunned by a local Holocaust organization, he reached out to his son Mark for help in reclaiming his identity. A survival story, a grim fairy-tale, and a psychological drama, this remarkable memoir asks provocative questions about identity, complicity, and forgiveness.

    Infused with a love of learning, compelling in its arguments for a unifying written culture, it argues brilliantly against the politicization of literature and presents a guide to the great works of the western literary tradition and essential writers of the ages. The Western Canon was nominated for the National Book Critics Circle Award.