With an extraordinary collection of details, Goodwin weaves together a number of story lines—the Roosevelt’s marriage & partnership, Eleanor’s life as First Lady, & FDR’s White House & its impact on America as well as on a world at war. Goodwin melds these into an intimate portrait of Eleanor & Franklin Roosevelt & of the time during which a new, modern America was born.

    It was the same piece and the same pianist, when broadcasting was resumed six years later. The Pianist is Szpilman's account of the years inbetween, of the death and cruelty inflicted on the Jews of Warsaw and on Warsaw itself, related with a dispassionate restraint borne of shock. Szpilman, now 88, has not looked at his description since he wrote it in 1946 (the same time as Primo Levi's If This Is A Man?; it is too personally painful. The rest of us have no such excuse. Szpilman's family were deported to Treblinka, where they were exterminated; he survived only because a music-loving policeman recognised him. This was only the first in a series of fatefully lucky escapes that littered his life as he hid among the rubble and corpses of the Warsaw Ghetto, growing thinner and hungrier, yet condemned to live. Ironically it was a German officer, Wilm Hosenfeld, who saved Szpilman's life by bringing food and an eiderdown to the derelict ruin where he discovered him. Hosenfeld died seven years later in a Stalingrad labour camp, but portions of his diary, reprinted here, tell of his outraged incomprehension of the madness and evil he witnessed, thereby establishing an effective counterpoint to ground the nightmarish vision of the pianist in a desperate reality. Szpilman originally published his account in Poland in 1946, but it was almost immediately withdrawn by Stalin's Polish minions as it unashamedly described collaborations by Lithuanians, Ukrainians, Poles and Jews with the Nazis. In 1997 it was published in Germany after Szpilman's son found it on his father's bookcase. This admirably robust translation by Anthea Bell is the first in the English language. There were 3,500,000 Jews in Poland before the Nazi occupation; after it there were 240,000. Wladyslaw Szpilman's extraordinary account of his own miraculous survival offers a voice across the years for the faceless millions who lost their lives. --David Vincent

    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.

    You’ve lost part of your face to a Japanese sniper on Okinawa, and after many surgeries, the doctor has finally told you that at 19, you will never see again. The pain and shock is one thing. But now you have to tell her, from 5000 miles away. — ‘So I had a hard two months, I guess. I kept mostly to myself. I wouldn't talk to people. I tried to figure out what the hell I was going to do when I got home. How was I going to tell my mother this? You know what I mean?’ ~Jimmy Butterfield, WWII Marine veteran ~From the author of 'The Things Our Fathers Saw' World War II eyewitness history series~ How soon we forget. Or perhaps, we were never told. That is understandable, given what they saw. — ‘I was talking to a shipmate of mine waiting for the motor launch, and all at once I saw a plane go over our ship. I did not know what it was, but the fellow with me said, 'That's a Jap plane, Jesus!' It went down and dropped a torpedo. Then I saw the Utah turn over.’ ~Barney Ross, U.S. Navy seaman, Pearl Harbor At the height of World War II, LOOK Magazine profiled a small American community for a series of articles portraying it as the wholesome, patriotic model of life on the home front. Decades later, author Matthew Rozell tracks down over thirty survivors who fought the war in the Pacific, from Pearl Harbor to the surrender at Tokyo Bay. — ‘Rage is instantaneous. He's looking at me from a crawling position. I didn't shoot him; I went and kicked him in the head. Rage does funny things. After I kicked him, I shot and killed him.’ ~Thomas Jones, Marine veteran, Battle of Guadalcanal These are the stories that the magazine could not tell to the American public. — ‘I remember it rained like hell that night, and the water was running down the slope into our foxholes. I had to use my helmet to keep bailing out, you know. Lt. Gower called us together. He said, 'I think we're getting hit with a banzai. We're going to have to pull back. 'Holy God, there was howling and screaming! They had naked women, with spears, stark naked!’ ~Nick Grinaldo, U.S. Army veteran, Saipan By the end of 2018, fewer than 400,000 WW II veterans will still be with us, out of the over 16 million who put on a uniform. But why is it that today, nobody seems to know these stories? Maybe our veterans did not volunteer; maybe we were too busy with our own lives to ask. But they opened up to the younger generation, when a history teacher told their grandchildren to ask. — ‘I hope you'll never have to tell a story like this, when you get to be 87. I hope you'll never have to do it.' ~Ralph Leinoff, Marine veteran Iwo Jima, to his teenage interviewer This book brings you the previously untold firsthand accounts of combat and brotherhood, of captivity and redemption, and the aftermath of a war that left no American community unscathed. — ‘After 3½ years of starvation and brutal treatment, that beautiful symbol of freedom once more flies over our head! Our POW camp tailor worked all night and finished our first American flag! The blue came from a GI barracks bag, red from a Jap comforter and the whit

    Week after week, Mauldin defied army censors, German artillery, and Patton’s pledge to “throw his ass in jail” to deliver his wildly popular cartoon, “Up Front,” to the pages of Stars and Stripes. “Up Front” featured the wise-cracking Willie and Joe, whose stooped shoulders, mud-soaked uniforms, and pidgin of army slang and slum dialect bore eloquent witness to the world of combat and the men who lived—and died—in it. This taut, lushly illustrated biography—the first of two-time Pulitzer Prize winner Bill Mauldin—is illustrated with more than ninety classic Mauldin cartoons and rare photographs. It traces the improbable career and tumultuous private life of a charismatic genius who rose to fame on his motto: “If it’s big, hit it.”

    Journey with Ernest and Elisabeth from the horror of the Holocaust to salvation in Jesus the Messiah. Not only is this a powerful testimony of how God sustained several Jewish families during the worst nightmare of our time, it is also a tender love story. You won't be able to put it down!

    T. Anderson delivers an account of the Siege of Leningrad and the role played by Russian composer Shostakovich and his Leningrad Symphony.In September 1941, Adolf Hitler’s Wehrmacht surrounded Leningrad in what was to become one of the longest and most destructive sieges in Western history—almost three years of bombardment and starvation that culminated in the harsh winter of 1943–1944. More than a million citizens perished. Survivors recall corpses littering the frozen streets, their relatives having neither the means nor the strength to bury them. Residents burned books, furniture, and floorboards to keep warm; they ate family pets and—eventually—one another to stay alive. Trapped between the Nazi invading force and the Soviet government itself was composer Dmitri Shostakovich, who would write a symphony that roused, rallied, eulogized, and commemorated his fellow citizens—the Leningrad Symphony, which came to occupy a surprising place of prominence in the eventual Allied victory.This is the true story of a city under siege: the triumph of bravery and defiance in the face of terrifying odds. It is also a look at the power—and layered meaning—of music in beleaguered lives.

    Their orders were to man a curtain of armed balloons meant to deter enemy aircraft. One member of the 320th would be nominated for the Medal of Honor, an award he would never receive. The nation’s highest decoration was not given to black soldiers in World War II.Drawing on newly uncovered military records and dozens of original interviews with surviving members of the 320th and their families, Linda Hervieux tells the story of these heroic men charged with an extraordinary mission, whose contributions to one of the most celebrated events in modern history have been overlooked. Members of the 320th—Wilson Monk, a jack-of-all-trades from Atlantic City; Henry Parham, the son of sharecroppers from rural Virginia; William Dabney, an eager 17-year-old from Roanoke, Virginia; Samuel Mattison, a charming romantic from Columbus, Ohio—and thousands of other African Americans were sent abroad to fight for liberties denied them at home. In England and Europe, these soldiers discovered freedom they had not known in a homeland that treated them as second-class citizens—experiences they carried back to America, fueling the budding civil rights movement.In telling the story of the 320th Barrage Balloon Battalion, Hervieux offers a vivid account of the tension between racial politics and national service in wartime America, and a moving narrative of human bravery and perseverance in the face of injustice.

    Louis; from San Francisco and points east. They left comfortable homes and safe sourroundings for combat-zone duty. They were women war correspondants, bringing to the battlefields of World War II a fresh perspective, reporting what they witnessed with a new sensiblity.The women who wrote the war include world-famous photojournalist Margaret Bourke-White, the only Western photgrapher to cover the Nazi invasion of the USSR; writer Martha Gelhorn, wife of Ernest Heminghway and one of the first reporters to document the menace of fascism; Lee Miller, the legendary photographer who took a bath in Hitler's tub; and dozens more gutsy women whose devastating and heartwarming reports are captured in this seemless narrative that assures them, at last, their rightful place in history.

    Perhaps the most viscerally exciting book ever written by a fighter pilot.' Rowland White Pierre Clostermann DFC was one of the oustanding Allied aces of the Second World War. A Frenchman who flew with the RAF, he survived over 420 operational sorties, shooting down scores of enemy aircraft while friends and comrades lost their lives in the deadly skies above Europe. THE BIG SHOW, his extraordinary account of the war, has been described as the greatest pilot's memoir of WWII. ‘A truly remarkable book … the most gripping descriptions of aerial combat I have ever read’ New York Times ‘A thrilling read … ranks among the finest accounts of war’ Guardian ‘A magnificent story’ Daily Telegraph ‘A classic … gripping, ripping, full of action’ Economist ‘Vividly captures the spirit of air combat’ The Times 'The relentlessness of the flying is extraordinary and the casual loss of life chilling. It really is one of the very best war memoirs ever written: exhilarating, exciting, deeply moving and a book that lingers in the mind long after the last page has been turned.' James Holland

    Despite operating under primitive conditions in a largely unknown and malignant physical environment, both sides employed the most sophisticated technology available at the time in a strategically crucial war of aerial attrition. In one of the largest aerial campaigns in history, the skies of the South Pacific were dominated first by the dreaded Japanese Zeros, then by Allied bombers, which launched massed raids at altitudes under fifty feet, and finally by a ferocious Allied fighter onslaught led by a cadre of the greatest aces in American military history. Utilizing primary sources and scores of interviews with surviving veterans of all ranks and duties, Eric Bergerud recreates the fabric of the air war as it was fought in the South Pacific. He explores the technology and tactics, the three-dimensional battlefield, and the leadership, living conditions, medical challenges, and morale of the combatants. The reader will be rewarded with a thorough understanding of how air power functioned in World War II from the level of command to the point of fire in air-to-air combat.

     After covering the war from the British home front to North Africa, Italy, and France, he left the European Theater to go to the Pacific to cover what would be the last few months of conflict with the Japanese forces. Instead of recounting the discussions and activities of generals or the movements of armies, Pyle captured the daily lives of the common soldier and showed the public how their brothers, fathers and sons were experiencing the war. Rather than covering the war from safety, he threw himself into the heat of battle so that he could fully understand and record what the fighting men were going through. Last Chapter is a collection of his last articles that he wrote while witnessing the conflict in the Pacific. During his time in the Far East he spent time in the occupied Marianas, with pilots and aircrew of B-29’s as they flew in missions over the Japanese mainland, with sailors in the hundreds of boats that were swarming the Pacific Ocean, and with marines as they were preparing for the assault of Okinawa. "No man in this war has so well told the story of the American fighting man as American fighting men wanted it told", wrote Harry Truman. "He deserves the gratitude of all his countrymen." “These pages will of course have a commemorative value, mark an end to one of the best known, best loved figures of the war.” Kirkus Reviews Ernie Pyle was the most celebrated war correspondent of World War Two. His work ran in one-hundred and forty-four papers and reached an audience of forty million Americans. His brilliant portrayal of the everyday fighting man in World War Two won him a Pulitzer Prize in 1944. Last Chapter was first published in 1946 after Pyle had been killed at Ie Shima on 18th April, 1945.

    Yellin enlisted two months after the bombing of Pearl Harbor on his 18th Birthday. After graduating from Luke Air Field as a fighter pilot in August of 1943, he spent the remainder of the war flying P-40, P- 47 and P-51 combat missions in the Pacific with the 78th Fighter Squadron. He participated in the first land based fighter mission over Japan on April 7, 1945, and also has the unique distinction of having flown the final combat mission of World War II on August 14, 1945 – the day the war ended. On that mission, his wing-man (Phillip Schlamberg) was the last man killed in a combat mission in WWII. After the war ended, Jerry struggled with severe undiagnosed PTSD. He always wondered why he survived, while so many of his comrades died during the war.Don Brown, a former U.S. Navy JAG officer and Special Assistant United States Attorney, is the author of eleven bestselling legal and military books. His work includes the novel Treason (2005) and the exposé Call Sign Extortion 17: The Shoot-Down of Team Seal Six (2015), a highly detailed account of the most deadly American loss-of-life in the Afghan War—the shoot-down of a U.S. Army Chinook helicopter carrying thirty Americans, including seventeen members of the vaunted SEAL Team Six.

    Offering a record of one of the pivotal events of World War II, as told through the personal accounts of the German and Soviet soldiers who fought in it, this book features photographs from the Battle of Stalingrad, from both sides of the front.

    Wounded at Voroshilovsk, he experimented with a Russian sniper-rifle while convalescing and so impressed his superiors with his proficiency that he was returned to the front on his regiment’s only sniper specialist.In this sometimes harrowing memoir, Allerberger provides an excellent introduction to the commitment in fieldcraft, discipline and routine required of the sniper, a man apart. There was no place for chivalry on the Russian Front. Away from the film cameras, no prisoner survived long after surrendering. Russian snipers had used the illegal explosive bullet since 1941, and Hitler eventually authorised its issue in 1944. The result was a battlefield of horror.Allerberger was a cold-blooded killer, but few will find a place in their hearts for the soldiers of the Red Army against whom he fought.