The rest was merely a matter of seconds. The bomber fell like a stone out of the sky and exploded on the ground. The nightmare came to an end."In this enthralling memoir, the author recounts his experiences of the war years and traces the story of the ace fighter pilots from the German development of radar to the Battle of Britain.Johnen flew his first operational mission in July 1941, having completed his blind-flying training. In his first couple of years he brought down two enemy planes. The tally went up rapidly once the air war was escalated in spring 1943, when Air Marshal Arthur Harris of the RAF Bomber Command began the campaign dubbed the Battle of the Ruhr.During this phase of the war Johnens successes were achieved against a 710-strong force of bombers. Johnens further successes during Harriss subsequent Berlin offensive led to his promotion as Staffelkapitan (squadron leader) of Nachtjagdgeschwader and a move to Mainz. During a sortie from there, his Bf 110 was hit by return fire and he was forced to land in Switzerland. He and his crew were interned by the authorities. The Germans were deeply worried about leaving a sophisticatedly equipped night fighter and its important air crew in the hands of a foreign government, even if it was a neutral one. After negotiations involving Gring, the prisoners were released.Johnens unit moved to Hungary and by October 1944 his score was standing at 33 aerial kills. His final one came in March the following year, once Johnen had moved back to Germany.

    Shirer was virtually unknown in 1940 when he decided there might be a book in the diary he had kept in Europe during the 1930s—specifically those sections dealing with the collapse of the European democracies and the rise of Nazi Germany.Berlin Diary first appeared in 1941, and the timing was perfect. The energy, the passion, the electricity in it were palpable. The book was an instant success, and it became the frame of reference against which thoughtful Americans judged the rush of events in Europe. It exactly matched journalist to event: the right reporter at the right place at the right time. It stood, and still stands, as so few books have ever done—a pure act of journalistic witness.

    Play is restricted. Family and friends disappear. Finally, with the Dutch police at their door comes the reality that Irene’s father has not moved his family far enough from Hitler’s Germany.By January 1945, the family is struggling to survive a death camp. Irene tends her ailing parents, cares for starving kids, and even helps bring clothes to her Amsterdam neighbor Anne Frank, before her family is offered a singular chance for freedom…providing the Nazi doctor says they are healthy enough. After two weeks of heart-lifting miracles and heart-breaking tragedies, Irene arrives in the Algerian desert to journey into redemption and womanhood, without her parents or brother.Irene’s first person memoir, Shores Beyond Shores, is an account of how the heart keeps its common humanity in the most inhumane and turbulent of times. Irene’s hard-earned lessons are a timeless inspiration.

    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.

    A drama that captured the attention of the American public, the group and its flight crew dodged bullets and battled blinding winter storms as they climbed mountains and fought to survive, aided by courageous villagers who risked death at Nazi hands to help them.

    On one occasion Mary delivered a Wellington bomber to an airfield, and as she climbed out of the aircraft the RAF ground crew ran over to her and demanded to know where the pilot was! Mary said simply: ‘I am the pilot!’ Unconvinced the men searched the aircraft before they realized a young woman had indeed flown the bomber all by herself.After the war she accepted a secondment to the RAF, being chosen as one of the first pilots, and one of only three women, to take the controls of the new Meteor fast jet. By 1950 the farmer's daughter from Oxfordshire with a natural instinct to fly became Europe's first female air commandant.In this authorized biography the woman who says she kept in the background during her ATA years and left all the glamour of publicity to her colleagues, finally reveals all about her action-packed career which spans almost a century of aviation, and her love for the skies which, even in her nineties, never falters.She says: ‘I am passionate for anything fast and furious. I always have been since the age of three and I always knew I would fly. The day I stepped into a Spitfire was a complete joy and it was the most natural thing in the world for me.’

    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

    I cut off her hair, thick and beautiful, and she grasps my hand and begs me to remember that I too am a Jew. She knows that she is lost. ‘But remember,‘ she says, ‘you see what is being done to us. That‘s why my wish for you is that you will survive and take revenge for our innocent blood, which will never rest.‘ She has not had time to get up when a murderer who is walking between the benches lashes her on the head with his whip. Blood shows on her now shorn head. That evening, the blood of tens of thousands of victims, unable to rest, thrust itself upwards to the surface.—from The Last Jew of TreblinkaWhy do some live while so many others perish? Tiny children, old men, beautiful girls. In the gas chambers of Treblinka, all are equal. The Nazis kept the fires of Treblinka burning night and day, a central cog in the wheel of the Final Solution. There was no pretense of work here like in Auschwitz or Birkenau. Only a train platform and a road covered with sand. A road that led only to death. But not for Chil Rajchman, a young man who survived working as a “barber” and “dentist,” heartsick with witnessing atrocity after atrocity. Yet he managed to survive so that somehow he could tell the world what he had seen. How he found the dress of his little sister abandoned in the woods. How he was forced to extract gold teeth from the corpses. How every night he had to cover the body-pits with sand. How ever morning the blood of thousands still rose to the surface.Many have courageously told their stories, and in the tradition of Elie Wiesel’s Night and Primo Levi’s Survival at Auschwitz and The Drowned and the Saved, Rajchman provides the only survivors’ record of Treblinka. Originally written in Yiddish in 1945 without hope or agenda other than to bear witness, Rajchman’s tale shows that sometimes the bravest and most painful act of all is to remember.

    He becomes a puppeteer in the Warsaw ghetto, but when his talent is discovered, Mika is forced to entertain the occupying German troops instead of his countrymen.It is also the story of Max, a German soldier stationed in Warsaw, whose experiences in Poland and later in Siberia's Gulag show a different side to the Second World War. As one of Mika's puppets is passed to the soldier, a war-torn legacy is handed from one generation to another.

    Max is a British Territorial soldier and Zia is a Jewess from the south of France. Zia's grandmother is a wealthy socialite who owns a painting that could embarrass the Nazis. Zia is kidnapped by the Gestapo and Max is hospitalised on the same day. He awakes to find no trace of his beloved who he had planned to marry in England. The Red Cross reported that it was almost certain that Zia was trafficked across the border and delivered to Sachsenhausen Labour Camp at Oranienburg, not far from Berlin on the night of May 26th, 1939. A criminal act, regardless of the forthcoming war. The first warring Germans to step over the border onto French soil did not do so until May 13th, 1940. The Gestapo had kidnapped her 343 days before they attacked France.June 6th, 1944 - four years later, Max is one of 150,000 Allied troops headed towards the Normandy beaches. He has two options - find the woman he could never forget or kill the people responsible for her death. From the very beginning, Berlin had ordered SS Hauptsturmführer Dieter Baumann to deal harshly with their VIP captive but never to kill her. Through three concentration camps, ending in Auschwitz, Zia wishes she had been killed many times over. Traumatized, she has no idea that Max and a few unlikely friends are battling their way through Nazi occupied Europe in a crazy attempt to rescue her. Berlin tries one last ploy to get their hands on her grandmother's painting. Zia's life hangs in the balance when Max meets his own personal nemesis in the guise of an undercover Gestapo officer. This novel explores the dark depths that humans can sink to in times of war. It is for adults only and even then; it is not for readers of a sensitive disposition. Whatever you read in this novel of extraordinary graphic Holocaust content, consider this – it was immeasurably worse, a hundred thousand times so.

    She has survived British and American bombs and witnessed the destruction of Aachen, her ancient and beautiful city. How will a German woman cope in austere post-war Britain, where she is still regarded as the enemy?Illustrated with almost 100 images and original documents, The Bride’s Trunk describes the adventures of an unremarkable piece of luggage and three generations of its owners, whose journeys across Europe are determined by the turbulent events of twentieth century history.

    In a curious yet fascinating twist, witnesses for the prosecution and the defense were housed together in a villa on the outskirts of town. In this so-called Witness House, perpetrators and victims confronted each other in a microcosm that reflected the events of the high court. Presiding over the affair was the beautiful Countess Ingeborg Kálnoky (a woman so blond and enticing that she was described as a Jean Harlowe look-alike) who took great pride in her ability to keep the household civil and the communal dinners pleasant.  A comedy of manners arose among the guests as the urge to continue battle was checked by a sudden and uncomfortable return to civilized life.   The trial atmosphere extends to the small group in the villa.  Agitated victims confront and avoid perpetrators and sympathizers, and high-ranking officers in the German armed forces struggle to keep their composure. This highly explosive mixture is seasoned with vivid, often humorous, anecdotes of those who had basked in the glory of the inner circles of power. Christiane Kohl focuses on the guilty, the sympathizers, the undecided, and those who always manage to make themselves fit in.  The Witness House reveals the social structures that allowed a cruel and unjust regime to flourish and serves as a symbol of the blurred boundaries between accuser and accused that would come to form the basis of postwar Germany.

    11/1944. The European war is drawing to a close when the British government agrees to send a brigade of 5000 Jewish volunteers from Palestine to Europe to fight the German army. Among these soldiers are Israel Carmi, a veteran of the Haganah underground, one who serves one army but whose loyalties belong to another; Johanan Peltz, raised on a vast Polish estate, he dreams of returning home as a British officer & gentleman; & Arie Pinchuk, a former student who's returned to Europe with a secret agenda--to rescue his last remaining family member: the little sister he left behind. At the Senio River, Peitz leads the troops in a daring bayonet charge into the German line. When the hand-to-hand combat is finished, the brigade emerges triumphant. At a time when Jews are being victimized, these soldiers--yellow Stars of David emblazoned on their uniform sleeves--show that a Jewish army can fight back & win. But when the war ends they witness 1sthand the horrors their people have suffered in the concentration camps, they launch a calculating campaign of vengeance, forming secret squads to identify, locate & kill Nazi officers in hiding. Their own ferocity threatens to overwhelm them until a fortuitous encounter with an orphaned girl sets the men on a course of action--rescuing Jewish war orphans & transporting them to Palestine--that will not only change their lives but also alter the course of history. Blum has written his most harrowing book to date--a story that will make headlines as well as provoke debate about the moral elements of justice, the line between good & evil, & the possibility of redemption.

    They lived and made this history, and much of it is told in their own words. The material contributed by these men of the 101st Airborne Division, the Armor, Tank Destroyer, Army Air Force , and others is tailored meticulously by the author and placed on the historical framework known to most students of the Battle of the Bulge. Pieces of a nearly 60-year-old jigsaw puzzle come together in this book, when memoirs from one soldier fit with those of another unit or group pursuing the battle from another nearby piece of terrain.

    No objective historian, declared the judge, would manipulate the documentary record in the way that Irving did. Richard J. Evans, a Cambridge historian and the chief advisor for the defense, uses this pivotal trial as a lens for exploring a range of difficult questions about the nature of the historian's enterprise. For instance, don't all historians in the end bring a subjective agenda to bear on their reading of the evidence? Is it possible that Irving lost his case not because of his biased history but because his agenda was unacceptable? The central issue in the trial -- as for Evans in this book -- was not the past itself, but the way in which historians study the past. In a series of short, sharp chapters, Richard Evans sets David Irving's methods alongside the historical record in order to illuminate the difference between responsible and irresponsible history. The result is a cogent and deeply informed study in the nature of historical interpretation.