Over the past two decades, Antony Beevor has established himself as one of the world's premier historians of WWII. His multi-award winning books have included Stalingrad and The Fall of Berlin 1945. Now, in his newest and most ambitious book, he turns his focus to one of the bloodiest and most tragic events of the twentieth century, the Second World War. In this searing narrative that takes us from Hitler's invasion of Poland on September 1st, 1939 to V-J day on August 14, 1945 and the war's aftermath, Beevor describes the conflict and its global reach -- one that included every major power. The result is a dramatic and breathtaking single-volume history that provides a remarkably intimate account of the war that, more than any other, still commands attention and an audience. Thrillingly written and brilliantly researched, Beevor's grand and provocative account is destined to become the definitive work on this complex, tragic, and endlessly fascinating period in world history, and confirms once more that he is a military historian of the first rank.

    Amy weaves her own coming-of-age as a young Jewish artist into the narrative of her mother, a psychologist, and Bubbe, her grandmother, a World War II survivor who escaped from the Warsaw Ghetto by disguising herself as a gentile. Captivated by Bubbe’s story, Amy turns to her sketchbooks, teaching herself to draw as a way to cope with what she discovers. Entwining the voices and histories of these three wise, hilarious, and very different women, Amy creates a portrait not only of what it means to be part of a family, but also of how each generation bears the imprint of the past. Flying Couch uses Bubbe’s real testimony and her playful, idiosyncratic sensibility to investigate the legacy of trauma, the power of family stories, and the meaning of home. The result is this bold illustrated memoir, both an original story of self-discovery and an important entry into the literature of the Holocaust.“Flying Couch is perfect. It’s perceptive, emotionally on point, surprising and funny in its details, told in an intuitive way that’s completely direct, and about something that matters. This is an important book.” —Liana Finck, author of The Bintel Brief“Flying Couch is a moving, intricate story of identity and family history.”—Ariel Schrag, author of Likewise and Awkward and Definition“I read Flying Couch in one sitting, without moving, literally laughed and literally cried.” —Rachel Fershleiser, co-editor of the New York Times bestseller Not Quite What I Was Planning"Amy Kurzweil's moving debut is a story of trauma and survival, and a search for identity and belonging. Fluctuating, in words and images, from the bubbly to the intense, this graphic memoir exposes the complicated and powerful ways we are shaped by the histories and relationships that anchor us."—Tahneer Oksman, author of How Come Boys Get to Keep Their Noses?

    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."

    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.

    This book reveals little-known information about regular people living under the bleak, macabre and bizarre reality of the Nazi dictatorship.

    Poland suffered terribly under the Nazis. By the end of the war six million had been killed: some were innocent civilians - half of them were Jews - but the rest died as a result of a ferocious guerrilla war the Poles had waged. On 1 August 1944 Andrew Borowiec, a fifteen-year-old volunteer in the Resistance, lobbed a grenade through the shattered window of a Warsaw apartment block onto some German soldiers running below. 'I felt I had come of age. I was a soldier and I'd just tried to kill some of our enemies'. The Warsaw Uprising lasted for 63 days: Himmler described it as 'the worst street fighting since Stalingrad'. Yet for the most part the insurgents were poorly equipped local men and teenagers - some of them were even younger than Andrew. Over that summer Andrew faced danger at every moment, both above and below ground as the Poles took to the city's sewers to creep beneath the German lines during lulls in the fierce counterattacks. Wounded in a fire fight the day after his sixteenth birthday and unable to face another visit to the sewers, he was captured as he lay in a makeshift cellar hospital wondering whether he was about to be shot or saved. Here he learned a lesson: there were decent Germans as well as bad. From one of the most harrowing episodes of the Second World War, this is an extraordinary tale of survival and defiance recounted by one of the few remaining veterans of Poland's bravest summer. Andrew Borowiec dedicates this book to all the Warsaw boys, 'especially those who never grew up'. Andrew Borowiec was born at Lodz in Poland in 1928. At fifteen he joined the Home Army, the main Polish resistance during the Second World War, and fought in the ill-fated Warsaw Uprising. After the war he left Poland and attended Columbia University's Graduate School of Journalism. He lives in Cyprus with his English wife Juliet.

    It included Hebrew, a touch of the Romance and Slavic languages, and a large helping of German. In a world of earthly wandering, this pungent, witty, and infinitely nuanced speech, full of jokes, puns, and ironies, became the linguistic home of the Jews, the bond that held a people together.Here is the remarkable story of how this humble language took vigorous root in Eastern European shtetls and in the Jewish quarters of cities across Europe; how it achieved a rich literary flowering between the wars in Europe and America; how it was rejected by emancipated Jews; and how it fell victim to the Holocaust. And how, in yet another twist of destiny, Yiddish today is becoming the darling of academia. Yiddish is a history as story, a tale of flesh-and-blood people with manic humor, visionary courage, brilliant causes, and glorious flaws. It will delight everyone who cares about language, literature, and culture.

    As legend has it, God blessed the only survivor of this medieval pogrom, Rabbi Yom Tov Levy, as one of the Lamed-Vov, the thirty-six Just Men of Jewish tradition, a blessing which extended to one Levy of each succeeding generation. This terrifying and remarkable legacy is traced over eight centuries, from the Spanish Inquisition, to expulsions from England, France, Portugal, Germany, and Russia, and to the small Polish village of Zemyock, where the Levys settle for two centuries in relative peace. It is in the twentieth century that Ernie Levy emerges, The Last of the Just, in 1920s Germany, as Hitler’s sinister star is on the rise and the agonies of Auschwitz loom on the horizon. This classic work, long unavailable in a trade edition, is one of those few novels that, once read, is never forgotten.

    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.

    As the holocaust approached, many Jewish families in Germany fled to one of the only open ports available to them: Shanghai. Once called "the armpit of the world," Shanghai ultimately served as the last resort for tens of thousands of Jews desperate to escape Hitler's "Final Solution." Against this backdrop, 11-year-old Ursula Bacon and her family made the difficult 8,000-mile voyage to Shanghai, with its promise of safety. But instead of a storybook China, they found overcrowded streets teeming with peddlers, beggars, opium dens, and prostitutes. Amid these abysmal conditions, Ursula learned of her own resourcefulness and found within herself the fierce determination to survive.

    “Fascinating, brave & sometimes infuriating” (Time), this dark history is more than a chronicle of religion. It's the central tragedy of Western civilization, its fault lines reaching deep into our culture to create “a deeply felt work” (San Francisco Chronicle) as Carroll wrangles with centuries of strife & tragedy to reach a courageous & affecting reckoning with difficult truths.

    Fallenberg’s Tel Aviv-set tale that will resonate with readers of Wladyslaw Szpilman’s The Pianist, Dalia Sofer’s The Septembers of Shiraz, and Thrity Umrigar’s The Space Between Us, as well as any who have been touched by war or diaspora, as two characters’ intimate journey poignantly explores the pain of fractured pasts, the hope for second chances, the potency of artistic catharsis, and the certainty that love can conquer all.

     Based on a true story, MY MOTHER'S SECRET is a profound, captivating, and ultimately uplifting tale intertwining the lives of two Jewish families in hiding from the Nazis, a fleeing German soldier, and the clever and "righteous" mother and daughter who teamed up to save them. Franciszka and her daughter, Helena, are unlikely heroines. They are simple people who mind their own business and don't stand out from the crowd. Until 1939, when crisis strikes. The Nazis have invaded Poland and they are starting to persecute the Jews. Providing shelter to a Jew has become a death sentence. And yet, Franciszka and Helena decide to do just that. In their tiny, two-bedroom home in Sokal, Poland, they cleverly hide a Jewish family of two brothers and their wives in their pigsty out back, a Jewish doctor with his wife and son in a makeshift cellar under the kitchen floorboards, and a defecting German soldier in the attic--each group completely unbeknownst to the others. For everyone to survive, Franciszka will have to outsmart her neighbors and the German commanders standing guard right outside her yard. Told simply and succinctly from four different perspectives, MY MOTHER'S SECRET is a reminder that there are, in fact, no profiles of courage and each individual's character is a personal choice. This book was inspired by the true story of Franciszka Halamajowa, who, with her daughter, saved the lives of fifteen Jews in Poland during the Second World War. She also hid a young German soldier in her attic at the same time. Before the war, there were six thousand Jews in Sokal, Poland. Only thirty survived the war and half of those did so because of Franciszka.

     These images of victory and celebration are so strong in our minds that the period of anarchy and civil war that followed has been forgotten.  Across Europe, landscapes had been ravaged, entire cities razed and more than thirty million people had been killed in the war. The institutions that we now take for granted - such as the police, the media, transport, local and national government - were either entirely absent or hopelessly compromised. Crime rates were soaring, economies collapsing, and the European population was hovering on the brink of starvation.  In Savage Continent, Keith Lowe describes a continent still racked by violence, where large sections of the population had yet to accept that the war was over.  Individuals, communities and sometimes whole nations sought vengeance for the wrongs that had been done to them during the war. Germans and collaborators everywhere were rounded up, tormented and summarily executed.  Concentration camps were reopened and filled with new victims who were tortured and starved.  Violent anti-Semitism was reborn, sparking murders and new pogroms across Europe.  Massacres were an integral part of the chaos and in some places – particularly Greece, Yugoslavia and Poland, as well as parts of Italy and France – they led to brutal civil wars. In some of the greatest acts of ethnic cleansing the world has ever seen, tens of millions were expelled from their ancestral homelands, often with the implicit blessing of the Allied authorities.Savage Continent is the story of post WWII Europe, in all its ugly detail, from the end of the war right up until the establishment of an uneasy stability across Europe towards the end of the 1940s.  Based principally on primary sources from a dozen countries, Savage Continent is a frightening and thrilling chronicle of a world gone mad, the standard history of post WWII Europe for years to come.

    His writing exposes and illumines the wounds that Nazi destructiveness left on language. John Felstiner's sensitive and accessible book is the first critical biography of Celan in any language. It offers new translations of well-known and little-known poems—including a chapter on Celan's famous "Deathfugue"—plus his speeches, prose fiction, and letters. The book also presents hitherto unpublished photos of the poet and his circle.Drawing on interviews with Celan's family and friends and his personal library in Normandy and Paris, as well as voluminous German commentary, Felstiner tells the poet's gripping story: his birth in 1920 in Romania, the overnight loss of his parents in a Nazi deportation, his experience of forced labor and Soviet occupation during the war, and then his difficult exile in Paris. The life's work of Paul Celan emerges through readings of his poems within their personal and historical matrix. At the same time, Felstiner finds fresh insights by opening up the very process of translating Celan's poems.To present this poetry and the strain of Jewishness it displays, Felstiner uncovers Celan's sources in the Bible and Judaic mysticism, his affinities with Kafka, Heine, Hölderlin, Rilke, and Nelly Sachs, his fascination with Heidegger and Buber, his piercing translations of Shakespeare, Dickinson, Mandelshtam, and Apollinaire. First and last, Felstiner explores the achievement of a poet surviving in his mother tongue, the German language that had passed, Celan said, "through the thousand darknesses of deathbringing speech."