Would she have made it on her own? Who knows, even with Livia’s remarkable resilience which she still exhibits today in her nineties. It was Rose, with her desire to protect Livia and her instincts for survival that kept them, time and time again, from the many dangers which could have cost both of them their lives. From the moment they were on the transport to Auschwitz, and then saw their mother, along with Rose’s little son taken away and sent to the gas chambers, it was Rose who seem to anticipate what lay ahead. Maybe it was an extra morsel of food that could be obtained or an article of warm clothing. Rose always came through, even at great risk. Two Sisters is so much more than a story of survival during the Holocaust. It is the beautiful portrayal of a young girl―and later young woman―coming of age in rural Romania. Her academic achievements, schoolgirl crushes, and family life are all explored, revealed in detail for all of us. Carefully written and beautifully crafted, it serves as an extraordinary example of the power of the memoir in Holocaust understanding.

    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.

    From "Accuracy" to "Wound," "Adam" to "Void," "Babel" to "Silence," these cross-referential, highly associative entries comprise an utterly singular work of art. A Whaler’s Dictionary is the mesmerizing product of a total immersion into one of the greatest novels in the English language.

    T.D. is the only book to be published that recounts the events that led up to the British Army’s uncovering of the Bergen-Belsen Concentration Camp and its 60,000 prisoners, how the Army dealt with the unprecedented horror that existed in the camp, how the surviving prisoners were rescued, how the inmates were evacuated, how the Royal Army Medical Corps established the world’s largest hospital to care for the many thousands of sick and emaciated ex-inmates, how the survivors were rehabilitated and cared for, how they were repatriated to their own countries, why many thousand refused to return ‘home’ and the eventual establishment of the Belsen Displaced Persons camp, the largest DP camp in Germany. The author of this book was a senior British Army officer who participated in the liberation of the Camp, who was in charge of evacuating the ex-prisoners to the vast Rehabilitation Camp that the Army set up, and who was then appointed as the Commandant of that Camp until its management was handed over to the United Nations, and who gave evidence against the SS guards at the Belsen War Crimes Trial. Forewords by Nanette Blitz Konig, Belsen survivor and former classmate of Anne Frank, and Major-General Nicholas Eeles CBE, with the introduction by the Oscar®-nominated film director, Joshua Oppenheimer.

    and Beatrice, first introduced in The Babies. Unbeknownst to them they have come into being under the laws of Tsim Tsum, a Kabbalistic claim that a being cannot become, or come into existence, unless the creator of that being departs from that being. Along their journey they encounter many beguiling characters including The Healer, The Collector, Walter B.'s Extraordinary Cousin, and the Oldest Animal. These figures bewilder and dislodge what is at the heart of the immigrant experience: survival, testimony, and belonging.

    After publishing two extraordinary poetry collections and six satirical novels she turned her back on the literary world after a series of personal tragedies and medical crises which made her question the value of literature and embark on a restless, self-torturing spiritual quest. This involved totally renouncing poetry, and suppressing her own books. Interviewed earlier in 1967, she spoke of her direct literary forebears as Baudelaire and Rimbaud: They were both poets of the modern metropolis as we know it and no one has bothered to learn what there is to be learned from them… The main duty of the poet is to excite to send the senses reeling.’ Her poetry published in Notes on Cafés and Bedrooms (1963) and Iliad of Broken Sentences (1967) is exuberantly sensuous, a hymn to sixties hedonism set amid the bohemian nighttime world of a London reinvented through French poetic influences and sultry Oriental imagery. She was Bedouin of the London evening’ in one poem: I have been young too long, and in a dressing-gown / My private modern life has gone to waste.’ All her published poetry is now available in this edition for the first time in over 40 years, along with a selection of her prose. Poets, of course, as we all know, are either of their time or for all time. Rosemary Tonks was both. She wasn’t just a poet of the sixties she was a true poet of any era but she has sent us strange messages from them, alive, fresh and surprising today… there is possibly no other poet who has caught with such haughty, self-ironising contempt, the loucheness of the period, or the anger it could touch off in brooding bystanders… Rosemary Tonks’ imagery has a daring for which it’s hard to find a parallel in British poetry.’ John Hartley Williams, Poetry Review.

    McLane’s stunning third poetry collection, This Blue. Here are songs for and of a new century, poems both archaic and wholly now. In the middle of life, stationed in our common “Terran Life,” the poet conjures urban pigeons, Adirondack mountains, Genoa, Andalucía, Belfast, Parma; here is a world sounded out, broken, possibly shareable, newly named: “Take it up Old Adam— / everyday the world exists / to be named.” This Blue is a searching and a singing—intricate, sexy, smart.

    Lyrically complex and startling—yet forthright and unflinching— these poems address rape, abortion, sex work, and other subjects frequently omitted from male-dominated literary traditions, without forsaking the pleasures of being embodied, or the value of personal freedom, of moonlight, and of hope. Throughout, the topography and mythology of California, as well as the uses and failures of language itself, are players in what it means to be a woman, a sexual being, and a trauma survivor in contemporary America.

    Her prize: A rent-free year in a cottage in the Berkshires, where she could finish a first book. But Taylor—outside the city for the first time in nearly a decade, and trying to conceive her first child—found herself alone. To break up her days, she began to intern on a small farm, planting leeks, turning compost, and weeding kale. In this calendric cycle of 28 poems, Taylor describes the work of this year, considering what attending to vegetables on a small field might achieve now. Against a backdrop of drone strikes, “methamphetamine and global economic crisis,” these poems embark on a rich exploration of season, self, food, and place. Threading through the farm poets—Hesiod, Virgil, and John Clare—Taylor revisits the project of small scale farming at the troubled beginning of the 21st century. In poems full of bounty, loss and the mysteries of the body, Taylor offers a rich, severe, memorable meditation about what it means to try to connect our bodies and our time on earth.

    This volume includes books 5-8.Book V, The BeretsBook VI, The GeneralsBook VII, The New BreedBook VIII, The Aviators

    Deeply rooted along the US-México border in the sister cities of El Paso, Texas, and Cd. Juárez, Chihuahua, these poems give a brave new voice to the ways in which international politics affect the individual. Composed in a variety of forms, from sonnet and epithalamium to endnotes and field notes, each poem distills violent stories of narcos, undocumented immigrants, border patrol agents, and the people who fall in love with each other and their traumas. The border in Scenters-Zapico’s The Verging Cities exists in a visceral place where the real is (sur)real. In these poems mouths speak suspended from ceilings, numbered metal poles mark the border and lovers’ spines, and cities scream to each other at night through fences that “ooze only silt.” This bold new vision of border life between what has been named the safest city in the United States and the murder capital of the world is in deep conversation with other border poets—Benjamin Alire Saenz, Gloria Anzaldúa, Alberto Ríos, and Luis Alberto Urrea—while establishing itself as a new and haunting interpretation of the border as a verge, the beginning of one thing and the end of another in constant cycle.

    The result easily demonstrated, then as now, the massive achievement of the writer whom Carolyn Kizer called "one of the most passionate, energetic, and honest poets living."

    New Collected Poems now brings the record of her achievement up to date, adding material from her subsequent volumes and filling out key poems from the early years. Following the chronology of publication, the reader experiences the exhilarating sense of development, now incremental, now momentous. Boland’s work traces a measured process of emancipation from conventions and stereotypes, writing now in a space she has cleared not by violent rejection, but by dialogue, critical engagement, and patient experimentation with form, theme, and language.

    were written within earshot of David Kirby's Old World masters, Shakespeare and Dante. From the former, Kirby takes the compositional method of organizing not only the whole book but also each separate section as a dream; from the latter, a three-part scheme that gives the book rough symmetry. Long-lined and often laugh-out-loud funny, Kirby's poems are ample steamer trunks into which the poet seems to be able to put just about anything--the heated restlessness of youth, the mixed blessings of self-imposed exile, the settled pleasures of home. As the poet Philip Levine says, "The world that Kirby takes into his imagination and the one that arises from it merge to become a creation like no other, something like the world we inhabit but funnier and more full of wonder and terror. He has evolved a poetic vision that seems able to include anything, and when he lets it sweep him across the face of Europe and America, the results are astonishing."

    With her marriage shattered, Erin Belieu sifts the wreckage for the black box, the record of disaster. Propelled by a blistering and clarifying rage, she composed at fever pitch and produced riveting, unforgettable poems, such as the ten-part sequence “In the Red Dress I Wear to Your Funeral”:I root through your remains,looking for the black box. Nothing leftbut glossy chunks, a pimp’s platinumtooth clanking inside the urn. I play youover and over, my beloved conspiracy,my personal Zapruder film—look. . .When Belieu was invited by the Poetry Foundation to keep a public journal on their new website, readers responded to the Black Box poems, calling them “dark, twisted, disturbed, and disturbing” and Belieu a “frightening genius.” All true.