Soviet and German troops fight from house to house in the shattered, corpse-strewn suburbs of Budapest. Crazed Hungarian fascists join with die-hard Nazis to slaughter Jews day and night, turning the Danube blood-red. In less than six months, thirty-eight-year-old SS Colonel Adolf Eichmann has sent over half a million Hungarians to the gas chambers in Auschwitz. Now all that prevents him from liquidating Europe’s last Jewish ghetto is an unarmed Swedish diplomatic envoy named Raoul Wallenberg.The Envoy is the stirring tale of how one man made the greatest difference in the face of untold evil. The legendary Oscar Schindler saved hundreds, but Raoul Wallenberg did what no other individual or nation managed to do: He saved more than 100,000 Jewish men, women, and children from extermination.Written with Alex Kershaw’s customary narrative verve, The Envoy is a fast-paced, nonfiction thriller that brings to life one of the darkest and yet most inspiring chapters of twentieth century history. It is an epic for the ages.

    Through anecdotes, stories, and notations - some as brief as "I was slapped today in Zlota Street" - there emerges the agonizing, eyewitness accounts of human beings caught in the furor of senseless, unrelenting brutality. In the Journal, there is the whole of life in the Ghetto, from the erection of the Wall, in November 1940, for hygienic reasons, through the brief period of deceptive calm to the eventual mass murders. It is a portrait of man tested by crisis, stained at times by the meanness of avarice and self-preservation, illumined more often by moments of nobility. Emmanual Ringelblum was 39 when he began his notes. When the Germans first invaded Poland, Ringelblum, who could have stayed abroad and escaped, returned to Warsaw from Switzerland knowing that his was an historical event of importance for his people and a moment in time that must be forever a part of written history. As the recognized archivist of the Ghetto he gathered around him a staff, and assigned each to cover a specific part of Ghetto life. From these reports and this notes, he assembled his Journal. On March 7, 1944, Emmanual Ringelblum was executed among the ruins of Warsaw, together with his wife, his son, and thirt-eight others who shared his hiding place.

    In this gripping new analysis, Alon Confino draws on an array of archives across three continents to propose a penetrating new assessment of one of the central moral problems of the twentieth century. To a surprising extent, Confino demonstrates, the mass murder of Jews during the war years was powerfully anticipated in the culture of the prewar years.   The author shifts his focus away from the debates over what the Germans did or did not know about the Holocaust and explores instead how Germans came to conceive of the idea of a Germany without Jews. He traces the stories the Nazis told themselves—where they came from and where they were heading—and how those stories led to the conclusion that Jews must be eradicated in order for the new Nazi civilization to arise. The creation of this new empire required that Jews and Judaism be erased from Christian history, and this was the inspiration—and justification—for Kristallnacht. As Germans imagined a future world without Jews, persecution and extermination became imaginable, and even justifiable.

    Here, Dita writes with startling clarity on the horrors and joys of a life delayed by the Holocaust. From her earliest memories and childhood friendships in Prague before the war, to the Nazi-occupation that saw her and her family sent to the Jewish ghetto at Terezín, to the unimaginable fear and bravery of her imprisonment in Auschwitz and Bergen-Belsen, and life after liberation.Dita writes unflinchingly about the harsh conditions of the camps and her role as librarian of the precious books that her fellow prisoners managed to smuggle past the guards. But she also looks beyond the Holocaust – to the life she rebuilt after the war: her marriage to fellow survivor Otto B Kraus, a new life in Israel and the happiness and heartbreaks of motherhood.Part of Dita's story was told in fictional form in the Sunday Times bestseller The Librarian of Auschwitz by Antonio Iturbe. Her memoir tells the full story in her own words.

    This true, documented chronicle is the intimate, day-to-day record of a beautiful woman who survived the nightmare of Auschwitz and Birchenau. Having lost her husband, her parents, and her two young sons to the Nazi exterminators, Olga Lengyel had little to live for during her seven-month internment in Auschwitz. Only Lengyel's work in the prisoners' underground resistance and the need to tell this story kept her fighting for survival. She survived by her wit and incredible strength. Despite her horrifying closeness to the subject, Five Chimneys does not retreat into self-pity or sensationalism. When first published (two years after World War 2 ended), Albert Einstein was so moved by her story that he wrote a personal letter to Lengyel, thanking her for her "very frank, very well written book". This book is a necessary reminder of one of the ugliest chapters in the history of human civilization. It was a shocking experience. It is a shocking book.

    Fifty years later, Roma, an artist living in Germany, attended a screening of Steven Spielberg’s Schindler’s List, and instantly knew that “the girl in the red coat”—the only splash of color in the film—was her. Thus began a harrowing journey into the past, as Roma Ligocka sought to reclaim her life and put together the pieces of a shattered childhood. The result is this remarkable memoir, a fifty-year chronicle of survival and its aftermath. With brutal honesty, Ligocka recollects a childhood at the heart of evil: the flashing black boots, the sudden executions, her mother weeping, her father vanished…then her own harrowing escape and the strange twists of fate that allowed her to live on into the haunted years after the war. Powerful, lyrical, and unique among Holocaust memoirs, The Girl in the Red Coat eloquently explores the power of evil to twist our lives long after we have survived it. It is a story for anyone who has ever known the darkness of an unbearable past—and searched for the courage to move forward into the light.

    It is the profoundly moving and poetic memoir by Marceline Loridan-Ivens, who at the age of fifteen was arrested in occupied France, along with her father. Later, in the camps, he managed to smuggle a note to her, a sign of life that made all the difference to Marceline—but he died in the Holocaust, while Marceline survived. In But You Did Not Come Back, Marceline writes back to her father, the man whose death overshadowed her whole life. Although her grief never diminished in its intensity, Marceline ultimately found her calling, working as both an activist and a documentary filmmaker. But now, as France and Europe in general faces growing anti-Semitism, Marceline feels pessimistic about the future. Her testimony is a memorial, a confrontation, and a deeply affecting personal story of a woman whose life was shattered and never totally rebuilt.

    The niece of Syvia Perlmutter, one of only twelve child survivors of the Lodz ghetto in Poland, shares her aunt's experiences of the Holocaust in free verse that relates the courage and heartbreak she lived during a time of terrible circumstances.

    She opens La Maison du Livre, Berlin's first French bookshop, attracting artists and diplomats, celebrities and poets. The shop becomes a haven for intellectual exchange as Nazi ideology begins to poison the culturally rich city. In 1935, the scene continues to darken. First come the new bureaucratic hurdles, followed by frequent police visits and book confiscations.Françoise's dream finally shatters on Kristallnacht in November 1938, as hundreds of Jewish shops and businesses are destroyed. La Maison du Livre is miraculously spared, but fear of persecution eventually forces Françoise on a desperate, lonely flight to Paris. When the city is bombed, she seeks refuge across southern France, witnessing countless horrors: children torn from their parents, mothers throwing themselves under buses. Secreted away from one safe house to the next, Françoise survives at the heroic hands of strangers risking their lives to protect her.Published quietly in 1945, then rediscovered nearly sixty years later in an attic.

     The book describes Binem's childhood in the rural Polish village of Radziejow, and details how his family and community were devastated by the trauma of the Nazi invasion and unimaginably cruel occupation of Poland. At the age of 24, Binem escapes a German forced labor camp and struggles to survive the harsh Polish winter by sleeping in haystacks during the day and begging food from peasant farmers at night. Through a chance encounter with a former schoolmate, Binem is taken in by the Osten-Sackens, an aristocratic Polish woman (the “Princess”) and her ethnic German husband, who Binem later learns is a secret Gestapo agent. When Germany begins to lose the war, their son, an SS officer (the “Nazi”), forces Binem to vow to protect his parents from inevitable attempts at retribution. Binem makes good on his promise (three times!) saving Osten-Sacken twice from Russian soldiers and later by testifying on his behalf in a Polish court. The book describes Binem’s Holocaust experience in harrowing detail, from its lows, including a suicide attempt in the Jewish graveyard where his parents were buried, to its highs, such as finishing off the war as an honored guest at the Osten-Sacken mansion, and his celebratory speech to the Russian Jewish officers who liberated him.

    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.

    Tracing the prehistory of the Holocaust from the 1800s to the Nazis’ assumption of power in 1933, Aly shows that German anti-Semitism was—to a previously overlooked extent—driven in large part by material concerns, not racist ideology or religious animosity. As Germany made its way through the upheaval of the Industrial Revolution, the difficulties of the lethargic, economically backward German majority stood in marked contrast to the social and economic success of the agile Jewish minority. This success aroused envy and fear among the Gentile population, creating fertile ground for murderous Nazi politics.Surprisingly, and controversially, Aly shows that the roots of the Holocaust are deeply intertwined with German efforts to create greater social equality. Redistributing wealth from the well-off to the less fortunate was in many respects a laudable goal, particularly at a time when many lived in poverty. But as the notion of material equality took over the public imagination, the skilled, well-educated Jewish population came to be seen as having more than its fair share. Aly’s account of this fatal social dynamic opens up a new vantage point on the greatest crime in history and is sure to prompt heated debate for years to come.

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

    Placed by the parents of a 15-year-old Jewish girl, Dora Bruder, who had run away from her Catholic boarding school, the ad sets Modiano off on a quest to find out everything he can about Dora and why, at the height of German reprisals, she ran away on a bitterly cold day from the people hiding her. He finds only one other official mention of her name on a list of Jews deported from Paris to Auschwitz in September 1942. With no knowledge of Dora Bruder aside from these two records, Modiano continues to dig for fragments from Dora's past. What little he discovers in official records and through remaining family members, becomes a meditation on the immense losses of the period—lost people, lost stories, and lost history. Modiano delivers a moving account of the ten-year investigation that took him back to the sights and sounds of Paris under the Nazi Occupation, and the paranoia of the Pétain regime as he tries to find connections to Dora. In his efforts to exhume her from the past, Modiano realizes that he must come to terms with the specters of his own troubled adolescence. The result, a montage of creative and historical material, is Modiano's personal rumination on loss, both memoir and memorial.

    Yet its story is not fully known. In Auschwitz, Laurence Rees reveals new insights from more than 100 original interviews with Auschwitz survivors and Nazi perpetrators who speak on the record for the first time. Their testimonies provide a portrait of the inner workings of the camp in unrivalled detail—from the techniques of mass murder, to the politics and gossip mill that turned between guards and prisoners, to the on-camp brothel in which the lines between those guards and prisoners became surprisingly blurred.Rees examines the strategic decisions that led the Nazi leadership to prescribe Auschwitz as its primary site for the extinction of Europe's Jews—their "Final Solution." He concludes that many of the horrors that were perpetrated in Auschwitz were driven not just by ideological inevitability but as a "practical" response to a war in the East that had begun to go wrong for Germany. A terrible immoral pragmatism characterizes many of the decisions that determined what happened at Auschwitz. Thus the story of the camp becomes a morality tale, too, in which evil is shown to proceed in a series of deft, almost noiseless incremental steps until it produces the overwhelming horror of the industrial scale slaughter that was inflicted in the gas chambers of Auschwitz