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."

    One's first steps are always small: I had begun by hiding food under a fence."Through this intimate and compelling memoir, we are witness to the growth of a hero. Irene Gut was just a girl when the war began: seventeen, a Polish patriot, a student nurse, a good Catholic girl. As the war progressed, the soldiers of two countries stripped her of all she loved -- her family, her home, her innocence -- but the degradations only strengthened her will.She began to fight back. Irene was forced to work for the German Army, but her blond hair, her blue eyes, and her youth bought her the relatively safe job of waitress in an officers' dining room. She would use this Aryan mask as both a shield and a sword: She picked up snatches of conversation along with the Nazis' dirty dishes and passed the information to Jews in the ghetto. She raided the German Warenhaus for food and blankets. She smuggled people from the work camp into the forest. And, when she was made the housekeeper of a Nazi major, she successfully hid twelve Jews in the basement of his home until the Germans' defeat.This young woman was determined to deliver her friends from evil. It was as simple and as impossible as that.

    Ricks, a dual biography of Winston Churchill and George Orwell, whose farsighted vision and inspired action preserved democracy from the threats of authoritarianism, from the left and right alike.Both George Orwell and Winston Churchill came close to death in the mid-1930s—Orwell shot in the neck in a trench line in the Spanish Civil War, and Churchill struck by a car in New York City. If they'd died then, history would scarcely remember them. At the time, Churchill was a politician on the outs, his loyalty to his class and party suspect. Orwell was a mildly successful novelist, to put it generously. No one would have predicted that by the end of the 20th century they would be considered two of the most important people in British history for having the vision and courage to campaign tirelessly, in words and deeds, against the totalitarian threat from both the left and the right. In a crucial moment, they responded first by seeking the facts of the matter, seeing through the lies and obfuscations, and then acting on their beliefs. Together, to an extent not sufficiently appreciated, they kept the West's compass set toward freedom as its due north.It's not easy to recall now how lonely a position both men once occupied. By the late 1930s, democracy was discredited in many circles and authoritarian rulers were everywhere in the ascent. There were some who decried the scourge of communism, but saw in Hitler and Mussolini men we could do business with, if not in fact saviors. And there were others who saw the Nazi and fascist threat as malign but tended to view communism as the path to salvation. Churchill and Orwell, on the other hand, had the foresight to see clearly that the issue was human freedom—that whatever its coloration, a government that denied its people basic freedoms was a totalitarian menace and had to be resisted.In the end, Churchill and Orwell proved their age's necessary men. The glorious climax of Churchill and Orwell is the work they both did in the decade of the 1940s to triumph over freedom's enemies. And though Churchill played the larger role in the defeat of Hitler and the Axis, Orwell's reckoning with the menace of authoritarian rule in Animal Farm and 1984 would define the stakes of the Cold War for its 50-year course and continues to give inspiration to fighters for freedom to this day. Taken together, in Thomas E. Ricks' masterful hands, their lives are a beautiful testament to the power of moral conviction and to the courage it can take to stay true to it, through thick and thin.

    The reminiscences of Miep Gies, the woman who hid the Frank family in Amsterdam during the Second World War, presents a vivid story of life under Nazi occupation.

    Protesting in the name of principles Hitler thought he had killed forever, Sophie Scholl and other members of the White Rose realized that the ‘Germanization’ Hitler sought to enforce was cruel and inhuman, and that they could not be content to remain silent in its midst.From its inception to its end, the captivating story of Sophie Scholl and the White Rose is an uplifting and enlightening account of German resistance to the Third Reich. With detailed chronicles of Scholl’s arrest and trial before Hitler’s Hanging Judge, Roland Freisler, as well as appendices containing all of the leaflets the White Rose wrote and circulated exhorting Germans to stand up and fight back, this volume is an invaluable addition to World War II literature and a fascinating window into human resilience in the face of dictatorship.

    Yet by the end of World War II, almost the only thing remaining of their vast empire was a collection of 264 wood and ivory carvings, none of them larger than a matchbox.The renowned ceramicist Edmund de Waal became the fifth generation to inherit this small and exquisite collection of netsuke. Entranced by their beauty and mystery, he determined to trace the story of his family through the story of the collection.The netsuke—drunken monks, almost-ripe plums, snarling tigers—were gathered by Charles Ephrussi at the height of the Parisian rage for all things Japanese. Charles had shunned the place set aside for him in the family business to make a study of art, and of beautiful living. An early supporter of the Impressionists, he appears, oddly formal in a top hat, in Renoir’s Luncheon of the Boating Party. Marcel Proust studied Charles closely enough to use him as a model for the aesthete and lover Swann in Remembrance of Things Past.Charles gave the carvings as a wedding gift to his cousin Viktor in Vienna; his children were allowed to play with one netsuke each while they watched their mother, the Baroness Emmy, dress for ball after ball. Her older daughter grew up to disdain fashionable society. Longing to write, she struck up a correspondence with Rilke, who encouraged her in her poetry.The Anschluss changed their world beyond recognition. Ephrussi and his cosmopolitan family were imprisoned or scattered, and Hitler’s theorist on the “Jewish question” appropriated their magnificent palace on the Ringstrasse. A library of priceless books and a collection of Old Master paintings were confiscated by the Nazis. But the netsuke were smuggled away by a loyal maid, Anna, and hidden in her straw mattress. Years after the war, she would find a way to return them to the family she’d served even in their exile.In The Hare with Amber Eyes, Edmund de Waal unfolds the story of a remarkable family and a tumultuous century. Sweeping yet intimate, it is a highly original meditation on art, history, and family, as elegant and precise as the netsuke themselves.

    For Nora, the simple fact of her German citizenship bound her to the Holocaust and its unspeakable atrocities and left her without a sense of cultural belonging. Yet Nora knew little about her own family’s involvement in the war: though all four grandparents lived through the war, they never spoke of it.In her late thirties, after twelve years in the US, Krug realizes that living abroad has only intensified her need to ask the questions she didn’t dare to as a child and young adult. Returning to Germany, she visits archives, conducts research, and interviews family members, uncovering in the process the stories of her maternal grandfather, a driving teacher in Karlsruhe during the war, and her father’s brother Franz-Karl, who died as a teenage SS soldier in Italy. Her quest, spanning continents and generations, pieces together her family’s troubling story and reflects on what it means to be a German of her generation.

    Drawing on her memory, her parents' written reflections, interviews with contemporaries, and newly available documents, Albright recounts a tale that is by turns harrowing and inspiring. Prague Winter is an exploration of the past with timeless dilemmas in mind and, simultaneously, a journey with universal lessons that is intensely personal.The book takes readers from the Bohemian capital's thousand-year-old castle to the bomb shelters of London, from the desolate prison ghetto of Terezín to the highest councils of European and American government. Albright reflects on her discovery of her family's Jewish heritage many decades after the war, on her Czech homeland's tangled history, and on the stark moral choices faced by her parents and their generation. Often relying on eyewitness descriptions, she tells the story of how millions of ordinary citizens were ripped from familiar surroundings and forced into new roles as exiled leaders and freedom fighters, resistance organizers and collaborators, victims and killers. These events of enormous complexity are never-theless shaped by concepts familiar to any growing child: fear, trust, adaptation, the search for identity, the pressure to conform, the quest for independence, and the difference between right and wrong."No one who lived through the years of 1937 to 1948," Albright writes, "was a stranger to profound sadness. Millions of innocents did not survive, and their deaths must never be forgotten. Today we lack the power to reclaim lost lives, but we have a duty to learn all that we can about what happened and why." At once a deeply personal memoir and an incisive work of history, Prague Winter serves as a guide to the future through the lessons of the past—as seen through the eyes of one of the international community's most respected and fascinating figures.

    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.

    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

    Not since The Diary of Anne Frank has a young voice so vividly expressed the capacity for humanity and heroism in the face of Nazi brutality.

    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.

    Drawing on a rich store of materials from the archives of Highclere Castle, including diaries, letters, and photographs, the current Lady Carnarvon has written a transporting story of this fabled home on the brink of war.    Much like her Masterpiece Classic counterpart, Lady Cora Crawley, Lady Almina was the daughter of a wealthy industrialist, Alfred de Rothschild, who married his daughter off at a young age, her dowry serving as the crucial link in the effort to preserve the Earl of Carnarvon's ancestral home.  Throwing open the doors of Highclere Castle to tend to the wounded of World War I, Lady Almina distinguished herself as a brave and remarkable woman.    This rich tale contrasts the splendor of Edwardian life in a great house against the backdrop of the First World War and offers an inspiring and revealing picture of the woman at the center of the history of Highclere Castle.

    In the twilight of the Cold War (the late 1980s), nine-year old Lev Golinkin and his family cross the Soviet border with only ten suitcases, $600, and the vague promise of help awaiting in Vienna. Years later, Lev, now an American adult, sets out to retrace his family's long trek, locate the strangers who fought for his freedom, and in the process, gain a future by understanding his past.Lev Golinkin's memoir is the vivid, darkly comic, and poignant story of a young boy in the confusing and often chilling final decade of the Soviet Union. It's also the story of Lev Golinkin, the American man who finally confronts his buried past by returning to Austria and Eastern Europe to track down the strangers who made his escape possible . . . and say thank you. Written with biting, acerbic wit and emotional honesty in the vein of Gary Shteyngart, Jonathan Safran Foer, and David Bezmozgis, Golinkin's search for personal identity set against the relentless currents of history is more than a memoir—it's a portrait of a lost era. This is a thrilling tale of escape and survival, a deeply personal look at the life of a Jewish child caught in the last gasp of the Soviet Union, and a provocative investigation into the power of hatred and the search for belonging. Lev Golinkin achieves an amazing feat—and it marks the debut of a fiercely intelligent, defiant, and unforgettable new voice.

    But much about the real-life woman and her family was left untold.Here, Baroness Maria Augusta Trapp tells in her own beautiful, simple words the extraordinary story of her romance with the baron, their escape from Nazi-occupied Austria, and their life in America.Now with photographs from the original edition.