Hailed as one of the most important works on the Hitler period, this is an “astonishing, compelling, and unnerving” portrait of life in Nazi Germany between 1936 and 1944—from a man who nearly shot Hitler himself (The New Yorker) Friedrich Reck might seem an unlikely rebel against Nazism. Not just a conservative but a rock-ribbed reactionary, he played the part of a landed gentleman, deplored democracy, and rejected the modern world outright. To Reck, the Nazis were ruthless revolutionaries in Gothic drag, and helpless as he was to counter the spell they had cast on the German people, he felt compelled to record the corruptions of their rule. The result is less a diary than a sequence of stark and astonishing snapshots of life in Germany between 1936 and 1944. We see the Nazis at the peak of power, and the murderous panic with which they respond to approaching defeat; their travesty of traditional folkways in the name of the Volk; and the author’s own missed opportunity to shoot Hitler. This riveting book is not only, as Hannah Arendt proclaimed it, “one of the most important documents of the Hitler period,” but a moving testament of a decent man struggling to do the right thing in a depraved world.

This is a truly unique account of Nazi Germany at war and of one man's struggle against totalitarianism. A mid-level official in a provincial town, Friedrich Kellner kept a secret diary from 1939 to 1945, risking his life to record Germany's path to dictatorship and genocide and to protest his countrymen's complicity in the regime's brutalities. Just one month into the war he is aware that Jews are marked for extermination and later records how soldiers on leave spoke openly about the mass murder of Jews and the murder of POWs; he also documents the Gestapo's merciless rule at home from euthanasia campaigns against the handicapped and mentally ill to the execution of anyone found listening to foreign broadcasts. This essential testimony of everyday life under the Third Reich is accompanied by a foreword by Alan Steinweis and the remarkable story of how the diary was brought to light by Robert Scott Kellner, Friedrich's grandson.

Not everything is what it seems. In a desperate bid to free her twin sister from an evil caster, Kellen flees her sheltered life under the cover of darkness. Lost and on the run from the cursed beasts lurking in the Dark Forest, she stumbles upon a clearing where seven handsome men reside. Despite their wariness towards her, Kellen finds herself drawn to them. Their laughter, camaraderie, and the way they gaze at her awaken a longing she’s never known. Her intuition whispers that she must stay, yet her loyalty to her sister compels her to find a way to leave. To plot her escape and save her sister, Kellen will need to navigate the seductive charm of the seven men and her yearning for acceptance in this darker version of Snow White that’s as spell-binding as the seven hot and endearing men who hold her captive.

A defining work in the "Inner Emigration" literary movement, Friedrich Reck-Malleczewen's History of the Münster Anabaptists was written in 1937 as a criticism of the Nazi regime. This English translation includes documents, scholarly essays, and a detailed introduction.

"The best written, most evocative, most observant record of daily life in the Third Reich." -Amos Elon, "The New York Times Victor Klemperer risked his life to preserve these diaries so that he could, as he wrote, "bear witness" to the gathering hor-ror of the Nazi regime. The son of a Berlin rabbi, Klemperer was a German patriot who served with honor during the First World War, married a gentile, and converted to Protestantism. He was a professor of Romance languages at the Dresden Technical Institute, a fine scholar and writer, and an intellectual of a somewhat conservative disposition. Unlike many of his Jewish friends and academic colleagues, he feared Hitler from the start, and though he felt little allegiance to any religion, under Nazi law he was a Jew. In the years 1933 to 1941, covered in the first volume of these diaries, Klemperer's life is not yet in danger, but he loses his professorship, his house, even his typewriter; he is not allowed to drive, and since Jews are forbidden to own pets, he must put his cat to death. Because of his military record and marriage to a "full-blooded Aryan," he is spared deportation, but nevertheless, Klemperer has to wear the yellow Jewish star, and he and his wife, Eva, are subjected to the ever-increasing escalation of Nazi tyranny. The distinguished historian Peter Gay, in The New York Times Book Review, wrote that Klemperer's "personal history of how the Third Reich month by month, sometimes week by week, accelerated its crusade against the Jews gives as accurate a picture of Nazi trickery and brutality as we are likely to have...a report from the interior that tells the horrifying story of the evolving Nazi persecution...witha concrete, vivid power that is, and I think will remain, unsurpassed." This volume begins in 1942, the year of the Final Solution, and ends in 1945, with the devastation of Hitler's Germany. Rumors of the death camps soon reach the Jews of Dresden, now jammed into their so-called Jews' houses, starved, humiliated, subject day and night to Gestapo raids, and terrified as, one by one, their neighbors are taken away. Klemperer is made to shovel snow, is assigned to do forced labor in a factory, is taunted on the streets by gangs of boys, but his life is spared, thanks to the privileged status of Jews married to Aryans. In the final days of the war, however, even Jews in mixed marriages are summoned to report for transport to "labor camps," which Klemperer now knows means death, and that his turn will soon come. He is saved by the great Dresden air raid of February 13, 1945; he and his wife survive the fiery destruction of their city and make their way to the Allied lines. "In the enthralling and appalling final pages of this miraculous work," wrote Niall Ferguson in the London Sunday Telegraph, "Klemperer all too soon encounters the deliberate amnesia of the defeated Germany: 'What is "Gestapo"?' declares a Breslau woman he encounters in May 1945. 'I've never heard the word. I've never been interested in politics, I don't know anything about the persecution of the Jews.'" Says Ferguson, "Of all the books I have read on this subject, I find it hard to think of one which has taught me more."

Mirages opens at the dawn of World War II, when Anaïs Nin fled Paris, where she lived for fifteen years with her husband, banker Hugh Guiler, and ends in 1947 when she meets the man who would be “the One,” the lover who would satisfy her insatiable hunger for connection. In the middle looms a period Nin describes as “hell,” during which she experiences a kind of erotic madness, a delirium that fuels her search for love. As a child suffering abandonment by her father, Anaïs wrote, “Close your eyes to the ugly things,” and, against a horrifying backdrop of war and death, Nin combats the world’s darkness with her own search for light. Mirages collects, for the first time, the story that was cut from all of Nin’s other published diaries, particularly volumes 3 and 4 of The Diary of Anaïs Nin, which cover the same time period. It is the long-awaited successor to the previous unexpurgated diaries Henry and June, Incest, Fire, and Nearer the Moon. Mirages answers the questions Nin readers have been asking for decades: What led to the demise of Nin’s love affair with Henry Miller? Just how troubled was her marriage to Hugh Guiler? What is the story behind Nin’s “children,” the effeminate young men she seemed to collect at will? Mirages is a deeply personal story of heartbreak, despair, desperation, carnage, and deep mourning, but it is also one of courage, persistence, evolution, and redemption that reaches beyond the personal to the universal.

The British author shares the “strange . . . inner layers of his playful, guilty imagination” in this glimpse into a brilliant novelist’s subconscious (The New York Times). Culled from nearly eight hundred pages of the author’s “dream diaries” kept between 1965 and 1989, this singular journal reveals “the feverish inner life of an intensely private man, providing an uncanny mirror-image of [his] novelistic obsessions, insecurities, and moral preoccupations” (Publishers Weekly). In what Greene calls My Own World—as opposed to the Common World of shared reality—he accompanies Henry James on a disagreeable riverboat trip to Bogota, is caught in a guerilla crossfire with Evelyn Waugh and W. H. Auden, strolls in the Vatican garden with Pope John Paul II who’s doling out Perugina chocolates like hosts, offers refuge to a suicidal Charlie Chaplin, and stages a disastrous play in blank verse for Elizabeth Taylor and Richard Burton. He also shares his headspace with Goebbels, Castro, Cocteau, Queen Elizabeth, D. H. Lawrence, and talking kittens. And the landscape is just as wide: from Nazi Germany to Haiti to West Africa to Bethlehem 1 AD and to Sweden where he seeks treatment for leprosy. Greene is a criminal, spy, lover, assassin, witness, and writer. Encompassing life, death, war, feuds, and career, and alternately absurdist, frightening, funny, and revealing, these fertile imaginings—many of which found their way into Greene’s fiction—comprise nothing less than “an alternate autobiography . . . a uniquely candid self-portrait” of one of the giants of English literature (Kirkus Reviews).

The First Book from n+1—an Essential Chronicle of Our Financial Crisis HFM: Where are you going to buy protection on the U.S. government's credit? I mean, if the U.S. defaults, what bank is going to be able to make good on that contract? Who are you going to buy that contract from, the Martians? n+1: When does this begin to feel like less of a cyclical thing, like the weather, and more of a permanent, end-of-the-world kind of thing? HFM: When you see me selling apples out on the street, that's when you should go stock up on guns and ammunition.

Author, dramatist and satirist, Nikolay Gogol (1809-1852) deeply influenced later Russian literature with his powerful depictions of a society dominated by petty beaurocracy and base corruption. This volume includes both his most admired short fiction and his most famous drama. A biting and frequently hilarious political satire, The Government Inspector has been popular since its first performance and was regarded by Nabokov as the greatest Russian play every written. The stories gathered here, meanwhile, range from comic to tragic and describe the isolated lives of low-ranking clerks, lunatics and swindlers. They include Diary of a Madman, an amusing but disturbing exploration of insanity; Nevsky Prospect, a depiction of an artist besotted with a prostitute; and The Overcoat, a moving consideration of poverty that powerfully influenced Dostoevsky and later Russian literature.