"The incredible true story of Michael Bornstein--who at age 4 was one of the youngest children to be liberated from Auschwitz--and of his family"--

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"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."

Provides details of the life of Elie Wiesel, from his childhood in Romania and his development as a writer to his humanitarian works.

What is the difference between writing a novel about the Holocaust and fabricating a memoir? Do narratives about the Holocaust have a special obligation to be 'truthful'--that is, faithful to the facts of history? Or is it okay to lie in such works? In her provocative study A Thousand Darknesses, Ruth Franklin investigates these questions as they arise in the most significant works of Holocaust fiction, from Tadeusz Borowski's Auschwitz stories to Jonathan Safran Foer's postmodernist family history. Franklin argues that the memory-obsessed culture of the last few decades has led us to mistakenly focus on testimony as the only valid form of Holocaust writing. As even the most canonical texts have come under scrutiny for their fidelity to the facts, we have lost sight of the essential role that imagination plays in the creation of any literary work, including the memoir. Taking a fresh look at memoirs by Elie Wiesel and Primo Levi, and examining novels by writers such as Piotr Rawicz, Jerzy Kosinski, W.G. Sebald, and Wolfgang Koeppen, Franklin makes a persuasive case for literature as an equally vital vehicle for understanding the Holocaust (and for memoir as an equally ambiguous form). The result is a study of immense depth and range that offers a lucid view of an often cloudy field.

The Art of Inventing Hope offers an unprecedented, in-depth conversation between the world's most revered Holocaust survivor, Elie Wiesel, and a son of survivors, Howard Reich. During the last four years of Wiesel's life, he met frequently with Reich in New York, Chicago and Florida—and spoke with him often on the phone—to discuss the subject that linked them: Reich's father, Robert Reich, and Wiesel were both liberated from the Buchenwald death camp on April 11, 1945. What had started as an interview assignment from the Chicago Tribune quickly evolved into a friendship and a partnership. Reich and Wiesel believed their colloquy represented a unique exchange between two generations deeply affected by a cataclysmic event. Wiesel said to Reich, "I've never done anything like this before," and after reading the final book, asked him not to change a word. Here Wiesel—at the end of his life—looks back on his ideas and writings on the Holocaust, synthesizing them in his conversations with Reich. The insights on life, ethics, and memory that Wiesel offers and Reich illuminates will not only help the children and grandchildren of Holocaust survivors understand their painful inheritance, but will benefit everyone, young or old.

“I will be forever changed by Edith Eger’s story.” —Oprah A practical and inspirational guide to stopping destructive patterns and imprisoning thoughts to find freedom and joy in life—now updated to address the challenges of the pandemic and a world in crisis. World renowned psychologist and internationally bestselling author, Edith Eger’s, powerful New York Times bestselling book The Choice told the story of her survival in the concentration camps, her escape, healing, and journey to freedom. Readers around the world wrote to tell her how The Choice moved them and inspired them to confront their own past and try to heal their pain. They asked her to write another, more prescriptive book. Eger’s second book, The Gift, expands on her message of healing and provides a hands-on guide that gently encourages readers to change the thoughts and behaviors that may be keeping them imprisoned in the past. Eger explains that the worst prison she experienced is not the prison that Nazis put her in but the one she created for herself: the prison within her own mind. She describes the most pervasive imprisoning beliefs she has known—including fear, grief, anger, secrets, stress, guilt, shame, and avoidance—and the tools she has discovered to deal with these universal challenges. These lessons are offered through riveting and inspiring stories from her life and the lives of her patients. This new, revised edition of The Gift contains two new chapters that examine the invaluable insights and lessons Edie learned during the Covid-19 pandemic; a time she used to rediscover freedom even in lockdown and to enjoy the simple pleasures of life, including preparing and sharing meals with the ones we love. Edie includes recipes for some of her favorite dishes which have been updated and tested by her daughter Marianne Engle and explains how food can be a deep expression of love and connection. As readers seek to find joy and some peace in these challenging times, Eger’s wisdom and heartfelt advice is as timely, and timeless, as ever and certain to resonate with Eger’s devoted readers and those who have not yet found her transformational wisdom. Filled with empathy, insight, and humor, The Gift captures the vulnerability and common challenges we all face and provides encouragement and advice for breaking out of our personal prisons to find healing and greater joy in life.

Offers a fresh overview of teaching with film to effectively enhance social studies instruction.

This book charts the performative dimension of the Holocaust memorialization culture through a selection of representative artistic, educational, and memorial projects. Performative practice refers to the participatory and performance-like aspects of the Holocaust memorial culture, the transformative potential of such practice, and its impact upon visitors. At its core, performative practice seeks to transform individuals from passive spectators into socially and morally responsible agents. This edited volume explores how performative practices came into being, what impact they exert upon audiences, and how researchers can conceptualise and understand their relevance. In doing so, the contributors to this volume innovatively draw upon existing philosophical considerations of performativity, understandings of performance in relation to performativity, and upon critical insights emerging from visual and participatory arts. The chapters in this book were originally published as a special issue of Holocaust Studies: A Journal of Culture and History.