What is a War Baby? War Babies, squeezed between the children of the Great Depression and the Boomers, have been described as part of the “Silent Generation” by Wikipedia. Richard Pell’s book on War Babies illuminated only celebrity names from those years while saying the war babies’ perspective on America was “darker and more pessimistic than either their predecessors or their baby boom successors.” While these and other generations have been, and will be written about, very little was recorded of the everyday life of War Babies to support that gloomy theory. War Babies lived in a time unknown to any generation before or after. Their America was unique, guided by parents who knew the importance of a nuclear family, and actually used their villages to raise their own and each others’ children. It was a time when the family who prayed together stayed together, and “for better or worse” was a sacred vow. For the most part, War Babies were taught such things as respect, manners, patriotism, and penmanship. They went to church with their families, took music lessons, and joined the 4H, the Boy Scouts and the Girl Scouts, They took pride in accomplishments, and didn’t need tattoos or purple hair to stand out in a crowd. They earned their accolades. War Babies lived such lives as small business owners, cooks and construction workers, salesmen and teachers, and much more. No matter the job, each War Baby honed the skills that complimented his profession. One in particular, started his development with a curiosity that exposed everyone he met as his straight man. His stories reflect the path that led him to be the person he is today.

As did all communities in America, Independence, Wisconsin, contributed heavily toward the effort of defeating the Axis during World War II. Independence is a small rural community in the west-central part of the state, and most of its young men and women had never traveled far from home before finding themselves on trains heading to basic training. They then found themselves stationed throughout the world, fighting for an ideal that some probably didn't even understand fully. Some of them did not return. Over several years in the 1990's, the author, whose father himself was an artillery officer in the Pacific Theater, interviewed and corresponded with many veterans and their families, obtaining oral histories, written histories, and other documents. He also reviewed the local newspaper, the Independence News-Wave, whose publisher, Glenn Kirkpatrick, did a magnificent job of keeping people in the "trade area" as informed as possible of the whereabouts of its young service men and women. Through 22 oral histories, 82 additional thorough biographies, and more than 175 shorter "glimpses," "A Small Town Goes To War" is the author's attempt at preserving the history of his hometown's participation in World War II. The book contains many photos and letters in their entirety. Among the stories are those of a Merrill's Marauder, a Nuremberg assistant prosecutor, POW's, a physical trainer of the Navy's first black officers, and Trempealeau County's highest decorated veteran (Distinguished Service Cross and two Silver Stars), all of whom hailed from Independence. Also included is a most bizarre story involving a member of the 1st Cavalry Division that happened thirty years after his participation in the Battle for Manila.

On one memorable day, while Bishop Martin and his wife, Donna, were in prayer together, God gave them a one-word message: "Adopt!" Over the next five years, the Martins would adopt four kids. Others in their church community have heard the call and have now adopted 72 children.

The Silesian town of Bedzin lies a mere twenty-five miles from Auschwitz; through the linked ghettos of Bedzin and its neighbouring town, some 85,000 Jews passed on their way to slave labour or the gas chambers. The principal civilian administrator of Bedzin, Udo Klausa, was a happily married family man. He was also responsible for implementing Nazi policies towards the Jews in his area - inhumane processes that were the precursors of genocide. Yet he later claimed, like so many other Germans after the war, that he had 'known nothing about it'; and that he had personally tried to save a Jew before he himself managed to leave for military service. A Small Town Near Auschwitz re-creates Udo Klausa's story. Using a wealth of personal letters, memoirs, testimonies, interviews and other sources, Mary Fulbrook pieces together his role in the unfolding stigmatization and degradation of the Jews under his authoritiy, as well as the heroic attempts at resistance on the part of some of his victims. She also gives us a fascinating insight into the inner conflicts of a Nazi functionary who, throughout, considered himself a 'decent' man. And she explores the conflicting memories and evasions of his life after the war. But the book is much more than a portrayal of an individual man. Udo Klausa's case is so important because it is in many ways so typical. Behind Klausa's story is the larger story of how countless local functionaries across the Third Reich facilitated the murderous plans of a relatively small number among the Nazi elite - and of how those plans could never have been realized, on the same scale, without the diligent cooperation of these generally very ordinary administrators. As Fulbrook shows, men like Klausa 'knew' and yet mostly suppressed this knowledge, performing their day jobs without apparent recognition of their own role in the system, or any sense of personal wrongdoing or remorse - either before or after 1945. This account is no ordinary historical reconstruction. For Fulbrook did not discover Udo Klausa amongst the archives. She has known the Klausa family all her life. She had no inkling of her subject's true role in the Third Reich until a few years ago, a discovery that led directly to this inescapably personal professional history.

A powerful post-nuclear holocaust novel described by the author as, 'my cry against the monstrous weapons men have made'. Everyone thought, when the alarm bell rang, that it was just another fire practice. But the first bombs had fallen on Hamburg and Leningrad, the headmaster said, and a full-scale nuclear attack was imminent . . . It's a real-life nightmare. Sarah and her family have to stay cooped up in the tightly-sealed kitchen for days on end, dreading the inevitable radioactive fall-out and the subsequent slow, torturous death, which seems almost preferable to surviving in a grey, dead world, choked by dust. But then, from out of the dust and the ruins and the desolation, comes new life, a new future, and a whole brave new world...

Author Elon Perry uniquely combines the narrative of a challenging childhood amidst wartime struggles with the gripping tale of military service in a commando unit. The book differs from other books on the subject because the plot revolves around two themes: a difficult and impoverished childhood during times of war, and military service in a commando unit, carried out with the aim of exacting revenge on the enemy and featuring vivid and detailed descriptions of battles. In the book, real stories and events are infused, including daring operations from the battlefield. Some of these accounts have never before been published, and only today, 40 years after the events, has the Israeli censorship allowed them to be shared. This story can be an inspiration to people who find themselves in desperate situations. They can learn how against all odds and in any given situation one can survive difficulties, as long as one has the will, perseverance, and belief that anything is possible.

This work offers a critical examination of 130 commercially-released film comedies of the 1970s. It considers the socio-political circumstances of each year of the decade, then critiques each film released that year with a focus on its effect on the film industry and the art of big screen comedy, as well as the emergence of talents whose work influenced (or was influenced by) the zeitgeist of the decade. Covering popular titles like M*A*S*H, Blazing Saddles, American Graffiti, The Bad News Bears, Smokey and the Bandit and many more, it argues that the 1970s may rightly be considered the last golden age of film comedy.