The legendary CBS news journalist’s selection of iconic World War II radio broadcasts from countries throughout Europe. William L. Shirer was the first journalist hired by CBS to cover World War II in Europe, where he continued to work for over a decade as a news broadcaster. This book compiles two and a half years’ worth of wartime broadcasts from Shirer’s time on the ground during WWII. He was with Nazi forces when Hitler invaded Austria and made it a part of Germany under the Anschluss; he was also the first to report back to the United States on the armistice between France and Nazi forces in June of 1940. His daily roundup of news from Paris, Vienna, Berlin, Rome, and London, which documented Nazi Germany and the conditions of countries under invasion and at war, became famous for its gripping urgency. Shirer brought a sense of immediacy to the war for listeners in the United States and worldwide, and his later books, including the seminal Rise and Fall of the Third Reich, became definitive works on World War II history. This collection of Shirer’s radio broadcasts offers all the original suspense and vivid storytelling of the time, bringing World War II to life for a modern audience.

The author of the international bestseller The Rise and Fall of the Third Reich offers a personal account of life in Nazi Germany at the start of WWII. By the late 1930s, Adolf Hitler, Führer of the Nazi Party, had consolidated power in Germany and was leading the world into war. A young foreign correspondent was on hand to bear witness. More than two decades prior to the publication of his acclaimed history, The Rise and Fall of the Third Reich, William L. Shirer was a journalist stationed in Berlin. During his years in the Nazi capital, he kept a daily personal diary, scrupulously recording everything he heard and saw before being forced to flee the country in 1940. Berlin Diary is Shirer’s first-hand account of the momentous events that shook the world in the mid-twentieth century, from the annexation of Austria and Czechoslovakia to the fall of Poland and France. A remarkable personal memoir of an extraordinary time, it chronicles the author’s thoughts and experiences while living in the shadow of the Nazi beast. Shirer recalls the surreal spectacles of the Nuremberg rallies, the terror of the late-night bombing raids, and his encounters with members of the German high command while he was risking his life to report to the world on the atrocities of a genocidal regime. At once powerful, engrossing, and edifying, William L. Shirer’s Berlin Diary is an essential historical record that illuminates one of the darkest periods in human civilization.

The intoxicating history of an extraordinary city and her people—from the medieval kings surrounding Berlin's founding to the world wars, tumult, and reunification of the twentieth century. There has always been a particular fervor about Berlin, a combination of excitement, anticipation, nervousness, and a feeling of the unexpected. Throughout history, it has been a city of tensions: geographical, political, religious, and artistic. In the nineteenth-century, political tension became acute between a city that was increasingly democratic, home to Marx and Hegel, and one of the most autocratic regimes in Europe. Artistic tension, between free thinking and liberal movements started to find themselves in direct contention with the formal official culture. Underlying all of this was the ethnic tension—between multi-racial Berliners and the Prussians. Berlin may have been the capital of Prussia but it was never a Prussian city. Then there is war. Few European cities have suffered from war as Berlin has over the centuries. It was sacked by the Hapsburg armies in the Thirty Years War; by the Austrians and the Russians in the eighteenth century; by the French, with great violence, in the early nineteenth century; by the Russians again in 1945 and subsequently occupied, more benignly, by the Allied Powers from 1945 until 1994. Nor can many cities boast such a diverse and controversial number of international figures: Frederick the Great and Bismarck; Hegel and Marx; Mahler, Dietrich, and Bowie. Authors Christopher Isherwood, Bertolt Brecht, and Thomas Mann gave Berlin a cultural history that is as varied as it was groundbreaking. The story vividly told in Berlin also attempts to answer to one of the greatest enigmas of the twentieth century: How could a people as civilized, ordered, and religious as the Germans support first a Kaiser and then the Nazis in inflicting such misery on Europe? Berlin was never as supportive of the Kaiser in 1914 as the rest of Germany; it was the revolution in Berlin in 1918 that lead to the Kaiser's abdication. Nor was Berlin initially supportive of Hitler, being home to much of the opposition to the Nazis; although paradoxically Berlin suffered more than any other German city from Hitler’s travesties. In revealing the often-untold history of Berlin, Barney White-Spunner addresses this quixotic question that lies at the heart of Germany’s uniquely fascinating capital city.

An exhilarating journey through the subcultures, occupied squats, and late-night scenes in the anarchic first few years of Berlin after the fall of the wall Berlin Calling is a gripping account of the 1989 "peaceful revolution" in East Germany that upended communism and the tumultuous years of artistic ferment, political improvisation, and pirate utopias that followed. It’s the story of a newly undivided Berlin when protest and punk rock, bohemia and direct democracy, techno and free theater were the order of the day. In a story stocked with fascinating characters from Berlin’s highly politicized undergrounds—including playwright Heiner Müller, cult figure Blixa Bargeld of the industrial band Einstürzende Neubauten, the internationally known French Wall artist Thierry Noir, the American multimedia artist Danielle de Picciotto (founder of Love Parade), and David Bowie during his Ziggy Stardust incarnation—Hockenos argues that the DIY energy and raw urban vibe of the early 1990s shaped the new Berlin and still pulses through the city today. Just as Mike Davis captured Los Angeles in his City of Quartz, Berlin Calling is a unique account of how Berlin became hip, and of why it continues to attract creative types from the world over.

Twenty years in the making, this sweeping masterpiece charts Berlin through the rise of Nazism. During the past two decades, Jason Lutes has quietly created one of the masterworks of the graphic novel golden age. Berlin is one of the high-water marks of the medium: rich in its well-researched historical detail, compassionate in its character studies, and as timely as ever in its depiction of a society slowly awakening to the stranglehold of fascism. Berlin is an intricate look at the fall of the Weimar Republic through the eyes of its citizens—Marthe Müller, a young woman escaping the memory of a brother killed in World War I, Kurt Severing, an idealistic journalist losing faith in the printed word as fascism and extremism take hold; the Brauns, a family torn apart by poverty and politics. Lutes weaves these characters’ lives into the larger fabric of a city slowly ripping apart. The city itself is the central protagonist in this historical fiction. Lavish salons, crumbling sidewalks, dusty attics, and train stations: all these places come alive in Lutes’ masterful hand. Weimar Berlin was the world’s metropolis, where intellectualism, creativity, and sensuous liberal values thrived, and Lutes maps its tragic, inevitable decline. Devastatingly relevant and beautifully told, Berlin is one of the great epics of the comics medium.

"This remarkable collection of letters between German Jews trapped in Nazi Germany and their relatives in the United States offers rare insights into the challenges of an average American family responding to desperate requests for refuge and aid"--

An alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to collective creativity and social solidarity. In pre- and post-reunification Berlin, socially engaged artists championed collective art making and creativity over individual advancement, transforming urban space and civic life in the process. During the Cold War, the city’s state of exception invited artists on both sides of the Wall to detour from artistic tradition; post-Wall, art became a tool of resistance against the orthodoxy of economic growth. In Free Berlin, Briana Smith explores the everyday peculiarities, collective joys, and grassroots provocations of experimental artists in late Cold War Berlin and their legacy in today’s city. These artists worked intentionally outside the art market, believing that art should be everywhere, freed from its confinement in museums and galleries. They used art as a way to imagine new forms of social and creative life. Smith introduces little-known artists including West Berlin feminist collective Black Chocolate, the artist duo paint the town red (p.t.t.r), and the Office for Unusual Events, creators of satirical urban political theater, as well as East Berlin action art and urban interventionists Erhard Monden, Kurt Buchwald, and others. Artists and artist-led urban coalitions in 1990s Berlin carried on the participatory spirit of the late Cold War, with more overt forms of protest and collaboration at the neighborhood level. The temperament lives on in twenty-first century Berlin, animating artists’ resolve to work outside the market and citizens’ spirited defenses of green spaces, affordable housing, and collectivist projects. With Free Berlin, Smith offers an alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to Berliners’ historic embrace of care, solidarity, and cooperation.

A "longtime Berliner's ... exploration of the heterogeneous allure of this vibrant city. Delving beneath the obvious answers--Berlin's club scene, bolstered by the lack of a mandatory closing time; the artistic communities that thrive due to the relatively low (for now) cost of living--Schneider takes us on an insider's tour of this rapidly metamorphosing metropolis, where high-class soirees are held at construction sites and enterprising individuals often accomplish more without public funding--assembling a makeshift club on the banks of the Spree River--than Berlin's officials do"--Provided by publisher.

Since Unification and the end of the Cold War, Berlin has witnessed a series of uncommonly intense social, political, and cultural transformations. While positioning itself as a creative center populated by young and cosmopolitan global citizens, the “New Berlin” is at the same time a rich site of historical memory, defined inescapably by its past even as it articulates German and European hopes for the future. Cultural Topographies of the New Berlin presents a fascinating cross-section of life in Germany’s largest city, revealing the complex ways in which globalization, ethnicity, economics, memory, and national identity inflect how its urban spaces are inhabited and depicted.

By turns thrilling and terrifying, Underground in Berlin is the autobiographical account of a young Jewish woman who ripped off her yellow star and survived the war by going underground from 1942 to 1945. Berlin, 1941. Marie Jalowicz Simon, a 19-year-old Jewish woman, makes an extraordinary decision. All around her, Jews are being rounded up for deportation, forced labour and extermination. Marie decides to survive. She takes off the yellow star, turns her back on the Jewish community and vanishes into the city. In the years that follow, Marie lives under an assumed identity, moving between almost 20 different safe houses. She is forced to accept shelter wherever she can find it, and many of those she stays with expect services in return. She stays with foreign workers, committed communists and even convinced Nazis. Any false move might lead to arrest. Never certain who can be trusted and how far, it is her quick-witted determination and the most amazing and hair-raising strokes of luck that ensure her survival. Underground in Berlin is Marie's extraordinary story, told in her own voice with unflinching honesty, for the first time after more than 50 years of silence.