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The first English language edition of a lost memoir by a Holocaust survivor, offering a shocking and deeply moving perspective on life within the camps—with a foreword by Jonathan Freedland. József Debreczeni, a prolific Hungarian-language journalist and poet, arrived in Auschwitz in 1944; had he been selected to go “left,” his life expectancy would have been approximately forty-five minutes. One of the “lucky” ones, he was sent to the “right,” which led to twelve horrifying months of incarceration and slave labor in a series of camps, ending in the “Cold Crematorium”—the so-called hospital of the forced labor camp Dörnhau, where prisoners too weak to work awaited execution. But as Soviet and Allied troops closed in on the camps, local Nazi commanders—anxious about the possible consequences of outright murder—decided to leave the remaining prisoners to die in droves rather than sending them directly to the gas chambers. Debreczeni recorded his experiences in Cold Crematorium, one of the harshest, most merciless indictments of Nazism ever written. This haunting memoir, rendered in the precise and unsentimental style of an accomplished journalist, is an eyewitness account of incomparable literary quality. The subject matter is intrinsically tragic, yet the author’s evocative prose, sometimes using irony, sarcasm, and even acerbic humor, compels the reader to imagine human beings in circumstances impossible to comprehend intellectually. First published in Hungarian in 1950, it was never translated into a world language due to McCarthyism, Cold War hostilities and antisemitism. More than 70 years later, this masterpiece that was nearly lost to time will be available in 15 languages, finally taking its rightful place among the greatest works of Holocaust literature.
Perpetrators of mass violence are commonly regarded as evil. Their violent nature is believed to make them commit heinous crimes as members of state agencies, insurgencies, terrorist organizations, or racist and supremacist groups. Upon close examination, however, perpetrators are contradictory human beings who often lead unsettlingly ordinary and uneventful lives. Drawing on decades of on-the-ground research with perpetrators of genocide, mass violence, and enforced disappearances in Cambodia and Argentina, Antonius Robben and Alex Hinton explore how researchers go about not just interviewing and writing about perpetrators, but also processing their own emotions and considering how the personal and interpersonal impact of this sort of research informs the texts that emerge from them. Through interlinked ethnographic essays, methodological and theoretical reflections, and dialogues between the two authors, this thought-provoking book conveys practical wisdom for the benefit of other researchers who face ruthless perpetrators and experience turbulent emotions when listening to perpetrators and their victims. Perpetrators rarely regard themselves as such, and fieldwork with perpetrators makes for situations freighted with emotion. Research with perpetrators is a difficult but important part of understanding the causes of and creating solutions to mass violence, and Robben and Hinton use their expertise to provide insightful lessons on the epistemological, ethical, and emotional challenges of ethnographic fieldwork in the wake of atrocity.
Bridging Social Inequality Gaps - Concepts, Theories, Methods, and Tools focuses on contemporary discussions around multifaceted causes, explanations, and responses to social disparities. The contributors provide studies related to social and cultural dimensions of inequality, economic and technological dimensions of inequality, environmental dimensions of inequality, and political, ethical, and legal dimensions of inequality, as well as a variety of other perspectives on disparities. The volume also covers crucial issues and challenges for the global, national, regional, and local implementation of public policies to reduce inequalities, including innovative actions, projects, and programs focused on achieving the United Nations Sustainable Development Goals (SDGs). The collection includes chapters encompassing research and practical recommendations from various disciplines such as sociology, economics, management, political science, administrative science, development studies, public health, peace and conflict studies, cultural studies, educational studies, communication studies, and social work. This book is an asset to academic and expert communities interested in theories of social inequality as well as effective measurement tools, public services, and strategies. Moreover, the volume helps students, practitioners, and people working in government, business, and nonprofit organizations to build more equitable social relationships.
“An unflinching depiction of dementia, old age and family relationships, and . . . of the wealth of secrets that relatives keep from each other.”—Emma Healey, #1 international bestselling author of Elizabeth is Missing We’re similar, he and I, for the first time—all the symptoms of grief with none of the emotion. It’s not that it doesn't hurt; I just haven't worked out how to mourn someone I hated. When Matt’s half-brother Alex dies, his father refuses to hold onto the memory of his favorite son’s death. It was hard enough the first time, but breaking his dad’s heart on a weekly basis is more than Matt can bear. Peter, Matt’s father, is terrified his dementia will let slip the secrets he’s kept for 35 years. Unable to distinguish between memory and delusion, he pursues one question through the maze of his mind: Where’s Alex? Faced with the imminent loss of his father, Matt is running out of time to discover the truth about his family. Tortured by his failing memory, Peter realizes that it’s not just the dementia threatening to open his box of secrets, but his conscience, too.
Until now, there has been little scholarly attention given to the ways in which Eastern European Holocaust fiction can contribute to current debates about transnational and transgenerational memory. Yugoslav and post-Yugoslav literary narratives about the Holocaust offer a particularly interesting case because time and again Holocaust memory is represented as intersecting with other stories of extreme violence: with the suffering of the non-Jewish South-Slav population during the Second World War, with the fate of victims of Stalinist terror, and with the victims of ethnic cleansing in the Yugoslav wars of the 1990s. This book examines the emergence and transformations of Holocaust memory in the socialist Yugoslav and post-Yugoslav eras. It discusses literary texts about the Holocaust by Yugoslav and post-Yugoslav writers, situating their oeuvre in the historical and discursive context in which it emerged and paying attention to its reception at the time. The book shows how in the writing of different generational groups (the survivor generation, the 1.5, and the second and third generations), the Holocaust is a motif for understanding the nature of extreme violence, locally and globally. The book offers comparative studies of several authors as well as readings of the work of individual writers. It uncovers forgotten authors and discusses internationally well-known and translated authors such as Danilo Kiš and David Albahari. By focusing on work by Jewish and non-Jewish authors of three generations, it sheds light on the ethical and aesthetical aspects of the transgenerational transmission of Holocaust memory in the Yugoslav context. As such, this book will appeal to both students and scholars of Holocaust studies, cultural memory studies, literary studies, cultural history, cultural sociology, Balkan studies, and Eastern European politics.
Ghost-writer Melody Layne is stranded in Paris when the over-sexed but unloved French movie star who hired her to produce his memoir accidentally drowns before the interviews begin. It's a major financial relief when his enigmatic Spanish son re-hires her, but the seductive Carlos Ortega is strangely silent about his reasons for funding a feel-good bio about a father that he clearly despised. There's enough amour in the air for Melody to ignore this apparent paradox… at least until she uncovers a hidden cache of death threats addressed to the actor. For the French police, the sexy, secretive Spaniard – and sole heir to the actor's immense fortune – is suddenly a prime murder suspect. Can Melody's research into the Ghosts of Carlos-Past be enough to save her lover from prison?
Discover a magical true story of the power of love and motherhood . . . 'Filled with warmth and love, and is so life-affirming' 5***** reader review Two-week-old Suzanne was left at the door of Nazareth House orphanage - abandoned by the very people who should have given her the love, protection and care she desperately needed. But when Nancy - the orphanage nanny - held Suzanne in her arms and looked into her eyes, she felt a magical bond. It seemed that a guardian angel had brought them both together. Yet their future looked uncertain. Would Nancy ever be allowed to adopt tiny Suzanne? And could their love endure all that the years ahead were to send them? A tear-jerking and unforgettable story about the struggles and joys of parenthood and childhood, and how, for an orphan, having somewhere to call home makes every day feel like Christmas. ____________ 'A fantastic read' 5***** reader review 'Lovingly portrayed' 5***** reader review 'Well written, funny and very moving' 5***** reader review
A story of loss, love, guilt and ultimately hope and redemption, MILLER STREET SW22 follows a year in the lives of five neighbours who move into the road in the autumn of 2005, each brought to the urban south London location for a new start.
In 1986 Kids Can Press published an edition of Robert Service's ?The Cremation of Sam McGee? illustrated by painter Ted Harrison, who used his signature broad brushstrokes and unconventional choice of color to bring this gritty narrative poem to life. Evoking both the spare beauty and the mournful solitude of the Yukon landscape, Harrison's paintings proved the perfect match for Service's masterpiece about a doomed prospector adrift in a harsh land. Harrison's Illustrator's Notes on each page enhanced both poem and illustrations by adding valuable historical background. Upon its original publication, many recognized the book as an innovative approach to illustrating poetry for children. For years The Cremation of Sam McGee has stood out as a publishing landmark, losing none of its appeal both as a read-aloud and as a work of art. Kids Can Press proudly publishes this deluxe hardcover twentieth anniversary edition --- complete with a spot-varnished cover, new cover art and heavy coated stock --- of a book that remains as entrancing as a night sky alive with the vibrant glow of the Northern Lights.