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As seen in the New York Times Book Review. A December 2019 Indie Next Pick! Set against the Frankfurt Auschwitz Trials of 1963, Annette Hess's international bestseller is a harrowing yet ultimately uplifting coming-of-age story about a young female translator--caught between societal and familial expectations and her unique ability to speak truth to power--as she fights to expose the dark truths of her nation's past. If everything your family told you was a lie, how far would you go to uncover the truth? For twenty-four-year-old Eva Bruhns, World War II is a foggy childhood memory. At the war's end, Frankfurt was a smoldering ruin, severely damaged by the Allied bombings. But that was two decades ago. Now it is 1963, and the city's streets, once cratered are smooth and paved. Shiny new stores replace scorched rubble. Eager for her wealthy suitor, Jürgen Schoormann, to propose, Eva dreams of starting a new life away from her parents and sister. But Eva's plans are turned upside down when a fiery investigator, David Miller, hires her as a translator for a war crimes trial. As she becomes more deeply involved in the Frankfurt Trials, Eva begins to question her family's silence on the war and her future. Why do her parents refuse to talk about what happened? What are they hiding? Does she really love Jürgen and will she be happy as a housewife? Though it means going against the wishes of her family and her lover, Eva, propelled by her own conscience , joins a team of fiery prosecutors determined to bring the Nazis to justice--a decision that will help change the present and the past of her nation.
The central question for both the victors and the vanquished of World War II was just how widely the stain of guilt would spread over Germany. Political leaders and intellectuals on both sides of the conflict debated whether support for National Socialism tainted Germany's entire population and thus discredited the nation's history and culture. The tremendous challenge that Allied officials and German thinkers faced as the war closed, then, was how to limn a postwar German identity that accounted for National Socialism without irrevocably damning the idea and character of Germany as a whole. In the House of the Hangman chronicles this delicate process, exploring key debates about the Nazi past and German future during the later years of World War II and its aftermath. What did British and American leaders think had given rise to National Socialism, and how did these beliefs shape their intentions for occupation? What rhetorical and symbolic tools did Germans develop for handling the insidious legacy of Nazism? Considering these and other questions, Jeffrey K. Olick explores the processes of accommodation and rejection that Allied plans for a new German state inspired among the German intelligentsia. He also examines heated struggles over the value of Germany's institutional and political heritage. Along the way, he demonstrates how the moral and political vocabulary for coming to terms with National Socialism in Germany has been of enduring significance—as a crucible not only of German identity but also of contemporary thinking about memory and social justice more generally. Given the current war in Iraq, the issues contested during Germany's abjection and reinvention—how to treat a defeated enemy, how to place episodes within wider historical trajectories, how to distinguish varieties of victimhood—are as urgent today as they were sixty years ago, and In the House of the Hangman offers readers an invaluable historical perspective on these critical questions.
* Winner of the National Book Critics Circle Award * Silver Medal Society of Illustrators * * Named a Best Book of the Year by The New York Times, The Boston Globe, San Francisco Chronicle, NPR, Comics Beat, The Milwaukee Journal-Sentinel, Kirkus Reviews, and Library Journal This “ingenious reckoning with the past” (The New York Times), by award-winning artist Nora Krug investigates the hidden truths of her family’s wartime history in Nazi Germany. Nora Krug was born decades after the fall of the Nazi regime, but the Second World War cast a long shadow over her childhood and youth in the city of Karlsruhe, Germany. Yet she knew little about her own family’s involvement; though all four grandparents lived through the war, they never spoke of it. After twelve years in the US, Krug realizes that living abroad has only intensified her need to ask the questions she didn’t dare to as a child. Returning to Germany, she visits archives, conducts research, and interviews family members, uncovering in the process the stories of her maternal grandfather, a driving teacher in Karlsruhe during the war, and her father’s brother Franz-Karl, who died as a teenage SS soldier. In this extraordinary quest, “Krug erases the boundaries between comics, scrapbooking, and collage as she endeavors to make sense of 20th-century history, the Holocaust, her German heritage, and her family's place in it all” (The Boston Globe). A highly inventive, “thoughtful, engrossing” (Minneapolis Star-Tribune) graphic memoir, Belonging “packs the power of Alison Bechdel’s Fun Home and David Small’s Stitches” (NPR.org).
What exactly is goodness? Where is it found in the literary imagination? Toni Morrison, one of American letters’ greatest voices, pondered these perplexing questions in her celebrated Ingersoll Lecture, delivered at Harvard University in 2012 and published now for the first time in book form. Perhaps because it is overshadowed by the more easily defined evil, goodness often escapes our attention. Recalling many literary examples, from Ahab to Coetzee’s Michael K, Morrison seeks the essence of goodness and ponders its significant place in her writing. She considers the concept in relation to unforgettable characters from her own works of fiction and arrives at conclusions that are both eloquent and edifying. In a lively interview conducted for this book, Morrison further elaborates on her lecture’s ideas, discussing goodness not only in literature but in society and history—particularly black history, which has responded to centuries of brutality with profound creativity. Morrison’s essay is followed by a series of responses by scholars in the fields of religion, ethics, history, and literature to her thoughts on goodness and evil, mercy and love, racism and self-destruction, language and liberation, together with close examination of literary and theoretical expressions from her works. Each of these contributions, written by a scholar of religion, considers the legacy of slavery and how it continues to shape our memories, our complicities, our outcries, our lives, our communities, our literature, and our faith. In addition, the contributors engage the religious orientation in Morrison’s novels so that readers who encounter her many memorable characters such as Sula, Beloved, or Frank Money will learn and appreciate how Morrison’s notions of goodness and mercy also reflect her understanding of the sacred and the human spirit.
Examines the often-serious, sometimes funny, and truly amazing story of Germans in the Gateway City from the arrival of the first German priest right after the city's founding to the present.
History comes home in a deeply moving, exquisitely illustrated tale of a small house, taken by the Nazis, that harbors a succession of families—and becomes a quiet witness to a tumultuous century. The days went around like a wheel. The sun rose, warming the walls of the house. On the outskirts of Berlin, Germany, a wooden cottage stands on the shore of a lake. Over the course of a hundred years, this little house played host to a kind Jewish doctor and his family, a successful Nazi composer, wartime refugees, and a secret-police informant. During that time, as a world war came and went and the Berlin Wall arose just a stone’s throw from the back door, the house filled up with myriad everyday moments. And when that time was over, and the dwelling was empty and derelict, the great-grandson of the man who built the house felt compelled to bring it back to life and listen to the story it had to tell. Illuminated by Britta Teckentrup’s magnificent illustrations, Thomas Harding’s narration reads like a haunting fairy tale—a lyrical picture-book rendering of the story he first shared in an acclaimed personal history for adult readers.
As the title "The Myth of German Villainy" indicates, this book is about the mischaracterization of Germany as history's ultimate "villain." The "official" story of Western Civilization in the twentieth century casts Germany as the disturber of the peace in Europe, and the cause of both World War I and World War II, though the facts don't bear that out. During both wars, fantastic atrocity stories were invented by Allied propaganda to create hatred of the German people for the purpose of bringing public opinion around to support the wars. The "Holocaust" propaganda which emerged after World War II further solidified this image of Germany as history's ultimate villain. But how true is this "official" story? Was Germany really history's ultimate villain? In this book, the author paints a different picture. He explains that Germany was not the perpetrator of World War I nor World War II, but instead, was the victim of Allied aggression in both wars. The instability wrought by World War I made the 1917 Bolshevik Revolution in Russia possible, which brought world Communism into existence. Hitler and Germany recognized world Communism, with its base in the Soviet Union, as an existential threat to Western, Christian Civilization, and he dedicated himself and Germany to a death struggle against it. Far from being the disturber of European peace, Germany served as a bulwark which prevented Communist revolution from sweeping over Europe. The pity was that the United States and Britain did not see Communist Russia in the same light, ultimately with disastrous consequences for Western Civilization. The author believes that Britain and the United States joined the wrong side in the war.
Elizabeth von Arnim’s novel "Elizabeth and Her German Garden" was first published in 1898. It was instantly popular and has gone through numerous reprints ever since. This story is the main character Elizabeth’s diary, where she relates stories from her life, as she learns to tend to her garden. Whilst the novel has a strongly autobiographical tone, it is also very humorous and satirical, due to Elizabeth’s frequent mistakes and her idiosyncratic outlook on life. She comments on the beauty of nature and shares her view on society, looking down on the frivolous fashions of her time and writing "I believe all needlework and dressmaking is of the devil, designed to keep women from study." The book is the first in a series about the same character. Elizabeth von Arnim (1866–1941), née Mary Annette Beauchamp, was a British novelist. Born in Australia, her family returned to England when she was three years old; and she was Katherine Mansfield’s cousin. She was first married to a Prussian aristocrat, the Graf von Arnim-Schlagenthin, and later to the philosopher Bertrand Russel’s older brother, Frank, whom she left a year later. She then had an affair with the publisher Alexander Reeves, a man thirty years her junior, and with H.G. Wells. Von Arnim moved a lot, living alternatively in the United Kingdom, Switzerland, Germany, Poland, before dying of influenza in South Carolina during the Second War. Elizabeth von Arnim was an active member of the European literary scene, and entertained many of her contemporaries in her Chalet Soleil in Switzerland. She even hired E. M. Forster and Hugh Walpole as tutors for her five children. She is famous for her half-autobiographical, satirical novel "Elizabeth and her German Garden" (1898), as well as for "Vera" (1921), and "The Enchanted April" (1922).
"In the summer of 1993, Thomas Harding traveled to Germany with his grandmother to visit a small house by a lake on the outskirts of Berlin. It had been a holiday home for her and her family, but in the 1930s, she had been forced to flee to England as the Nazis swept to power. Nearly twenty years later, the house was government property and soon to be demolished. It was Harding's legacy, one that had been loved, abandoned, fought over -- a house his grandmother had desired until her death. Could it be saved? And should it? As Harding began to make inquiries, he unearthed secrets that had lain hidden for decades about the lives of the five families who had lived there: a wealthy landowner, a prosperous Jewish family, a renowned composer, a widow and her children, and a Stasi informant. All had made the house their home, and all -- bar one -- had been forced out. The house had been the site of domestic bliss and of contentment, but also of terrible grief and tragedy. It had weathered storms, fires and abandonment; witnessed murders, had withstood the trauma of a world war, and the dividing of a nation. As the story of the house began to take shape, Harding realized that there was a chance to save it, but in doing so, he would have to resolve his own family's feelings towards their former homeland -- and a hatred handed down through the generations. -- For readers of Edmund de Waal, Daniel Mendelson, and David Laski" -- Provided by publisher.
Despite economic growth in Kazakhstan, more than 80 per cent of Kazakhstan’s ethnic Germans have emigrated to Germany to date. Disappointing experiences of the migrants, along with other aspects of life in Germany, have been transmitted through transnational networks to ethnic Germans still living in Kazakhstan. Consequently, Germans in Kazakhstan today feel more alienated than ever from their ‘historic homeland’. This book explores the interplay of those memories, social networks and state policies, which play a role in the ‘construction’ of a Kazakhstani German identity.