refugees

Published in English for the first time, Refugee Conversations is a delightful work that reveals Brecht as a master of comic satire. Written swiftly in the opening years of the Second World War, the dialogues have an urgent contemporary relevance to a Europe once again witnessing populations on the move.

More than 65 million people around the world have been forced from their homes to escape famine, climate change and war, the greatest displacement since World War II. Filmmaker Ai Weiwei examines the staggering scale of the refugee crisis and its profoundly personal human impact. Over the course of one year in 23 countries, Weiwei follows a chain of urgent human stories that stretch across the globe, including Afghanistan, France, Greece, Germany and Iraq.

Between 1942 and 1944 the Germans sealed and completely emptied at least 38,000 Parisian apartments. The majority of the furnishings and other household items came from 'abandoned' Jewish apartments and were shipped to Germany. After the war, Holocaust survivors returned to Paris to discover their homes completely stripped of all personal possessions or occupied by new inhabitants. In 1945, the French provisional government established a Restitution Service to facilitate the return of goods to wartime looting victims.

In May of 1945, there were more than eight million "displaced persons" (or DPs) in Germany---recently liberated foreign workers, concentration camp prisoners, and prisoners of war from all of Nazi-occupied Europe, as well as eastern Europeans who had fled west before the advancing Red Army. Although most of them quickly returned home, it soon became clear that large numbers of eastern European DPs could or would not do so.

Between 1846 and 1940, more than 50 million Europeans moved to the Americas in one of the largest migrations of human history, emptying out villages and irrevocably changing both their new homes and the ones they left behind. With a keen historical perspective on the most consequential social phenomenon of the twentieth century, Tara Zahra shows how the policies that gave shape to this migration provided the precedent for future events such as the Holocaust, the closing of the Iron Curtain, and the tragedies of ethnic cleansing.

During the Second World War, an unprecedented number of families were torn apart. As the Nazi empire crumbled, millions roamed the continent in search of their loved ones. The Lost Children tells the story of these families, and of the struggle to determine their fate. We see how the reconstruction of families quickly became synonymous with the survival of European civilization itself.

Historians have become increasingly interested in material culture as both a category of analysis and as a teaching tool. And yet the profession tends to be suspicious of things; words are its stock-in-trade. What new insights can historians gain about the past by thinking about things? A central object (and consequence) of modern warfare is the radical destruction and transformation of the material world.

Today we are accustomed to psychiatrists being summoned to scenes of terrorist attacks, natural disasters, war, and other tragic events to care for the psychic trauma of victims--yet it has not always been so. The very idea of psychic trauma came into being only at the end of the nineteenth century and for a long time was treated with suspicion. The Empire of Trauma tells the story of how the traumatic victim became culturally and politically respectable, and how trauma itself became an unassailable moral category.

It is 1937, the Dominican side of the Haitian border. Amabelle, orphaned at the age of eight when her parents drowned, is a maid to the young wife of an army colonel. She has grown up in this household, a faithful servant. Sebastien is a field hand, an itinerant sugarcane cutter. They are Haitians, useful to the Dominicans but not really welcome. There are rumors that in other towns Haitians are being persecuted, even killed. But there are always rumors. Amabelle loves Sebastien. He is handsome despite the sugarcane scars on his face, his calloused hands.

Rules for the World provides an innovative perspective on the behavior of international organizations and their effects on global politics. Arguing against the conventional wisdom that these bodies are little more than instruments of states, Michael Barnett and Martha Finnemore begin with the fundamental insight that international organizations are bureaucracies that have authority to make rules and so exercise power.