Virtual Library

On June 4, 1989, People's Liberation Army soldiers opened fire on unarmed civilians in Beijing, killing untold hundreds of people. A quarter-century later, this defining event remains buried in China's modern history, successfully expunged from collective memory. In The People's Republic of Amnesia, Louisa Lim charts how the events of June 4th changed China, and how China changed the events of June 4th by rewriting its own history.

Lim reveals new details about those fateful days, including how one of the country's most senior politicians lost a family member to an army bullet, as well as the inside story of the young soldiers sent to clear Tiananmen Square. She also introduces us to individuals whose lives were transformed by the events of Tiananmen Square, such as a founder of the Tiananmen Mothers, whose son was shot by martial law troops; and one of the most important government officials in the country, who post-Tiananmen became one of its most prominent dissidents. And she examines how June 4th shaped China's national identity, fostering a generation of young nationalists, who know little and care less about 1989. For the first time, Lim uncovers the details of a brutal crackdown in a second Chinese city that until now has been a near-perfect case study in the state's ability to rewrite history, excising the most painful episodes. By tracking down eyewitnesses, discovering US diplomatic cables, and combing through official Chinese records, Lim offers the first account of a story that has remained untold for a quarter of a century. The People's Republic of Amnesia is an original, powerfully gripping, and ultimately unforgettable book about a national tragedy and an unhealed wound.

Baron Otto von Wächter, Austrian lawyer, husband, father, high Nazi official, senior SS officer, former governor of Galicia during the war, creator and overseer of the Krakow ghetto, indicted after as a war criminal for the mass murder of more than 100,000 Poles, hunted by the Soviets, the Americans, the British, by Simon Wiesenthal, on the run for three years, from 1945 to 1948 . . .

Philippe Sands pieces together, in riveting detail, Wächter’s extraordinary, shocking story. Given full access to the Wächter family archives–journals, diaries, tapes, and more–and with the assistance of the Wächters’ son Horst, who believes his father to have been a “good man,” Sands writes of Wächter’s rise through the Nazi high command, his “blissful” marriage and family life as their world was brought to ruin, and his four-year flight to escape justice–to the Tirol, to Rome, and the Vatican; given a new identity, on his way to a new life via “the Ratline” to Perón’s Argentina, the escape route taken by Eichmann, Mengele, and thousands of other Nazis. Wächter’s escape was cut short by his mysterious, shocking death in Rome, in the midst of the burgeoning Cold War (was he being recruited in postwar Italy by the Americans and the U.S. Army Counter Intelligence Corps or by the Soviet NKVD or by both; or was he poisoned by one side or the other, as his son believes–or by both?) . . .

An extraordinary discovery, told up-close through access to a trove of family correspondence between Wächter and his wife–part historical detective story, part love story, part family memoir, part Cold War espionage thriller.

From the 1960s until the early 1990s, the South African security police and counterinsurgency units collected over 7,000 photographs of apartheid’s enemies. The political rogue’s gallery was known as the “terrorist album,” copies of which were distributed covertly to police stations throughout the country. Many who appeared in the album were targeted for surveillance. Sometimes the security police tried to turn them; sometimes the goal was elimination.

All of the albums were ordered destroyed when apartheid’s violent collapse began. But three copies survived the memory purge. With full access to one of these surviving albums, award-winning South African historian and journalist Jacob Dlamini investigates the story behind these images: their origins, how they were used, and the lives they changed. Extensive interviews with former targets and their family members testify to the brutal and often careless work of the police. Although the police certainly hunted down resisters, the terrorist album also contains mug shots of bystanders and even regime supporters. Their inclusion is a stark reminder that apartheid’s guardians were not the efficient, if morally compromised, law enforcers of legend but rather blundering agents of racial panic.

With particular attentiveness to the afterlife of apartheid, Dlamini uncovers the stories of former insurgents disenchanted with today’s South Africa, former collaborators seeking forgiveness, and former security police reinventing themselves as South Africa’s newest export: “security consultants” serving as mercenaries for Western nations and multinational corporations. The Terrorist Album is a brilliant evocation of apartheid’s tragic caprice, ultimate failure, and grim legacy.

In Dachau, Auschwitz, Yad Vashem, and thousands of other locations throughout the world, memorials to the Holocaust are erected to commemorate its victims and its significance. This fascinating work by James E. Young examines Holocaust monuments and museums in Europe, Israel, and America, exploring how every nation remembers the Holocaust according to its own traditions, ideals, and experiences, and how these memorials reflect their place in contemporary aesthetic and architectural discourse. The result is a groundbreaking study of Holocaust memory, public art, and their fusion in contemporary life.

Among the issues Young discusses are: how memorials suppress as much as they commemorate; how museums tell as much about their makers as about events; the differences between memorials conceived by victims and by victimizers; and the political uses and abuses of officially cast memory. Young describes, for example, Germany's "counter monuments," one of which was designed to disappear over time, and the Polish memorials that commemorate the whole of Polish destruction through the figure of its murdered Jewish part. He compares European museums and monuments that focus primarily on the internment and killing process with Israeli memorials that include portrayals of Jewish life before and after the destruction. In his concluding chapters, he finds that American Holocaust memorials are guided no less by distinctly American ideals, such as liberty and pluralism.

Interweaving graceful prose and arresting photographs, the book is eloquent testimony to the way varied cultures and nations commemorate an era that breeds guilt, shame, pain, and amnesia, but rarely pride. By reinvigorating these memorials with the stories of their origins, Young highlights the ever-changing life of memory over its seemingly frozen face in the landscape.

Photographs of the Holocaust bear a double burden: to act as history lessons for future generations so we will “never forget” and to provide a means of mourning. In Trespassing through Shadows, Andrea Liss examines the inherent difficulties and productive possibilities of using photographs to bear witness, initiating a critical dialogue about the ways the post-Auschwitz generation has employed these documents to represent Holocaust memory and history.

From the Liberation purges to the Barbie trial, France has struggled with the memory of the Vichy experience: a memory of defeat, occupation, and repression. In this provocative study, Henry Rousso examines how this proud nation―a nation where reality and myth commingle to confound understanding―has dealt with les années noires. Specifically, he studies what the French have chosen to remember―and to conceal.

W ou Le souvenir d'enfance is a narrative that reflects a great writer's effort to come to terms with his childhood during the Nazi occupation of France.

Perec tells two parallel stories. The first is autobiographical, describing his wartime boyhood. The second tale, denser, more disturbing, more horrifying, is the allegorical story of W, a mythical island off Tierra del Fuego governed by the thrall of the Olympic "ideal," where losers are tortured and winners held in temporary idolatry. As the reader soon discovers, W is a place where "it is more important to be lucky than to be deserving," and "you have to fight to live...no recourse, no mercy, no salvation, not even any hope that time will sort things out."

Perec's memory of the Holocaust and vision about its meaning has resulted in an astonishing achievement that stands with the best of his work.