Virtual Library

October 1944, Auschwitz-Birkenau, Saul (Géza Röhrig) is a Hungarian member of the Sonderkommando, the group of Jewish prisoners forced to assist the Nazis. While working, Saul discovers the body of a boy he takes for his son. As the Sonderkommando plans a rebellion, Saul decides to carry out an impossible task: save the child's body, find a rabbi to recite the mourner's Kaddish and offer the boy a proper burial.

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. Though time-consuming, difficult, and often futile, thousands of people took part in these early restitution efforts. Stealing Home demonstrates that attempts to reclaim one's furnishings and personal possessions were key in efforts to rebuild Jewish political and social inclusion in the war's wake. Far from remaining silent, Jewish survivors sought recognition of their losses, played an active role in politics, and turned to both the government and each other for aid. Drawing on memoirs, oral histories, restitution claims, social workers' reports, newspapers, and government documents, Stealing Home provides a social history of the period that focuses on Jewish survivors' everyday lives during the lengthy process of restoring citizenship and property rights. It examines social rebirth through the prism of restitution and argues that the home was critical in shaping the postwar relationship between Jews and the state, and in the successes and failures associated with rebuilding Jewish lives in France after the Holocaust.

In 1943, Primo Levi, a twenty-five-year-old chemist and "Italian citizen of Jewish race, " was arrested by Italian fascists and deported from his native Turin to Auschwitz. "Survival in Auschwitz" is Levi's classic account of his ten months in the German death camp, a harrowing story of systematic cruelty and miraculous endurance. Remarkable for its simplicity, restraint, compassion, and even wit, "Survival in Auschwitz" remains a lasting testament to the indestructibility of the human spirit. Included in this new edition is an illuminating conversation between Philip Roth and Primo Levi never before published in book form.

In this unique collection, Yale literary critic Shoshana Felman and psychoanalyst Dori Laub examine the nature and function of memory and the act of witnessing, both in their general relation to the acts of writing and reading, and in their particular relation to the Holocaust. Moving from the literary to the visual, from the artistic to the autobiographical, and from the psychoanalytic to the historical, the book defines for the first time the trauma of the Holocaust as a radical crisis of witnessing "the unprecedented historical occurrence of ... an event eliminating its own witness." Through the alternation of a literary and clinical perspective, the authors focus on the henceforth modified relation between knowledge and event, literature and evidence, speech and survival, witnessing and ethics.

A brutally moving work of art--widely hailed as the greatest graphic novel ever written--Maus recounts the chilling experiences of the author's father during the Holocaust, with Jews drawn as wide-eyed mice and Nazis as menacing cats.

Maus is a haunting tale within a tale, weaving the author's account of his tortured relationship with his aging father into an astonishing retelling of one of history's most unspeakable tragedies. It is an unforgettable story of survival and a disarming look at the legacy of trauma.

In his final book before his death, Primo Levi returns once more to his time at Auschwitz in a moving meditation on memory, resiliency, and the struggle to comprehend unimaginable tragedy. Drawing on history, philosophy, and his own personal experiences, Levi asks if we have already begun to forget about the Holocaust. His last book before his death, Levi returns to the subject that would define his reputation as a writer and a witness. Levi breaks his book into eight essays, ranging from topics like the unreliability of memory to how violence twists both the victim and the victimizer. He shares how difficult it is for him to tell his experiences with his children and friends. He also debunks the myth that most of the Germans were in the dark about the Final Solution or that Jews never attempted to escape the camps. As the Holocaust recedes into the past and fewer and fewer survivors are left to tell their stories, The Drowned and the Saved is a vital first-person testament. Along with Elie Wiesel and Hannah Arendt, Primo Levi is remembered as one of the most powerful and perceptive writers on the Holocaust and the Jewish experience during World War II. This is an essential book both for students and literary readers. Reading Primo Levi is a lesson in the resiliency of the human spirit. 

On April 7, 1942, Hélène Berr, a 21-year-old Jewish student of English literature at the Sorbonne, took up her pen and started to keep a journal, writing with verve and style about her everyday life in Paris — about her studies, her friends, her growing affection for the “boy with the grey eyes,” about the sun in the dewdrops, and about the effect of the growing restrictions imposed by France’s Nazi occupiers. Berr brought a keen literary sensibility to her writing, a talent that renders the story it relates all the more rich, all the more heartbreaking.

The first day Berr has to wear the yellow star on her coat, she writes, “I held my head high and looked people so straight in the eye they turned away. But it’s hard.” More, many more, humiliations were to follow, which she records, now with a view to posterity. She wants the journal to go to her fiancé, who has enrolled with the Free French Forces, as she knows she may not live much longer. She was right. The final entry is dated February 15, 1944, and ends with the chilling words: “Horror! Horror! Horror!” Berr and her family were arrested three weeks later. She went — as was discovered later — on the death march from Auschwitz to Bergen-Belsen, where she died of typhus in April 1945, within a month of Anne Frank and just days before the liberation of the camp.

David Bellos provided the English translation of Berr's diary. 

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.

Even as Allied officials and humanitarian organizations proclaimed a new era of individualist and internationalist values, Tara Zahra demonstrates that they defined the "best interests" of children in nationalist terms. Sovereign nations and families were seen as the key to the psychological rehabilitation of traumatized individuals and the peace and stability of Europe.

Based on original research in German, French, Czech, Polish, and American archives, The Lost Children is a heartbreaking and mesmerizing story. It brings together the histories of eastern and western Europe, and traces the efforts of everyone--from Jewish Holocaust survivors to German refugees, from Communist officials to American social workers--to rebuild the lives of displaced children. It reveals that many seemingly timeless ideals of the family were actually conceived in the concentration camps, orphanages, and refugee camps of the Second World War, and shows how the process of reconstruction shaped Cold War ideologies and ideas about childhood and national identity. This riveting tale of families destroyed by war reverberates in the lost children of today's wars and in the compelling issues of international adoption, human rights and humanitarianism, and refugee policies.

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.

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.