Zusammenfassung: The stories of Albert Schatz, discoverer of streptomycin, and Inge Auerbacher, a concentration camp survivor whose life was saved by the drug.

"A multifaceted exploration of the Holocaust which connects its relationship with genocide, the importance of first-person histories of atrocity, and links to the 1948 Palestinian Nakba together in unprecedented fashion"--

A bestseller in Germany, Michael Wieck's account of his childhood in Königsberg recalls a German city obliterated by fire-bombing during the Second World War. As the child of a Jewish mother and Gentile father, Wieck was persecuted first as a "certified Jew" by the Nazis, then as a German by the Russian occupiers, including horrific internment in the Rothenstein concentration camp. His emigration to the West in 1948 marked the end of the 408-year history of the Jewish community in Königsberg. From the earliest delights of a childhood filled with music, family, and the smell of pines and the sea, Wieck retraces his life. He tells of his school days and their sudden end, the shock of Kristallnacht, his Aunt Fanny being sent by train to a destination unknown, the chemical factory where Jewish workers gradually disappeared, the bombs falling on Königsberg. The Russian occupation was anything but the expected delivery from the horrors of the war. In the midst of privation, savagery, and death, there were moments of absurdity, and Wieck powerfully depicts them in this unforgettable memoir.

Arnold Daghani (1909-85) came from a German-speaking Jewish family in Suczawa, then in the Austro-Hungarian Empire, now Romania. His understated narrative of his experiences in the slave labour camp at Mikhailowka, south west Ukraine (1942-43), presented here in its first English book edition, provides a day-by-day account of the chilling experiences of Jewish slave labourers. It is written in a compelling style and illustrated by watercolours and drawings that Daghani made secretly in captivity and smuggled out of the camp and a Romanian ghetto. It includes an extraordinary account of the couple's escape and the shooting of over three hundred prisoners. The uniqueness of Daghani's Holocaust testimony lies in his role as an artist which led to his (and his wife's) escape from the camp and their survival. The camps in Ukraine have been under-investigated and the diary provides significant material. It was used as the basis of investigations in the 1960s into war crimes in the slave labour camps in Ukraine, helping to bring attention to the region and providing some form of recognition for those who suffered there. This richly illustrated and scrupulously edited book is distinguished from more conventional Holocaust memoirs by focusing on fundamental questions of historical testimony and the problems of representation in both words and images. Daghani's diary is contextualized on the basis of wide-ranging new historical, archival and art historical research in essays that document the artist's attempts to achieve justice and reconciliation. They locate the diary in relation to contemporary issues on migration and statelessness, genocide and trauma, self-reflection and memory. The diary is both art and document, addressing how we understand and construct history. It enables readers to engage with the Holocaust via the viewpoint of an individual, making statistics more meaningful and history less distant.

"Here is the extraordinary Diary of Rywka Lipszyc, finally published 70 years after it was created. Handwritten in a school notebook between October 1943 and April 1944, this remarkable diary depicts the nightmare of life under the Nazis in Poland's infamous Lodz ghetto--through the eyes of brilliant, 14-year-old Jewish girl"--Dust jacket flap.

EAST OF TIME is a rendezvous of history and imagination, of realities and dreams, hopes and disenchantments. This extraordinary book, by turns stark and poetic, unfolds in a succession of short reminiscences that weave together into a shimmering tapestry depicting a lost world. The setting is Lodz, Poland, in the years of the author's childhood, when he witnessed the grand belief in a just new world overtaken by the cataclysmic events of the 1930s, imprisoned between the walls of ghettos, and finally silenced at Auschwitz. The book's touchstone is the determination of an entire community to remain human, even at the last frontier of life.

"To me, hard times are like hide-and-seek: where is the solution, where is the hope? We can never give up looking for these things because they are just waiting to be found." Gidon Lev, an 89-year-old Holocaust survivor, has lived an extraordinary life. At the age of six, he was imprisoned in the concentration camp of Theresienstadt. Liberated when he was ten, he lost at least 26 members of his family, including his father and grandfather. But Gidon's life is extraordinary not only because he is one of the few living survivors remaining but because of his lessons learned over nearly a century. His enduring message is of hope and opportunity - to make things better. By sharing his timeless simple belief and truths, Gidon reminds us that we have the power to incrementally improve what is in front of us and leave something better behind us. His life is a lesson of how to do it, even in the face of astonishing adversity, and Let's Make Things Better is the calling card of an indomitable spirit. 'By sharing his inspiring life story, Holocaust survivor Gidon Lev reminds us that the human spirit is larger than even the most severe and unjust trauma. Through one of history's darkest nights, he preserved his brightness and warmth ' - David Von Drehle, author of the New York Times bestseller The Book of Charlie

Memoirs of a Jew who was born in 1927 in Borisław, Poland. Pp. 31-132 deal with the Holocaust period, based on information found in a diary she kept at the time. Wolanski survived in hiding, at first with a Christian family and then in a bunker in the forest, until the liberation.

Shaping Losses explores how traumatic loss affects identity and how those who are shaped by loss give shape, in turn, to the empty place where something--relationships, family, culture--was and is no longer. Taking the example of the decimation of European Jewry during the Nazi era, Shaping Losses confronts the problem of transforming trauma into cultural memory. This eloquent volume examines how memoirs, films, photographs, art, and literature, as well as family conversations and personal remembrances, embody the impulse to preserve what is destroyed. The contributors -- all distinguished women scholars, most of them survivors or daughters of survivors--examine classic memorializations such as Claude Lanzmann's film Shoah and Roman Vishniac's photographs of prewar Jews as well as several less-well-known works. They also address ways in which children of survivors of the Holocaust--and of other catastrophic traumas--struggle with inherited or vicarious memory, striving to come to terms with losses that centrally define them although they experience them only indirectly. Shaping Losses considers the limitations of Holocaust representations and testimonies that capture shards of the experience but are necessarily selective and reductive. Contributors discuss artistic efforts to "preserve the rawness" of memory, to resist redemptive closure in Holocaust narratives and public memorials, and to prevent the Holocaust from being sealed in "the cold storage of history." The authors probe the nature of memory and of trauma, studying the use of language within and outside a traumatic context such as Auschwitz and pinpointing the qualities that make traumatic memory ineffable, untransmittable, and perhaps unreliable. Within the "haunted terrain of traumatized memory" that all Holocaust testimonies inhabit, the impulse to give form to emptiness--to shape loss--emerges as a necessary betrayal, a vital effort to bridge the gap between history and memory.

The murder of a third of Europe's Jews by the Nazis is unquestionably the worst catastrophe in the history of contemporary Judaism and a formative event in the history of Zionism and the State of Israel. Understandably, therefore, the Shoah, written about, analyzed, and given various political interpretations, has shaped public discourse in the history of the State of Israel. The key element of Shoah in the Israeli context is victimhood and as such it has become a source of shame, shrouded in silence and subordinated to the dominant discourse which, resulting from the construction of a "new Hebrew" active subjectivity, taught the postwar generation of Israelis to reject diaspora Jewry and its alleged passivity in the face of catastrophe. This book is the culmination of years of preoccupation with the meaning of the Shoah for the author, an Israeli woman with a "split subjectivity: - that of a daughter of a family of Shoah survivors, and that of a daughter of the first Israeli-born generation; the culmination of her need to break the silence about the Shoah in a society which constructed itself as the Israeli antithesis to diaspora Jewry, and to excavate a "truth" from underneath the mountain of Zionist nation-building myths. These myths, the author argues, not only had deep implication for the formation of her generation but also a profound impact on the Israeli-Palestinian conflict. Moreover, they are shot through with images of the "masculine" Israeli, constrasted with those of the weak, passive, non-virile Jewish "Other" of the diaspora. This book offers the first gendered analysis of Israeli society and the Shoah. The author employs personal narratives of nine Israeli daughters of Shoah survivors, writers and film makers, and a feminist re-reading of official and unofficial Israeli and Zionist discourses to explore the ways in which the

Out of the ashes of the Nazi concentration camps came an extraordinary love story which caught the public's imagination at the end of World War II. This autobiography tells how the author survived the camps and met her husband, a sergeant working for British intelligence, when he arrived to round up the SS guards for interrogation. Norman Turgel, then a young man, was among the first to enter the camp on April 15, 1945, and like so many battle-hardened soldiers, was deeply shocked and angered by the human suffering and degradation he witnessed. Yet it was here, in the midst of the living evidence of the most terrible suffering that man has ever inflicted on his fellow human beings, that he fell in love at first sight. Gena, a young Polish Jewish inmate of the camp, who had experienced indescribable loss, hardship, and deprivation, was to survive and find happiness against all odds. This is Gena's story: the autobiography of a woman whose strength of spirit enabled her to keep her mother alive and thereby save herself. When Gena married Norman in Germany in October 1945 in a wedding dress made of British parachute silk, the British Army Rabbi proclaimed their love a symbol of hope after so much death. But, Gena still lights a candle in memory of her three brothers and two sisters who died in the Holocaust. And, while her own story has a happy ending, she can never forget.

Winner, 2015 USC Book Award in Literary and Cultural Studies, for outstanding monograph published on Russia, Eastern Europe or Eurasia in the fields of literary and cultural studies The Ethics of Witnessing investigates the reactions of five important Polish diaristswriters—Jaroslaw Iwaszkiewicz, Maria Dabrowska, Aurelia Wylezynska, Zofia Nalkowska, and Stanislaw Rembek—during the period when the Nazis persecuted and murdered Warsaw’s Jewish population. The responses to the Holocaust of these prominent prewar authors extended from insistence on empathic interaction with victims to resentful detachment from Jewish suffering. Whereas some defied the dehumanization of the Jews and endeavored to maintain intersubjective relationships with the victims they attempted to rescue, others selfdeceptively evaded the Jewish plight. The Ethics of Witnessing examines the extent to which ideologies of humanism and nationalism informed the diarists’ perceptions, proposing that the reality of the Final Solution exposed the limits of both orientations and ultimately destroyed the ethical landscape shaped by the Enlightenment tradition, which promised the equality and fellowship of all human beings.

In this pathbreaking study of responses to the Holocaust in wartime and postwar Polish literature, Rachel Feldhay Brenner explores seven writers' compulsive need to share their traumatic experience of witness with the world. The Holocaust put the ideological convictions of Kornel Filipowicz, Józef Mackiewicz, Tadeusz Borowski, Zofia Kossak, Leopold Buczkowski, Jerzy Andrzejewski, and Stefan Otwinowski to the ultimate test. Tragically, witnessing the horror of the Holocaust implied complicity with the perpetrator and produced an existential crisis that these writers, who were all exempted from the genocide thanks to their non-Jewish identities, struggled to resolve in literary form. Polish Literature and the Holocaust: Eyewitness Testimonies,1942-1947 is a particularly timely book in view of the continuing debates about the attitudes of Poles toward the Jews during the war. The literary voices from the past that Brenner examines posit questions that are as pertinent now as they were then. And so, while this book speaks to readers who are interested in literary responses to the Holocaust, it also illuminates the universal issue of the responsibility of witnesses toward the victims of any atrocity--Provided by publisher.