"The Pope at War is the third in a trilogy of books about Pope Pius XII's response to the rise of Fascism and Nazism. It tells the dramatic story of Pope Pius XII's struggle to respond to the Second World War, the Holocaust, and the ongoing Nazi attempts to exterminate the Jews of Europe. It is the first book dealing with the war to make extensive use of the newly opened Vatican archives for the war years. It is based, as well, on thousands of documents from the Italian, German, French, British, and American archives. Among the many new discoveries brought to light is the discovery that within weeks of becoming pope in 1939, Pius XII entered into secret negotiations with Hitler through Hitler's emissary, a Nazi Prince who was married to the daughter of the King of Italy and who was very close to Hitler. The negotiations were kept so secret that not even the German ambassador to the Holy See was informed of them. The book also offers new insight into the thinking behind Pius XII's decision to maintain good relations with the German government during the war, including keeping the Germans happy while they occupied Rome in 1943-44. And throughout, David I. Kertzer shows the active role of the Italian Church hierarchy in promoting the Axis war while the pope, who as bishop of Rome was responsible for the Italian hierarchy, offered his silent blessings and cast his public speeches in such a way that both sides could claim support for their cause"--

"As child, Meryl Frank was the chosen inheritor of family remembrance. Her aunt Mollie, a formidable and cultured woman, insisted that Meryl never forget who they were, where they came from, and the hate that nearly destroyed them. Over long afternoons, Mollie told her about the city, the theater, and, above all else, Meryl's cousin, the radiant Franya Winter. Franya was the leading light of Vilna's Yiddish theater, a remarkable and precocious woman who cast off the restrictions of her Hasidic family and community to play roles as prostitutes and bellhops, lovers and nuns. Yet there was one thing her aunt Mollie would never tell Meryl: how Franya died. Before Mollie passed away, she gave Meryl a Yiddish book containing the terrible answer, but forbade her to read it. And for years, Meryl obeyed. Unearthed is the story of Meryl's search for Franya and a timely history of hatred and resistance. Through archives across four continents, by way of chance encounters and miraculous discoveries, and eventually, guided by the shocking truth recorded in the pages of the forbidden book, Meryl conjures the rogue spirit of her cousin-her beauty and her tragedy. Meryl's search reveals a lost world destroyed by hatred, illuminating the cultural haven of Vilna and its resistance during World War II. As she seeks to find her lost family legacy, Meryl looks for answers to the questions that have defined her life: what is our duty to the past? How do we honor such memories while keeping them from consuming us? And what do we teach our children about tragedy?"--

Written in the aftermath of World War II, Love Goes to Press opened in London in 1946 and on Broadway in 1947. At the time a relief for the survivors of Blitzkrieg and ration cards, today it is a devilishly entertaining portrayal of the Battle of the Sexes. In this romantic farce, set in a press camp on the Italian front in 1944, two women war correspondents—smart, sexy, and famous for scooping their male competitors—struggle to balance their professional lives with their love lives. The American literary tradition is replete with stories of “men without women,” but in Love Goes to Press Martha Gellhorn and Virginia Cowles have created a world of “women without men.” Complications ensue when one of our heroines unexpectedly encounters her ex-husband, a famous writer whom she had divorced on the grounds of plagiarism. This Bison Books edition features a preface and an updated afterword by Sandra Spanier discussing her recent archival discoveries, her experience of working with Gellhorn to publish the play for the first time, and the strong resemblance of the leading man to Gellhorn’s ex-husband, Ernest Hemingway.