A beautiful novel exploring the little-known story of Anne Frank's life before she went into hiding - from bestselling, award-winning author Alice Hoffman and published in cooperation with the Anne Frank House. In soaring prose, bestselling author Alice Hoffman brings Anne Frank to life on the page, drawing from her extensive research in Europe and the United States, to depict her experiences from the moment the Nazis invade the Netherlands until her family is forced into hiding in the annex of her father's office building at 263 Prinsengracht, in Amsterdam. As state-sponsored discrimination turns ordinary people into monsters, the Jews of the Netherlands are caught in an inescapable swell of violence and hate, and Anne is shaped as both a young woman and as a writer who will change the world. WHEN WE FLEW AWAYfeatures archival content provided by the Anne Frank House, as well as information about Otto Frank's desperate bids to get his family to safety in America gathered from correspondence between Otto Frank and Nathan Straus, Jr., from the Straus Historical Society's Archives. A heart-wrenching exploration of Anne's life before the annex By New York Times bestselling author of The World We Knew, Alice Hoffman Featuring archival content provided by the Anne Frank House

The trial of Adolf Eichmann began in 1961 under a deceptively simple label, "criminal case 40/61." Hannah Arendt covered the trial for the New Yorker magazine and recorded her observations in Eichmann in Jerusalem: The Banality of Evil . Harry Mulisch was also assigned to cover the trial for a Dutch news weekly. Arendt would later say in her book's preface that Mulisch was one of the few people who shared her views on the character of Eichmann. At the time, Mulisch was a young and little-known writer; in the years since he has since emerged as an author of major international importance, celebrated for such novels as The Assault and The Discovery of Heaven . Mulisch modestly called his book on case 40/61 a report, and it is certainly that, as he gives firsthand accounts of the trial and its key players and scenes (the defendant's face strangely asymmetric and riddled by tics, his speech absurdly baroque). Eichmann's character comes out in his incessant bureaucratizing and calculating, as well as in his grandiose visions of himself as a Pontius Pilate-like innocent. As Mulisch intersperses his dispatches from Jerusalem with meditative accounts of a divided and ruined Berlin, an eerily rebuilt Warsaw, and a visit to the gas chambers of Auschwitz, Criminal Case 40/61, the Trial of Adolf Eichmann becomes as a disturbing and highly personal essay on the Nazi extermination of European Jews and on the human capacity to commit evil ever more efficiently in an age of technological advancement. Here presented with a foreword by Debórah Dwork and translated for the first time into English, Criminal Case 40/61 provides the reader with an unsettling portrait not only of Eichmann's character but also of technological precision and expertise. It is a landmark of Holocaust writing.

Martha Hollander's lively and gracefully written book considers one of the most intriguing features of seventeenth-century Dutch painting: the pictorial language of space, in particular the use of secondary scenes. Many Dutch pictures, especially genre scenes and portraits, introduce a gap through the trees; a view of distant mountains; views through windows, archways, open doors, and pulled-back curtains; or mirrors and pictures-within-pictures to comment on, explain, and enrich the primary scene that unfolds on the canvas. Hollander uncovers the meanings generated by the formal structure of such pictures, tracing their heritage in the medieval and Renaissance pictorial traditions of illuminated manuscripts, emblems, and stage design. A number of Dutch painters, working for a fiercely competitive art market fostering experiment and novelty, created these secondary scenes in remarkably various and inventive ways. An Entrance for the Eyes focuses on striking features in the works of several artists who carried out bold experiments with space and meaning. Hollander introduces the ideas of pictorial organization formulated by Karel van Mander in both his paintings and his theoretical treatise Het Schilder-boeck. She explains how Gerard Dou (1613-1675), in his tightly constructed allegorical pictures, particularly those set in niches, used the secondary space to comment on the figure in the foreground. In a penetrating analysis of the early domestic scenes of Nicolaes Maes (1634-1693), she relates the juxtaposition of rooms in the household to the status and representation of women in seventeenth-century Holland. In the courtyard scenes and interiors of Pieter de Hooch (1629-1684), always open to the outdoors, she examines the articulation of the still fluid relationship between public and private life. Hollander's narrative deals with complex issues in lucid and direct language. In tracing how the inventive juxtaposing of public and private spaces played out social anxieties and ideals, she inspires readers to look more closely and thoughtfully at the paintings.