{"title":"Holocaust","description":null,"products":[{"product_id":"elis-story","title":"Eli's Story: A Twentieth-Century Jewish Life","description":"\u003ci\u003eEli's Story: A Twentieth-Century Jewish Life\u003c\/i\u003e is first and foremost a biography. Its subject is Eli G. Rochelson, MD (1907?1984), author Meri-Jane Rochelson's father. At its core is Eli's story in his own words, taken from an interview he did with his son, Burt Rochelson, in the mid-1970s. The book tells the story of a man whose life and memory spanned two world wars, several migrations, an educational odyssey, the massive upheaval of the Holocaust, and finally, a frustrating yet ultimately successful effort to restore his professional credentials and identity, as well as reestablish family life.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eEli's Story\u003c\/i\u003e contains a mostly chronological narration that embeds the story in the context of further research. It begins with Eli's earliest memories of childhood in Kovno and ends with his death, his legacy, and the author's own unanswered questions that are as much a part of Eli's story as his own words. The narrative is illuminated and expanded through Eli's personal archive of papers, letters, and photographs, as well as research in institutional archives, libraries, and personal interviews. Rochelson covers Eli's family's relocation to southern Russia; his education, military service, and first marriage after he returned to Kovno; his and his family's experiences in the Dachau, Stutthof, and Auschwitz concentration camps?including the deaths of his wife and child; his postwar experience in the Landsberg Displaced Persons (DP) camp, and his immigration to the United States, where he determinedly restored his medical credentials and started a new family. Rochelson recognizes that both the effort of reconstructing events and the reality of having personal accounts that confirm and also differ from each other in detail, make the process of gap-filling itself a kind of fiction?an attempt to shape the incompleteness that is inherent to the story. In the epilogue, the author reminds readers that the stories of lives don't have clear chronologies. 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Using innovative methodology, interviews, and ballistic evidence, he has determined the location of many mass gravesites with the goal of providing proper burials for the victims of the forgotten Ukrainian Holocaust. \u003cbr\u003e\u003cbr\u003eCompiling new archival material and many eye-witness accounts, Desbois has put together the first definitive account of one of World War II's bloodiest chapters. Published with the support of the United States Holocaust Memorial Museum.\u003cbr\u003e\u003cbr\u003e\"[T]his modest Roman Catholic priest from Paris, without using much more than his calm voice and Roman collar, has shattered the silence surrounding a largely untold chapter of the Holocaust.\" --\u003ci\u003eThe Chicago Tribune\u003c\/i\u003e\u003c\/p\u003e","brand":"None","offers":[{"title":"Paperback","offer_id":46153879290033,"sku":"9780230617575","price":25.99,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_fe151cee-409a-4e28-af10-9bb785ddbeef.jpg?v=1762425131"},{"product_id":"cold-crematorium","title":"Cold Crematorium: Reporting from the Land of Auschwitz","description":"\u003cp\u003e\u003cb\u003eNational Jewish Book Award finalist and one of the \u003ci\u003eNew York Times Book Review's \u003c\/i\u003e10 Best Books of 2024\u003cbr\u003e\u003cbr\u003eA lost classic of Holocaust literature translated for the first time—from journalist, poet and survivor József Debreczeni\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\"As immediate a confrontation of the horrors of the camps as I’ve ever encountered. It’s also a subtle if startling meditation on what it is to attempt to confront those horrors with words…Debreczeni has preserved a panoptic depiction of hell, at once personal, communal and atmospheric.\" \u003cb\u003e—\u003ci\u003eNew York Times\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"A treasure...Debreczeni’s memoir is a crucial contribution to Holocaust literature, a book that enlarges our understanding of 'life' in Auschwitz.\" \u003cb\u003e—\u003ci\u003eWall Street Journal\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\"A literary diamond...A holocaust memoir worthy of Primo Levi.\" \u003cb\u003e—\u003ci\u003eThe Times of London\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eJózsef Debreczeni, a prolific Hungarian-language journalist and poet, arrived in Auschwitz in 1944; had he been selected to go left, his life expectancy would have been approximately forty-five minutes. One of the “lucky” ones, he was sent to the right, which led to twelve horrifying months of incarceration and slave labor in a series of camps, ending in the “Cold Crematorium”—the so-called hospital of the forced labor camp Dörnhau, where prisoners too weak to work awaited execution. But as Soviet and Allied troops closed in on the camps, local Nazi commanders—anxious about the possible consequences of outright murder—decided to leave the remaining prisoners to die in droves rather than sending them directly to the gas chambers.\u003cbr\u003e\u003cbr\u003eDebreczeni recorded his experiences in \u003ci\u003eCold Crematorium\u003c\/i\u003e, one of the harshest, most merciless indictments of Nazism ever written. This haunting memoir, rendered in the precise and unsentimental style of an accomplished journalist, is an eyewitness account of incomparable literary quality. The subject matter is intrinsically tragic, yet the author’s evocative prose, sometimes using irony, sarcasm, and even acerbic humor, compels the reader to imagine human beings in circumstances impossible to comprehend intellectually. \u003cbr\u003e\u003cbr\u003eFirst published in Hungarian in 1950, it was never translated into a world language due to McCarthyism, Cold War hostilities and antisemitism. More than 70 years later, this masterpiece that was nearly lost to time will be available in 15 languages, finally taking its rightful place among the greatest works of Holocaust literature.\u003c\/p\u003e","brand":"None","offers":[{"title":"Paperback","offer_id":46154304127153,"sku":"9781250397188","price":26.0,"currency_code":"CAD","in_stock":true},{"title":"Hardcover","offer_id":46154304094385,"sku":"9781250290533","price":37.0,"currency_code":"CAD","in_stock":true},{"title":"Kobo eBook","offer_id":46154304159921,"sku":"a5fc473e-7889-3104-b388-3082124d6612","price":16.99,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_7b326095-8018-4244-9d39-334b0b4e972c.jpg?v=1763547656"},{"product_id":"the-murder-of-the-jews-in-latvia-1941-1945","title":"The Murder of the Jews in Latvia 1941-1945","description":"\u003cdiv\u003e\u003cdiv\u003eAt the end of June 1941, Latvia fell into the hands of the Germans. 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We hear from the persecutors themselves: the leaders of the Nazi party, the members of the Protestant and Catholic hierarchies, the university elites, and the heads of the business community. 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First brought to attention when the Dutch historian Jacob Presser-Koker's history teacher in high school-quoted from Koker's diary in his monumental history, published in English as \u003ci\u003eThe Destruction of the Dutch Jews\u003c\/i\u003e (1968), the diary itself became a part of the Dutch literary canon when it was published in 1977 as \u003ci\u003eDagboek geschreven in Vught (Diary Written in Vught)\u003c\/i\u003e. It has remained in print ever since, and is notable for its literary qualities, weaving poetry and powerful observations of the emotional life of a camp prisoner, including reflections after an in-person visit by Heinrich Himmler. Surprisingly, the book has never before been translated into English.\u003c\/p\u003e\u003cp\u003eDuring his time in the Vught concentration camp, the 21-year-old David recorded on an almost daily basis his observations, thoughts, and feelings. He mercilessly probed the abyss that opened around him and, at times, within himself. David's diary covers almost a year, both charting his daily life in Vught as it developed over time and tracing his spiritual evolution as a writer. 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Now, he combines their never-before-seen eyewitness testimony with the latest academic research to create a uniquely accessible and authoritative account of the Holocaust.\u003cbr\u003e  \u003cbr\u003e In \u003ci\u003eThe Holocaust\u003c\/i\u003e, Rees offers an examination of the decision-making process of the Nazi state, and in the process reveals the series of escalations that cumulatively created the horror. 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His diaries, written in secrecy, provide a vivid account of everyday life in Hitler's Germany.\u003cbr\u003e                          \u003cbr\u003eWhat makes this book so remarkable, aside from its literary distinction, is Klemperer's preoccupation with the thoughts and actions of ordinary Germans: Berger the greengrocer, who was given Klemperer's house (\"anti-Hitlerist, but of course pleased at the good exchange\"), the fishmonger, the baker, the much-visited dentist. All offer their thoughts and theories on the progress of the war: Will England hold out? Who listens to Goebbels? How much longer will it last?\u003cbr\u003e                          \u003cbr\u003eThis symphony of voices is ordered by the brilliant, grumbling Klemperer, struggling to complete his work on eighteenth-century France while documenting the ever- tightening Nazi grip. He loses first his professorship and then his car, his phone, his house, even his typewriter, and is forced to move into a Jews' House (the last step before the camps), put his cat to death (Jews may not own pets), and suffer countless other indignities. \u003cbr\u003e                          \u003cbr\u003eDespite the danger his diaries would pose if discovered, Klemperer sees it as his duty to record events. \"I continue to write,\" he notes in 1941 after a terrifying run-in with the police. \"This is my heroics. I want to bear witness, precise witness, until the very end.\"   When a neighbor remarks that, in his isolation, Klemperer will not be able to cover the main events of the war, he writes: \"It's not the big things that are important, but the everyday life of  tyranny, which may be forgotten. A thousand mosquito bites are worse than a blow on the head. I observe, I note, the mosquito bites.\"\u003cbr\u003e                          \u003cbr\u003eThis book covers the years from 1933 to 1941. 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Critics have taken long note of Shoah’s innovative style and its place in the history of documentary film and in cultural memory, but few scholars have touched on its extensive outtakes and the reams of documentation archived at the United States Holocaust Memorial Museum and at Yad Vashem, or the release of five feature-length documentaries based on the material in those outtakes.     The Construction of Testimony, which contains thirteen essays by some of the most notable scholars in Holocaust film studies, reexamines Lanzmann’s body of work, his film, and the impact of Shoah through this trove—over 220 hours—of previously unavailable and unexplored footage. Responding to the need for a sustained examination of Lanzmann’s impact on historical and filmic approaches to testimony, this volume inaugurates a new era of scholarship, one that takes a critical position vis-à-vis the filmmaker’s posturing, stylization, and editorial sleight-of-hand. The volume’s contributors engage with a range of dimensions central to Lanzmann’s filmography and the outtakes, including the dynamics of gender in his work, his representation of Nazi perpetrators, and complex issues of language and translation.    In light of Lanzmann’s invention of a radically new form of witnessing and remembrance, Shoah laid the framework for the ways in which subsequent filmmakers have represented the Holocaust cinematically; at the same time, the outtakes complicate this framework by revealing new details about the filmmaker’s complex editorial choices. 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In the subsequent decades, their work transformed from personal memory projects to large-scale, politically driven initiatives. Through decades of engagement with Holocaust memory, these seven individuals ensured the stories of Jewish women were featured in the greater wartime narrative. In doing so, they deliberately shifted the French discourse on the Holocaust away from a focus on victimization and resistance to female agency during the fight for survival under Nazi occupation. 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It was the beginning of a love story that could have happened anywhere. Except for one difference: this romance was unfolding in history’s most notorious death camp, between two young prisoners whose budding intimacy risked dooming them if they were caught. \u003cbr\u003e\u003cbr\u003e Incredibly, David and Zippi survived for years beneath the ash-choked skies of Auschwitz. Under the protection of their fellow inmates, their romance grew and deepened, even as their brushes with death mounted and David’s luck in particular seemed close to running out. As the war’s end finally approached and the time came for them to leave the camp, David and Zippi made plans to meet again. But neither of them could imagine how long their reunion would take or how many lives they would live in the interim. They had no inkling, either, of the betrayals that would await them along the way. 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As a fourteen-year-old Jewish boy living in Prague in the early 1940s, Petr Ginz dutifully kept a diary that captured the increasingly precarious texture of daily life.  His stunningly mature paintings, drawings, and writings reflect his insatiable appetite for learning and experience and openly display his growing artistic and literary genius. Petr was killed in a gas chamber at Auschwitz at the age of sixteen. 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