A Times/Sunday Times Book of the Year 'Powerful . . . there is rage in his ink. McKay's book grips by its passion and originality. Some 25,000 people perished in the firestorm that raged through the city. I have never seen it better described' Max Hastings, Sunday Times In February 1945 the Allies obliterated Dresden, the 'Florence of the Elbe'. Explosive bombs weighing over 1,000 lbs fell every seven and a half seconds and an estimated 25,000 people were killed. Was Dresden a legitimate military target or was the bombing a last act of atavistic mass murder in a war already won? From the history of the city to the attack itself, conveyed in a minute-by-minute account from the first of the flares to the flames reaching almost a mile high - the wind so searingly hot that the lungs of those in its path were instantly scorched - through the eerie period of reconstruction, bestselling author Sinclair McKay creates a vast canvas and brings it alive with touching human detail. Along the way we encounter, among many others across the city, a Jewish woman who thought the English bombs had been sent from heaven, novelist Kurt Vonnegut who wrote that the smouldering landscape was like walking on the surface of the moon, and 15-year-old Winfried Bielss, who, having spent the evening ushering refugees, wanted to get home to his stamp collection. He was not to know that there was not enough time. Impeccably researched and deeply moving, McKay uses never-before-seen sources to relate the untold stories of civilians and vividly conveys the texture of contemporary life. Dresden is invoked as a byword for the illimitable cruelties of war, but with the distance of time, it is now possible to approach this subject with a much clearer gaze, and with a keener interest in the sorts of lives that ordinary people lived and lost, or tried to rebuild. Writing with warmth and colour about morality in war, the instinct for survival, the gravity of mass destruction and the manipulation of memory, this is a master historian at work. 'Churchill said that if bombing cities was justified, it was always repugnant. Sinclair McKay has written a shrewd, humane and balanced account of this most controversial target of the Anglo-American strategic bombing campaign, the ferocious consequence of the scourge of Nazism' Allan Mallinson, author of Fight to the Finish 'Beautifully-crafted, elegiac, compelling - Dresden delivers with a dark intensity and incisive compassion rarely equalled. Authentic and authoritative, a masterpiece of its genre' Damien Lewis, author of Zero Six Bravo 'Compelling . . . Sinclair McKay brings a dark subject vividly to life' Keith Lowe, author of Savage Continent 'This is a brilliantly clear, and fair, account of one of the most notorious and destructive raids in the history aerial warfare. From planning to execution, the story is told by crucial participants - and the victims who suffered so cruelly on the ground from the attack itself and its aftermath' Robert Fox, author of We Were There

On February 13 and 14, 1945, three successive waves of British and U.S. aircraft rained down thousands of tons of high explosive and incendiary bombs on the largely undefended German city of Dresden. Night and day, Dresden was engulfed in a vast sea of flame, a firestorm that generated 1,500-degree temperatures and hurricane-force winds. Thousands suffocated in underground shelters where they had fled to escape the inferno above. The fierce winds pulled thousands more into the center of the firestorm, where they were incinerated. By the time the fires burned themselves out, many days later, a great city–known as “the Florence on the Elbe”–lay in ruins, and tens of thousands, almost all of them civilians, lay dead. In Firestorm, Marshall De Bruhl re-creates the drama and horror of the Dresden bombing and offers the most cogent appraisal yet of the tactics, weapons, strategy, and rationale for the controversial attack. Using new research and contemporary reports, as well as eyewitness stories of the devastation, De Bruhl directly addresses many long-unresolved questions relating to the bombing: Why did the strike occur when the Allies’ victory was seemingly so imminent? Was choosing a city choked with German refugees a punitive decision, intended to humiliate a nation? What, if any, strategic importance did Dresden have? How much did the desire to send a “message”–to Imperial Japan or the advancing Soviet armies–factor into the decision to firebomb the city? Beyond De Bruhl’s analysis of the moral implications and historical ramifications of the attack, he examines how Nazi and Allied philosophies of airpower evolved prior to Dresden, particularly the shift toward “morale bombing” and the targeting of population centers as a strategic objective. He also profiles the architects and prime movers of strategic bombing and aerial warfare, among them aviation pioneer Billy Mitchell, RAF air marshal Sir Arthur “Bomber” Harris, and the American commander, General Carl Spaatz. The passage of time has done nothing to quell the controversy stirred up by the Dresden raid. It has spawned a plethora of books, documentaries, articles, and works of fiction. Firestorm dispels the myths, refutes the arguments, and offers a dispassionate and clear-eyed look at the decisions made and the actions taken throughout the bombing campaign against the cities of the Third Reich–a campaign whose most devastating consequence was the Dresden raid. It is an objective work of history that dares to consider the calculus of war.

'Victor Gregg is the most remarkable spokesman for the war generation' Dan Snow In Slaughterhouse-Five, Kurt Vonnegut fictionalised his time as a prisoner of war in Dresden in 1945. Vonnegut was imprisoned in a cellar while the firestorm raged through the city, wiping out generations of innocent lives. Victor Gregg remained above ground throughout the firebombing. This is his true eyewitness account of that week in February 1945. Already a seasoned soldier with the Rifle Brigade, Gregg joined the 10th Parachute Regiment in 1944. He was captured at Arnhem where he volunteered to be sent to a work camp rather than become another faceless number in the huge POW camps. With two failed escape attempts under his belt, Gregg was eventually caught sabotaging a factory and sent to Dresden for execution. Before Gregg could be executed, the British Royal Air Force and the United States Army Air Forces dropped more than 3,900 tons of high-explosive bombs and incendiary devices on Dresden in four air raids over two days in February 1945. The resulting firestorm destroyed six square miles of the city centre. 25,000 people, mostly civilians, were estimated to have been killed. Post-war discussion of whether or not the attacks were justified has led to the bombing becoming one of the moral questions of the Second World War. In Gregg's first-hand narrative, personal and punchy, he describes the trauma and carnage of the Dresden bombing. After the raid, he spent five days helping to recover a city of innocent civilians, thousands of whom had died in the fire storm, trapped underground in human ovens. As order was restored, his life was once more in danger and he escaped to the east, spending the last weeks of the war with the Russians.

Kurt Vonnegut’s masterpiece, Slaughterhouse-Five is “a desperate, painfully honest attempt to confront the monstrous crimes of the twentieth century” (Time). Selected by the Modern Library as one of the 100 best novels of all time Slaughterhouse-Five, an American classic, is one of the world’s great antiwar books. Centering on the infamous World War II firebombing of Dresden, the novel is the result of what Kurt Vonnegut described as a twenty-three-year struggle to write a book about what he had witnessed as an American prisoner of war. It combines historical fiction, science fiction, autobiography, and satire in an account of the life of Billy Pilgrim, a barber’s son turned draftee turned optometrist turned alien abductee. As Vonnegut had, Billy experiences the destruction of Dresden as a POW. Unlike Vonnegut, he experiences time travel, or coming “unstuck in time.” An instant bestseller, Slaughterhouse-Five made Kurt Vonnegut a cult hero in American literature, a reputation that only strengthened over time, despite his being banned and censored by some libraries and schools for content and language. But it was precisely those elements of Vonnegut’s writing—the political edginess, the genre-bending inventiveness, the frank violence, the transgressive wit—that have inspired generations of readers not just to look differently at the world around them but to find the confidence to say something about it. Authors as wide-ranging as Norman Mailer, John Irving, Michael Crichton, Tim O’Brien, Margaret Atwood, Elizabeth Strout, David Sedaris, Jennifer Egan, and J. K. Rowling have all found inspiration in Vonnegut’s words. Jonathan Safran Foer has described Vonnegut as “the kind of writer who made people—young people especially—want to write.” George Saunders has declared Vonnegut to be “the great, urgent, passionate American writer of our century, who offers us . . . a model of the kind of compassionate thinking that might yet save us from ourselves.” More than fifty years after its initial publication at the height of the Vietnam War, Vonnegut’s portrayal of political disillusionment, PTSD, and postwar anxiety feels as relevant, darkly humorous, and profoundly affecting as ever, an enduring beacon through our own era’s uncertainties.

In the final phase of the World War II, the Allies launched a bombing campaign that inflicted unprecedented destruction on Germany. This work attempts to document life under the Allied bombing, and renders the annihilation of cities such as Dresden.

Destroying human habitat and taking human lives, disasters, be they natural, man-made, or a combination, threaten large populations, even entire nations and societies. They also disrupt the existing order and cause discontinuity in our sense of self and our perceptions of the world. To restore order, not only must human beings be rescued and affected areas rebuilt, but the reality of the catastrophe must also be transformed into narrative. The essays in this collection examine representations of disaster in literature, film, and mass media in German and international contexts, exploring the nexus between disruption and recovery through narrative from the eighteenth century to the present. Topics include the Lisbon earthquake, the Paris Commune, the Hamburg and Dresden fire-bombings in the Second World War, nuclear disasters in Alexander Kluge's films, the filmic aesthetics of catastrophe, Yoko Tawada's lectures on the Fukushima disaster and Christa Wolf's novel St rfall in light of that same disaster, Joseph Haslinger and the tsunami of 2004, traditions regarding avalanche disaster in the Tyrol, and the problems and implications of defining disaster. Contributors: Carol Anne Costabile-Heming, Yasemin Dayioglu-Y cel, Janine Hartman, Jan Hinrichsen, Claudia Jerzak, Lars Koch, Franz Mauelshagen, Tanja Nusser, Torsten Pflugmacher, Christoph Weber. Katharina Gerstenberger is Professor and Chair of the Department of Languages and Literature at the University of Utah. Tanja Nusser is DAAD Visiting Associate Professor of German at the University of Cincinnati.