Adolf Hitler's obsession with art not only fueled his vision of a purified Nazi state--it was the core of his fascist ideology. Its aftermath lives on to this day. Nazism ascended by brute force and by cultural tyranny. Weimar Germany was a society in turmoil, and Hitler's rise was achieved not only by harnessing the military but also by restricting artistic expression. Hitler, an artist himself, promised the dejected citizens of postwar Germany a purified Reich, purged of "degenerate" influences. When Hitler came to power in 1933, he removed so-called "degenerate" art from German society and promoted artists whom he considered the embodiment of the "Aryan ideal." Artists who had produced challenging and provocative work fled the country. Curators and art dealers organized their stock. Thousands of great artworks disappeared--and only a fraction of them were rediscovered after World War II. In 2013, the German government confiscated roughly 1,300 works by Henri Matisse, George Grosz, Claude Monet, and other masters from the apartment of Cornelius Gurlitt, the reclusive son of one of Hitler's primary art dealers. For two years, the government kept the discovery a secret. In Hitler's Last Hostages, Mary M. Lane reveals the fate of those works and tells the definitive story of art in the Third Reich and Germany's ongoing struggle to right the wrongs of the past.

Revealed for the first time: how the SS rounded up the Nazis' most prominent prisoners to serve as human shields for Hitler in the last days of World War II In April 1945, as Germany faced defeat, Hitler planned to round up the Third Reich's most valuable prisoners and send them to his "Alpine Fortress," where he and the SS would keep the hostages as they made a last stand against the Allies. The prisoners included European presidents, prime ministers, generals, British secret agents, and German anti-Nazi clerics, celebrities, and officers who had aided the July 1944 bomb plot against Hitler--and the prisoners' families. Orders were given to the SS: if the German military situation deteriorated, the prisoners were to be executed--all 139 of them. So began a tense, deadly drama. As some prisoners plotted escape, others prepared for the inevitable, and their SS guards grew increasingly volatile, drunk, and trigger-happy as defeat loomed. As a dramatic confrontation between the SS and the Wehrmacht threatened the hostages caught in the middle, the US Army launched a frantic rescue bid to save the hostages before the axe fell. Drawing on previously unpublished and overlooked sources, Hitler's Last Plot is the first full account of this astounding and shocking story, from the original round-up order to the prisoners' terrifying ordeal and ultimate rescue. Told in a thrilling, page-turning narrative, this is one of World War II's most fascinating episodes.

"The story of art is integral to the story of the rise of Nazi Germany. Adolf Hitler, an artist himself, was obsessed with art--in particular, the aesthetic of a purified regime, scoured of 'degenerate' influences that characterized Germany during the 1920s and 1930s. When they came to power in 1933, Hitler and Goebbels set their aesthetic vision into motion and removed degenerate art from German life: artists fled the country; museums were purged; and great works disappeared, only a fraction of which were rediscovered at the end of the Second World War. Most remained in garrets and cellars, the last hostages of the era of the Reich. In 2013, 1290 works by Chagall, Picasso, Matisse, Otto Dix, Max Beckmann and others were rediscovered. In Hitler's Last Hostages, Mary Lane brilliantly tells the story of art and the Third Reich, and the fate of Germany's great artists as they fought to survive the Nazi era"--

David Cesarani’s Final Solution is a magisterial work of history that chronicles the fate of Europe’s Jews. Based on decades of scholarship, documentation newly available from the opening of Soviet archives, declassification of Western intelligence service records, as well as diaries and reports written in the camps, Cesarani provides a sweeping reappraisal that challenges accepted explanations for the anti-Jewish politics of Nazi Germany and the inevitability of the “final solution.” The persecution of the Jews, as Cesarani sees it, was not always the Nazis’ central preoccupation, nor was it inevitable. He shows how, in German-occupied countries, it unfolded erratically, often due to local initiatives. For Cesarani, war was critical to the Jewish fate. Military failure denied the Germans opportunities to expel Jews into a distant territory and created a crisis of resources that led to the starvation of the ghettos and intensified anti-Jewish measures. Looking at the historical record, he disputes the iconic role of railways and deportation trains. From prisoner diaries, he exposes the extent of sexual violence and abuse of Jewish women and follows the journey of some Jewish prisoners to displaced persons camps. David Cesarani’s Final Solution is the new standard chronicle of the fate of a heroic people caught in the hell that was Hitler’s Germany.

During World War II at least 13.5 million people were employed as forced labourers in Germany and across the territories occupied by the German Reich. Most came from Russia, Ukraine, Belarus, Moldavia, the Baltic countries, France, Poland and Italy. Among them were 8.4 million civilians working for private companies and public agencies in industry, administration and agriculture. In addition, there were 4.6 million prisoners of war and 1.7 million concentration camp prisoners who were either subjected to forced labour in concentration or similar camps or were ‘rented out’ or sold by the SS. While there are numerous publications on forced labour in National Socialist Germany during World War II, this publication combines a historical account of events with the biographies and memories of former forced labourers from twenty-seven countries, offering a comparative international perspective.

A rollicking account of the bizarre hostage drama that gave rise to the term "Stockholm syndrome." On the morning of August 23, 1973, a man wearing a wig, makeup, and a pair of sunglasses walked into the main branch of Sveriges Kreditbank, a prominent bank in central Stockholm. He ripped out a submachine gun, fired it into the ceiling, and shouted, "The party starts!" This was the beginning of a six-day hostage crisis—and media circus—that would mesmerize the world, drawing into its grip everyone from Sweden’s most notorious outlaw to the prime minister himself. As policemen and reporters encircled the bank, the crime-in-progress turned into a high-stakes thriller broadcast on live television. Inside the building, meanwhile, complicated emotional relationships developed between captors and captives that would launch a remarkable new concept into the realm of psychology, hostage negotiation, and popular culture. Based on a wealth of previously unpublished sources, including rare film footage and unprecedented access to the main participants, Six Days in August captures the surreal events in their entirety, on an almost minute-by-minute basis. It is a rich human drama that blurs the lines between loyalty and betrayal, obedience and defiance, fear and attraction—and a groundbreaking work of nonfiction that forces us to consider "Stockholm syndrome" in an entirely new light.

Provides an autobiographical account of a ten-year-old Russian girl's experiences as she survived the horrors of a Nazi concentration camp in order to live to see the end of the war and grow to attain her dreams of becoming a teacher. Reprint.