"A beautifully cadenced work of art—it will remind some readers of Nabokov's classic Speak, Memory."—Joyce Carol Oates Paris in the 1930s—melancholy, erotic, intensely politicized—provides the poetic beginning for this remarkable autobiography by one of America's most renowned literary scholars. In Trains of Thought Victor Brombert recaptures the story of his youth in a Proustian reverie, recalling, with a rare combination of humor and tenderness, his childhood in France, his family's escape to America during the Vichy regime, his experiences in the U.S. Army from the invasion of Normandy to the occupation of Berlin, and his discovery of his scholarly vocation. In shimmering prose, Brombert evokes his upbringing in Paris's upper-middle-class 16th arrondissement, a world where "the sweetness of things" masked the class tensions and political troubles that threatened the stability of the French democracy. Using the train as a metaphor to describe his personal journey, Brombert recalls his boyhood enchantment with railway travel—even imagining that he had been conceived on a sleeper. But the young Brombert sensed that "the poetry of the railroad also had its darker side, for there was the turmoil of departures, the terror . . . of being pursued by a gigantic locomotive, the nightmare of derailments, or of being trapped in a tunnel." With time, Brombert became acutely aware of the grimmer aspects of life around him—the death of his sister, Nora, on an operating table, the tragic disappearance of his boyhood love, Dany, with her infant child, and the mounting cries of "Sale Juif," or "dirty Jew," that grew from a whisper into a thundering din as the decade drew to a close. The invasion of May 1940 dispelled the optimistic belief, shared by most of the French nation, that the horrors that had descended on Germany could never happen to them. The family was forced to flee from Paris, first to Nice, then to Spain, and finally across the Atlantic on a banana freighter to America. Discovering the excitement of New York, Brombert nonetheless hoped to return to France in an American uniform once the United States entered the war. He joined the U.S. Army in 1943, and soon found himself with General Patton's old "Hell-on-Wheels" division at Omaha Beach, then in Paris at the time of its liberation, and later at the Battle of the Bulge. The final chapter concludes with Brombert's return to America, his enrollment at Yale University, and the beginning of a literary voyage whose origins are poignantly captured in this coming-of-age story. Trains of Thought is a virtuosic accomplishment, and a memoir that is likely to become a classic account of both memory and experience.

In the aftermath of the Holocaust, Jewish historian Zosa Szajkowski gathered up tens of thousands of documents from Nazi buildings in Berlin, and later, public archives and private synagogues in France, and moved them all, illicitly, to New York. In The Archive Thief, Lisa Moses Leff reconstructs Szajkowski's story in all its ambiguity.

The story of how a much-contested legal category—statelessness—transformed the international legal order and redefined the relationship between states and their citizens. Two world wars left millions stranded in Europe. The collapse of empires and the rise of independent states in the twentieth century produced an unprecedented number of people without national belonging and with nowhere to go. Mira Siegelberg’s innovative history weaves together ideas about law and politics, rights and citizenship, with the intimate plight of stateless persons, to explore how and why the problem of statelessness compelled a new understanding of the international order in the twentieth century and beyond. In the years following the First World War, the legal category of statelessness generated novel visions of cosmopolitan political and legal organization and challenged efforts to limit the boundaries of national membership and international authority. Yet, as Siegelberg shows, the emergence of mass statelessness ultimately gave rise to the rights regime created after World War II, which empowered the territorial state as the fundamental source of protection and rights, against alternative political configurations. Today we live with the results: more than twelve million people are stateless and millions more belong to categories of recent invention, including refugees and asylum seekers. By uncovering the ideological origins of the international agreements that define categories of citizenship and non-citizenship, Statelessness better equips us to confront current dilemmas of political organization and authority at the global level.

If the eighteenth century was the age of reason and enlightenment, the nineteenth century was undeniably the age of movement. This tumultuous period in French history bore witness to the rise and fall of countless political movements, from revolutions and “coups d’état”, to popular protests and the first workers’ strikes. It was an age of economic movements as France embraced the new world of finance and banking, and underwent its own industrial revolution. Social mobility increased as a dynamic commercial bourgeoisie began to challenge the system of aristocratic privilege that neither the 1789 Revolution nor the Napoleonic Empire had dismantled entirely. The era was one of artistic ferment, as Romanticism gave way to Realism, Naturalism, Impressionism, and Symbolism. Intellectual and philosophical movements, from Liberalism to Saint-Simonianism, sought both to reconcile the country with its past and construct the framework for a progressive, more harmonious future. Through seventeen thematic essays, Aller(s)-Retour(s) seeks to understand nineteenth-century France as a society in perpetual motion. Recognising the instability that is key to the very concept of movement, this volume explores how the intellectual shifts and cross-currents of the nineteenth century responded to, and impacted upon, each other. Finally, it asks why questions of motion and movement dominated this period, as every sphere of French life confronted its own extremes of progress and renewal, stagnancy and regression.

In June 1942, the U.S. Army began recruiting immigrants, the children of immigrants, refugees, and others with language skills and knowledge of enemy lands and cultures for a special military intelligence group being trained in the mountains of northern Maryland and sent into Europe and the Pacific. Ultimately, 15,000 men and some women received this specialized training and went on to make vital contributions to victory in World War II. This is their story, which Beverley Driver Eddy tells thoroughly and colorfully, drawing heavily on interviews with surviving Ritchie Boys. The army recruited not just those fluent in German, French, Italian, and Polish (approximately a fifth were Jewish refugees from Europe), but also Arabic, Japanese, Dutch, Greek, Norwegian, Russian, Turkish, and other languages—as well as some 200 Native Americans and 200 WACs. They were trained in photo interpretation, terrain analysis, POW interrogation, counterintelligence, espionage, signal intelligence (including pigeons), mapmaking, intelligence gathering, and close combat. Many landed in France on D-Day. Many more fanned out across Europe and around the world completing their missions, often in cooperation with the OSS and Counterintelligence Corps, sometimes on the front lines, often behind the lines. The Ritchie Boys’ intelligence proved vital during the liberation of Paris and the Battle of the Bulge. They helped craft the print and radio propaganda that wore down German homefront morale. If caught, they could have been executed as spies. After the war they translated and interrogated at the Nuremberg trials. One participated in using war criminal Klaus Barbie as an anti-communist agent. Meanwhile, Ritchie Boys in the Pacific Theater of Operations collected intelligence in Burma and China, directed bombing raids in New Guinea and the Philippines, and fought on Okinawa and Iwo Jima. This is a different kind of World War II story, and Eddy tells it with conviction, supported by years of research and interviews.

This text gathers together group of contributors from the worlds of sociology, musicology, literature, and communications to discuss how artists from jazz musicians to painters work: how they coordinate their efforts, how they think, how they start, and, of course, how they finish their productions.