What is the difference between writing a novel about the Holocaust and fabricating a memoir? Do narratives about the Holocaust have a special obligation to be 'truthful'--that is, faithful to the facts of history? Or is it okay to lie in such works? In her provocative study A Thousand Darknesses, Ruth Franklin investigates these questions as they arise in the most significant works of Holocaust fiction, from Tadeusz Borowski's Auschwitz stories to Jonathan Safran Foer's postmodernist family history. Franklin argues that the memory-obsessed culture of the last few decades has led us to mistakenly focus on testimony as the only valid form of Holocaust writing. As even the most canonical texts have come under scrutiny for their fidelity to the facts, we have lost sight of the essential role that imagination plays in the creation of any literary work, including the memoir. Taking a fresh look at memoirs by Elie Wiesel and Primo Levi, and examining novels by writers such as Piotr Rawicz, Jerzy Kosinski, W.G. Sebald, and Wolfgang Koeppen, Franklin makes a persuasive case for literature as an equally vital vehicle for understanding the Holocaust (and for memoir as an equally ambiguous form). The result is a study of immense depth and range that offers a lucid view of an often cloudy field.

From the author of previous military and action adventure novels like "THE 100TH KILL," "DETACHMENT DELTA" series and "THE RETURN" comes Charles W. Sasser's latest speculative political action-adventure thriller ripped from today's headlines and based on actual current events. Police Detective James Nail is wounded and his daughter murdered in an attack that also kills "right-wing" TV personality Jerry Baer. As Nail and Baer's producer, Sharon Lowenthal, team up to track down the shooters, they discover a conspiracy that leads to an international cartel of "One Worlders" and may implicate the President of the United States. Falsely accused of terrorism, they must keep one step ahead of Homeland Security to stay alive, bring down the traitors, and save the nation. What they're saying about Charles W. Sasser "As for the writing, it's near perfect, flows smoothly and has that certain flair that all of us who type for a living seek to achieve..." PACIFIC FLYER on "Predator: The Remote-Control Air War over Iraq and Afghanistan." "The most gripping scenes in the book document...emotion in the seconds just before the Hellfire missile arrives on target..." THE NEW YORK REVIEW OF BOOKS (NEW YORK TIMES) on "Predator: The Remote-Control Air War over Iraq and Afghanistan." "A gripping combat memoir...honest and exciting...a roving tale, full of sharp detail and told in the harsh language of soldiers baptized in fire..." KIRKUS REVIEWS on "Taking Fire." "Bustles with danger, intrigue, and surprise. Rapid-fire action from beginning to end." Clive Cussler on "First Seal." "Tough, raunchy, gritty, but surprisingly tender... If you never made it to 'Nam, this book will take you there... unbeatable " MILITARY HISTORY Magazine on "The 100th Kill." "Outstanding Exciting Gut-grabbing... " LEATHERNECK Magazine on "One Shot-One Kill." "A grim, authentic window to a world of horrors only hinted at in the tabloid headlines..." PUBLISHER'S WEEKLY on "Homicide " "A powerful emotion-packed mystery..." CONCISE BOOK REVIEWS on "No Gentle Streets." "A model of good historical writing..." LEATHERNECK on "Hill 488." "Abundant action, a fast pace and an unusual ethical dilemma..." PUBLISHER'S WEEKLY on "Dark Planet."

One woman's heartbreaking story of a marriage destroyed by her husband's addiction to alcohol. The dynamics of codependency are illuminated in this gripping tale. Author and widow Frances Simone describes her husband's attempts at treatment and subsequent relapse, his suicide, and her own recovery through a twelve-step program for families. Frances Simone, PhD, is a recently retired professor emeritus from the graduate college of Marshall University in South Charleston, West Virginia. Her essays have appeared in The Voice and The Quarterly of the National Writing Project, the Charleston Gazette, Writers Digest, and The Forum.

For almost twenty-one years, Queen Aetheria has been ruling over the kingdom of Asinia. Since the king's death, she has been terrorizing the citizens of Asinia with her cruelty. Three years into her reign, the First Tree's light shone on the kingdom, announcing the birth of a new royal child. But Aetheria had not given birth. The citizens of Asinia felt a flicker of hope that this new royal child might bring peace to Asinia. That child, Leora Hallewell, is now eighteen and is ready to end Aetheria's reign of terror. A new day is dawning for Asinia. Will Leora's light be enough to banish the darkness of the queen's reign?

This is a critical survey of a broad range of fictional representations of the Holocaust over the last twenty years. It brings a new slant to the key debates and issues relevant to those looking at representation and the Holocaust.

Now part of the eponymous HBO docuseries written and directed by Raoul Peck, “Exterminate All the Brutes” is a brilliant intellectual history of Europe’s genocidal colonization of Africa—and the terrible myths and lies that it spawned “A book of stunning range and near genius. . . . The catastrophic consequences of European imperialism are made palpable in the personal progress of the author, a late-twentieth-century pilgrim in Africa. Lindqvist’s astonishing connections across time and cultures, combined with a marvelous economy of prose, leave the reader appalled, reflective, and grateful.” —David Levering Lewis “Exterminate All the Brutes,” Sven Lindqvist’s widely acclaimed masterpiece, is a searching examination of Europe’s dark history in Africa and the origins of genocide. Using Joseph Conrad’s Heart of Darkness as his point of departure, the award-winning Swedish author takes us on a haunting tour through the colonial past, interwoven with a modern-day travelogue. Retracing the steps of European explorers, missionaries, politicians, and historians in Africa from the late eighteenth century onward, “Exterminate All the Brutes” exposes the roots of genocide in Africa through Lindqvist’s own journey through the Saharan desert. As he shows, fantasies not merely of white superiority but of actual extermination—“cleansing” the earth of the so-called lesser races—deeply informed the colonialism and racist ideology that ultimately culminated in Europe’s own Holocaust. Conquerors’ stories are the ones that inform the self-mythology of the West—whereas the lives and stories of those displaced, enslaved, or killed are too often ignored and forgotten. “Exterminate All the Brutes” forces a crucial reckoning with a past that still echoes in our collective psyche—a reckoning that compels us to acknowledge the exploitation and brutality at the heart of our modern, globalized society. As Adam Hochschild has written, “Lindqvist’s work leaves you changed.”