"Moving and utterly enthralling" - Lissa Evans As life for German Jews becomes increasingly perilous, Anna's parents put her on a train leaving for England. But the war follows her to Kent, and soon Anna finds herself caught up in a web of betrayal and secrecy. How can she prove whose side she's on when she can't tell anyone the truth? But actions speak louder than words, and Anna has a dangerous plan... A brilliant and moving wartime adventure from the author of Evie's Ghost. Cover illustration by Daniela Terrazzini. "Because I believed in Anna, her war came alive for me. Her struggle, her bravery, all those things were completely real and I read the book overnight, unable to put it down. Magnificent, brilliant, heartbreaking." - Fleur Hitchcock, author of Murder in Midwinter "A fast-paced adventure, whose elegant prose and cliffhanger chapters should keep even less confident readers gripped to the thrilling end." - Emily Bearn, Daily Telegaph "It's a tale of bravery and loss that Helen Peters ( Evie's Ghost) sets out with the light touch that only rigorous research allow... Peters tells Anna's story of escape with great humanity, and this novel is an excellent way to whet young appetites for classics such as When Hitler Stole Pink Rabbit by Judith Kerr and Carrie's War by Nina Bawden." - Alex O'Connell, The Times, Children's Book of the Week " Anna at War is a gripping, moving piece of historical fiction." - Imogen Russell Williams, Guardian "Helen Peters balances adventure and intrigue with this emotional coming-of-age story." - Emma Dunn and Sarah Mallon, Scotsman

Anna and the Swallow Man is a stunning, literary, and wholly original debut novel that tells a new WW2 story. Kraków, 1939, is no place to grow up. There are a million marching soldiers and a thousand barking dogs. And Anna Lania is just seven years old when the Germans take her father and suddenly, she’s alone. Then she meets the Swallow Man. He is a mystery, strange and tall. And like Anna's missing father, he has a gift for languages: Polish, Russian, German, Yiddish, even Bird. When he summons a bright, beautiful swallow down to his hand to stop her from crying, Anna is entranced. Over the course of their travels together, Anna and the Swallow Man will dodge bombs, tame soldiers, and even, despite their better judgement, make a friend. But in a world gone mad, everything can prove dangerous . . .

Provides not only an unsparing and intimate history of some of the last decade's most vicious conflicts but also the most human elements that transcend the dehumanizing realities of war: the people, the compassion they scraped from catastrophe, and the food they ate. Making palpable the day-to-day life during conflicts and catastrophes, Badkhen describes not just the violence but also the beauty of events that take place even during wartime. Throughout Badkhen's stories, punctuated by recipes from the meals she shared with the people she encountered, emerges the most important lesson she has observed in conflict zones from Afghanistan to Chechnya: that war can kill our friends and decimate our towns, but it cannot destroy our inherent decency, generosity, and kindness--that which makes us human. --From publisher description.

Thirteen-year-old Anna, who was a hidden child in Nazi-occupied Holland during World War II, gradually learns to deal with the realities of being a survivor.

Compelling period fiction for 9+ readers from the Waterstones Children's Prize shortlisted Helen Peters. Evie couldn't be angrier with her mother. She's only gone and got married again and has flown off on honeymoon, sending Evie to stay with a godmother she's never even met in an old, creaky house in the middle of nowhere. It is all monumentally unfair. But on the first night, Evie sees a strange, ghostly figure at the window. Spooked, she flees from the room, feeling oddly disembodied as she does so. Out in the corridor, it's 1814 and Evie finds herself dressed as a housemaid. She's certain she's gone back in time for a reason. A terrible injustice needs to be fixed. But there's a housekeeper barking orders, a bad-tempered master to avoid, and the chamber pots won't empty themselves. It's going to take all Evie's cunning to fix things in the past so that nothing will break apart in the future... Absorbing, brilliant storytelling from the author of The Secret Hen House Theatre, The Farm Beneath the Water, Anna at War and The Jasmine Green Series for younger readers.

Poetry. Fiction. Jewish Studies. LGBTQIA Studies. Women's Studies. THE BOOK OF ANNA is written in the voice of Anna Asher, a fictional Czech-German Jew who spent her adolescence in a concentration camp and now lives in 1950s Prague answering phones for the secret police. This genre-defying book of prose diary entries and autobiographical poems offers intimate glimpses of Anna's present --her writing process, relationships with neighbors, obsessive sexual behavior, chain-smoking, and idiosyncratic exploration of Jewish tradition --while the poems recount her unsparing efforts to reckon with horror, survival, and their aftermath. Written in the midst of Joy Ladin's gender transition, this book asks provocative questions about the meaning of trauma, gender, suffering and empathy that speak to our current historical moment in haunting and indelible ways. This second edition of a classic text of trans literature features a new afterword by the author, "Anna and Me," reflecting on this book's pivotal importance for the development of the author's poetics and identity. "Part novel, part shattering lyric sequence, THE BOOK OF ANNA presents itself as the work of Anna Asher, a Holocaust survivor living in 1950s Prague who looks back on her pre-war love of a Heidegger-reading yeshiva bocher, on the women who saved her life in Barracks 10 (The Rebbetzin, The Physicist, The Whore), and on the Biblical 'song made of songs' where 'God is so utterly absent that the rabbis decided --what else could they do? --to see Him everywhere.' A stunning, sometimes shocking mix of Jewish learning and daring, THE BOOK OF ANNA was Ladin's breakthrough volume, and scarred, sardonic Anna is an unforgettable contribution to Jewish American poetry." --Eric Selinger "It's nearly impossible to capture the magnificence that is Joy Ladin's THE BOOK OF ANNA, what it begins and what it foretells. There is something deeply familiar in the text. I feel as if I am suddenly sitting on the yellow plastic-covered couch in my grandmother's living room, listening to the conversations while she and her friends play bridge or mahjong. The women speak Yiddish or Hungarian, and their talk is filled with cigarettes, gossip, and the kind of dry side-eyed humor that belies their own survival and the loss of parents, brothers, sisters, entire families, in the genocide that occurred not two decades before in the villages and towns of their birth. These were women trying to live. Through poems and accounts of a friendship with another survivor, Ladin follows Anna's efforts to find some sign that will allow her to go on living. 'And something shaped like a woman / As you are shaped like a man / Waiting in the middle of the Charles Bridge / For death or truth / To make her breathe again.' In the end, Ladin's Anna chooses to breathe, and we are grateful for her journey in all of its reckoning, and for this prescient and gorgeous book of becoming." --Samuel Ace