Linda Marianiello here translates into English for the first time Dieter Kühn’s highly praised and definitive biography of one of Germany’s greatest poets, Gertrud Kolmar. Kolmar carried German-language poetry to new heights, speaking truth in a time when many poets collapsed in the face of increasing Nazi repression. Born Gertrud Käthe Chodziesner in Berlin in 1894, she completed her first collection, Poems, in 1917. She took her pen name, Kolmar, from the name of the town where her family originated. Kolmar’s third collection of poems appeared in 1938 but soon disappeared in the wake of the overall repression of Jewish authors. At the time, she served as secretary to her father, Ludwig Chodziesner, a prominent lawyer. In 1941, the Nazis compelled her to work in a German armaments factory. Even as a forced laborer, the strength of her poetic voice grew, perhaps reaching its highest level before her deportation to Auschwitz. From gentle nature verses to stirring introspection, these are poems in which we can still find ourselves today. Both she and her father died in Nazi concentration camps, he in 1942, she the following year. The translation of Dieter Kühn’s biography conveys the tragic, yet courageous, life of a great poet to an English-speaking audience.

So a picture of Gertrud Kolmar, a gifted Jewish writer struggling to sustain her art and family, emerges from these eloquent and allusive letters. Written in the stolen moments before her day as a forced laborer in a munitions factory began, the letters tell of Kolmar's move from the family home in Finkenkrug to a three-room flat in Berlin, which she and her father must soon share with other displaced Jews. They describe her factory work as a learning experience and assert, in the face of ever worsening conditions, that true art, never dependent on comfort or peace, is "capable of triumphing over . . . time and place."

Welten (Worlds) is a cycle of poems written in the second half of 1937 by Gertrud Kolmar, who was to perish six years later in Auschwitz. The manuscript was passed in 1947 by her brother-in-law to Peter Suhrkamp, publisher at Suhrkamp Verlag - now Germany's premier literary press - and was one of the first books to appear from Suhrkamp after the war. Gertrud Kathe Chodziesner (1894 - 1943?), known by the nom-de-plume Gertrud Kolmar, was a German Jewish poet who was born in Berlin and died in Auschwitz.

They are nine women with much in common--all German speaking, all poets, all personal witnesses to the horror and devastation that was World War II. Yet, in this deeply moving collection, each provides a singularly personal glimpse into the effects of war on language, place, poetry, and womanhood. After Every War is a book of translations of women poets living in Europe in the decades before and after World War II: Rose Ausländer, Elisabeth Langgässer, Nelly Sachs, Gertrud Kolmar, Else Lasker-Schüler, Ingeborg Bachmann, Marie Luise Kaschnitz, Dagmar Nick, and Hilde Domin. Several of the writers are Jewish and, therefore, also witnesses and participants in one of the darkest occasions of human cruelty, the Holocaust. Their poems, as well as those of the other writers, provide a unique biography of the time--but with a difference. These poets see public events through the lens of deep private losses. They chart the small occasions, the bittersweet family ties, the fruit dish on a table, the lost soul arriving at a railway station; in other words, the sheer ordinariness through which cataclysm is experienced, and by which life is cruelly shattered. They reclaim these moments and draw the reader into them. The poems are translated and introduced, with biographical notes on the authors, by renowned Irish poet Eavan Boland. Her interest in the topic is not abstract. As an Irish woman, she has observed the heartbreaking effects of violence on her own country. Her experience has drawn her closer to these nine poets, enabling her to render into English the beautiful, ruminative quality of their work and to present their poems for what they are: documentaries of resilience--of language, of music, and of the human spirit--in the hardest of times.

The stories and poems in Truth and Lamentation, written during and after the Holocaust, reveal the human faces hidden behind the all-too-familiar statistics of the event. International in scope, this volume brings together 20 short stories and 90 poems commenting on the essentially incomprehensible nature of the Holocaust. Milton Teichman and Sharon Leder have drawn from a remarkably varied range of writers, representing nine languages and including both Jews and Gentiles. The contributors include the well known and the as yet unknown. A critical introduction places the selections within two broad categories of literary response to the Holocaust - truthtelling and lamentation. The first reflects the desire of writers to transmit multiple truths; the second expresses sorrow and loss.

Prayer is our basic expression of religious belief. It is our personal and most private act of devotion. Words cannot do justice to the feelings, wishes, terrors, pains, or pleasures that we exchange with God. This book sets out to define prayer as both a means of drawing nearer to God everyday and as a coping tool that people can use in order to achieve harmony, balance, and satisfaction in their in their lives.

Sources of Holocaust Insight maps the odyssey of an American Christian philosopher who has studied, written, and taught about the Holocaust for more than fifty years. What findings result from John Roth’s journey; what moods pervade it? How have events and experiences, scholars and students, texts and testimonies—especially the questions they raise—affected Roth’s Holocaust studies and guided his efforts to heed the biblical proverb: “Whatever else you get, get insight”? More sources than Roth can acknowledge have informed his encounters with the Holocaust. But particular persons—among them Elie Wiesel, Raul Hilberg, Primo Levi, and Albert Camus—loom especially large. Revisiting Roth’s sources of Holocaust insight, this book does so not only to pay tribute to them but also to show how the ethical, philosophical, and religious reverberations of the Holocaust confer and encourage responsibility for human well-being in the twenty-first century. Seeing differently, seeing better—sound learning and teaching about the Holocaust aim for what may be the most important Holocaust insight of all: Take nothing good for granted.