'Madgermanes' is what the Mozambican workers once contracted out to East Germany are called today. At the end of the 1970s, some 20,000 of them were sent from the People's Republic of Mozambique to the GDR to labour for their socialist sister country. After the Berlin Wall fell, almost all of them lost their residency status. Decades later, they are still waiting for most of their wages to be paid. Birgit Weyhe depicts their search for belonging and a place to call home, caught between two cultures and two states that no longer exist. Based on extensive interviews, she creates three fictitious narrators and transforms their stories into a visual language that skilfully interweaves African and European narrative traditions. Winner of the Berthold Leibinger Foundation Comic Book Prize and the Max and Moritz Prize for Best German Comic 'The book is a great document and a monument to the injustice that befell me and other contract workers in East Germany.' Emiliano Chaimite, Dresden 'Birgit Weyhe traces emotions and situations, translating them into overwhelming images by entering into an artistic dialogue between European and African culture.' Max and Moritz Prize

Each of us has something that feels essential to who we are. For Hans Frambach, it's the crimes of the Nazi era, which have hurt him for as long as he can remember. That's why he became an archivist at the Bureau of Past Management; now, though, he's wondering if he should make a change. For his best friend, Graziela, that past was also her focal point – until she met a man who desired her. From then on, sexual pleasure became the key to her life; a concept she's now beginning to doubt. Hans and Graziela thought the Nazi crimes were the inheritance that neither could bear, but can we really blame Nazism for everything? Iris Hanika shows how the crimes of the Nazi era hold the Germans in their clutches to this day, and the absurdities to which institutionalising commemoration leads.Can a country manage its past, or ought we to remain helpless in the face of the horrific crimes of the Holocaust?

Cultural communities are shaped and produced by ongoing processes of translation understood as aesthetic media practices - such is the premise of this volume. Taking on perspectives from cultural, literary and media studies as well as postcolonial theory, the chapters shed light on composite cultural and heterotypical translation processes across various media, such as texts, films, graphic novels, theater and dance performances. Thus, the authors explore the cultural contexts of diverse media milieus in order to explain how cultural communities come into being.

Take a dilapidated castle in the Scottish Highlands; add a peacock gone rogue, a group of bankers on a teambuilding trip, an overwhelmed psychologist, a housekeeper with a broken arm, and an ingenious cook; get Lord and Lady McIntosh to try and keep it all together; and top it off with all sorts of animals – soon no one will know exactly what's going on. Selling 500,000 copies, Isabel Bogdan's book is a big hitter in Germany – and now it's coming home to roost.

It is 1939. Eva Delectorskaya is a beautiful 28-year-old Russian émigrée living in Paris. As war breaks out she is recruited for the British Secret Service by Lucas Romer, a mysterious Englishman, and under his tutelage she learns to become the perfect spy, to mask her emotions and trust no one, including those she loves most. Since the war, Eva has carefully rebuilt her life as a typically English wife and mother. But once a spy, always a spy. Now she must complete one final assignment, and this time Eva can't do it alone: she needs her daughter's help.

This graphic novel memoir chronicles a family's difficult journey to get to the other side of the Berlin Wall.