Swansong 1945 A Collective Diary Of The Last Days Of The Third Reich

A monumental work of history that captures the last days of the Third Reich as never before. Swansong 1945 chronicles the end of Nazi Germany through more than 1,000 extracts from letters, diaries, and autobiographical accounts, written by civilians and soldiers alike. Together, they present a panoramic view of four tumultuous days that fateful spring: Hitler’s birthday on April 20, American and Soviet troops meeting at the Elbe on April 25, Hitler’s suicide on April 30, and the German surrender on May 8. An extraordinary account of suffering and survival, Swansong 1945 brings to vivid life the end of World War II in Europe.

This is a compelling and unique insight into the last days of World War Two told through first-hand accounts.

The Second Volume of a new chronicle of the Third Reich under Hitler's hand, ending with his death and Germany's disastrous defeat. In The Hitler Years: Disaster 1940-1945, Frank McDonough completes his brilliant two-volume history of Germany under Hitler’s Third Reich. At the beginning of 1940, Germany was at the pinnacle of its power. By May 1945, Hitler was dead and Germany had suffered a disastrous defeat. Hitler had failed to achieve his aim of making Germany a super power and had left her people to cope with the endless shame of the Holocaust. Despite Hitler's grand ambitions and the successful early stages of the Third Reich's advances into Europe, Frank McDonough convincingly argues that Germany was only ever a middle-ranking power and never truly stood a chance against the combined forces of the Allies. In this second volume of The Hitler Years, Professor Frank McDonough charts the dramatic change of fortune for the Third Reich and Germany's ultimate defeat.

From bestselling author David Nasaw, a sweeping new history of the one million refugees left behind in Germany after WWII In May 1945, German forces surrendered to the Allied powers, putting an end to World War II in Europe. But the aftershocks of global military conflict did not cease with the German capitulation. Millions of lost and homeless concentration camp survivors, POWs, slave laborers, political prisoners, and Nazi collaborators in flight from the Red Army overwhelmed Germany, a nation in ruins. British and American soldiers gathered the malnourished and desperate refugees and attempted to repatriate them. But after exhaustive efforts, there remained more than a million displaced persons left behind in Germany: Jews, Poles, Estonians, Latvians, Lithuanians, Ukrainians, and other Eastern Europeans who refused to go home or had no homes to return to. The Last Million would spend the next three to five years in displaced persons camps, temporary homelands in exile divided by nationality, with their own police forces, churches and synagogues, schools, newspapers, theaters, and infirmaries. The international community could not agree on the fate of the Last Million, and after a year of debate and inaction, the International Refugee Organization was created to resettle them in lands suffering from postwar labor shortages. But no nations were willing to accept the 200,000 to 250,000 Jewish men, women, and children who remained trapped in Germany. In 1948, the United States, among the last countries to accept refugees for resettlement, finally passed a displaced persons bill. With Cold War fears supplanting memories of World War II atrocities, the bill granted the vast majority of visas to those who were reliably anti-Communist, including thousands of former Nazi collaborators and war criminals, while severely limiting the entry of Jews, who were suspected of being Communist sympathizers or agents because they had been recent residents of Soviet-dominated Poland. Only after the controversial partition of Palestine and Israel's declaration of independence were the remaining Jewish survivors able to leave their displaced persons camps in Germany. A masterwork from acclaimed historian David Nasaw, The Last Million tells the gripping yet until now largely hidden story of postwar displacement and statelessness. By 1952, the Last Million were scattered around the world. As they crossed from their broken past into an unknowable future, they carried with them their wounds, their fears, their hope, and their secrets. Here for the first time, Nasaw illuminates their incredible history and, with profound contemporary resonance, shows us that it is our history as well.

A comprehensive survey of the most important writing to come out of the Holocaust. Writing in Witness is a broad survey of the most important writing about the Holocaust produced by eyewitnesses at the time and soon after. Whether they intended to spark resistance and undermine Nazi authority, to comfort family and community, to beseech God, or to leave a memorial record for posterity, the writers reflect on the power and limitations of the written word in the face of events often thought to be beyond representation. The diaries, journals, letters, poems, and other works were created across a geography reaching from the Baltics to the Balkans, from the Atlantic coast to the heart of the Soviet Union, and in a wide array of original languages. Along with the readings, Eric J. Sundquist’s introductions provide a comprehensive account of the Holocaust as a historical event. Including works by prominent authors such as Primo Levi and Elie Wiesel as well as those little known or anonymous, Writing in Witness provides, in vital and memorable examples, a wide-ranging account of the Holocaust by those who felt the imperative to give written testimony. “Written in every European language, in every conceivable manner, and from every point on the Holocaust compass—prisons, ghettos, transports, concentration and labor camps, killing fields, bunkers, makeshift shelters, camps for displaced persons—these diary entries, letters, testimonies, eyewitness accounts, poems, stories, sermons, and inscriptions demand that they be heard. Written by Jewish men, women, and children; by Christian bystanders; and yes, even by two German perpetrators, they depict the living nightmare as it unfolds. Six nightmare years and their aftermath are rendered in a language that defies the limits of language; an inescapable present that eclipses the past and cries out to an unattainable future. In the beginning was the Holocaust, and this is its story as told by its original responders.” — David G. Roskies, author of Holocaust Literature: A History and Guide “Writing in Witness is a devastatingly and deeply honest work of testimony by those whose worlds were shattered by the catastrophic rupture of the Holocaust. It is also, and primarily, a testament to the strength and courage of those who experienced the atrocities of Nazism and who felt compelled to write about those events in clear, unsparing language. Eric Sundquist, editor of this important collection, provides a sensitive selection of primary texts by men and women who witnessed the machinery and implementation of genocide. In his thoughtful and knowledgeable introduction, Sundquist establishes the framework for the ethical engagement of reader and eyewitness in the calculation of enormous loss. The various genres of witnessing included in this collection—diaries, poems, memoirs, letters, records—evoke in their clarity ancient forms of lamentation and Midrash, giving voice to memory. With judiciously interpretive preliminary material introducing each section, Sundquist lets the witnesses speak for themselves. No course on Holocaust literature or history should be without this anthology.” — Victoria Aarons, editor of Third-Generation Holocaust Narratives: Memory in Memoir and Fiction “This wide-ranging and affecting collection of firsthand accounts of the Holocaust, each expertly chosen and deftly introduced and contextualized, will be ideal for teaching purposes and indispensable to anyone intent on recovering a sense of what the horror felt like. Eric Sundquist has assembled an extraordinarily illuminating and powerful book.” — Peter Hayes, Theodore Zev Weiss Holocaust Educational Foundation Professor Emeritus, Northwestern University “Writing in Witness is a rich assortment of written accounts of diverse aspects of the experience of the Holocaust that are skillfully chosen and masterfully introduced and contextualized. What emerges from an overarching reading of these collective texts is a sense of how the actors who experienced or witnessed the events of the Holocaust registered them in language and through the sometimes immediate, sometimes reflective process of writing.” — Erin McGlothlin, author of Second-Generation Holocaust Literature: Legacies of Survival and Perpetration

Seven years after the death of his mother, Malka, Stanley A. Goldman traveled to Israel to visit her best friend during the Holocaust. The best friend’s daughter showed Goldman a pamphlet she had acquired from the Israeli Holocaust Museum that documented activities of one man’s negotiations with the Nazi’s interior minister and SS head, Heinrich Himmler, for the release of the Jewish women from the concentration camp at Ravensbrück. While looking through the pamphlet, the two discovered a picture that could have been their mothers being released from the camp. Wanting to know the details of how they were saved, Goldman set out on a long and difficult path to unravel the mystery. After years of researching the pamphlet, Goldman learned that a German Jew named Norbert Masur made a treacherous journey from the safety of Sweden back into the war zone in order to secure the release of the Jewish women imprisoned at the Ravensbrück concentration camp. Masur not only succeeded in his mission against all odds but he contributed to the downfall of the Nazi hierarchy itself. This amazing, little-known story uncovers a piece of history about the undermining of the Nazi regime, the women of the Holocaust, and the strained but loving relationship between a survivor and her son.

“What Hitler was able to do to a crowd in 2-1/2 hours will never be repeated in 10,000 years!” —Ernst Hanfstaengl, Hitler’s early confidant “Hitler was one of the first great rock stars. He was no politician; he was a great media artist. How he worked his audience! ... The world will never see anything like that again. He made an entire country a stage show.” —David Bowie, British rock legend As a young man in Vienna, Adolf Hitler was sleeping on park benches in 1909, just a real “Nowhere Man” making all his “Nowhere Plans” and who would soon haunt homeless shelters while trying to hawk his unimaginative and banal paintings. Yet in 1933, this mommy’s boy and self-centered dilettante was appointed Chancellor of Germany after discovering his artistic-political calling as a charismatic orator and stage actor in the 1920s—and then dazzled Germans and foreigners alike with the color and pageantry of the Nuremberg rallies and other grand spectacles in the 1930s. As a virtuoso in the art of presenting dramatic performances, Hitler inspired the same type of emotional ecstasy that the Beatles, the Rolling Stones and Elvis Presley aroused from their frenzied fans. Even after clearly revealing the monstrous side of his murderous character in World War II by exterminating Jews and Slavs by the millions before committing suicide on April 30, 1945, he still emerged from the ashes and rubble of the Third Reich to seduce later generations. To the present generation, he has morphed from a murderous villain into a comical figure on many Internet platforms, particularly the hundreds of humorous YouTube parodies of his fanatical ranting and raving. This book examines Hitler’s extraordinary political-artistic talents to explain his nearly unfathomable rise from a homeless nobody into the most influential and demonic creature on the vast stage of modern history.