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False Papers is the astounding story of a Jewish family who survived the Holocaust by living in the open. By sheer chutzpah and bravado, Robert Melson's mother acquired the identity papers that would disguise herself, her husband, and her son for the duration of the war. Always operating under the theory that one needed to be seen in order not to be noticed, the Mendelsohns became not just ordinary Polish Catholics, but the Zamojskis, a Polish family of noble lineage.
Armed with their new lives and their new pasts, the Count and Countess Zamojski and their son, Count Bobi, took shelter in the very shadow of the Nazi machine, hiding day after day in plain sight behind a façade of elegant good manners and cultivated self-assurance, even arrogance: "you had to shout [the Gestapo] down or they would kill you." Melson's father took advantage of his flawless German to build a lucrative business career while working for a German businessman of the Schindler type. The Zamojskis acquired beautiful homes in the German quarter of Krakow and in Prague, where they had maids and entertained Nazi officials. Their masquerade enabled them to save not only themselves and their son but also an uncle and three Jewish women, one of whom became part of the family.
False Papers is a candid, sometimes funny account of a stylish couple who dazzled the Nazis with flamboyant theatrics then gradually, tragically fell apart after the war. Particularly arresting is Melson himself, who was just a child when his family embarked on their grand charade. A resilient boy who had to negotiate bewildering shifts of identify–-now Catholic, now Jewish; now European aristocrat, now penniless refugee who becomes an American college student--Melson closes each chapter of his parents' recollections with his childhood perceptions of the same events.
Against the totalizing, flattening, unrelenting Nazi behemoth, Melson says, "I wished to pit our very bodies, our quirky, sexy, funny, wicked, frail, ordinary selves." By balancing the adults' maneuvering with the perspective of a child, Melson crafts an account of the Holocaust that is at once poignant, entertaining, and troubling.
 

How did “ordinary women,” like their male counterparts, become capable of brutal violence during the Holocaust? Cultural historian Elissa Mailänder examines the daily work of twenty-eight women employed by the SS to oversee prisoners in the concentration and death camp Majdanek/Lublin in Poland. Many female SS overseers in Majdanek perpetrated violence and terrorized prisoners not only when ordered to do so but also on their own initiative. The social order of the concentration camp, combined with individual propensities, shaped a microcosm in which violence became endemic to workaday life. The author’s analysis of Nazi records, court testimony, memoirs, and film interviews illuminates the guards’ social backgrounds, careers, and motives as well as their day-to-day behavior during free time and on the “job,” as they supervised prisoners on work detail and in the cell blocks, conducted roll calls, and “selected” girls and women for death in the gas chambers. Scrutinizing interactions and conflicts among female guards, relations with male colleagues and superiors, and internal hierarchies, Female SS Guards and Workaday Violence shows how work routines, pressure to “resolve problems,” material gratification, and Nazi propaganda stressing guards’ roles in “creating a new order” heightened female overseers’ identification with Nazi policies and radicalized their behavior.

Film and Genocide brings together scholars of film and of genocide to discuss film representations, both fictional and documentary, of the Holocaust, the Armenian genocide, and genocides in Chile, Australia, Rwanda, and the United States. Since 1955, when Alain Resnais created his experimental documentary Night and Fog about the Nazis’ mass killings of Jews and other ostracized groups, filmmakers have struggled with using this medium to tell such difficult stories, to re-create the sociopolitical contexts of genocide, and to urge awareness and action among viewers. This volume looks at such issues as realism versus fiction, the challenge of depicting atrocities in a manner palatable to spectators and film distributors, the Holocaust film as a model for films about other genocides, and the role of new technologies in disseminating films about genocide.
    Film and Genocide also includes interviews with three film directors, who discuss their experiences in working with deeply disturbing images and bringing hidden stories to life: Irek Dobrowolski, director of The Portraitist (2005) a documentary about Wilhelm Brasse, an Auschwitz-Birkenau prisoner ordered to take more than 40,000 photos at the camp; Nick Hughes, director of 100 Days (2005) a dramatic film about the Rwandan mass killings; and Greg Barker, director of Ghosts of Rwanda (2004), a television documentary for Frontline.

Jana Renée Friesová was fifteen when she was imprisoned by the Nazis in the Czech ghetto town of Terezín. Her memoir tells the poignantly familiar story of a young girl who, even under the most abominable circumstances, engages in intense adolescent friendships, worries with her companions over her looks, and falls in love.
Anne Frank’s diary ends with deportation to a concentration camp; Fortress of My Youth, in contrast, takes the reader deep into the horrors of daily life in a camp that were faced by a young girl and her family. But Friesová also tells of love, joy, sacrifice, and the people who shared in the most profound experiences of her life.

In paperback for the first time, From Racism to Genocide is an explosive, richly detailed account of how Nazi anthropologists justified racism, developed practical applications of racist theory, and eventually participated in every phase of the Holocaust. 

Using original sources and previously unpublished documentation, Gretchen E. Schafft shows the total range of anti-human activity from within the confines of a particular discipline. Based on seven years of archival research in the United States and abroad, the work includes many original photos and documents, most of which have never before been published. It uses primary data and original texts whenever possible, including correspondence written by perpetrators. The book also reveals that the United States was not merely a bystander in this research, but instead contributed professional and financial support to early racial research that continued through the first five years of Hitler’s regime.

From that Place and Time is the memoir of Lucy S. Dawidowicz, an American-Jewish historian who set out to study Yiddish language and Jewish history at YIVO, the Jewish Scientific Institute in Vilna, Poland, in 1938. Escaping Poland only days before the Nazi onslaught, she worked in the New York YIVO during the war, and returned to Europe from 1946 to 1947 to aid Jewish displaced persons in Munich and Belsen with the American Jewish Joint Distribution Committee. Dawidowicz's memoir not only describes her pre-war year in Jewish Eastern Europe, but also treats the ghostly post-war period, and her role in salvaging what remained of Vilna's scorched Jewish archives and libraries.

Nancy Sinkoff's new introduction explores the historical forces, particularly the dynamic world of secular Yiddish culture, which shaped Dawidowicz's decision to journey to Poland and her reassessment of those forces in the last years of her life.