Christopher R. Browning addresses some of the most heated controversies that have arisen from the use of postwar testimony: Hannah Arendt’s uncritical acceptance of Adolf Eichmann’s self-portrayal in Jerusalem; the conviction of Ivan Demjanuk (accused of being Treblinka death camp guard "Ivan the Terrible") on the basis of survivor testimony and its subsequent reversal by the Israeli Supreme Court; the debate in Poland sparked by Jan Gross’s use of both survivor and communist courtroom testimony in his book Neighbors; and the conflict between Browning himself and Daniel Goldhagen, author of Hitler’s Willing Executioners, regarding methodology and interpretation in the use of pre-trial testimony. Despite these controversies and challenges, Browning delineates the ways in which the critical use of such problematic sources can provide telling evidence for writing Holocaust history. He examines and discusses two starkly different sets of "collected memories"—the voluminous testimonies of notorious Holocaust perpetrator Adolf Eichmann and the testimonies of 175 survivors of an obscure complex of factory slave labor camps in the Polish town of Starachowice.

In this book, I had contemplated to write just poems in English, and I collected about 30 or so poems and put them there, in pages. They are memories and stories of my life and how I have come to be the person that I am been shaping now. It is fun.

Lloyd looks out of his office window and sees the airplane hit the WTC. Eric comes out of the closet to tell about his gay life, Bob gives us an insight into the life of a Moonie, the surgeon general of the United States receives her walking papers from the president, childhood memories of nonsensical rhymes, neighborhood stories, a little gossip, and a few smoke dreams are but a few of the memories included. Many events are true stories as told to me by the original source, and others are hearsay. Some stories have been passed down through generations, becoming memories as they traveled. Credit to the original author has been acknowledged where possible. Any omission of credit to an author is unintentional. Some material was checked on Google, but the source was not always available. Real names have been used where permission was granted and pseudonyms for others. A small part of these memories appeared in This I Remember, a self-published memoir.

Pictorial history of the gasoline station in the United States and details about many of the companies which punctuated the roadsides with their buildings, including the Standard Oil, Cities, Mobil, Phillips, Gulf, Shell, Texaco, and Conoco.

This book explores modern representations of the Black Death, a medieval pandemic. The concept of cultural memory is used to examine the ways in which journalists, writers of fiction, scholars and others referred to, described and explained the Black Death from around 1800 onwards. The distant medieval past was often used to make sense of aspects of the present, from the cholera pandemics of the nineteenth-century to the climate crisis of the early twenty-first century. A series of overlapping myths related to the Black Death emerged based only in part on historical evidence. Cultural memory circulates in a variety of media from the scholarly article to the video game and online video clip, and the connections and differences between mediated representations of the Black Death are considered. The Black Death is one of the most well-known aspects of the medieval world, and this study of its associated memories and myths reveals the depth and complexity of interactions between the distant and recent past.

This 20 year diary has fine calligraphy and drawings by Lynn Anderson. Each year features a pen and ink drawing of a different 19th century tradition, accompanied by an explanation of the holiday custom featured. Record visitors, special Christmas cards, family photographs and other memories.