A New York Times Bestseller “I’ll be forever changed by Dr. Eger’s story…The Choice is a reminder of what courage looks like in the worst of times and that we all have the ability to pay attention to what we’ve lost, or to pay attention to what we still have.”—Oprah “Dr. Eger’s life reveals our capacity to transcend even the greatest of horrors and to use that suffering for the benefit of others. She has found true freedom and forgiveness and shows us how we can as well.” —Desmond Tutu, Nobel Peace Prize Laureate “Dr. Edith Eva Eger is my kind of hero. She survived unspeakable horrors and brutality; but rather than let her painful past destroy her, she chose to transform it into a powerful gift—one she uses to help others heal.” —Jeannette Walls, New York Times bestselling author of The Glass Castle Winner of the National Jewish Book Award and Christopher Award At the age of sixteen, Edith Eger was sent to Auschwitz. Hours after her parents were killed, Nazi officer Dr. Josef Mengele, forced Edie to dance for his amusement and her survival. Edie was pulled from a pile of corpses when the American troops liberated the camps in 1945. Edie spent decades struggling with flashbacks and survivor’s guilt, determined to stay silent and hide from the past. Thirty-five years after the war ended, she returned to Auschwitz and was finally able to fully heal and forgive the one person she’d been unable to forgive—herself. Edie weaves her remarkable personal journey with the moving stories of those she has helped heal. She explores how we can be imprisoned in our own minds and shows us how to find the key to freedom. The Choice is a life-changing book that will provide hope and comfort to generations of readers.

Auschwitz, 1270 to the Present elucidates how the prewar ordinary town of Auschwitz became Germany's most lethal killing site step by step and in stages: a transformation wrought by human beings, mostly German and mostly male. Who were the men who conceived, created, and constructed the killing facility? What were they thinking as they inched their way to iniquity? Using the hundreds of architectural plans for the camp that the Germans, in their haste, forgot to destroy, as well as blueprints and papers in municipal, provincial, and federal archives, Deborah Dwork and Robert Jan van Pelt show that the town of Auschwitz and the camp of that name were the centerpiece of Himmler's ambitious project to recover the German legacy of the Teutonic Knights and Frederick the Great in Nazi-ruled Poland. Analyzing the close ties between the 700-year history of the town and the five-year evolution of the concentration camp in its suburbs, Dwork and van Pelt offer an absolutely new and compelling interpretation of the origins and development of the death camp at Auschwitz. And drawing on oral histories of survivors, memoirs, depositions, and diaries, the authors explore the ever more murderous impact of these changes on the inmates' daily lives.

Auschwitz, 1270 to the Present elucidates how the prewar ordinary town of Auschwitz became Germany's most lethal killing site step by step and in stages: a transformation wrought by human beings, mostly German and mostly male. Who were the men who conceived, created, and constructed the killing facility? What were they thinking as they inched their way to iniquity? Using the hundreds of architectural plans for the camp that the Germans, in their haste, forgot to destroy, as well as blueprints and papers in municipal, provincial, and federal archives, Deborah Dwork and Robert Jan van Pelt show that the town of Auschwitz and the camp of that name were the centerpiece of Himmler's ambitious project to recover the German legacy of the Teutonic Knights and Frederick the Great in Nazi-ruled Poland. Analyzing the close ties between the 700-year history of the town and the five-year evolution of the concentration camp in its suburbs, Dwork and van Pelt offer an absolutely new and compelling interpretation of the origins and development of the death camp at Auschwitz. And drawing on oral histories of survivors, memoirs, depositions, and diaries, the authors explore the ever more murderous impact of these changes on the inmates' daily lives.

Auschwitz was one of the first books to bring the full horror of the Nazi death camps to the American public; this is, as the New York Review of Books said, "the best brief account of the Auschwitz experience available."

The Holocaust has bequeathed to contemporary society a cultural lexicon of intensely powerful symbols, a vocabulary of remembrance that we draw on to comprehend the otherwise incomprehensible horror of the Shoah. Engagingly written and illustrated with more than forty black-and-white images, Holocaust Icons probes the history and memory of four of these symbolic relics left in the Holocaust’s wake. Jewish studies scholar Oren Stier offers in this volume new insight into symbols and the symbol-making process, as he traces the lives and afterlives of certain remnants of the Holocaust and their ongoing impact. Stier focuses in particular on four icons: the railway cars that carried Jews to their deaths, symbolizing the mechanics of murder; the Arbeit Macht Frei (“work makes you free”) sign over the entrance to Auschwitz, pointing to the insidious logic of the camp system; the number six million that represents an approximation of the number of Jews killed as well as mass murder more generally; and the persona of Anne Frank, associated with victimization. Stier shows how and why these icons—an object, a phrase, a number, and a person—have come to stand in for the Holocaust: where they came from and how they have been used and reproduced; how they are presently at risk from a variety of threats such as commodification; and what the future holds for the memory of the Shoah. In illuminating these icons of the Holocaust, Stier offers valuable new perspective on one of the defining events of the twentieth century. He helps readers understand not only the Holocaust but also the profound nature of historical memory itself.

"Is this the whole world?" This question begins the first of three memoirs by Austrian Romani writer, visual artist, musician, and activist Ceija Stojka (1933-2013), told from her perspective as a child interned in three Nazi concentration camps from age nine to fifteen. Written by a child survivor much later in life, the memoirs offer insights into the nexus of narrative and extreme trauma, expressing the full spectrum of human emotions: fear and sorrow at losing loved ones; joy and relief when reconnecting with family and friends; desire to preserve some memories while attempting to erase others; horror at acts of genocide, and hope arising from dreams of survival.In addition to annotated translations of the three memoirs, the book includes two of Stojka's poems and an interview by Karin Berger, editor of the original editions of Stojka's memoirs, as well as color reproductions of several of her artworks and historical photographs. An introduction contextualizes her works within Romani history and culture, and a glossary informs the reader about the "concentrationary universe." Because the memoirs show how Stojka navigated male-dominated postwar Austrian culture, generally discriminatory to Roma, and the patriarchal aspects of Romani culture itself, the book is a contribution not only to Holocaust Studies but also to Austrian Studies, Romani Studies, and Women's and Gender Studies.and a glossary informs the reader about the "concentrationary universe." Because the memoirs show how Stojka navigated male-dominated postwar Austrian culture, generally discriminatory to Roma, and the patriarchal aspects of Romani culture itself, the book is a contribution not only to Holocaust Studies but also to Austrian Studies, Romani Studies, and Women's and Gender Studies.and a glossary informs the reader about the "concentrationary universe." Because the memoirs show how Stojka navigated male-dominated postwar Austrian culture, generally discriminatory to Roma, and the patriarchal aspects of Romani culture itself, the book is a contribution not only to Holocaust Studies but also to Austrian Studies, Romani Studies, and Women's and Gender Studies.and a glossary informs the reader about the "concentrationary universe." Because the memoirs show how Stojka navigated male-dominated postwar Austrian culture, generally discriminatory to Roma, and the patriarchal aspects of Romani culture itself, the book is a contribution not only to Holocaust Studies but also to Austrian Studies, Romani Studies, and Women's and Gender Studies.