She has learned to forgive, but she can never forget. And neither can we.Gerty Spies was born in 1897 at Trier into a Jewish family whose ancestors had lived in Germany for centuries. Separated from her family by the Nazis, she was sent to the Czech camp known as Theresienstadt. It was a peculiar place: publicized as a retirement city, a Nazi propaganda showplace where Jews could sit out the war. But it was actually a way station for those destined for the Auschwitz death camp. Isolated from the outside world, surrounded by death, Spies retreated to her inner self to concentrate on human, cultural, and other values. Her powerful talent for writing, discovered at the camp, enabled her to transcend and triumph over mental and physical degradations; to keep her own integrity; to not let evil destroy her loving nature; and, finally, to not lose faith in humanity. By the end of the war, 33,000 people died in Theresienstadt from disease and malnutrition. Spies''s work exhibits a tension between the expression of camp reality and an imagination of an idealized past. Sensitive and humorous, but never bitter, her stories of the struggle for survival are expressions of her own individual moral poise.

In 1942 German merchant Philipp Manes and his wife were ordered by the Nazis to leave their middle class neighborhood and go live in Theresienstadt, the only so-called "showpiece" ghetto of the Third Reich. This model ghetto was set up by the Nazis as a front to show the world that the Jews were being treated humanely. The ghetto was run by a council of Jewish elders, and organized like an idyllic socialist utopia with theatre groups and debating societies. All the while, this was just a holding post for Jews being shipped to forced labor and certain death at Auschwitz. Philipp Manes' intimate diary is filled with fascinating details of everyday life in the ghetto. Manes' voice brings us a step closer to understanding a little-known aspect of one of the most painful periods in the history of mankind.

Terezín, as it was known in Czech, or Theresienstadt as it was known in German, was operated by the Nazis between November 1941 and May 1945 as a transit ghetto for Central and Western European Jews before their deportation for murder in the East. Terezín was the last ghetto to be liberated, one day after the end of World War II. The Last Ghetto is the first in-depth analytical history of a prison society during the Holocaust. Rather than depict the prison society which existed within the ghetto as an exceptional one, unique in kind and not understandable by normal analytical methods, Anna Hájková argues that such prison societies that developed during the Holocaust are best understood as simply other instances of the societies human beings create under normal circumstances. Challenging conventional claims of Holocaust exceptionalism, Hájková insists instead that we ought to view the Holocaust with the same analytical tools as other historical events. The prison society of Terezín produced its own social hierarchies under which seemingly small differences among prisoners (of age, ethnicity, or previous occupation) could determine whether one ultimately lived or died. During the three and a half years of the camp's existence, prisoners created their own culture and habits, bonded, fell in love, and forged new families. Based on extensive archival research in nine languages and on empathetic reading of victim testimonies, The Last Ghetto is a transnational, cultural, social, gender, and organizational history of Terezín, revealing how human society works in extremis and highlighting the key issues of responsibility, agency and its boundaries, and belonging.

From 1942 to 1944, twelve thousand children passed through the Theresienstadt internment camp, near Prague, on their way to Auschwitz. Only a few hundred of them survived the war. In The Girls of Room 28, ten of these children—mothers and grandmothers today in their seventies—tell us how they did it. The Jews deported to Theresienstadt from countries all over Europe were aware of the fate that awaited them, and they decided that it was the young people who had the best chance to survive. Keeping these adolescents alive, keeping them whole in body, mind, and spirit, became the priority. They were housed separately, in dormitory-like barracks, where they had a greater chance of staying healthy and better access to food, and where counselors (young men and women who had been teachers and youth workers) created a disciplined environment despite the surrounding horrors. The counselors also made available to the young people the talents of an amazing array of world-class artists, musicians, and playwrights–European Jews who were also on their way to Auschwitz. Under their instruction, the children produced art, poetry, and music, and they performed in theatrical productions, most notably Brundibar, the legendary “children’s opera” that celebrates the triumph of good over evil. In the mid-1990s, German journalist Hannelore Brenner met ten of these child survivors—women in their late-seventies today, who reunite every year at a resort in the Czech Republic. Weaving her interviews with the women together with excerpts from diaries that were kept secretly during the war and samples of the art, music, and poetry created at Theresienstadt, Brenner gives us an unprecedented picture of daily life there, and of the extraordinary strength, sacrifice, and indomitable will that combined—in the girls and in their caretakers—to make survival possible.

"It's a terrible feeling to see the fate of thousands of people dependent on a single person. . . . It seems like a mass judgment to me: life or death." On December 17, 1941, twenty-year-old Eva Mándlová arrived at the Nazi's "model" concentration camp, Theresienstadt. From that day until she was freed three and a half years later, she kept a diary. At times sweet and personal, at times agonized and profound, Eva is a human voice amidst inhuman evil. Through Eva's eyes, the camp sometimes "even resembles normal life," as she makes friends and talks with Benny, or Egon, or Otto. But at any moment, anyone may be "selected" for a transport to "Poland." No one ever returns from "Poland." Never before published, Eva's diary is a true-life Sophie's Choice in which each day brings impossible decisions. As a Gentile man inexplicably helps her, Eva must decide who should share her bounty. As close friends and loved ones are sent away, she has to decide, over and over again, whether to ask to join them on their final journey.

The phenomenon of national identities, always a key issue in the modern history of Bohemian Jewry, was particularly complex because of the marginal differences that existed between the available choices. Considerable overlap was evident in the programs of the various national movements and it was possible to change one's national identity or even to opt for more than one such identity without necessarily experiencing any far-reaching consequences in everyday life. Based on many hitherto unknown archival sources from the Czech Republic, Israel and Austria, the author's research reveals the inner dynamic of each of the national movements and maps out the three most important constructions of national identity within Bohemian Jewry - the German-Jewish, the Czech-Jewish and the Zionist. This book provides a needed framework for understanding the rich history of German- and Czech-Jewish politics and culture in Bohemia and is a notable contribution to the historiography of Bohemian, Czechoslovak and central European Jewry.

Through inmates' own voicesNfrom secret diary entries and artwork to excerpts from memoirs and recordings narrated after the warN"Terezin" explores the lives of Jewish people in one of the most infamous of the Nazi transit camps in Czechoslovakia. Illustrations.