Return to the Motherland follows those who were displaced to the Third Reich back to the Soviet Union after the victory over Germany. At the end of World War II, millions of people from Soviet lands were living as refugees outside the borders of the USSR. Most had been forced laborers and prisoners of war, deported to the Third Reich to work as racial inferiors in a crushing environment. Seth Bernstein reveals the secret history of repatriation, the details of the journey, and the new identities, prospects, and dangers for migrants that were created by the tumult of war. He uses official and personal sources from declassified holdings in post-Soviet archives, more than one hundred oral history interviews, and transnational archival material. Most notably, he makes extensive use of secret police files declassified only after the Maidan Revolution in Ukraine in 2014. The stories described in Return to the Motherland reveal not only how the USSR grappled with the aftermath of war but also the universality of Stalinism's refugee crisis. While arrest was not guaranteed, persecution was ubiquitous. Within Soviet society, returnees met with a cold reception that demanded hard labor as payment for perceived disloyalty, soldiers perpetrated rape against returning Soviet women, and ordinary people avoided contact with repatriates, fearing arrest as traitors and spies. As Bernstein describes, Soviet displacement presented a challenge to social order and the opportunity to rebuild the country as a great power after a devastating war.

A moving account of a mother and daughter who visit Germany to face the Holocaust tragedy that has caused their family decades of intergenerational trauma, from the author of Brothers, Sisters, Strangers Finalist for the National Jewish Book Award In 1938, when Edith Westerfeld was twelve, her parents sent her from Germany to America to escape the Nazis. Edith survived, but most of her family perished in the death camps. Unable to cope with the loss of her family and homeland, Edith closed the door on her past, refusing to discuss even the smallest details. Fifty-four years later, when the void of her childhood was consuming both her and her family, she returned to Stockstadt with her grown daughter Fern. For Edith the trip was a chance to reconnect and reconcile with her past; for Fern it was a chance to learn what lay behind her mother's silent grief. Together, they found a town that had dramatically changed on the surface, but which hid guilty secrets and lived in enduring denial. On their journey, Fern and her mother shared many extraordinary encounters with the townspeople and—more importantly—with one another, closing the divide that had long stood between them. Motherland is a story of learning to face the past, of remembering and honoring while looking forward and letting go. It is an account of the Holocaust’s lingering grip on its witnesses; it is also a loving story of mothers and daughters, roots, understanding, and, ultimately, healing.

Rewriting The Return to Africa: Voices of Francophone Caribbean Women Writers examines the ways Guadeloupean women writers Maryse Condé, Simone Schwarz-Bart and Myriam Warner-Vieyra demystify the theme of the return to Africa as opposed to the masculinist version by Négritude male writers from the 1930s to 1960s. Négritude, a cultural and literary movement, drew much of its strength from the idea of a mythical or cultural reconnection with the African past allegorized as a mother figure. In contrast these women writers, of the post-colonial era who are to large extent heirs of Négritude, differ sharply from their male counterparts in their representation of Africa. In their novels, the continent is not represented as a propitious mother figure but a disappointing father figure. This study argues that these women writers' subversion of the metaphorical figure of Africa and its transformation is tied to their gender. The women novelists are indeed critical of a female allegorization of the land that is reminiscent of a colonial or nationalist project and a simplistic representation of motherhood that does not reflect the complexities of the Diaspora's relation to origins and identity. Unlike the primary male writers of the Négritude movement, they carefully "gendered" the notion of return by choosing female protagonists who made their way back to the Motherland in search of identity. I argue that writing is a more suitable space for the female subject seeking identity because it allows her to have a voice and become subject rather than object as that was the case with the Négritude writers. The women writers' shattering of the image of Mother Africa and subsequently that of Father Africa highlights the complex relationship between Africa and the Diaspora from a female point of view. It shifts the identity quest of the characters towards the Caribbean, which emerges as the real problematic mother: a multi-faceted, fragmented figure that reflects the constitutive clash that occurred in the archipelago between Europe, Africa, and the Americas where the issues of race, gender, class, culture, ethnicity, history, and language are very complex.

Like Anne Frank, Hilde Jacobsthal was born in Germany and brought up in Amsterdam, where the two families became close. Unlike Anne Frank, she survived the war, and Otto Frank was to become godfather to Rita, her first daughter. "I am the child of a woman who survived the Holocaust not by the skin of her teeth but heroically. This book tells the story of my mother's dramatic life before, during and after the Nazi invasion of the Netherlands in 1940. "I wrote Motherland because I wanted to understand a story which had become a kind of family myth. My mother's life could be seen as a narrative of the twentieth century; along with my father she was present and active at many of its significant moments." Rita Goldberg Hilde Jacobsthal was fifteen when the Nazis invaded Holland. After the arrest of her parents in 1943 she fled to Belgium, where she went into hiding and worked with the Resistance at night. She was liberated by the American army in 1944. In April 1945 she volunteered with a British Red Cross Unit to go to the relief of Bergen-Belsen, which had itself been liberated one week before her arrival. The horror and devastation were overwhelming, but despite her shock and grief she stayed at the camp for two years, helping with the enormous task of recovery. Sorrow and exuberance went hand in hand as the young people at Belsen found renewed life and each other. Hilde got to know Hanns Alexander (subject of the recently published Hanns and Rudolf), who was on the British War Crimes Commission, and, eventually, a Swiss doctor called Max Goldberg. Motherland is the culmination of a lifetime of reflection and a decade of research. Rita Goldberg enlarges the story she heard from her mother with historical background. She has talked with her about the minutest details of her life and pored over her papers, exploring not only her mother's life but her own. Complicated feelings are explored lightly as Rita takes the story beyond Bergen-Belsen, where paradoxically her parents met and fell in love; beyond Israel's War of Independence where they both volunteered, and on to the next chapter of their lives in the US. A deeply moving story, Motherland will become an essential text about World War II, the Holocaust and the survival of the spirit.

A 48 page, 210mm X284mm, full colour poetry book, inspired by the diverse people of Far North Queensland and their tropical environment. It's full of some of the strangest birds and animals, as well as resilient rainforest, cane farms and tropical beaches.

Squatting in the corner, washing a bowl full of chopsticks, the teenager looked blankly at the emaciated mother being bossed around as a servant.