Arguing against the prevailing view that Holocaust survivors (encouraged by a new and flourishing culture of 'witnessing') have come forward only recently to tell their stories,Writing the Holocaust examines the full history of Holocaust testimony, from the first chroniclers confined to Nazi-enforced ghettos to today's survivors writing as part of collective memory. Zoe Waxman shows how the conditions and motivations for bearing witness changed immeasurably. She reveals the multiplicity of Holocaust experiences, the historically contingent nature of victims' responses, and the extent to which their identities - secular or religious, male or female, East or West European - affected not only what they observed but also how they have written about their experiences. In particular, she demonstrates that what survivors remember is substantially determined by the context in which they are remembering.

In 1944, members of the Sonderkommando-the "special squads," composed almost exclusively of Jewish prisoners, who ensured the smooth operation of the gas chambers and had firsthand knowledge of the extermination process-buried on the grounds of Auschwitz-Birkenau a series of remarkable eyewitness accounts of Nazi genocide. This careful and penetrating study examines anew these "Scrolls of Auschwitz," which were gradually recovered, in damaged and fragmentary form, in the years following the camp's liberation. It painstakingly reconstructs their historical context and textual content, revealing complex literary works that resist narrow moral judgment and engage difficult questions about the limits of testimony.

For decades, historians have debated how and to what extent the Holocaust penetrated the German national consciousness between 1933 and 1945. How much did "ordinary" Germans know about the subjugation and mass murder of the Jews, when did they know it, and how did they respond collectively and as individuals? This compact volume brings together six historical investigations into the subject from leading scholars employing newly accessible and previously underexploited evidence. Ranging from the roots of popular anti-Semitism to the complex motivations of Germans who hid Jews, these studies illuminate some of the most difficult questions in Holocaust historiography, supplemented with an array of fascinating primary source materials.

Questions shape the Holocaust's legacy. 'What happened to ethics during the Holocaust? What should ethics be, and what can it do after the Holocaust?' loom large among them. Absent the overriding or moral sensibilities, if not the collapse or collaboration of ethical traditions, the Holocaust could not have happened. Its devastation may have deepened conviction that there is a crucial difference between right and wrong; its destruction may have renewed awareness about the importance of ethical standards and conduct. But Birkenau, the main killing center at Auschwitz, also continues to cast a disturbing shadow over basic beliefs concerning right and wrong, human rights, and the hope that human beings will learn from the past. This book explores those realities and the issues they contain. It does so not to discourage but to encourage, not to deepen darkness and despair but to face those realities honestly and in a way that can make post-Holocaust ethics more credible and realistic. The book's thesis is that nothing human, natural or divine guarantees respect for the ethical values and commitments that are most needed in contemporary human existence, but nothing is more important than our commitment to defend them, for they remain as fundamental as they are fragile, as precious as they are endangered.

Gene A. Plunka argues that drama is the ideal art form to revitalize the collective memory of Holocaust resistance. Drama of and about the Holocaust can be staged worldwide, thereby introducing the Shoah to diverse audiences. Moreover, theatre affects audiences emotionally, subliminally, or intellectually (sometimes simultaneously) in a direct way that many other art forms cannot match. This comparative drama study examines a variety of international plays - some quite well-known, others more obscure - that focus on collective or individual defiance of the Nazis.

Commentary on memorials to the Holocaust has been plagued with a sense of "monument fatigue", a feeling that landscape settings and national spaces provide little opportunity for meaningful engagement between present visitors and past victims. This book examines the Holocaust via three sites of murder by the Nazis: the former concentration camp at Buchenwald, Germany; the mass grave at Babi Yar, Ukraine; and the razed village of Lidice, Czech Republic. Bringing together recent scholarship from cultural memory and cultural geography, the author focuses on the way these violent histories are remembered, allowing these sites to emerge as dynamic transcultural landscapes of encounter in which difficult pasts can be represented and comprehended in the present. This leads to an examination of the role of the environment, or, more particularly, the ways in which the natural environment, co-opted in the process of killing, becomes a medium for remembrance.

"Ambiguous Memory" examines the role of memory in the building of a new national identity in reunified Germany. The author maintains that the contentious debates surrounding contemporary monumnets to the Nazi past testify to the ambiguity of German memory and the continued link of Nazism with contemporary German national identity. The book discusses how certain monuments, and the ways Germans have viewed them, contribute to the different ways Germans have dealt with the past, and how they continue to deal with it as one country. Kattago concludes that West Germans have internalized their Nazi past as a normative orientation for the democratic culture of West Germany, while East Germans have universalized Nazism and the Holocaust, transforming it into an abstraction in which the Jewish question is down played. In order to form a new collective memory, the author argues that unified Germany must contend with these conflicting views of the past, incorporating certain aspects of both views.

Providing a topography of East, West, and unified German memory during the 1980s and the 1990s, this work contributes to a better understanding of contemporary national identity and society. The author shows how public debate over such issues at Ronald Reagan's visit to Bitburg, the renarration of Buchenwald as Nazi and Soviet internment camp, the Goldhagen controversy, and the Holocaust Memorial debate in Berlin contribute to the complexities surrounding the way Germans see themselves, their relationship to the past, and their future identity as a nation. In a careful analysis, the author shows how the past was used and abused by both the East and the West in the 1980s, and how these approaches merged in the 1990s. This interesting new work takes a sociological approach to the role of memory in forging a new, integrative national identity.

Using the framework of genocide, this volume analyzes the patterns of persecution of the Roma in Nazi-dominated Europe. Detailed case studies of France, Austria, Romania, Croatia, Ukraine, and Russia generate a critical mass of evidence that indicates criminal intent on the part of the Nazi regime to destroy the Roma as a distinct group. Other chapters examine the failure of the West German State to deliver justice, the Romani collective memory of the genocide, and the current political and historical debates. As this revealing volume shows, however inconsistent or geographically limited, over time, the mass murder acquired a systematic character and came to include ever larger segments of the Romani population regardless of the social status of individual members of the community.

The Nazis' persecution of the Jews during the Holocaust included the creation of prisoner hierarchies that forced victims to cooperate with their persecutors. Many in the camps and ghettos came to hold so-called "privileged" positions, and their behavior has often been judged as self-serving and harmful to fellow inmates. Such controversial figures constitute an intrinsically important, frequently misunderstood, and often taboo aspect of the Holocaust. Drawing on Primo Levi's concept of the "grey zone," this study analyzes the passing of moral judgment on "privileged" Jews as represented by writers, such as Raul Hilberg, and in films, including Claude Lanzmann's Shoah and Steven Spielberg's Schindler's List. Negotiating the problems and potentialities of "representing the unrepresentable," this book engages with issues that are fundamental to present-day attempts to understand the Holocaust and deeply relevant to reflections on human nature.

Although Christianity's precise influence on the Holocaust cannot be determined and the Christian churches did not themselves perpetrate the Final Solution, Robert Michael argues in "Holy Hatred" that the two millennia of Christian ideas and prejudices and their impact on Christians' behavior appear to be the major basis of antisemitism and of the apex of antisemitism, the Holocaust.

The Mind of the Holocaust Perpetrator in Fiction and Nonfiction examines texts that portray the inner experience of Holocaust perpetrators and thus transform them from archetypes of evil into complex psychological and moral subjects. Employing relevant methodological tools of narrative theory, Erin McGlothlin analyzes these unsettling depictions, which manifest a certain tension regarding the ethics of representation and identification. Such works, she asserts, endeavor to make transparent the mindset of their violent subjects, yet at the same time they also invariably contrive to obfuscate in part its disquieting character. The Mind of the Holocaust Perpetrator in Fiction and Nonfiction contains two parts. The first focuses on portraits of real-life perpetrators in nonfictional interviews and analyses from the 1960s and 1970s. These works provide a nuanced perspective on the mentality of the people who implemented the Holocaust via the interventional role of the interviewer or interpreter in the perpetrators' performances of self-disclosure. In part two, McGlothlin investigates more recent fictional texts that imagine the perspective of their invented perpetrator-narrators. Such works draw readers directly into the perpetrator's experience and at the same time impede their access to the perpetrator's consciousness by retarding their affective connection. Demonstrating that recent fiction featuring perpetrators as narrators employs strategies derived from earlier nonfictional portrayals, McGlothlin establishes not only a historical connection between these two groups of texts, whereby nonfictional engagement with real-life perpetrators gradually gives way to fictional exploration, but also a structural and aesthetic one. The book bespeaks new modes of engagement with ethically fraught questions raised by our increasing willingness to consider the events of the Holocaust from the perspective of the perpetrator. Students, scholars, and readers of Holocaust studies and literary criticism will appreciate this closer look at a historically taboo topic.

The interconnections between histories and memories of the Holocaust, colonialism and extreme violence in post-war French and Francophone fiction and film provide the central focus of this book. It proposes a new model of 'palimpsestic memory', which the author defines as the condensation of different spatio-temporal traces, to describe these interconnections and defines the poetics and the politics of this composite form. In doing so it is argued that a poetics dependent on tropes and techniques, such as metaphor, allegory and montage, establishes connections across space and time which oblige us to perceive cultural memory not in terms of its singular attachment to a particular event or bound to specific ethno-cultural or national communities but as a dynamic process of transfer between different moments of racialized violence and between different cultural communities. The structure of the book allows for both the theoretical elaboration of this paradigm for cultural memory and individual case-studies of novels and films.

From 1978 1996 Holocaust denial emerged as a major concern for the liberal democracies of Europe and North America. This period also saw the first prosecutions of Holocaust deniers. But these prosecutions often ran into trouble. Holocaust Denial and the Law relates how courts in four countries (Canada, France, Germany and the United States) resolved the dilemmas posed by Holocaust denial litigation. It also describes how, in the United States, student editors had to decide whether to run ads denying the Holocaust. The book concludes that a given country's resolution of these dilemmas turns on its specific legal traditions and historical experiences. MARKET 1: Law; Politics of Religion; Jewish History

On the outbreak of WWII Frank was appointed governor general of Poland. Heinrich Himmler was responsible for the extermination camps and Frank claimed he did not become aware of the mass killings until late in the war. Frank was captured in May 1945 and was accused of crimes against humanity at the Nuremberg War Crimes Trial. He said at his trial: "I myself have never installed an extermination camp for Jews, or promoted the existence of such camps; but if Adolf Hitler personally has laid that dreadful responsibility on his people, then it is mine too, for we have fought against Jewry for years; and we have indulged in the most horrible utterances." Hans Frank was found guilty and executed on October 1, 1946. This scholarly study from Martyn Housden examines Frank's career and complex character to shed light upon the Lebensraum project in the East and the carrying out of the Final Solution.

This book explores the memory of the Romanian Holocaust through transnational representations strongly rooted in a Romanian past of anti-Semitism, genocide, and violence. The essays in this volume discuss survivor testimonial accounts, letters, journals, and drawings, as well as literature and films in an effort to break the silence imposed by the Communist regime and debunk the denials of the Holocaust in Romania. What the survivors, writers (Paul Celan, Aharon Applefeld, Elie Wiesel, Norman Manea), artists, and film directors (Radu Mihaileanu, Radu Gabrea) present in this volume have in common is not just their Romanian heritage and their complicated relationship with Romania, but also an intense preoccupation with the memory of the Holocaust.

In the last two decades our empirical knowledge of the Holocaust has been vastly expanded. Yet this empirical blossoming has not been accompanied by much theoretical reflection on the historiography. This volume argues that reflection on the historical process of (re)constructing the past is as important for understanding the Holocaust-and, by extension, any past event-as is archival research. It aims to go beyond the dominant paradigm of political history and describe the emergence of methods now being used to reconstruct the past in the context of Holocaust historiography.

Theresienstadt, located in Czechoslovakia, was a peculiar concentration camp. It was publicized as a retirement city, a place for privileged and prominent Jews to sit out the war. In reality, it was a collection point, a Schleuse or "sluice", for arriving and departing transports, most of them destined for Auschwitz. Prisoners suffered from disease, starvation, exhaustion, overcrowding, and the persistent threat of deportation. Between 1941 and 1945, about 33,000 people died in Theresienstadt of disease and malnutrition, while about 88,000 were transported to the death camps in the East. The desperate need for self-preservation caused by the isolation and deprivations of camp life mobilized prisoners to cope in their own special ways. Some placed their emphasis on nourishment, others developed asocial traits of behavior, while others retained their cultural interests. These creative activities helped artists as well as amateurs block out the fear and uncertainty while helping to restore the dignity otherwise denied them. From this maelstrom of inhumanity, Gerty Spies found her salvation in writing. Isolated from the outside world and surrounded by death, she retreated into her inner self to concentrate on human, cultural, and spiritual values. Her ability to transcend and triumph over mental and physical degradations, to keep her own integrity, to defeat the evil that tried to destroy her loving nature, and to maintain her faith in human beings gives Gerty Spies's narrative extraordinary power. Throughout her ordeal, Spies displays an unwavering belief in the decency, goodness, and sincerity of all people. No trace of cynicism, malice, or enmity finds a place in her life or work. Despite living for three years surrounded by horror, Gerty Spies's loving and kind disposition enabled her "to forgive - but not to forget". Returning to Germany after the war, Spies reconciled her experiences under the Nazi regime with a new, full life as an artist among newfound friends. She has devoted her life to keeping open the dialogue of understanding between people, a philosophy of life so often expressed in her personal motto, Vestehen und Lieben ... to understand and to love.

This volume explores post-2000s artistic engagements with Holocaust memory arguing that imagination plays an increasingly important role in keeping the memory of the Holocaust vivid for contemporary and future audiences.