'Invasion Rabaul' is a gut-wrenching account of courage and sacrifice, folly and disaster, as seen through the eyes of the Allied defenders who survived the Japanese assault on Britain during the opening days of World War II.

From Paris to Stalingrad, the Nazis systematically plundered all manner of art and antiquities. But the first and most valuable treasures they looted were the Crown Jewels of the Holy Roman Empire. In "Hitler's Holy Relics, "bestselling author Sidney Kirkpatrick tells the riveting and never-before-told true story of how an American college professor turned Army sleuth recovered these cherished symbols of Hitler's Thousand-Year Reich before they could become a rallying point in the creation of a Fourth and equally unholy Reich.
Anticipating the Allied invasion of Nazi Germany, Reichsfuhrer Heinrich Himmler had ordered a top-secret bunker carved deep into the bedrock beneath Nurnberg castle. Inside the well-guarded chamber was a specially constructed vault that held the plundered treasures Hitler valued the most: the Spear of Destiny (reputed to have been used to pierce Christ's side while he was on the cross) and the Crown Jewels of the Holy Roman Empire, ancient artifacts steeped in medieval mysticism and coveted by world rulers from Charlemagne to Napoleon. But as Allied bombers rained devastation upon Nurnberg and the U.S. Seventh Army prepared to invade the city Hitler called "the soul of the Nazi Party," five of the most precious relics, all central to the coronation ceremony of a would-be Holy Roman Emperor, vanished from the vault. Who took them? And why? The mystery remained unsolved for months after the war's end, until the Supreme Allied Commander, General Dwight D. Eisenhower, ordered Lieutenant Walter Horn, a German-born art historian on leave from U.C. Berkeley, to hunt down the missing treasures.
To accomplish his mission, Horn must revisit the now-rubble-strewn landscape of his youth and delve into the ancient legends and arcane mysticism surrounding the antiquities that Hitler had looted in his quest for world domination. Horn searches for clues in the burnt remains of Himmler's private castle and follows the trail of neo-Nazi "Teutonic Knights" charged with protecting a vast hidden fortune in plundered gold and other treasure. Along the way, Horn has to confront his own demons: how members of his family and former academic colleagues subverted scholarly research to help legitimize Hitler's theories of Aryan supremacy and the Master Race. What Horn discovers on his investigative odyssey is so explosive that his final report will remain secret for decades.
Drawing on unpublished interrogation and intelligence reports, as well as on diaries, letters, journals, and interviews in the United States and Germany, Kirkpatrick tells this riveting and disturbing story with cinematic detail and reveals-- for the first time--how a failed Vienna art student, obsessed with the occult and dreams of his own grandeur, nearly succeeded in creating a Holy Reich rooted in a twisted reinvention of medieval and Church history.

Near the end of World War II and after, a small-town Nebraska youth, Jimmy Kugler, drew more than a hundred double-sided sheets of comic strip stories. Over half of these six-panel tales retold the Pacific War as fought by "Frogs" and "Toads," humanoid creatures brutally committed to a kill-or-be-killed struggle. The history of American youth depends primarily on adult reminiscences of their own childhoods, adult testimony to the lives of youth around them, or surmises based on at best a few creative artifacts. The survival then of such a large collection of adolescent comic strips from America's small-town Midwest is remarkable. Michael Kugler reproduces the never-before-published comics of his father's adolescent imagination as a microhistory of American youth in that formative era. Also included in Into the Jungle! A Boy's Comic Strip History of World War II are the likely comic book models for these stories and inspiration from news coverage in newspapers, radio, movies, and newsreels. Kugler emphasizes how US propaganda intended to inspire patriotic support for the war gave this young artist a license for his imagined violence. In a context of progressive American educational reform, these violent comic stories, often in settings modeled on the artist's small Nebraska town, suggests a form of adolescent rebellion against moral conventions consistent with comic art's reputation for "outsider" or countercultural expressions. Kugler also argues that these comics provide evidence for the transition in American taste from war stories to the horror comics of the late 1940s and early 1950s. Kugler's thorough analysis of his father's adolescent art explains how a small-town boy from the plains distilled the popular culture of his day for an imagined war he could fight on his audacious, even shocking terms.

For more than thirty years Francesco Lotoro, an Italian pianist and composer has been on an odyssey to recover music written by the inmates of Adolf Hitler's concentration camps and the gulags of Stalin's Soviet Union. Between 1933, the year of the opening of the Dachau Lager in Germany, to Stalin's death in 1953 when thousands of Soviet prisoners were released, Lotoro pieces together the human stories of survivors whose only salvation was their love of music. Across three decades of relentless investigation, his findings as captured in Lost Music of the Holocaust are extraordinary and historically important. Lotoro unearthed over eight thousand unpublished works of music, ten thousand documents (microfilms, diaries, notebooks, and recordings on phonographic recordings), as well as locating and interviewing many survivors who in a previous life had been trained musicians and composers. Be it a symphony, an opera, a simple folk song or even a gypsy melody, Lotor has travelled the globe to track them down. Many pieces were hastily scribbled down ow whatever the composer could find: food wrappings, a vegetable sack and even a train ticket stub. To avoid discover by camp guards, Lotoro even discovered forgotten pieces of code inmates had invented to hide their real meaning - music. In many cases, the composers would be murdered in the gas chambers or worked to death, not knowing whether their music would be heard by the world. Until now. Their stories and their music adds colour and humanity to the horrors of the Holocaust and of Stalin's oppressive rule. It is a journey into music and history that reveals a new way of telling the darkest chapters of the twentieth century whilst shining a light on the beauty that could still be created amidst the horrors endured.