The book focuses on the heroism of Jews throughout Europe who risked their lives to save their coreligionists under Nazi rule. The contributors discuss and analyze the actions of Jews who rescued other Jews from the hands of the Nazis. These actions took place, to different degrees, in Germany, in Axis states and all across Nazi-occupied Europe, from the early stages of persecution until the war's end, in the framework of collaborative efforts and individual initiatives. The Jews who rescued other Jews during the Holocaust came like their non-Jewish counterparts from different backgrounds: men and women, old and young, religious and secular, wealthy and poor, educated and uneducated. The rescue missions took place in ghettos, areas without ghettos, jails, camps, hospitals, children's homes, schools, monasteries, in hiding. This book focuses on these rescue missions and the people behind them, reminding us of their courage and willingness to act, even when it put their own lives in danger.

When Jubal Slade moved his family to Texas and tried to enroll his children in the local school system, they discovered something amazing. The boys had wanted to play sports in High School, but the demands and restrictions of local coaches allowed for only one option for his children, Oatman High School. His daughter, a gifted and extraordinary young girl, discovered that Oatman's lowly status among the community's schools went way beyond the sports programs. The family, along with their FBI appointed protector Wiley, uncover corruption and cover-up while helping rebuild Oatman's disheveled football team into a winner

For Alan Schneider, directing "Endgame," Samuel Beckett lays out the play's philosophy, then adds: "Don't mention any of this to your actors!"

He claimed he couldn't talk about his work, but Beckett proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States. The correspondence between Beckett and Schneider offers an unparalleled picture of the art and craft of theater in the hands of two masters. It is also an endlessly enlightening look into the playwright's ideas and methods, his remarks a virtual crib sheet for his brilliant, eccentric plays.

Alan Schneider premiered five of Beckett's plays in the United States, including "Waiting for Godot," "Krapp's Last Tape," and "Endgame," and directed a number of revivals. Preparing for each new production, the two wrote extensive letters--about intended tone, conception of characters, irony and verbal echoes, staging details for scenes, delivery of individual lines. From such details a remarkable sense of the playwright's vision emerges, as well as a feel for the director's task. Of "Godot," Beckett wrote to Schneider, "I feel my monster is in safe keeping." His confidence in the director, and Schneider's persistent probing for a surer understanding of each play, have produced a marvelous resource: a detailed map of Beckett's work in conception and in production.

The correspondence starts in December 1955, shortly after their first meeting, and continues to Schneider's accidental death in March 1984 (when crossing a street to mail a letter to Beckett). The 500 letters capture the world of theater as well as thepersonalities of their authors. Maurice Harmon's thorough notes provide a helpful guide to people and events mentioned throughout.