In May and June 1940, when the war seemed to be going badly for Britain, thousands of German and Austrian refugees from Nazi oppression were rounded up and put into internment camps on the Isle of Man and elsewhere. Fred Uhlman, a Jewish refugee from Stuttgart, a lawyer and an artist, was one of them. Uhlman, who was deeply affected by the experience, set out to record it in word and image. This volume reproduces his original internment diary from 1940 alongside another version of the same text from 1979, compiled retrospectively. These texts are complemented by sixteen haunting drawings and linocuts that Uhlman produced during internment. The volume also contains the letters, highly moving personal documents, exchanged to and from the internment camp between Uhlman and his wife Diana; correspondence between Uhlman and his disapproving aristocratic father-in-law Lord Croft; and documents from the daily life of Hutchinson Camp, Douglas, Isle of Man, where Uhlman was held for seven months. Chapters on Uhlman's biography and on his artistic and literary output set his writings and drawings within the wider context of his life and work. In addition, a chapter outlining the internment crisis of 1940 also sets out to recreate the extraordinary cultural and intellectual life that the internees managed to make for themselves in Hutchinson Camp, in particular the activities of the sizeable group of artists, such as Kurt Schwitters, who happened to find themselves there.

One woman's national, political, ethnic, social, and personal identities impart an extraordinary perspective on the histories of Europe, Polish Jews, Communism, activism, and survival during the twentieth century. Tonia Lechtman was a Jew, a loving mother and wife, a Polish patriot, a committed Communist, and a Holocaust survivor. Throughout her life these identities brought her to multiple countries--Poland, Palestine, Spain, France, Germany, Switzerland, and Israel--during some of the most pivotal and cataclysmic decades of the twentieth century. In most of those places, she lived on the margins of society while working to promote Communism and trying to create a safe space for her small children. Born in Lodz in 1918, Lechtman became fascinated with Communism in her early youth. In 1935, to avoid the consequences of her political activism during an increasingly anti-Semitic and hostile political environment, the family moved to Palestine, where Tonia met her future husband, Sioma. In 1937, the couple traveled to Spain to participate in the Spanish Civil War. After discovering she was pregnant, Lechtman relocated to France while Sioma joined the International Brigades. She spent the Second World War in Europe, traveling with two small children between France, Germany, and Switzerland, at times only miraculously avoiding arrest and being transported east to Nazi camps. After the war, she returned to Poland, where she planned to (re)build Communist Poland. However, soon after her arrival she was imprisoned for six years. In 1971, under pressure from her children, Lechtman emigrated from Poland to Israel, where she died in 1996. In writing Lechtman's biography, Anna Muller has consulted a rich collection of primary source material, including archival documentation, private documents and photographs, interviews from different periods of Lechtman's life, and personal correspondence. Despite this intimacy, Muller also acknowledges key historiographical questions arising from the lacunae of lost materials, the selective preservation of others, and her own interpretive work translating a life into a life story.

Drawing on autobiographical writings, oral histories, interrogation protocols, and cell spy reports, If the Walls Could Speak focuses on the lives of women in prison in postwar communist Poland. Some were jailed for their alleged collaboration with the Nazis during the war, some for postwar activities in various civil as well as quasi-military groups, still others for allegedly dubious activities on the basis of their relationships with those already imprisoned. In some cases, there was some evidence of their anti-state activities; in many others, the accusations were absurd and based on cumbersome definitions of "anti-state." Anna Muller shows how these women struggled to resist identifying themselves as "prisoners" and regain their voices through a dialogue between the "self," a hostile prison world, and the world outside, which, as time passed, became increasingly menacing. The prison system in postwar Poland functioned as a tool to subjugate society and silence or destroy enemies-anti-communists, but also committed communists. Arrests, trials, and prison sentences directly and indirectly affected tens of thousands of people. Imprisonment stigmatized both prisoners and their families, inspiring fear and insecurity. Out of fear, worry for their loved ones, or a need to act, women prisoners took on different roles and personalities to protect themselves and create a semblance of normality, despite abuses and prison confinement. They used words to (re)create themselves during an interrogation; they used their senses to orient themselves in the spatial organization of the prison and to create a feeling of security; they used their physicality as a confirmation of their gender identity and a means of exerting pressure on the authorities; and they attempted to build a communal cultural, social, religious, and educational life by drawing on patterns they had acquired in their lives outside of prison. Following the trajectory of women's life stories-from the moment of interrogation, through the attempt to create themselves in a cell, to the post-prison reordering of their old lives-this book reveals how the prison cell in postwar Poland became a laboratory of human heterogeneity, of reconstruction, and reinvention of the self, and how life in a Stalinist prison adds to our understanding of coercion and resistance under totalitarian regimes.