The rediscovered Ukrainian classic - the gripping story of Kyiv during the Second World War, told by a young boy who saw it all. 'Read it and weep... Nothing I have read about that barbaric time has been as affecting as this gripping, disturbing book - rightly hailed a masterpiece' Daily Mail 'So here is my invitation: enter into my fate, imagine that you are twelve, that the world is at war and that nobody knows what is going to happen next...' It was 1941 when the German army rolled into Kyiv. The young Anatoli was just twelve years old. This book is formed from his journals in which he documented what followed. Many Ukrainians welcomed the invading army, hoping for liberation from Soviet rule. But within ten days the Nazis had begun their campaign of murdering every Jew, and many others, in the city. Babi Yar (Babyn Yar in Ukrainian) was the place where the executions took place. It was one of the largest massacres in the history of the Holocaust. Anatoli could hear the machine guns from his house. This gripping book is the story of Ukraine's Nazi occupation, told by one ordinary, brave child. His clear, compelling voice, his honesty and his determination to survive guide us through the horrors of that time. Babi Yar has the compulsion and narration of fiction but everything recounted in this book is true. 'Extraordinary' Orlando Figes, Guardian 'A vivid first-hand account of life under one of the most savage of occupation regimes... A book which must be read and never forgotten' The Times This is the complete, uncensored version of Babi Yar - its history written into the text. Parts shown in bold are those cut by the Russian censors, parts in brackets show later additions.

The powerful rediscovered masterpiece of Kyiv during the Second World War, told by a young boy who saw it all. 'So here is my invitation: enter into my fate, imagine that you are twelve, that the world is at war and that nobody knows what is going to happen next...' It was 1941 when the German army rolled into Kyiv. The young Anatoli was just twelve years old. This book is formed from his journals in which he documented what followed. Many Ukrainians welcomed the invading army, hoping for liberation from Soviet rule. But within ten days the Nazis had begun their campaign of murdering every Jew, and many others, in the city. Babi Yar (Babyn Yar in Ukrainian) was the place where the executions took place. It was one of the largest massacres in the history of the Holocaust. Anatoli could hear the machine guns from his house. This gripping book is the story of Ukraine's Nazi occupation, told by one ordinary, brave child. His clear, compelling voice, his honesty and his determination to survive guide us through the horrors of that time. Babi Yar has the compulsion and narration of fiction but everything recounted in this book is true. 'Extraordinary' Orlando Figes, Guardian 'A vivid first-hand account of life under one of the most savage of occupation regimes... A book which must be read and never forgotten' The Times This is the complete, uncensored version of Babi Yar - its history written into the text. Parts shown in bold are those cut by the Russian censors, parts in brackets show later additions.

From the notable emergence of orphan figures in late eighteenth-century literature, through early- and middle-period Victorian fiction and, as this book argues, well into the fin de siecle, this potent literary type is remarkable for its consistent recurrence and its metamorphosis as a register of cultural conditions. The striking ubiquity of orphans in the literature of these periods encourages inquiry into their metaphoric implications and the manner in which they function as barometers of burgeoning social concerns. The overwhelming majority of criticism focusing on orphans centres particularly on the form as an early- to middle-century convention, primarily found in social and domestic works; in effect, the non-traditional, aberrant, at times Gothic orphan of the fin de siecle has been largely overlooked, if not denied outright. This oversight has given rise to the need for a study of this potent cultural figure as it pertains to preoccupations characteristic of more recent instances. This book examines the noticeable difference between orphans of genre fiction of the fin de siecle and their predecessors in works including first-wave Gothic and the majority of Victorian fiction, and the variance of their symbolic references and cultural implications.