Emotionally resonant photographs of everyday life in the Jewish Lodz Ghetto taken during WWII From 1941 to 1944, the Polish Jewish photographer Henryk Ross (1910-91) was a member of an official team documenting the implementation of Nazi policies in the Lodz Ghetto. Covertly, he captured on film scores of both quotidian and intimate moments of Jewish life. In 1944, he buried thousands of negatives in an attempt to save this secret record. After the war, Ross returned to Poland to retrieve them. Although some were destroyed by nature and time, many negatives survived. This compelling volume, originally published in 2015 and now available in paperback, presents a selection of Ross's images along with original prints and other archival material including curfew notices and newspapers. The photographs offer a startling and moving representation of one of humanity's greatest tragedies. Striking for both their historical content and artistic quality, his photographs have a raw intimacy and emotional power that remain undiminished. Distributed for the Art Gallery of Ontario

From January to April 2000 historian David Irving brought a high-profile libel case against Penguin Books and Deborah Lipstadt in the British High Court, charging that Lipstadt's book, Denying the Holocaust (1993), falsely labeled him a Holocaust denier. The question about the evidence for Auschwitz as a death camp played a central role in these proceedings. Irving had based his alleged denial of the Holocaust in part on a 1988 report by an American execution specialist, Fred Leuchter, which claimed that there was no evidence for homicidal gas chambers in Auschwitz. In connection with their defense, Penguin and Lipstadt engaged architectural historian Robert Jan van Pelt to present evidence for our knowledge that Auschwitz had been an extermination camp where up to one million Jews were killed, mainly in gas chambers. Employing painstaking historical scholarship, van Pelt prepared and submitted an exhaustive forensic report that he successfully defended in cross-examination in court.

The Holocaust memoir of a Dutch family who evaded arrest and deportation by the Nazis. Told through letters, diaries, and interviews, and illustrated with photographs throughout, this detailed account brings a new perspective to one of history's most horrific chapters. During the Second World War, as the Nazis tightened their grip on the Netherlands, the Jewish population was slowly restricted from public life-everything from owning a bike to having a job was forbidden. Sensing the murderous consequences of deportation, Daphne Geismar's family-her parents, grandparents, aunts, and uncles-decided to separate and go into hiding. Parents and children were torn apart, living for years in isolation behind a church organ, below floorboards, or even in plain sight. While timelines and notes provide context, we hear the voices of young Mirjam, sent by her parents to live with a family of strangers; Judith whose braids were cut to make her look less Jewish; Nathan, taken in and given false papers by a Dutch soldier. Ordinary people whose collective story is one of resilience and resistance, survival and compassion. "This is an important book because many people don't know what took place in the Netherlands during the Nazi occupation....[The] fascinating story also highlights the courage of the rescuers involved in that dangerous undertaking. It is a story that must be told to inspire others never to give up even when it seems all is lost."-Mordecai Paldiel, Former Director, Righteous Among Nations, Yad Vashem For readers of history and memoirs, this family's story, Invisible Years, challenges readers to follow this example of resistance to inhumanity.

Internationally renowned and award-winning historian Dr. Robert Jan van Pelt's The Evidence Room is a chilling exploration of the role architecture played in constructing Auschwitz - arguably the Nazis' most horrifying facility. The Evidence Room is both a companion piece to, and an elaboration of, an exhibit at the 2016 Venice Architecture Biennale, based on van Pelt's authoritative testimony against Holocaust denial in a 2000 libel suit argued before the Royal Courts of Justice in London.

From 1941 to 1944, the Polish Jewish photographer Henryk Ross (1910-1991) was a member of an official team documenting the implementation of Nazi policies in the Lodz Ghetto in Poland. Covertly, he captured on film scores of both quotidian and intimate moments of Jewish life. In 1944, he buried thousands of negatives in an attempt to save this secret record. After the war, Ross returned to Poland to retrieve them. Although some were destroyed by nature and time, many negatives survived. Memory Unearthed presents a selection of the nearly 3,000 surviving images-along with original prints and other archival material including curfew notices and newspapers-from the permanent collection at the Art Gallery of Ontario. Ross's images offer a startling and moving new representation of one of humanity's greatest tragedies. Striking for both their historical content and artistic quality, his photographs have a raw intimacy and emotional power that remain undiminished.

As persecution, war, and deportation savaged their communities, Jews tried to flee Nazi Europe through both legal and clandestine routes. In this riveting tale of Jewish refugees during and after the Nazi era, Deborah Dwork and Robert Jan van Pelt thread together official papers and personal accounts to weave the history of refugees lives into the history of the Holocaust. "

"The Irving case has done for the new century what the Nuremberg tribunals or the Eichmann trial did for earlier generations." The Daily Telegraph

From January to April 2000 a high-profile libel case brought by the British historian David Irving against Penguin Books and Deborah Lipstadt, charging that Lipstadt s book, Denying the Holocaust (1993), falsely labeled him a Holocaust denier, was tried in the British High Court. The question about the evidence for Auschwitz as a death camp played a central role in these proceedings. Irving had based his alleged denial of the Holocaust in part on a 1988 report by an American execution specialist, Fred Leuchter, which claimed that there was no evidence for homicidal gas chambers in Auschwitz. In connection with their defense, Penguin and Lipstadt engaged architectural historian Robert Jan van Pelt to prepare for the court an expert report presenting the evidence for our knowledge that Auschwitz had been an extermination camp where up to one million Jews were killed, mainly in gas chambers.

Employing painstaking historical scholarship, van Pelt submitted an exhaustive forensic report, which he successfully defended in cross-examination in court. In his verdict in favor of the defendants, Mr. Justice Charles Grey concluded that "no objective, fair-minded historian would have serious cause to doubt that there were gas chambers at Auschwitz and that they were operated on a substantial scale to kill hundreds of thousands of Jews."

The Case for Auschwitz analyzes why Auschwitz has become central to Holocaust denial and how it became a focus in the Irving-Lipstadt trial. It presents the compelling evidence contained in the original expert report and details the way this evidence played out at the trial. Unique in its comprehensive assessment of the historical evidence for Auschwitz and devastating in its demolition of the arguments of Holocaust deniers against Auschwitz, van Pelt s book is essential reading for anyone interested in the history of the Holocaust and for those who seek to combat Holocaust denial."

"[A] peerless work of documentation and research that sheds new light on this century's darkest address."—Kirkus Reviews starred review

No symbol of the Holocaust is more profound than Auschwitz. Yet the sheer, crushing number of murders—over 1,200,000—the overwhelming scale of the crime, and the vast, abandoned site of ruined chimneys and rusting barbed wire isolate Auschwitz from us.

How could an ordinary town become a site of such terror? Why was this particular town chosen? Who conceived, created, and constructed the camp? This unprecedented history reveals how an unremarkable Polish village was transformed into a killing field. Using architectural designs and planning documents recently discovered in Poland and Russia and over 200 illustrations, Auschwitz tells how this town became the epicenter of the Final Solution. A National Jewish Book Award winner. 24 pages of b/w illustrations.

"This is truly the definitive history of the town and camp."—Booklist

"The important story [told]—really for the first time—is not 'why the Holocaust?' but 'why Auschwitz?'"—Boston Globe

"A milestone in Holocaust literature."—Nechama Tee, author of Defiance: The Bielski Partisans

Finalist for 2012 National Jewish Book Award in the Holocaust category David Koker's diary is one of the most notable accounts of life in a German concentration camp written by a Jew during the years of the Holocaust. First brought to attention when the Dutch historian Jacob Presser-Koker's history teacher in high school-quoted from Koker's diary in his monumental history, published in English as The Destruction of the Dutch Jews (1968), the diary itself became a part of the Dutch literary canon when it was published in 1977 as Dagboek geschreven in Vught (Diary Written in Vught). It has remained in print ever since, and is notable for its literary qualities, weaving poetry and powerful observations of the emotional life of a camp prisoner, including reflections after an in-person visit by Heinrich Himmler. Surprisingly, the book has never before been translated into English. During his time in the Vught concentration camp, the 21-year-old David recorded on an almost daily basis his observations, thoughts, and feelings. He mercilessly probed the abyss that opened around him and, at times, within himself. David's diary covers almost a year, both charting his daily life in Vught as it developed over time and tracing his spiritual evolution as a writer. Until early February 1944, David was able to smuggle some 73,000 words from the camp to his best friend Karel van het Reve, a non-Jew. With an informative introduction, annotation, and list of dramatis personae by Robert Jan van Pelt, At the Edge of the Abyss offers an immediate and wholly original look into the life of a concentration camp prisoner.