From the entry of the Germans into Turin on September 10, 1943 to the liberation of the city on April 28, 1945, Ada Gobetti, translator, educator, and resistance activist, recorded an almost daily account of her life in the resistance movement against the fascist government and the Nazis. Part diary, part memoir, Gobetti's Diario partigiano (Partisan diary) provides a firsthand account of who the anti-fascist partisans in the Piedmont region of Italy were and how they fought.
Ada Gobetti's Partisan Diary is both diary and memoir. From the German entry into Turin on 10 September 1943 to the liberation of the city on 28 April 1945, Gobetti recorded an almost daily account of events, sentiments, and personalities, in a cryptic English only she could understand. Italian senator and philosopher Benedetto Croce encouraged Ada to convert her notes into a book. Published by the Italian publisher Giulio Einaudi in 1956, it won the Premio Prato, an annual prize for a work inspired by the Italian Resistance (Resistenza). From a political and military point of view, the Partisan Diary provides firsthand knowledge of how the partisans in Piedmont fought, what obstacles they encountered, and who joined the struggle against the Nazis and the Fascists. The mountainous terrain and long winters of the Alpine regions (the site of many of their battles) and the ever-present threat of reprisals by German occupiers and their fascist partners exacerbated problems of organization among the various partisan groups. So arduous was their fight, that key military events--Italy's declaration of war on Germany, the fall of Rome, and the Allied landings on D-Day --appear in the diary as remote and almost unrelated incidents. Ada Gobetti writes of the heartbreak of mothers who lost their sons or watched them leave on dangerous missions of sabotage, relating it to worries about her own son Paolo. She reflects on the relationship between anti-fascist thought of the 1920s, in particular the ideas of her husband, Piero Gobetti, and the Italian resistance movement (Resistenza) in which she and her son were participating. While the Resistenza represented a culmination of more than twenty years of anti-fascist activity for Ada, it also helped illuminate the exceptional talents, needs, and rights of Italian women, more than one hundred thousand of whom participated.
The First Book from n+1—an Essential Chronicle of Our Financial Crisis HFM: Where are you going to buy protection on the U.S. government's credit? I mean, if the U.S. defaults, what bank is going to be able to make good on that contract? Who are you going to buy that contract from, the Martians? n+1: When does this begin to feel like less of a cyclical thing, like the weather, and more of a permanent, end-of-the-world kind of thing? HFM: When you see me selling apples out on the street, that's when you should go stock up on guns and ammunition.
The Book Smugglers is the nearly unbelievable story of ghetto residents who rescued thousands of rare books and manuscripts-first from the Nazis and then from the Soviets-by hiding them on their bodies, burying them in bunkers, and smuggling them across borders. It is a tale of heroism and resistance, of friendship and romance, and of unwavering devotion-including the readiness to risk one's life-to literature and art. And it is entirely true. Based on Jewish, German, and Soviet documents, including diaries, letters, memoirs, and the author's interviews with several of the story's participants, The Book Smugglers chronicles the daring activities of a group of poets turned partisans and scholars turned smugglers in Vilna, "The Jerusalem of Lithuania." The rescuers were pitted against Johannes Pohl, a Nazi "expert" on the Jews, who had been dispatched to Vilna by the Nazi looting agency, Einsatzstab Reichsleiter Rosenberg, to organize the seizure of the city's great collections of Jewish books. Pohl and his Einsatzstab staff planned to ship the most valuable materials to Germany and incinerate the rest. The Germans used forty ghetto inmates as slave-laborers to sort, select, pack, and transport the materials, either to Germany or to nearby paper mills. This group, nicknamed "the Paper Brigade," and informally led by poet Shmerke Kaczerginski, a garrulous, street-smart adventurer and master of deception, smuggled thousands of books and manuscripts past German guards. If caught, the men would have faced death by firing squad at Ponar, the mass-murder site outside of Vilna. To store the rescued manuscripts, poet Abraham Sutzkever helped build an underground book-bunker sixty feet beneath the Vilna ghetto. Kaczerginski smuggled weapons as well, using the group's worksite, the former building of the Yiddish Scientific Institute, to purchase arms for the ghetto's secret partisan organization. All the while, both men wrote poetry that was recited and sung by the fast-dwindling population of ghetto inhabitants. With the Soviet "liberation" of Vilna (now known as Vilnius), the Paper Brigade thought themselves and their precious cultural treasures saved-only to learn that their new masters were no more welcoming toward Jewish culture than the old, and the books must now be smuggled out of the USSR. Thoroughly researched by the foremost scholar of the Vilna Ghetto-a writer of exceptional daring, style, and reach-The Book Smugglers is an epic story of human heroism, a little-known tale from the blackest days of the war.
Benjamin Brown French was a Washington insider who lived in the shadow of the Capitol from 1833 to 1870. Personally acquainted with 12 presidents, he was on the scene observing great men and great events of his day, while also taking note of gossip, drunkenness, and duels. These selections (culled from his 4,000 page journal), provide historical details at their most entertaining.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
