Here are 100 books that The Women of Janowka fans have personally recommended if you like
The Women of Janowka.
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And, who are you? I write the stories I wish I could have read when I was growing up. As the self-conscious first-born daughter of post-war German/German-Russian immigrants, I looked for my reflection in books. My masters’ degree in 20th German literature only whetted my appetite. I needed more and continued to search for my family’s stories. That search included climbing Hitler's mountain, perusing Soviet secret police files, and cycling through old East Prussia searching for amber. Now I write my own stories even as I continue to read, listen, watch and travel. The past is everywhere.
I love all of Marsha Skrypuch’s YA books. Page-turning plots, engaging characters, inspired by real events. Her novels focus on Ukrainian and Polish young people’s experiences under both Hitler and Stalin. This one stands out to me, first because of the cover and secondly, because of the author’s ability to wrench my heart. The novel focuses on a young Polish girl, deemed Aryan enough, so she can be raised in a Nazi family. It was a story that opened my eyes. These horrendous things happened to innocent kids.
A companion to Making Bombs for Hitler and The War Below, this novel follows a Ukrainian girl who was kidnapped as a child to be raised by a Nazi family.
Nadia is haunted by World War II. Her memories of the war are messy, coming back to her in pieces and flashes she can't control. Though her adoptive mother says they are safe now, Nadia's flashbacks keep coming.Sometimes she remembers running, hunger, and isolation. But other times she remembers living with a German family, and attending big rallies where she was praised for her light hair and blue eyes. The…
And, who are you? I write the stories I wish I could have read when I was growing up. As the self-conscious first-born daughter of post-war German/German-Russian immigrants, I looked for my reflection in books. My masters’ degree in 20th German literature only whetted my appetite. I needed more and continued to search for my family’s stories. That search included climbing Hitler's mountain, perusing Soviet secret police files, and cycling through old East Prussia searching for amber. Now I write my own stories even as I continue to read, listen, watch and travel. The past is everywhere.
This fast-paced adventure novel, set in Leipzig after the Second World War, tells the story from a German boy’s point of view. The Bass novel explores German guilt and the strained relationships that young people had with their Nazi-era parents. That includes me and my own relationship with my father who was a pilot for the Luftwaffe. Graffiti Knight is inspired by the author’s real-life friendship with the daughter of German immigrants to Canada.
After a childhood cut short by war and the harsh strictures of Nazi Germany, sixteen-year-old Wilm is finally tasting freedom. In spite of the scars World War II has left on his hometown, Leipzig, and in spite of the oppressive new Soviet regime, Wilm is finding his own voice. It's dangerous, of course, to be sneaking out at night to leave messages on police buildings. But it's exciting, too, and Wilm feels justified, considering his family's suffering. Until one mission goes too far, and Wilm finds he's endangered the very people he most wants to protect.
And, who are you? I write the stories I wish I could have read when I was growing up. As the self-conscious first-born daughter of post-war German/German-Russian immigrants, I looked for my reflection in books. My masters’ degree in 20th German literature only whetted my appetite. I needed more and continued to search for my family’s stories. That search included climbing Hitler's mountain, perusing Soviet secret police files, and cycling through old East Prussia searching for amber. Now I write my own stories even as I continue to read, listen, watch and travel. The past is everywhere.
This book opened the window to my mom and her sisters’ experiences in the last months of the war. I was blown away. It validated my mom’s memories in a way that no other book had up to this point. Growing up on the Canadian prairies I had little patience for my family’s memories filled with pain and suffering. Finally, I understood, that my mom had her own PTSD... something that I inherited and I feel compelled to explore.
The genocidal barbarism of the Nazi forces has been well documented. What is little known is the fate of fifteen million German civilians who found themselves on the wrong side of new postwar borders. All over Eastern Europe, the inhabitants of communities that had been established for many centuries were either expelled or killed. Over two million Germans did not survive. Some of these people had supported Hitler, but the great majority were guiltless. In A Terrible Revenge, de Zayas describes this horrible retribution. This new edition includes an updated foreword, epilogue and additional information from recent interviews with the…
And, who are you? I write the stories I wish I could have read when I was growing up. As the self-conscious first-born daughter of post-war German/German-Russian immigrants, I looked for my reflection in books. My masters’ degree in 20th German literature only whetted my appetite. I needed more and continued to search for my family’s stories. That search included climbing Hitler's mountain, perusing Soviet secret police files, and cycling through old East Prussia searching for amber. Now I write my own stories even as I continue to read, listen, watch and travel. The past is everywhere.
Discovering this German YA writer was a thrill. It focuses on the dilemma a German girl faces when she finds a Russian prisoner of war hiding in her barn. Pausewang has written many books about atrocities during war years and also anti-nuclear novels set in the future. I gobbled up several of her books and read them in the original German, then passed them on to older relatives who find the YA books an easier read with less complicated plots. Pausewang’s books are popular in the German school curriculum and many have now been translated into English. It’s great to read books that explore the German war history, written by Germans.
It's 1944 and Anna's in the Sudetenland, her elder brother is at the front and her younger one is a fanatical member of the Nazi Youth. When she finds an escaped Russian soldier hiding in their barn, nearly dead, humanity conquers fear and she hides him in a disused bunker and continues to feed him despite knowing that if caught she'd be executed as a traitor. She doesn't dare tell even her mother. As the front approaches their village from the east it seems the Russian prisoner will soon be re-united with his comrades - but will Anna's already suspicious…
Unlike most children of immigrants who were told nothing about the past, I grew up surrounded by family history—my grandfather’s village in Russia, my father’s memories of 1930s Europe, and my mother’s childhood on a migrant worker farm during the Great Depression. I realized that history isn’t just names and dates but a unique opportunity to study human behavior. I wrote Hammer of the Gods about the Thule Society because Thule was often mentioned in passing by historians of Nazi Germany, as if they were uncomfortable delving into an occult group recognized as influential on the Nazis. I decided I wanted to learn who they were and what they wanted.
I found this book by the German scholar Joachim Fest many years ago at a flea market. Fest’s portrait of Hitler and a dozen high-ranking officials of the Third Reich became models for my own writing. Fest maps out the range of personalities—their cruelty, greed, and misplaced ideals—and the way in which Hitler encouraged rivalry among them to preserve absolute power for himself.
I find that one of the advantages of having worked as a professor (now Emerita ) of German at the University of Wisconsin, Milwaukee, is that it helped me gain perspective. When I study literature–especially in languages other than English–I am forced to step outside of my everyday world to identify the motif and leitmotif of the author. I am proposing that the medical training of these five authors helped them do the same: to dig below the surface to find other structures and root causes and to present their findings and unique diagnoses.
Döblin was a practicing Jewish psychiatrist in Berlin when the Nazi regime drove him and his family into exile in France. Already an established and prolific writer, he was forced into a clandestine existence on the run in France.
This memoir essentially depicts the anatomy of life in exile, the isolation from community, whether in France or later as one of the many exiles from Nazi Germany living and working as writers for the film industry in Hollywood. Döblin returned after the war to work in the French zone of a shattered Germany in the uniform of a French officer. His commentary is a masterpiece of psychological analysis both at the personal and collective level.
Reissued as a paperback by Plunkett Lake Press, Destiny's Journey is a memoir reconstructed partly from notebooks that Döblin kept from the time he worked in the French Ministry of Information in the spring of 1940 and partly written without notes in Los Angeles where he took refuge during the Second World War. It tells the personal and generational story of the flight of Jewish and anti-Nazi intellectuals from Europe to America, their fear and frustration, isolation, and inability to work. Döblin’s story differs from that of other Jewish intellectuals and artists in that his family converts to Catholicism in…
As a graduate student during the late 1970s, my mentor, Martin Jay, generously introduced me to two members of the Frankfurt School: Herbert Marcuse and Leo Lowenthal. These memorable personal encounters inspired me to write a dissertation on Walter Benjamin, who was closely allied with the Frankfurt School. The completed dissertation, Walter Benjamin: An Aesthetic of Redemption, became the first book on Benjamin in English and is still in print. The Frankfurt School thinkers published a series of pioneering socio-psychological treatises on political authoritarianism: The Authoritarian Personality, Prophets of Deceit, and One-Dimensional Man. These studies continue to provide an indispensable conceptual framework for understanding the contemporary reemergence of fascist political forms.
When I first read Herf’s book during the 1990s, it totally transformed my understanding of National Socialism’s attitude toward technology and modernity.
Prior to its publication, Nazism was commonly perceived asanti-modernandanti-technological: as aspiring toward a vaguely defined pre-modern, martial-communitarian dystopia. Conversely, Herf shows that Nazism concertedly sought to integrate technological modernity within the movement’s militaristic, pan-German ideological framework. Here, the effusive expression employed by Goebbels to describe Nazism’s hypertrophic pro-technological enthusiasms, “steely romanticism,” says it all!
In this respect, Ernst Jünger’s allegorical glorification of totalitarian militarism in The Worker (Der Arbeiter) was paradigmatic.
In a unique application of critical theory to the study of the role of ideology in politics, Jeffrey Herf explores the paradox inherent in the German fascists' rejection of the rationalism of the Enlightenment while fully embracing modern technology. He documents evidence of a cultural tradition he calls 'reactionary modernism' found in the writings of German engineers and of the major intellectuals of the. Weimar right: Ernst Juenger, Oswald Spengler, Werner Sombart, Hans Freyer, Carl Schmitt, and Martin Heidegger. The book shows how German nationalism and later National Socialism created what Joseph Goebbels, Hitler's propaganda minister, called the 'steel-like romanticism…
Why did I end up spending almost a third of my life researching Nazi boarding schools, and childhood under the Third Reich more generally? I sometimes wonder if it was because I myself was sent to boarding school at the age of nine – somehow, I can sympathise with what these children had to endure, as well as knowing full well from a historian’s perspective which hardships were truly unique to a National Socialist elite education, and which were simply the kind of heart-ache that’s common to any institution which takes children away from their parents at a young age…
Written during the Third Reich itself, this is the hard-hitting book that told the world just how heinous Nazi education policy was – although it was only heeded by a prescient few at the time. Anyone who is worried about how easily schooling can become subject to ideology should definitely read this book!
Published in 1938, when Nazi power was approaching its zenith, this well-documented indictment reveals the systematic brainwashing of Germany's youth. The Nazi program prepared for its future with a fanatical focus on national preeminence and warlike readiness that dominated every department and phase of education. Methods included alienating children from their parents, promoting notions of racial superiority instead of science, and developing a cult of personality centered on Hitler. Erika Mann, a member of the World War II generation of German youth, observed firsthand the Third Reich's perversion of a once-proud school system and the systematic poisoning of family life.…
I am a professor of English and Visual Culture at St. John’s University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitler’s Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
Rich in illustrations, ambitious in scope, and still relevant despite having been written in the pre-perestroika Soviet Union, Golomstock makes his four-way comparison accessible and convincing by insisting that “totalitarian art,” a distinct genre with its own aesthetics and style, organization, and ideology, emerged with the rise of the four regimes indicated in the title of his book.
In the Soviet Union, and later in Maoist China, theories of mass artistic appeal were used to promote the Revolution both at home and abroad. In Nazi Germany and Fascist Italy they asserted the putative grandeur of the epoch. All too often, art that served the Revolution became "total realism," and always it became a slave to the state and the cult of personality, and ultimately one more weapon in the arsenal of oppression. Igor Golomstock gives a detailed appraisal of the forms that define totalitarian art and illustrates his text with more than two hundred examples of its paintings,…
I am a professor of English and Visual Culture at St. John’s University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitler’s Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
This is one of the most influential studies of cultural politics in Nazi Germany which takes as its focus the bureaucracy Joseph Goebbels charged with integrating pre-National Socialist artists and their organizations into the new cultural and political order. Noteworthy, of course, throughout Steinweis’s masterpiece of institutional reconstruction, is the revelation that National Socialist aesthetic preferences were not novel but represented the appropriation of the prevailing conservative taste dominant in the late Weimar Republic.
From 1933 to 1945, the Reich Chamber of Culture exercised a profound influence over hundreds of thousands of German artists and entertainers. Alan Steinweis focuses on the fields of music, theatre and the visual arts in this study of Nazi cultural administration, examining a complex pattern of interaction among leading Nazi figures, German cultural functionaries, ordinary artists, and consumers of culture. Steinweis gives special attention to Nazi efforts to purge the arts of Jews and other so-called undesirables.
