Born into a Jewish ghetto in Hungary, as a child, Elie Wiesel was sent to the Nazi concentration camps at Auschwitz and Buchenwald. This is his account of that atrocity: the ever-increasing horrors he endured, the loss of his family and his struggle to survive in a world that stripped him of humanity, dignity and faith. Describing in simple terms the tragic murder of a people from a survivor's perspective, Night is among the most personal, intimate and poignant of all accounts of the Holocaust. A compelling consideration of the darkest side of human nature and the enduring power of hope, it remains one of the most important works of the twentieth century. New translation by Marion Wiesel, with a new introduction by Elie Wiesel.
From the author of Black Leopard, Red Wolf and the WINNER of the 2015 Man Booker Prize for A Brief History of Seven Killings "An undeniable success.” — The New York Times Book Review A true triumph of voice and storytelling, The Book of Night Women rings with both profound authenticity and a distinctly contemporary energy. It is the story of Lilith, born into slavery on a Jamaican sugar plantation at the end of the eighteenth century. Even at her birth, the slave women around her recognize a dark power that they- and she-will come to both revere and fear. The Night Women, as they call themselves, have long been plotting a slave revolt, and as Lilith comes of age they see her as the key to their plans. But when she begins to understand her own feelings, desires, and identity, Lilith starts to push at the edges of what is imaginable for the life of a slave woman, and risks becoming the conspiracy's weak link. But the real revelation of the book-the secret to the stirring imagery and insistent prose-is Marlon James himself, a young writer at once breathtakingly daring and wholly in command of his craft.
You are having a baby. How do you feel? Excited? Nervous? Downright terrified? For most people, even if it is something they have longed for, having a baby is a voyage into the great unknown, a turning point after which their lives will never be the same again. When Will I Sleep Through the Night? is a beautifully written account of one woman's experience of pregnancy and the first year of her child's life. Written in diary-style entries, it is a record of the day-to-day reality of having a baby and a portrait of the frustration, fear and overwhelming love that come with it. By turns funny, moving and reassuring, this is a book that doesn't try to tell you what to do or what to feel but simply tells it as it is, a story that is both intimate and universal, an A-Z of babyhood.
"I have a dog. Nothing exotic or special, just an ordinary dog. In fact, I always thought he was a boring dog. What I mean is, he can fetch, roll over, and shake hands, but mostly he sleeps and eats." Or so the little boy in this story thinks, until one morning when he opens the door a little early and sees his dog jump out of a limousine. That night he decides to follow his dog, and that's when the fun starts. Before he knows it, he has entered the little known world of doggy glamour. His dog, distinctly reminiscent of Humphrey Bogart, treats him to a nighttime adventure where he learns where dogs go to relax and sees what they do while their masters are fast asleep. A terrific read aloud, Nina Laden's story will have everyone captivated by the coolest dog around.
Since its completion in 1955, Alain Resnais's Night and Fog (Nuit et Brouillard) has been considered one of the most important films to confront the catastrophe and atrocities of the Nazi era. But was it a film about the Holocaust that failed to recognize the racist genocide? Or was the film not about the Holocaust as we know it today but a political and aesthetic response to what David Rousset, the French political prisoner from Buchenwald, identified on his return in 1945 as the 'concentrationary universe' which, now actualized, might release its totalitarian plague any time and anywhere? What kind of memory does the film create to warn us of the continued presence of this concentrationary universe? This international collection re-examines Resnais's benchmark film in terms of both its political and historical context of representation of the camps and of other instances of the concentrationary in contemporary cinema. Through a range of critical readings, Concentrationary Cinema explores the cinematic aesthetics of political resistance not to the Holocaust as such but to the political novelty of absolute power represented by the concentrationary system and its assault on the human condition.