Худи Name It

They wrote it on the wall above my bed. Hello, it said, my name is May. Please talk to me.May has been moved to a care home after her stroke. She can’t communicate, all her words are kept inside. If she tries to point, her arms swing in wild directions, if she tries to talk, strange noises come out of her mouth.May is sharp, quick, and funny, but only her daughter Jenny sees this, and Jackie, a new friend at the home who cares enough to look and listen closely.When May discovers that someone very familiar, from long ago, is living in the room opposite hers she is haunted by scenes from her earlier life, when she was a prisoner of her husband’s unpredictable rages. Bill, the man in the opposite room seems so much like her husband, though almost a lifetime has passed, and May’s eyesight isn’t what it was.As Bill charms his way through the nursing home, he focuses his romantic attention on Jackie, while all May can do is watch. She is determined to protect Jackie and keep herself safe, but what can she do in her vulnerable, silent state?

The children of Auschwitz: this is the darkest spot in the ocean of suffering that was the Holocaust. They were deported to the concentration camp with their families, with most being murdered in the gas chambers upon their arrival, or were born there under unimaginable circumstances. While 232,000 children and juveniles were deported to Auschwitz, only 750 were liberated in the death camp at the end of January 1945. Most of them were under 15 years of age. Alwin Meyer's masterwork is the culmination of decades of research and interviews with the children and their descendants, sensitively reconstructing their stories before, during and after Auschwitz. The camp would remain with them throughout their lives: on their forearms, as a tattooed number, and in their minds, in the memory of heart-rending separation from parents and siblings, medical experiments, abject confusion, ceaseless hunger and a perpetual longing for home and security. Once the purported liberation came, there was no blueprint for piecing together personal biographies after the unthinkable had happened. Many of the children, often orphaned, had forgotten their names or ages, and had only fragmented understandings of where they came from. While some struggled to reconnect to the parents from whom they had been separated, others had known nothing other than the camp. Some children grew up without the ability to trust and to play. Survival is not yet life – it is an in-between stage which requires individuals to learn how to live. The liberated children had to learn how to be young again in order to grow into adults like others did. This remarkable book tells the stories of the most vulnerable victims of the Nazis’ systematic attempt to extinguish innocent lives, and rescues their voices from historical oblivion. It is a unique testimony to the horrific suffering endured by millions in humanity’s darkest hour.

Pietro w?chst bei seinem Vater in Fabbrico auf, einem Provinznest in der norditalienischen Tiefebene. Inmitten von Feldern, H?geln und unfertigen Neubauten scheint die Zeit stillzustehen. Schweigend trinken die Alten in der Bar an der Piazza ihren Kaffee, spielen bed?chtig ihre Karten. Auch Pietros Vater Ettore k?mmert sich ohne viel Worte um ihn, zwischen den beiden liegt die Kluft einer unausgesprochenen Abwesenheit: Pietros Mutter hat Mann und Kind wenige Monate nach der Geburt verlassen. Niemand wei?, wo sie ist, niemand spricht ?ber sie, selbst bei Livio und Ester, den liebevollen Gro?eltern, ist ihr Bild aus den Familienfotos verschwunden. Bleischwer lastet ihr Fehlen auf den beiden M?nnern und macht es dem heranwachsenden Pietro fast unm?glich, sich anderen zu ?ffnen, den eigenen Gef?hlen zu trauen. Als Pietro die Stadt verl?sst und selbst Vater wird, will er endlich wissen, was wirklich geschah. In pr?gnanten, wirkm?chtigen Bildern erz?hlt Roberto Camurri von Zugeh?rigkeit und Selbstbestimmung. Ein ungew?hnlicher Familienroman von gro?er emotionaler Wucht und Eindringlichkeit.