Download A Good Place to Hide: How One French Community Saved by Peter Grose PDF

By Peter Grose

ISBN-10: 1605987514

ISBN-13: 9781605987514

The untold tale of an remoted French group that banded jointly to supply sanctuary and preserve to over 3,500 Jews within the throes of global warfare II
Nobody requested questions, not anyone demanded cash. Villagers lied, lined up, procrastinated and hid, yet most significantly they welcomed.

This is the tale of an remoted neighborhood within the higher reaches of the Loire Valley that conspired to avoid wasting the lives of 3,500 Jews below the noses of the Germans and the warriors of Vichy France. it's the tale of a pacifist Protestant pastor who broke legislation and defied orders to guard the lives of overall strangers. it's the tale of an eighteen-year-old Jewish boy from great who solid 5,000 units of fake identification papers to avoid wasting different Jews and French Resistance opponents from the Nazi focus camps. And it's the tale of a group of excellent women and men who provided sanctuary, kindness, harmony and hospitality to humans in determined desire, figuring out complete good the implications to themselves.
Powerful and richly instructed, a very good position to conceal speaks to the goodness and braveness of normal humans in outstanding situations. eight pages of B&W illustrations

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Additional info for A Good Place to Hide: How One French Community Saved Thousands of Lives in World War II

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Philippe Khan, e-mail message to author, March 21, 2015. Fénelon, 261. CHAPTER 7 Other Issues of Distortion and Embellishment in Fania Fénelon’s Playing for Time Abstract In this chapter Eischeid continues her exposé of the many issues of distortion and embellishment contained in Fénelon’s Holocaust memoir Playing for Time. Topics addressed include rehearsal hours and night work, the controversy over Fénelon’s age and its significance, false repertoire claims, fear of retribution for bad performance, false portrayals of Josef Kramer and Josef Mengele and the sexualization of the SS, embellished or manufactured details about major camp events, the inaccurate portrayal of Oberaufseherin Maria Mandl, and the untrue representations of other Auschwitz prisoners including Zofia Czajkowska, Fanny Birkenwald, Anita Lasker-Wallfisch, Hélène Scheps, Violette Jacquet Silberstein, and the Ovitz dwarf family.

Violette says: “Never the Mendelssohn violin concerto, the less so because as everyone knows that pieces by Jewish composers were completely forbidden. The Germans are and were musicians. ”25 Helena says simply: “Rubbish!! ”27 FEAR OF RETRIBUTION At many points in her memoir, Fania describes a climate of fear in the orchestra and implies that if the women made a mistake in performance, or had a bad day, they would be sent to the gas chamber. ”28 Later, when describing the aftermath of a concert ostensibly for Heinrich Himmler, Fania quotes Alma exploding with the comment, “You played badly, abominably out of tune!

Ala Gres was one of the orchestra’s copyists, from Russia. Olewski AC. Inga Deautchkron, “Auschwitz Women’s Orchestra,” Maariv, Israel, March 26, 1987. Niwińska, Truth and Fantasy, 65. Fénelon, 55. Niwińska interview, 2004. Fénelon, 103. Fénelon, 121. Bradley, telegram to Lasker-Wallfisch, 1981. Olewski AC, Helena Niwińska, e-mail message to author via Lidia Jurek, June 6, 2015. 42 S. EISCHEID 55. 56. 57. 58. 59. 60. 61. 62. 63. Lasker-Wallfisch, CBS News rebuttal statement, 1979. Fénelon, 206.

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