Hitler's Third Reich in 100 Objects

"No one knows more about the Third Reich than Roger Moorhouse. He has chosen fascinating objects that expose the poisonous reality of Hitler’s Germany." ~Dan Snow, author of Twentieth Century Battlefields and Death or Victory

"Every political religion requires its icons and Nazism exemplified this. Art, artefacts and symbols mattered enormously to Hitler and his henchmen, who were selling an idea, a faith, as much as a political programme. This fascinating and beautifully illustrated book by a leading expert on the Nazis sums up the Third Reich in a brilliant and highly accessible way." ~Professor Andrew Roberts, author of The Storm of War and Masters and Commanders

"A fascinating kaleidoscope. These 100 objects are the icons of Nazi Germany." ~Professor Sonke Neitzel, author of Tapping Hitler’s Generals and Soldiers

"From the bizarre to the sinister; a novel and informative way of describing Nazi Germany." ~Charles Messenger, author of Tanks and Broken Sword

"Featuring insightful commentary on the tangible relics of the Third Reich, this book tells the history of the Nazi regime from a fascinating new perspective" ~Military History Monthly

"The style of writing is clear and coherent, the illustrations crisp and of excellent quality, and the book well-rounded and accessible to all. Whether the reader is just interested in this period of history or an academic it is very highly recommended." ~Alina Nwobilska, Britain at War Magazine

"A beautifully illustrated book by a leading expert on the Nazis." ~The Bookseller

"An engaging and novel approach to a familiar history. Pleasingly comprehensive and accessible… highly recommended." ~Iron Cross Magazine

"Moorhouse is an historian with an extraordinary gift for telling detail… Hitler’s Third Reich in 100 Objects performs two essential tasks when it comes to remembering Nazi Germany. First, it conveys how a single, 12-year period — as Richard Overy points out in his introduction — 'continues to exert a macabre fascination long after its violent demise'. At the same time, it decouples beauty from politics, forcing the reader to confront how the former can be dragooned into service by the latter, but need not be." ~TheCritic.co.uk