Features
New book tells story of incredible courage shown by two Dutch Jewish sisters during World War II
Reviewed by BERNIE BELLAN In early August we received an email from a publicist for HarperCollins by the name of Rebecca Silver, who’s sent us interesting books to consider reviewing in the past.
Here’s how Rebecca’s email read:
Hi Bernie,
Roxane van Iperen did not know what she would eventually uncover in her home after she moved in, but later discovered it was once known as the High Nest and became enthralled with the inspiring story of its former occupants. As she unearthed the history behind her own walls, she learned it was a safehouse for Jews in the Nazi-occupied Netherlands. From then on, van Iperen was determined to explore its hidden corners and found she had unprecedented access to two sisters’ personal archives to create this remarkable work of narrative non-fiction.
The High Nest was one of Holland’s most daring rescue operations conducted by Jews for Jews. Through her excavation, she learned the story of two sisters, Janny and Lien Brilleslijper, who joined the Dutch Resistance, helped save dozens of lives, were captured by the Nazis, and ultimately survived the Holocaust. Through renovating her home, the sisters’ ingenuity and drive to survive was exposed by double walls, secret doors, and walled-off annexes that were so well concealed they were left undetected for decades.
Originally published in The Netherlands as The High Nest, the book was awarded the 2019 Opzij Literature Prize, an annual Dutch award given to female authors whose work has contributed to the emancipation, evolution, and awareness of women. Janny and Lien’s story is a remarkable story of resistance, strength, and determination — one you must read to believe.
All the best,
Rebecca
Included with Rebecca’s email was the following synopsis of the book: Eight months after Germany’s invasion of Poland, the Nazis roll into The Netherlands, expanding their reign of brutality to the Dutch. But by the Winter of 1943, resistance is growing. Among those fighting their brutal Nazi occupiers are two Jewish sisters, Janny and Lien Brilleslijper from Amsterdam. Risking arrest and death, the sisters help save others, sheltering them in a clandestine safehouse in the woods, they called “The High Nest.”
This secret refuge would become one of the most important Jewish safehouses in the country, serving as a hiding place and underground center for resistance partisans as well as artists condemned by Hitler. From The High Nest, an underground web of artists arises, giving hope and light to those living in terror in Holland as they begin to restore the dazzling pre-war life of Amsterdam and The Hague.
When the house and its occupants are eventually betrayed, the most terrifying time of the sisters’ lives begins. As Allied troops close in, the Brilleslijper family are rushed onto the last train to Auschwitz, along with Anne Frank and her family. The journey will bring Janny and Lien close to Anne and her older sister Margot. The days ahead will test the sisters beyond human imagination as they are stripped of everything but their courage, their resilience, and their love for each other.
Based on meticulous research and unprecedented access to the Brilleslijpers’ personal archives of memoirs and photos, The Sisters of Auschwitz is a long-overdue homage to two young women’s heroism and moral bravery—and a reminder of the power each of us has to change the world.
Author bio: Roxane van Iperen is a Dutch writer and lawyer who resides in the countryside east of Amsterdam, in a home known as “The High Nest” which was once the center for one of Holland’s most daring rescue operations conducted by Jews for Jews. She was shortlisted for the biggest public prize in Holland, NS Publieksprijs’ Book of the Year.
Now for my review of “The Sisters of Auschwitz”: The information I’ve quoted verbatim from Rebecca Silver’s email gives as complete an idea what the book is about as one might like. The question with which I want to deal is whether I would recommend this book.
It was a year ago precisely that I wrote about a book that was also based on documents that had been found hidden for years and which opened up an entirely different perspective on certain facets of the Second World War. That book was titled “The S.S. Officer’s Armchair – Uncovering the Hidden Life of a Nazi”. (You can read my review by entering the word “armchair” on our website when you click on “search archives”.)
Of course, there’s a world of difference in reading about a hitherto undisclosed account of what life was like for an S.S officer in contrast with the lives of two Jewish sisters (and their families), but the comparison is fair to make because, in both cases, through a combination of luck and great diligence, the authors of the two respective books were able to piece together their subjects’ lives.
As I made my way through “The Sisters of Auschwitz”, knowing that the two sisters who are at the heart of this book actually survived Auschwitz did not detract from the suspense that the author builds in telling the story. Every Holocaust survivor has their own unique story to tell, but it’s in the telling of the story that the great books separate themselves from the more mediocre ones. And, as is evidenced by author Roxanne van Iperen having been shortlisted for Holland’s most prestigious literary award, this book is not just a fine piece of reporting what the author discovered, it’s very wonderfully written.
Rebecca Silver’s email tells you about as much as you need to know about the story that was unearthed by van Iperen’s having had the good fortune to have lived in the house – the “High Nest”, which became the hiding place for Janny and Lien Brilleslijper, along with a great many other Jews, for a good part of World War II. What the author also does so well is describe the terrible fate that befell so many of Holland’s Jews during the Holocaust, when almost 75% of the Jewish population was exterminated, either by being murdered in Holland, sent to labour camps where they perished from exhaustion and hunger, or finally were gassed in death camps, particularly Auschwitz.
I’ve read before how so many Dutch citizens cooperated fully with the Nazis. It still comes as a shock to contemplate that fact because we’ve come to regard Holland as such a liberal state, which for the longest time was thought of as a mecca for those in pursuit of sex and drugs. But when you realize that 76,000 Dutch Jews were sent to their deaths, in no small part because so few Dutch gentiles were willing to come to their aid, it certainly leaves a different impression of the Dutch for Jews who might have thought of the Dutch as being active resisters to the Nazis. Sure, there were many brave souls in the Dutch resistance, but the Nazis were as comfortable in Holland as any Western European country, where they found many Dutch who were all too willing not only to work for the Nazi regime, but who were as cruel as many Nazis in carrying out their duties.
That’s not the major theme of “The Sisters of Auschwitz”, but as you read of Janny and Lien’s constant worry about being betrayed during the fairly long period in which they were able to avoid being detected by Nazi hunters, who were primarily Dutch citizens – zealous in their pursuit of Jews, it’s hard not to wonder whether there was a much deeper anti-Semitism engrained within the Dutch than perhaps we’ve thought.
While the first half of “The Sisters of Auschwitz” deals with Janny and Lien’s being able to hide from the Nazis, also their active involvement in the Dutch resistance, once the storyline moves from Holland to the sisters’ (along with their younger brother and both parents) being transported to Auschwitz, the book becomes nothing less than an outright horror story.
Before Janny was captured, by the way, she was in hiding in Amsterdam, along with her non-Jewish husband, Eberhard, where they were both quite active in the resistance. Once she is captured –and tortured, however, how she manages to endure the horrors that are subsequently thrust upon her is a testament to this woman’s utter resilience. While Lein is brave, nothing compares to Janny’s determination to carry on, no matter how many times you might think to yourself: “Why didn’t she just give up and let herself die?”
Whether it was being starved, beaten, or forced to spend hours naked outside in freezing temperatures, Janny not only managed to endure, her incredible willpower also enabled her to keep Lein alive at the same time – many times when Lein was ready to give up.
What might come as the greatest surprise to readers moreover, is the introduction of the Frank family into the story: father Otto, mother Edith, and sisters Margot and Anne. I was always under the impression that Anne Frank died in Auschwitz, but I was wrong; she died in Bergen Belsen, along with her sister Margot. If the details given in “The Sisters of Auschwitz” are accurate, the fact that Margot and Anne even made it as far as Bergen Belsen after having been in Auschwitz is largely due to the care that was given to both of them by Janny and Lein when both Frank sisters were suffering from typhus in Auschwitz.
As much as this book is a compelling read, I admit that I had a hard time with the many foreign names in the book. There are so many different characters introduced – and that is largely a reflection of just how many different Jews the two sisters were able to hide in the “High Nest” at one time or another, that it became quite confusing for me, as did the names of the sisters’ children. Still, I’m sure that if you concentrate on trying to remember who is who (and I’m terrible at that), it will all come together for you.
Just as reading “The S.S. Officer’s Armchair”, which was published in 2020, enabled an entirely new understanding of what life must have been like for an ordinary Nazi official – 75 years after that particular individual likely died, reading “The Sisters of Auschwitz” also opens up an insight into how some Jews were able to endure the tortures inflicted upon by them by the Nazis that, were it not for a quirk of fate, would also have remained undisclosed.
“The Sisters of Auschwitz”
By Roxane van Iperen
320 pages
Published by HarperCollins
Released for sale August 31, 2021
Available on Amazon
Features
In Dan Brown’s chaotic tale of a rampaging Golem, a case of missing Judaism
By Mira Fox September 27, 2025
This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
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Strap on your best smooth-soled Italian loafers and get ready to spring over some cobblestones, because Robert Langdon — everyone’s favorite tweed-jacketed, baritone-voiced, handsome Harvard “symbologist” — is back, and he’s racing through the streets of Prague.
In Dan Brown’s newest thriller, however, there’s no Dante or Mary Magdalene; Brown is finally veering away from the Christian mythos that drove all of his previous adventures such as The DaVinci Code and Angels and Demons. This time, he’s taking on something older and far more mysterious: Judaism.
Each of Brown’s symbology books has a central guiding myth or story, i.e. the Holy Grail, Dante’s Inferno or the Founding Fathers’ involvement with Freemasonry. The Secret of Secrets follows the same formula, and its opening moments make its central myth obvious. Within the first few pages of the book, the Golem of Prague — which for some reason Brown insists on spelling as Golěm — has already murdered someone.
The story proceeds about as you’d expect, if you’ve read any of the previous Robert Langdon novels; though it has been eight years since we last read about the Harvard professor’s misadventures, he remains dashing and impressively fit for his age, as Brown reminds us regularly, though this time we hear less about his penchant for tweed. Langdon still has a photographic memory, which still comes in handy as he deciphers various codes, and the book is still loaded with long tangents about the history of various buildings and artifacts that Langdon is sprinting by. (Even while desperately attempting to escape from a gunman in a historic library, the symbologist has the presence of mind to consider the artist behind the frescoes on the ceiling.)
But the book is notably lacking in something surprising: the Jewish history of Prague, or of the Golem, or blood libel. There are no Hebrew translations or reinterpretations of Talmudic texts. We don’t learn some little known midrash that holds a secretive double meaning. These are the kinds of factoids that usually drive Brown’s mysteries, yet they’re absent.
The plot revolves, instead, around a damsel in distress, who readers may remember from the previous Langdon books: The beautiful “noetic scientist” Katherine Solomon, who is about to publish an academic treatise detailing her research on human consciousness and death. Apparently some very powerful people want to destroy her manuscript, so the action and mystery unfold across Prague as Langdon attempts to save Katherine, save her book, and — hey why not — save all of Prague and also maybe the United States. And, somewhere in there, a Golem is on the loose.
Brown’s previous novels have delved into various Christian mysteries with vigor and palpable fascination; whatever Brown’s many foibles as a writer, you could tell that he was excited by the myth of the Holy Grail, which took centerstage in The DaVinci Code, which he reinterpreted to be an allegory about a love affair between Jesus and Mary Magdalene. In Angels and Demons, Brown has great fun with the secretive inner workings of the Vatican, and Inferno is laden with delighted diversions into Christian history and ideas about the afterlife, courtesy of Dante Alighieri’s Divine Comedy.
In The Secret of Secrets, Brown outlines the basic myth of the Golem: Rabbi Judah Loew, a 16th century Talmudic scholar and leader of Prague’s Jewish community, created a magic guardian out of clay to protect the ghetto from antisemitic attacks. Loew engraved the word “emet,” or truth, in Hebrew on its forehead to bring it to life. Eventually the Golem turned on the rabbi, almost killing him, until Loew managed to rub away the aleph in “emet,” turning the word to “met,” or death, and stopping the creature; its body was placed in an attic in case it was needed again.
That’s about all we get, yet there’s so much more to explore. In another version of the story, Loew made sure to erase the aleph from the Golem’s forehead every Shabbat to allow it to rest; instead of going on a murderous rampage, the creature was eventually destroyed because it desecrated the holy day. According to some stories, a Nazi tried to ransack the attic where the Golem was stored, and died mysteriously. Others say its body was stowed in a genizah, where sacred Jewish texts are placed since they cannot be destroyed.
Then there is the actual Jewish history, the blood libel, accusations of witchcraft and antisemitic laws that kept Jews segregated in Prague’s ghetto. There is also Loew’s own life as a lauded Talmudic scholar — not a Kabbalist, as Brown describes him — and, of course, a rich tradition of Talmudic and midrashic exegesis. The setting is rife with the kind of symbols and mystery that Brown uses as fodder in all his other thrillers, inventing secret societies and mystical artifacts lost to history.
Instead, The Secret of Secrets has no Jewish characters and very little Jewish history. Though Brown sprinkles in a few of Prague’s Jewish landmarks — the Old-New Synagogue and the city’s historic Jewish cemetery — the book still manages, despite its Golem centerpiece, to spend most of its time in churches. When Langdon first encounters the Golem and sees its forehead inscription, Brown notes that the symbologist “did not read Hebrew well,” though the professor, who specializes in religion, regularly relies on his fluency in Greek, Latin, Arabic, Cyrillic and even a fake angelic language invented by two crackpot mediums that was never spoken by more than a handful of people. At one point, the Golem is described as arriving “like some kind of ascendant Christ.”
The real focus of the book is an imaginary bit of science having to do with human consciousness and life after death, a topic Brown has been exploring in the Langdon books for some time now. His interest in religion seems to stem from the idea that they are all, fundamentally, the same, and that all religions are reaching for proof that life persists after death.
But Judaism doesn’t. There are concepts — which Brown overemphasizes — like gilgul or gehenna that imply some post-death experience, but they’re not central to Jewish thought. Though one of the characters reads Loew’s most famous text, Brown clearly didn’t. (Like most works of Jewish commentary, it’s hardly the kind of work one buys in a bookstore and reads in a sitting.)
It’s not as though Brown’s previous books got everything, or even most things, right about Christianity. His wacky inventions are part of the fun — no one is reading a thriller about a fictional professor of an imaginary discipline for accuracy. The Golem is a myth, a rich story that has remained resonant over the centuries due to its flexibility and ability to be reinterpreted; Brown can make whatever he wants of it. The problem is that he has made so little.
Mira Fox is a reporter at the Forward. Get in touch at fox@forward.com or on Twitter @miraefox.
This story was originally published on the Forward.
Features
Top Free Slot Demos You Can Play Right Now
Sometimes, you might not want to pay for spinning reels. Maybe you just don’t have cash at the moment, or you want to just play for fun without any responsibilities. And that’s totally normal. Free slot demos are there for you. If you’re looking for some great options to play right now, here are the top free slot demos that are worth checking out.
Free slot demos that bring the fun
Sweet Bonanza
Fans’ favorite Sweet Bonanza demo play offers a candy-themed slot. Instead of traditional paylines, it uses a 6×5 grid where wins happen when you land eight or more matching symbols anywhere on the screen. Every win triggers the tumble feature. It means that winning symbols disappear, and new ones drop in. Potentially, they chain multiple wins together.
The highlight, though, is the free spins round. If you land four or more lollipop scatters, you’ll get 10 free spins. They’d be complete with colorful multiplier bombs that can reach up to 100x. Since the game is known for high volatility, demo mode is a nice way to test whether you enjoy the thrill of chasing those big but less frequent wins. Plus, the candy graphics and upbeat soundtrack make the whole experience surprisingly addictive.
Big Bass Bonanza
If you prefer fishing rods to candy canes, Big Bass Bonanza is another top demo slot you should try. It’s simple and fun. It has a free spins feature where the fisherman collects money values that are attached to fish symbols. As you progress through levels, multipliers increase. And it gives you a shot at some impressive wins. The demo version is a great way to see how often the fisherman shows up and whether this type of slot is what you might like.
Cleocatra
Cleocatra slots are about ancient Egypt with adorable cats. As fun as it sounds, it somehow works. The base game features wild multipliers. However, the free spins round is what makes it truly interesting. Sticky wilds lock in place and can quickly build up some wild combinations. In demo mode, you’ll get to see how powerful those sticky wilds can be without risking any cash.
Boom!
Among the slots that are packed with features, Boom! is worth a spin in demo. This game offers expanding wilds, free spins, jackpots, and even multiple bonus games. It might not be the greatest choice if you’re new to slots. There are just so many different things that it might feel overwhelming. Well, it’s free. So, even if you want to try, there’s nothing to be afraid of. That’s exactly why demo play is so useful. You can try out each feature and figure out whether you like the layered gameplay.
Sweet Bonanza 1000
Yes, Sweet Bonanza deserves two mentions. The newer Sweet Bonanza 1000 takes the original formula and cranks up the intensity. There are bigger multipliers, higher max wins, and even more fun. It makes this version perfect for people who just want extra adrenaline. Why should you try it? You can actually see if the higher risk is what you can go after. It’s more volatile than the original. That’s why trying the demo play is a wise choice.
Why play free demos?
Of course, the feeling is completely different from playing for real money. However, there are people who enjoy slots not because of the potential winnings. Here are some other reasons to pay attention to them:
- You can get the full slot experience without spending anything at all;
- You can actually figure out the bonus trigger, scatter, and volatility;
- You can see how bonus buys, multipliers, and jackpots actually play out;
- You can choose if you like slow and steady play or big swings.
Final thoughts
With the option to play free slot demos, you can try popular titles like Sweet Bonanza without any risks. Surely, they can help you just kill the time. However, they can also let you figure out the mechanics and test features. There are lots of them, and you can test them all. After that, you can decide you’re up to bet real money.
Features
New movie, “Bau, Artist at War,” now playing in Winnipeg, tells the amazing story of Joseph Bau, whose marriage to his wife Rebecca was made famous in “Schindler’s List”
“They can starve us, beat us, cage us – but they could never kill our spirit.“ – Joseph Bau
A gripping new movie, titled Bau, Artist at War, is now on at the Cineplex Odeon McGillivray Theatre.
The movie tells the story of Joseph Bau, whose dramatization of his marriage in Plaszow concentration camp to his wife Rebecca was an unforgettable scene in the movie Schindler’s List.
The film is based in large part on Bau’s memoir, Dear God, Have You Ever Gone Hungry? (published in 1998). The film was written by Deborah Smerecnik, Ron Bass, and Sonia Kifferstein, and is directed by Sean McNamara.
Featuring stellar performances by Emile Hirsch (who appeared in Once Upon a Time in Hollywood) as the protagonist, and Inbar Lavi (who appeared in the Israeli television series Fauda and the U.S. television series Imposters) as Rebecca, the movie is a combination love story and espionage tale that deserves attention in an era, as one commentator has said, “where survivors are fading away, and the Holocaust is slipping from memory.” It’s also a story about resistance during the Holocaust.
In the movie, during his time in Plaszow Concentration Camp, Bau is a Jewish forger, an artist and a designer. He is employed by the brutal commandant Josef Liepold to draw a newly planned wing in the prison. He is simultaneously forging IDs for Jewish inmates helping them escape the prison. Hirsch as Bau, also draws comics for the prisoners, and his gift of art inspires his future wife with his colorful “lifegiving” creations, to which she responds in the gloomy setting of the death camp. McNamara cleverly intercuts these wonderful artworks within the film’s action.
Joseph Bau was a man who defied the darkness of the Holocaust with art, humor, and an unbreakable spirit. A gifted artist and master forger, Bau risked his life to save others, using his talent to create false documents that helped fellow prisoners escape certain death. But in the depths of despair, he discovered something even more powerful…love.
In the Plaszow concentration camp, amid relentless brutality, Joseph met Rebecca – a woman whose courage matched his own.
Years later, when Joseph is called to testify against the sadistic Nazi officer who tormented him, he is forced to relive the horrors of his past. But through it all, he draws strength from the love that saved him, the art that sustained him, and the unyielding will that kept him alive.
A gripping war drama, a daring espionage thriller, and one of the greatest love stories of our time, Bau, Artist at War is a testament to the power of resilience, the triumph of the human spirit, and the unbreakable bonds that even war could not destroy.
More stills from the movie:
