By Caroline Moorehead
They have been academics, scholars, chemists, writers, and housewives; a singer on the Paris Opera, a midwife, a dental health care professional. They disbursed anti-Nazi leaflets, revealed subversive newspapers, concealed resisters, secreted Jews to safeguard, transported guns, and conveyed clandestine messages. The youngest was once a schoolgirl of fifteen who scrawled "V" for victory at the partitions of her lycÉe; the eldest, a farmer's spouse in her sixties who harbored escaped Allied airmen. Strangers to one another, hailing from villages and towns from throughout France, those courageous girls have been united in hatred and defiance in their Nazi occupiers.
finally, the Gestapo hunted down 230 of those ladies and imprisoned them in a fortress outdoors Paris. Separated from domestic and family, those disparate members grew to become to each other, their universal event conquering divisions of age, schooling, occupation, and sophistication, as they discovered solace and power of their deep affection and camaraderie.
In January 1943, they have been despatched to their ultimate vacation spot: Auschwitz. merely forty-nine might go back to France.
A teach in Winter attracts on interviews with those girls and their households; German, French, and varnish files; and records held by means of international struggle II resistance agencies to discover a dismal bankruptcy of heritage that provides an inspiring portrait of normal humans, of bravery and survival—and of the amazing, enduring energy of girl friendship.
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Additional info for A Train in Winter: An Extraordinary Story of Women, Friendship, and Resistance in Occupied France
In it is a hole through which the rifle can protrude. It represents a bush, and is in use in three different colors. It can be folded up and carried on the person in a bag. The rifleman lies in such a position behind the screen that his body is fully hidden. In attacking he can move forward in a crouch and push the screen in front of him. The screen is only visible to the naked eye at a distance of 150–200 paces. “Camouflage cover for machine gun The cover consists of colored fabric in which tufts of colored matting are woven.
The Germans used gray (grau) for AFVs, but a greenish shade of field gray (feldgrau) for other vehicles. From early 1943 the standard factory base color was changed to dark yellow (dunkelgelb), over which to paint darker green and brown camouflage patterns. In North Africa the Germans also used Italian, Luftwaffe, and captured British paints. German colors were standardized by a state agency, Reichsausschuß für Lieferbedingungen und Gütesicherung (National Committee for Quality Assurance and Delivery), standard RAL 840 R.
British vehicle camouflage underwent a number of changes in both base colors and disruptive pattern schemes. Specific color schemes were specified for the UK, NW Europe, North Africa, Sicily, Italy, the Middle East, and Far East. Commonwealth forces used colors similar to the British, but different shades were used in their homelands to match local coloration, and some of these may have been retained overseas. Units were usually issued standard British colors in the UK or in-theater. Shades and disruptive patterns varied.
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