The Light in Hidden Places

Cameron incorporates various literary techniques and styles to convey Stefania’s experiences as a protector of Jews, guardian of her sister, and roommate to two German nurses. She uses a blunt tone to express Stefania’s exasperation with the nurses in the house, who jeopardize the health of the Jews. Referring to the Jews in the attic, she declares, “It is impossible to feed them” (312). However, Stefania retains her sense of humor. She says she’s “running a Nazi boarding house” (313). Her sarcasm shows how the nurses treat Stefania like their domestic worker. The nurses continue to expose their vanity and selfishness by eating Stefania’s food and having men over. Karin showcases her cruelty by hitting Helena. Humor appears again as Karin and Ilse think the sounds they hear are rats, but the SS man they bring to investigate the rats grows scared, revealing that SS men might not be as fearless as they seem. Stefania displays her courage when she sticks up for herself and her sister and tells the SS man about the nurses’ cruel behavior in front of them. The SS man takes Stefania’s side, and a rather humorous argument involving him, Karin, and Ilse ensues.

Incidents affecting Helena and Stefania illustrate the theme of The Constant Demand for Sacrifice. Helena faces danger when someone comes to check on Stefania and beats her. Cameron uses repetition, repeating the word “smack” (332) to show the extent of the abuse. Even though Helena agreed to help Stefania and has proven to be a good partner, she is only a child forced to sacrifice her childhood within this wartime scenario. Through Edith, the nurses help Helena and apologize for some of their behavior, making them less unlikeable. Edith’s character is somewhat compromised. She gets Stefania to a doctor to avoid deportation, but the doctor experiments on Stefania. Nazis conducted various unethical, painful experiments on people, and Stefania senses the devious atmosphere, admitting, “I am trapped. A specimen on the table” (337). To convey the agony of the needle, Stefania uses vivid diction, “It stings, and then it burns. Horribly. I cry out because I can’t help it” (338). To protect the Jews, Stefania unknowingly compromises her health to stay in Poland instead of being transferred to Berlin.

Although Stefania and Helena are sick, they don’t give up. Demonstrating The Importance of Courage and Determination, they drag themselves out and complete the errands to help with survival: bringing the doctor’s note to the labor market and going to the market for food. Antoni is a kind male character who carries the sisters’ food home. The man with the unibrow continues to represent an ominous figure. Stefania confronts him and hits him in the nose. Stefania is not afraid of men and isn’t timid about asserting herself.

The motif of Chance, Improvisation, and Survival manifests in this section in other ways. Chance helps save the Jews from the installation of electricity. Stefania fortuitously arrives home as they’re about to install the electricity through the attic. She improvises and persuades the electricians to use a window. Januka’s story about Jews in hiding using a pipe for waste reveals how improvisation can turn deadly.

Cameron uses dialogue to demonstrate Malwina’s dangerous actions in the courtyard. She screams, “I want bread! And cheese, and scrambled eggs with horseradish! Do not put your hands on me!” She adds, “You bring it to me, or I’m calling the police! I’m calling the Gestapo!” (351). There’s a huge chance someone will see her, and everyone’s life will be in jeopardy. Yet chance favors the household—nothing happens due to Malwina’s “tantrum,” and no one else catches typhus. In this wartime landscape, survival is often a matter of luck.

The motif of Gender and Manipulation also resurfaces. Stefania has another danger to worry about: the man with a unibrow. The SS man from the picture helps Stefania avoid dangerous German soldiers. If Stefania wasn’t an attractive young woman, the SS man likely wouldn’t have cared.

Mrs. Krawiecka goes from a suspicious character to a savior. She gives Stefania and Sala much-needed food. Stefania and Helena improvise to avoid going to Berlin, where doctors want to study her more. The mood turns jubilant once the Germans leave and the Russians arrive. The Russian soldiers call Stefania a “hero” (372)—an accurate label. Mr. Krajewska’s news about a dead Jewish boy upends the elation and adds suspense, but Max isn’t dead, and the story ends with Max and Stefania kissing—like the conclusion of quite a few mainstream movies.

The author’s note acts as an epilogue. Cameron explains what happens to Stefania, Max, and the others. Also in the author’s note, Cameron becomes a character. She tells how she found out about Stefania and how she became connected with her and her family. The author’s note contextualizes Stefania’s place in history and shows the reader why Cameron is the right person to write a truth-based novel about Stefania and her extraordinarily brave actions.