63 pages • 2 hours read
Mitch AlbomA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section contains descriptions of genocide, antisemitism, graphic violence, infanticide, suicide and suicidal ideation, gun violence, and panic attacks.
Sebastian and Fannie have been crammed into a cattle train along with many other Jewish people. As they all speculate about where the train is taking them, one man yells that they’re being taken to be killed, while the others argue that a young boy on the train platform had promised that they are being taken to “new homes.” The man forces a grate off the train window, and the people in the train car decide to push Fannie out of the window because she is small in stature and does not have any family aboard the train. After Fannie is pushed out, the train quickly slows to a halt, and an armed German officer enters the train car. Sebastian watches all of the passengers step away from the window in fear. Sebastian promises to never forgive his younger brother, Nico, and he swears that he will “make him pay for all this” (6).
The narrator’s identity is revealed to be the personification of truth. Truth asks readers to trust this story about a boy who changes names and lives after the Holocaust.
Truth introduces Nico Krispis in Salonika, Greece, in the year 1936. Nico, while playing a game called abariza with his friends, admits to having been tagged, and his friends ask why he always tells the truth. Truth comments that Nico always told the truth and was very attractive; he never told a real lie until he was 11 years old. Many people would comment on Nico’s attractiveness, stating, “He does not look Jewish” (11). He also earned the nickname Chioni, or “snow,” for his purity.
Truth explains that there are three other characters that continuously interact with Nico’s story: Sebastian, Fannie, and Udo Graf. Sebastian is Nico’s older brother; he has romantic feelings for Fannie. Sebastian is envious of the pampering that Nico receives from their family, but he loves his brother regardless. Fannie has romantic feelings for Nico, who is in her class at school.
After Fannie escapes from the window of the train car, a German officer enters and questions the prisoners about the open window. He beats one of the prisoners until a woman reveals who removed the grate; the German officer then kills the man before stating that one person may leave the train. When no one answers him, he chooses a mother who is holding her infant. He demands that the woman hand him her child before she leaves. The woman begs him not to take her baby, and the officer, now holding the child, throws the baby out the window, claiming that he has kept his promise. The German officer’s name is Udo Graf.
Truth tells readers about their origins on Earth, claiming that when God contemplated creating man, Truth advised him not to because the humans would “be false and tell lies” (17). God cast Truth out of heaven. Truth claims that, while people debate the reasons for God’s decision to expel them from heaven, they believe they were “hurled to earth to smash into billions of pieces, each of which finds its way into a human heart” (18), to allow them to thrive or perish.
In 1938, Nico’s family celebrates the marriage of his aunt Bibi. Nico discusses the significance of tradition with his grandfather Lazarre. After the wedding, the family passes a closed shop with a newspaper in the window that discusses events occurring in Germany. Lev, Nico’s father, asks Lazarre if it is possible for Hitler’s beliefs to spread. Lazarre assures Lev that Hitler is “crazy” and that the Jewish community in Salonika is too large to be destroyed.
In 1941, Lev returns home from the Greek offensive against Italian invasion. The Greek offensive was successful until winter came. Then the Italian forces asked for assistance from the German army. Lev tells Lazarre about the futility of his fight against the German soldiers and recounts the deaths of many of their community members. Nico approaches his father, who, despite his emphasis upon valuing the truth, lies to Nico and tells him that they prevailed over the Germans.
In July of 1942, the Nazi soldiers who now roam the streets of Salonika gather all of the Jewish men in Liberty Square. There, the Nazi officers force the men to endure nonstop calisthenics; if the men stop or fall, they are attacked by the Nazi officers and their dogs. Lev is determined not to fall. He sees German women watching them, laughing and taking pictures; the bystanders do nothing but watch. This day is known as “the Black Sabbath,” a day in which the German forces violated the Jewish holy day of the Sabbath to humiliate them publicly and break their spirits. Truth remarks that the purpose of this was to create a new version of the truth in which the Nazis are seen as holding absolute power. Nico approaches the square, and one of the German guards mistakes him for a German child and offers to lift him up to see Liberty Square. Nico notices an officer approaching, Udo Graf. Udo winks at Nico.
Truth states that humans treat the concept of truth in the same way that they treat food, by picking and choosing what is palatable to them rather than accepting what they know is healthy. Truth then explains how this concept is related to the rise of a person called “the Wolf,” who gained power in Germany; the “Wolf” is the chosen name of Adolf Hitler, the supreme commander of the Nazi regime. Truth explains that Hitler “climbed to power on the back of lies” by creating a false truth blaming the Jewish people as the cause of all German woes (29). Truth explains that Udo Graf was a young man whose mother left his father for a Jewish man; Udo’s father then died by suicide. Udo decided to join Hitler’s forces and became a midlevel commander in the Nazi SS. In the summer of 1942, Hitler sent Udo to Salonika to remove every Jewish citizen from the city.
One Sunday, in the fall of 1942, Lazarre brings Nico, Fannie, and Sebastian to the Jewish cemetery just outside the city gates; it is the largest Jewish cemetery in the world. Lazarre finds the graves of his parents and begins to pray in Hebrew. After the prayer, Lazarre begins to clean the gravestones, explaining the value of doing something kind and expecting nothing in return. The children, inspired by this concept, begin to clean the graves of strangers. Truth explains that this is the last time they will visit the cemetery before it is destroyed.
In January of 1943, as Lev, Nico, and Sebastian are in Lev’s smoke shop, two Greek men enter the store. The men are surprised to see Lev still there and show him a paper that explains that, under the German occupation, Lev’s shop must be handed over to the two Greek men. Lev refuses to leave his shop, and several minutes later, Lev, Nico, and Sebastian are shoved out the door by two Nazi officers. They are never allowed to set foot in their tobacco shop again.
In crafting this distinctive Holocaust-focused narrative, Albom makes it a point to establish The Destructive Power of Lies from the first chapter. By beginning in medias res with the cattle car holding Sebastian and Fannie as it hurtles toward the Auschwitz death camp, the author chooses a high-stakes scene that illustrates the consequences of the lie that Nico has told, even before the disastrous moment of this earlier deception is revealed. By showing the results first, Albom ensures that the moment of Nico’s fateful decision to comply with the treacherous SS officer’s plan has a much greater impact. Additionally, the unique choice to personify the concept of truth as the narrator of the entire novel forces readers to consider the story’s deeper ethical commentary on the lies, cruelty, and deeply fraught human relationships that characterize this point in history.
The devastating effect of deception is further emphasized when Truth frames the entire narrative as a parable: a form of storytelling designed to set forth a moral lesson. The full impact of this strategy becomes apparent when Truth provides an actual parable that attempts to illustrate why people lie. In the parable, Truth warns God that if he were to create humans, they would tell lies. As a result, God casts Truth out of heaven, and although humans are consequently born with the ability to lie, Truth’s ongoing presence in the world implies that all humans have the option to either embrace the truth lodged in their hearts or reject it in favor of lies that they find more palatable. This philosophical passage thus offers a stylized explanation for the real-life lies that fueled the Holocaust; the sheer magnitude of such lies has no logical explanation, so Albom chooses to employ a storytelling device to impose a semblance of order on an otherwise incomprehensible barrage of atrocities.
Within the age-old juxtaposition of truth and lies, The Complexity of Human Relationships takes center stage in the lives of the protagonists. From the beginning of the novel, Nico and Sebastian’s relationship is framed as one corrupted by jealousy. As Nico’s older brother, Sebastian has complicated feelings toward Nico, loving him deeply and yet resenting him for his favored status within the family dynamics. Nico also has a strong friendship with Fannie, Sebastian’s crush. Although such brotherly rivalries should become trivial in the face of the deadly danger that the family faces, Sebastian’s jealousy for Nico will ultimately fuel his choice not to alert his parents of Nico and Fannie’s presence in the house when Nazi officers force them to vacate their home and move to a ghetto. These early chapters also detail Nico’s love for his brother. Nico harbors no ill feelings toward Sebastian and has even received the nickname Chioni, or “snow,” for his inability to tell lies; this name also highlights Nico’s genuine naiveté, a flaw that foreshadows his credulity when he will be faced with the malicious lie of the SS officer intent on making him complicit in the Jewish citizens’ incarceration.
Further narrative seeds of The Complexity of Human Relationships are sown in the very first chapter when Sebastian suggests throwing Fannie out of the train window that the passengers have managed to open. Fannie, for whom Sebastian has romantic feelings, is angered by his actions, which ultimately separate her from everyone she has ever known. She believes that Sebastian is ultimately harming her, while Sebastian believes that he is saving her from a fate worse than death. These two interpretations complicate their perspectives of each other and foster complex feelings of resentment and love that they must both work hard to untangle as the story progresses.
Despite this early foreshadowing of the tumultuous events to come, this first section of the novel is also dedicated to painting a vivid portrait of the setting of Salonika, Greece, as the treacherous policy shifts leading to the Holocaust slowly and ominously accelerate. As “the only city in Europe with a majority Jewish population” (14), the decimation of Salonika during the Holocaust highlights the devastation and loss of Jewish life and culture that took place. After the war, the Jewish population in Salonika was less than 2,000 people—less than 4% of its original population (“15 March 1943: Deportations From Salonika to Auschwitz Begin.” Holocaust Memorial Day Trust). Even in the scenes that detail the relatively calm interactions of Nico’s family, the threat of impending death looms over the narrative, and this dynamic is most aptly illustrated when Lazarre takes his grandchildren to the largest Jewish cemetery in Salonika and explains the concept of helping others with no expectation of recompense. The real Jewish cemetery in Salonika once housed over 500,000 graves and dated back to the 15th century. As part of their occupation of Salonika, the Nazis destroyed the cemetery in 1942, using the materials from the gravestones to build Greek Orthodox churches, and the University of Aristotle was built on the land itself. The Greek community in Salonika was never compensated for the land, which was valued at over 1.5 billion drachmas in 1943 (Vassilikou, Maria. “The Jewish Cemetery of Salonika in the Crossroads of Urban Modernisation and Anti-Semitism.” European Judaism: A Journal for the New Europe, 2000, vol. 33, no. 1, pp. 118–31).
By Mitch Albom
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