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Monica HesseA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The scarred and devastated landscape speaks to the violence of the far-reaching European theater of World War II. The bombing has left a trail of immense destruction, which Zofia sees on her journey back to Sosnowiec with Dima and then on her journey to Germany to find Abek; Dima and Zofia drive past many destroyed structures, such as the “waist-high remnants of a brick structure, the vaguest hint of a doorway” (14). In Germany, “the green farmland is interrupted by angry black gashes cutting open the earth” (70) from the recent Allied bombing. Lives are utterly disrupted even after the war through the widespread destruction of farmland, homes, and infrastructure.
Among the debris, Zofia notices many incongruent possessions left on the roadside. Zofia imagines the desperate and exhausted families who must have left these things: “music boxes and silk shawls […] broken wagon wheels, upturned yokes, milk cans with rusted-out bottoms” (16-17). The displacement of people is symbolized in these discarded possessions. Zofia is haunted by imagined images of the people who left their things. She reflects that they may have been intercepted and killed by German soldiers or incidentally killed through the armed conflict.
The landscape also reflects the loss of life in the “large plot of upturned earth” (17) that Dima and Zofia pass, which the reader understands to be a mass grave. Zofia “can’t stand to look at that” (17), which alludes to her trauma from the immense loss of life that she has already witnessed.
When Zofia and Josef begin to undress, Zofia is ashamed of her thin and wasted body; she is missing toes from frostbite damage, no longer menstruates, and is scarred from injuries received while working at the concentration camp. Her body is a symbol of Nazi violence that was enacted on her and countless others.
The symbolism of Zofia’s body shifts positively when she chooses to have sex with Josef; it becomes an instrument to express love and to give and receive sensual pleasure. This is an important change for Zofia’s self-concept; she begins to reconnect to her body as something other than a thing that feels pain: “After years of feeling nothing but perpetual, insistent pain, my body had begun to feel like an instrument of it” (262). Through her years of imprisonment, Zofia begins to relate to her body as something that is “built to withstand things rather than experience them” (262). She chooses to challenge her concept of her body through this sexual act, which enables her to reconnect with herself as well as connect with Josef. This act is humanizing for both Zofia and Josef.
Breine and Chaim’s wedding is a symbol of Jewish resistance and continuation after the genocide of the war. Their union suggests that love and happiness are possible, even amid immense loss and tragedy. This loss is signaled in the absence of the bride and groom’s families, as well as in the threadbare nature of the dress and decorations: “In a different world, the sheet might be a fine, embroidered cloth, just as in a perfect world, Breine would be escorted by her parents. But she no longer has parents” (245). Nevertheless, the event is decidedly a joyful one: “It’s beautiful, it’s so beautiful, this wedding” (245). The guests weep with joy at the obvious elation of the young bride and groom, who excitedly plan a life together.
Furthermore, the wedding’s adherence to Jewish tradition demonstrates the refusal of the Jewish race to be destroyed and silenced, even after the horror of the Holocaust. The guests hold candles, and the couple is married under a simple chuppah and smashes a glass underfoot at the conclusion of the ceremony.
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