45 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of discrimination, physical/emotional abuse, and death.
The opening page describes the Hansaplast, a bandage invented in the 1920s that was more reliable than almost anything. Nora Krug arrived in New York City from her home city of Berlin, Germany, relieved to start fresh in a place filled with possibility. One night, while Krug stood on the roof watching the sunset with a new friend, an elderly woman asked where she was from. When Krug answered Germany, the woman revealed that she was in a concentration camp during the Holocaust. A brutal female guard saved her from the gas chambers 16 times, and the woman suspected the guard must have had a crush on her. Krug was silent as she listened, and the woman concluded by saying that Krug seems to have been raised well, so things must have changed. Krug still did not know what to say. Accompanying photographs show nine notorious female guards who worked in the camps, each responsible for many deaths.
Krug explores her childhood and the confusion she felt surrounding her heritage, the war, and the Holocaust. She grew up in a city called Karlsruhe next to a US military base where planes constantly flew overheard, and from a young age she had the sense that something was not quite right. She recalls that, because of something she learned in school and because of a book of children’s stories filled with harsh moral lessons, she asked her mother if Jews were “evil.”
Krug remembers learning about how the Germans were forced to view the dead bodies after the war as a way to scare them into never being complacent again. She was not formally taught about Germans who resisted the Nazis and instead learned only to feel shame toward her heritage. She never learned about the history of her hometown, Karlsruhe, or about German folklore and never learned to sing the German national anthem. In school, she and her peers frequently took trips to the sites of concentration camps, and she includes photos of their guilt-ridden faces on one such excursion.
Given all of this confusion, Krug was left wondering what home was supposed to mean to her. Without knowing about her past, she questioned how she would ever learn who she was in the present. One thing she always liked about her culture is its connection to the forest and the thousands of German words that relate to that sacred place.
After living in the US for 12 years, Krug still felt inclined to disguise her accent and still finds that others stereotype Germans, often thinking of them as inhospitable, arrogant, and lacking humor. She was spat on in a Russian neighborhood once while speaking German, and at other times people assumed that she was antisemitic like them. Home remained an elusive concept, but she gradually found the strength to examine German history from the safe distance in the US.
She participated in the Steuben Parade but felt strange about waving a German flag, even though others seemed to be returning to that sense of national pride around her. She feels caught between the Americans that she knows now and the German heritage she has within her. When she went to Germany during the World Cup in 2014, she found anti-German rhetoric everywhere. She sought refuge in thrift shops, where she dug out photographs of Germans living simple lives, often within forests, in the 1800s. All the while, however, she still felt like others were judging her. She decided that the only thing to do was to confront her direct past, including the history of her hometown and her family.
As a child, Krug and her family went to Italy every year to explore and enjoy the culture. One year, they came to a large, highly pristine cemetery filled with fallen German soldiers from World War II. There, her father found the grave of his brother, Franz-Karl. Both her uncle and father shared the name Franz-Karl, since her father was born shortly after her uncle’s death. Franz-Karl (the first) was born in 1926 and was 10 years old when he joined the Hitler Youth. All that was left of his memory were photographs and exercise books filled with Nazi propaganda.
In one such book, Krug found a short description of Jews being compared to poisonous mushrooms, a famous symbol in German children’s literature. She always loved picking mushrooms with her family as a child and found this comparison deeply unsettling. She wonders now if the comparison was influenced by a National Socialist Party piece of propaganda that drew the same comparison. When her father found his brother’s grave, she felt connected to the person behind all the Nazi ideology for the first time. She wondered what he was really like and how he really felt about the war. The chapter closes with an overlay of both Franz-Karl’s as they were at age 10. A sort of new, third person is formed, one who will not let her escape her family’s past.
Krug’s exploration of inherited history is her way of healing from her family’s past and accepting it as part of who she is. She engages directly with external writings and views of Germans in the 1930s and beyond, particularly through a passage from Dr. Seuss’s wartime political writings. Seuss wrote of Germans and their supposed “need” for conquest and the “super-race disease” (9), and warned readers, “Don’t clasp that hand! It’s not the kind of a hand you can clasp in friendship. Trust none of them” (9). Krug includes these disturbing depictions to illustrate the challenge of reconciling national identity with Germany’s dark history.
As part of her journey toward understanding, Krug had to confront difficult truths about her family. Her quest led her to ask questions about her hometown’s past and investigate the specific roles her relatives may have played during the Nazi regime. This was not an easy task but a necessary one. Her father, for example, was named after his older brother, Franz-Karl, who died during the war. All that remained of him were photographs and notebooks filled with Nazi propaganda—objects that turned her family’s personal history into a microcosm of Germany’s national reckoning. The emotional weight of these artifacts introduces The Connections Between Collective and Personal Memory as a theme.
From the beginning, Krug shows herself as emotionally out of place. She introduces herself as “a homesick émigré” (1), and thus Finding One’s Homeland and a Place to Belong emerges as a theme. This emotional state explains her larger journey—a search for identity, clarity, and reconciliation with her German heritage after moving to the US. Despite being geographically distant, her emotional ties to Germany and the cultural weight it carries continue to define her self-perception.
Living in a foreign country, Krug wrestles with the challenge of being seen through the lens of history. People often assume that she is antisemitic, hate her for being German, or think that Germans in general are “evil” or “can’t be trusted,” illustrating the power of historical stereotypes. The process of hiding her accent and constantly being asked where she is from symbolizes a wider issue that all Germans face. Her sense of belonging is complicated by others’ projections and her internal struggle with shame about her national culture, which she was taught to feel from an early age. She writes about the experience of Germans living in the aftermath of the war: “We struggled to understand the meaning of HEIMAT” (25).
Krug notes that in postwar Germany, patriotism was discouraged. She notes that they did not sing the national anthem or learn hometown history, highlighting a deliberate distancing from national pride and identity. She also reflects that they were not taught about the Germans who resisted the Nazis—omitting positive, courageous narratives that could have offered a more balanced view of German identity. Instead, her education and upbringing left her with cultural shame, silence, and disorientation about what it meant to belong.
Over time, Krug began to feel more connected to her homeland—not through pride, but through knowledge: “You cannot know who you are if you don’t know where you come from” (26). This statement emphasizes that reconciliation requires confronting the past, not burying it. She ultimately describes her relationship with Germany as “an echo, a forgotten word once called into the mountains. An unrecognizable reverberation” (37), capturing the elusive nature of her search for home.
Throughout the memoir, Krug describes a persistent awareness of something being deeply wrong that stretches back to her early childhood and was exacerbated by Germans’ pervasive silence toward their history. This silence, shared by so many German families after World War II, left her with questions that had no answers and a history that felt more like a shadow than a memory.
The concept of inherited guilt becomes deeply personal when Krug discusses how her parents addressed the legacy of the Holocaust. They told her she was inheriting the collective guilt of their generation, and Krug believed that her marriage to a Jewish man was “mending my relationship to Judaism” (34). This illustrates the unresolved sense of responsibility that German families passed down to younger generations and that became part of their shared identity.



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