56 pages • 1-hour read
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Content Warning: This section of the guide contains discussion of antisemitism, violence, alcohol dependency, and a brief reference to sexual assault.
In 1953, Louise’s train is delayed, and she doesn’t get home until late. Joe was very worried and didn’t know what to tell the children, but he says he “put them to bed for [her]” (105) as though they are solely her responsibility. The next day, she inspects the crate in which she found the necklace, and it is etched with the word “Lévitan,” which Midge identifies as a prewar Parisian department store. This makes Louise want to go to Paris with Ian. Joe isn’t thrilled with the idea of her going abroad, but Louise feels this is something she needs to do, for herself and for Franny.
She flashes back to 1944, while she, Franny, and Ian are traveling through occupied France. When they arrive at the first camp, Louise is shocked by the emaciated POWs. She keeps Franny company before her show; afterward, she sees Franny taking pictures with the POWs. Privately, Franny explains that the photos are used to help the men escape: They are cropped and used to create new I.D. cards. Louise is shocked; she worries about the danger Franny’s activities pose to their operation. Ian often insists that they must play by the Germans’ rules or risk being denied access to the camps.
In 1941, Nazi flags now fly over Paris. One day, Helaine notices women growing food in the park to feed their families. She meets Isa, a neighbor, and Isa invites her to help. The work gives Helaine purpose. Though Jews are now being arrested regularly, she comforts herself with the knowledge that they are not French citizens as she is.
That night, Gabriel tells her he’s been fired for refusing to play Bruckner, a German composer, to appease the Germans. She respects his principles but worries about how they will support themselves.
The next day, she watches as a Jewish man, a French citizen, is beaten and arrested; she can no longer pretend she is safe. Gabriel wants them to leave Paris, but Helaine will not go. She expresses a desire to see her parents, but Gabriel implores her not to. The next day, she goes anyway, but she spots a checkpoint on the road ahead. A police officer confronts her, demanding her papers. Just then, Gabriel appears, saying that a doctor called with her test results about some contagious disease, and the police officer steps away.
Gabriel says he made amends with the orchestra and was “invited” to tour Germany with a small group of musicians, though he doesn’t really have a choice. He points out that his participation will grant Helaine some protection; he’s been assured the Germans will leave her alone. The next morning, he gives her some cash, and she gives him half of the heart necklace.
In 1953, Louise drops the children off at their Aunt Beatrice’s house. She wonders if Bea is happy in her life as a widowed mother, or if she wants more, like Louise. She feels selfish leaving her family, but she knows she needs to do this for herself. Upon seeing the French coast, she notes that it is still marred from the war. After arriving, she leaves Ian a message with her hotel name.
Louise flashes back to France, 1944. She watches Franny perform and is inspired by Franny’s bravery, offering to take the pictures. Neither Franny’s nor Louise’s mother was particularly successful as a parent: Franny’s mom allowed men to assault her daughters, and Louise’s mom has an alcohol dependency. Franny admits that she prefers women to men. When Louise learns that Franny and Ian will continue into Germany, she offers to go with them.
In 1942, Jews are now forced to wear yellow stars and restricted to certain markets and shops. Helaine wishes she could see her mother but remembers that her mother hasn’t contacted her.
One day, she gets a letter from Gabriel: It says only that he’s near the front, doing well, and misses her. She does not hear from him again. The garden becomes her lifeline until, one day, a new sign says Jews are forbidden to enter. Isa says she must continue gardening to feed her own family, and she gives Helaine a bag of turnips. Helaine feels the Germans are erasing her life.
One day, she goes to the only market at which Jews are allowed to shop, and she spots her mother. Annette says that Helaine’s father was overseas when the war began, and he’s remained abroad; she tells Helaine that she can always come home, but Helaine doesn’t want to give up the life she fought for. She feels her mother ought to have chosen her over her father, while Annette is hurt that Helaine was willing to leave them. She walks away as though she cannot bear the sight of Helaine leaving again.
Helaine weeps and runs to the conservatory where Gabriel used to play, spotting his former director. The man asks how Gabriel is, and Helaine is surprised he does not know. He explains that Gabriel is no longer with the orchestra, and Helaine realizes she has no idea what he’s really doing. She goes to the police station and demands to see the chief, who used to be friends with her father. He informs her there is no record of Gabriel applying to travel, and a German officer arrests her for conspiring with an enemy of the Reich.
In 1953, Louise takes a cab to the building where Lévitan used to be. It is now an office building, and a secretary tells her there’s no one who can help her with the necklace. She goes across the street, hoping to find someone with information about the store, and the pharmacist says that Germans imprisoned Jews there during the war. His mother, Celeste, tells her the Jews were forced to sell goods the Germans plundered from Jewish homes.
Louise wonders if the cellist with whom she saw Franny speaking had a connection there. Celeste demands that the office manager let Louise look around. Louise tells him about the necklace, but he says the store didn’t sell jewelry. Celeste tells Louise that she knows a man who was imprisoned in the store—Henri Brandon—and gives Louise his address. Louise orders a car to take her there tomorrow, then goes for a walk. When she returns, Ian is waiting for her.
Louise flashes back to Germany, 1944. The camp they visit next is for enlisted men, and “any pretense of decency was gone” (178). In this camp, Franny performs with a group of musicians, including a cellist, and Louise sees Franny speaking familiarly with him. Later, she sees Franny close to tears and pleading with Ian, and Franny confides in Louise that a prisoner asked her to deliver something to his wife in Paris. Franny implored Ian to have it delivered for her, but he refused because he doesn’t want to lose access to the prisoners entirely. He tells Louise that they have to be careful.
That night, Franny goes for a walk, and Louise sees her talking to the cellist again; he gives her something. After Franny goes to sleep, Louise finds the half-heart necklace wrapped in Franny’s bag.
It is 1943. When the lights go on, Helaine realizes she is in Lévitan. She can tell her life will be better here than in Drancy, the nearby transit camp where Jews endure starvation and hard labor. Helaine quickly learns that there is shared responsibility among prisoners: Everyone is punished when one breaks the rules.
She meets Miriam, another prisoner, who is haunted by memories of Drancy, and Miriam says Lévitan is for Jews with “some sort of privileged status” (191). Helaine finds a space in the wall where she can hide her necklace, and she begins a tally to count the days. The next day, she sorts “goods” plundered from Jewish homes for resale to Germans.
Miriam tells Helaine that they can send one letter per week and receive mail, but everything is censored. She writes to Gabriel to let him know where she is. Helaine soon learns that some prisoners intentionally sabotage goods. When Helaine participates in this, Miriam asks her to take some silver and leave it near the loading dock: It will pay the movers who secretly help them, and Louise feels she cannot refuse.
On her way back to the dormitory, Maxim—a French guard who is working for the Germans—spots her, and she lies about going to the bathroom. Miriam warns Helaine never to allow herself to get caught alone with him.
Helaine’s and Louise’s experiences begin to highlight The Moral Complexities of Resistance. Often, it is not as simple to resist the oppressors as it might seem. When Gabriel stands up for Helaine, saying he won’t play with the orchestra if she is not allowed to attend his performances, she worries about what they’ll do for money because his job is their one source of income. Although he would prefer not to have to continue his association with the symphony, he ultimately maintains his position with them so he can support himself and his wife. He can resist, certainly, and refuse to play, but he and Helaine will starve without his earnings.
Later, it seems he may actually be going along with the Germans to keep her safe. He says to her, “Don’t you see? […] If I go and do this for them, we will have special status and be protected” (134). In exchange for his complicity, he says, the Germans will leave Helaine—a Jew—alone and unmolested, though Jews are constantly harassed and arrested now. On one hand, his resistance to fascism would allow him to maintain his integrity and adhere to his principles, but it could result in danger to himself and his wife. On the other hand, going along with the Germans—or at least appearing to comply—runs counter to his ethics, but buys their safety.
The moral complexity of Gabriel’s choice is mirrored in similar decisions faced by other characters. One example is Isa’s choice to continue gardening even when Helaine is denied access. While Isa considers Helaine a friend, when she’s forced to choose between Helaine and the well-being of her family, she feels she must prioritize her children. Likewise, Ian professes a commitment to resistance in the form of working through the Red Cross to help Allied POWs in German camps. Although he wants to do more for the POWs, Louise realizes that “He was balancing the competing demands and where he could do the most good” (181). Ian simply cannot help everyone because it might result in his inability to help anyone. These difficult choices highlight the disturbing consequences that could result from one’s overt opposition to an oppressor.
Helaine’s experiences, especially, also introduce the theme of The Transformation of Civilian Spaces into Sites of Oppression. When she walks to her parents’ home in German-occupied Paris, she notes the vast differences between what the city used to be like and how it is now: “The walk was a reminder of that first day she had set out from her childhood home. Only, now the lively cafés were somber, and the shop windows that had once been filled with bright and colorful goods were sparse and drab. How had life changed so much since then?” (131). The streets, the shops, and cafés have become bleak and dangerous; Helaine could be stopped and arrested at any time, and she very nearly is before Gabriel rescues her with his ruse. Things change, seemingly overnight, and the city she always loved is now ominous and threatening—a place she now associates with oppression rather than freedom, as she once did.
The garden changes in a similar way. It starts as a place where Helaine develops a sense of purpose, one where she feels useful, capable, and supported. However, it soon becomes a place that represents the colossal injustice of Helaine’s persecution, and her friends’ and community’s betrayal. Likewise, Lévitan—a once-elegant department store—and even Jewish homes become sites of oppression. The store previously welcomed an elite clientele, like Helaine’s family, people who could afford luxury goods. Now, however, it houses hungry, dirty Jewish prisoners who are forced into slave labor due to religious persecution.
Furthermore, these prisoners are compelled to sell the objects plundered by Germans from the homes of their Jewish peers. Helaine realizes that “Jewish homes were being robbed of their belongings with the absolute certainty that the owners would never return again” (195). The store, instead of catering to the Parisian elite, now caters to German oppressors—a transformation that makes it clear that the Jews who have been arrested are expected never to return to their homes.



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