55 pages 1-hour read

Max in the House of Spies: A Tale of World War II

Fiction | Novel | Middle Grade | Published in 2024

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Background

Content Warning: This section of the guide features depictions of racism, religious discrimination, bullying, physical abuse, emotional abuse, and death.

Historical Context: Antisemitism and the Kindertransport in the Lead-up to World War II

Max in the House of Spies is set in 1939-1940 against the historical backdrop of World War II, which started on September 1, 1939. The novel interweaves the fictional experiences of Max with numerous historical events, people, and facts to inform the reader about this important turning-point in history and to explore its wider meaning and impact.


Although much of Max’s story is fantastical, the novel is closely researched and draws on the real histories and experiences of those living at the time. Through Max, the novel is especially situated within the experience of Jewish German child refugees in Britain, as the novel opens with Max leaving his parents in Berlin as part of the Kindertransport program. The Kindertransport was a British effort to resettle children, predominantly Jewish, who were identified as under threat in Nazi-occupied territory. Between November 1938 and September 1939, when the outbreak of war halted the program, nearly 10,000 children were brought to Britain to be housed with British families.


Kindertransport was precipitated by Kristallnacht, or “the night of the broken glass” (138), a 1938 Nazi-led pogrom against Jewish communities in which Jewish-owned properties and synagogues were attacked, Jewish people were killed and assaulted, and 30,000 Jewish men were incarcerated in concentration camps. (Taylor, Alan. “World War II: Before the War,” The Atlantic, 19 Jun. 2011.) Kristallnacht is recognized as a precursor to what would become the Nazi Holocaust. Max’s account of Kristallnacht, in which his family’s building is damaged, and his father is taken to a camp, returning days later with signs of physical abuse, embeds these real events into the fictional narrative. As the novel reveals, rising antisemitism and state-led discrimination within Nazi territory deliberately made life increasingly unsustainable for Jewish people: When Max’s father’s shop is removed from his ownership and his parents struggle to make a living, the novel reflects the realities of life under a political and legal system that marginalized and vilified Jews. Max’s fear for his parents, his sense of guilt at his own relative comfort and safety in London, and his projected urge to “rescue” them, are explicitly framed within this real context of Jewish persecution in Nazi Germany.


The British “Kindertransport” initiative was a direct response to this escalating persecution in the face of the world’s restrictive, often antisemitic, immigration policies. At the 1938 Evian Conference, for instance, 32 nations, including the United States, met to discuss the Jewish refugee crisis but ultimately failed to lift quotas, leaving countless families with no path to escape. (United States Holocaust Memorial Museum. “The Evian Conference.” Holocaust Encyclopedia, 22 Sept. 2025.) Although the British authorities have since been criticized for taking only limited action, the Kindertransport is recognized as one of the very few official measures to rescue any Jewish people in the lead up to World War II: Great Britain made a rare exception to waive visa requirements for unaccompanied minors, but not for their parents. This led to the family separation that Max experiences, which the narrative makes explicit is a “trauma” for him and the other children he travels with. The decision to take only child refugees was largely political, as it was felt that widespread prejudice against immigrants and Jewish people in Britain at the time would make a large program of whole-family settlement unpopular. This discrimination is experienced by Max in the novel, especially in the school scenes, showing that Britain is an ambivalent place of refuge for him.


Although the Kindertransport children were only intended to be housed for the duration of the war, most children were unable to return to their homelands after 1945, largely due to the mass displacement and murder of Jewish families in the Nazi Genocide. The novel’s presentation of Max’s refugee status as a temporary measure and his personal determination to return are made more poignant by the historical fact that only an estimated 40% of the Kindertransport children were ever reunited with at least one of their parents (“Kindertransport Stories. Viennese Jews remember the Kindertransports.” Centropa.).

Cultural Context: German and Jewish Folkloric Elements

In Max in the House of Spies, Gidwitz draws on elements of folklore in his creation of the two magical beings, Berg and Stein, who appear during Max’s journey to Britain. Berg describes himself as a “kobold” or “hobgoblin,” while Stein is a “dybbuk.” In traditional folklore, the Jewish dybbuk is a disembodied soul that possesses the living to resolve unfinished business, while the German kobold is a mischievous sprite tethered to the earth or domestic spaces. Gidwitz’s choice of names is revealing here: “Berg” means “mountain” and “stein” means “stone” in German, associating both creatures with ancient elements of the land but signaling subtle differences too: Berg, the kobold, asserts his nature as a "spirit of that [German] land," and this sense of national or geographical identity is mirrored by his name ”mountain” as an immovable topographical feature. Stein, the dybbuk, identifies as a "spirit of the Jewish people," a more fluid concept reflected by the stone as an object which can be carried away as a memento of place or time (7). Gidwitz uses these concepts as part of his exploration of how the Jewish identity may transcend national or geographical boundaries, and how Jewishness has been repeatedly othered by national or political systems.


The pairing of the two folkloric creatures encapsulates the protagonist’s identity as a German Jewish boy, reinforcing the validity of his dual identity at a time when Nazi doctrine stated that people could only be either German or Jewish. Gidwitz has the spirits appear on Max’s shoulders in response to the trauma of dislocation from his parents and homeland, at the point of him becoming a refugee in Britain. Max manifests these creatures at the time when his—already contested—sense of identity is about be placed under further strain, being required to “fit into” a whole new culture in Britain. Berg and Stein’s bickering symbolizes the internal tensions that Max has been forced to feel about his identity. The secret three-way conversations held between them helps the novel to explore Max’s more suppressed or confused internal processes, externalizing his youthful efforts to work through complex ideas and situations, especially in relation to who he is and how he can be true to himself. As the novel progresses, Berg and Stein become more collaborative in their attitude, indicating that Max is finding useful strategies to assimilate and engage with the complexities of selfhood.

blurred text
blurred text
blurred text

Unlock all 55 pages of this Study Guide

Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.

  • Grasp challenging concepts with clear, comprehensive explanations
  • Revisit key plot points and ideas without rereading the book
  • Share impressive insights in classes and book clubs