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Content Warning: This section of the guide includes discussion of religious discrimination, illness, death, child death, and death by suicide.
Eleven girls wake in a tall, dilapidated house in a yard of thistles. They know the place, but they’re confused by their presence in it. The oldest girl, Miriam, concludes that they’re dead.
Esther Gramm is born in Hamburg, Germany, in 1927. She’s orphaned at age four and goes to live at The Hirschfeld Trust Girls’ Orphanage, run by House Directress Frau Cohen. A year later, Esther begins having temporal lobe epileptic seizures. During these seizures, Esther has visions. In the first, she sees a woman describing the three deaths: after the original death, a second occurs when the body is buried. A third death occurs when the last person one knew in childhood dies, which is followed by release to the next world. Between the second and third deaths, the woman says, one waits “in another world, folded inside the living world” (190).
Now 81, Esther lives in Geneva, Ohio. Her son and his wife live next door. While they’re in China to adopt twin girls, their 20-year-old son Robert visits with Esther, interviewing her for a college history course. He’s worried about Esther’s recent seizures, during which she sees the 11 girls in the tall house.
Six-year-old Esther sees Dr. Rosenbaum, who’s fascinated by her visions and convinces Frau Cohen not to commit her to a psychiatric hospital. He prescribes phenobarbital, which stops the seizures and visions. Esther, who spends most of her time drawing, becomes close to Miriam. Together they witness the events leading up to World War II and imagine where they’ll go if they have to emigrate.
In the present, Esther has another seizure. She watches Miriam and the other girls exploring the tall house, wondering where they are. Nobody else is present outside the house, and the girls are cold, hungry, and confused.
In 1937, signs saying, “Juden sind hier unerwünscht” (which translates to “Jews are unwelcome here”) begin appearing throughout Hamburg (199). Nancy Schwartzenberger leaves for Warsaw, but the rest of the girls remain at Hirschfeld House, terrified by rumors of what the government is doing with Jewish and disabled people, including people with epilepsy. One afternoon, the neighborhood druggist slits his throat with a razor blade in front of Esther and Miriam.
Present-day Esther has a seizure that lasts three hours and wakes up in the neurology clinic, which Robert brought her to. Scans reveal a lesion in her hippocampus that is twice as large as her previous imaging showed. Doctors plan to increase her medications and keep her there for at least a week. At Esther’s house, Robert finds a sketch of the tall house and a list indicating that all 11 girls were deported on July 29, 1942, to Birkenau.
Esther turns 13 in 1939. Germany bombs London. Jewish citizens are ordered to cede their radio sets. In the present, Esther is still in the clinic, medicated and dizzy. Robert tries to get her to draw, an activity that’s always brought them closer together. She tries but can see nothing in the resulting scribble.
When Esther is 14, Dr. Rosenbaum, her only source of medication, disappears. She rations it but eventually runs out. Her brain feels sharper, her senses more acute, but soon the seizures return. During one seizure, she breaks her wrist falling down the stairs. Frau Cohen shelters displaced persons in the orphanage, though space and food are in short supply. Present-day Esther longs to leave the neurology clinic. She senses that the girls in her visions are real and waiting for her. Conflicted by her requests and doctors’ orders, Robert sneaks her out and brings her home.
Rationing and confinement become the norm in Hirschfeld House. Esther finds a giant cedar wardrobe in the attic and spends entire afternoons inside it, sketching on its interior panels. In March, Dr. Rosenbaum appears at Hirschfeld House, disheveled and haggard but alive. He was in a labor camp for a year but was recently released because of the dire need for doctors. Esther sketches a vision for him in which she saw his wife, who he hasn’t seen in a year. In the sketch, Frau Rosenbaum is part of a pilgrimage and is singing. The next morning, the doctor is gone.
In visions, present-day Esther watches Miriam and two other girls climb to the top of a 20-story building. On the top floor, they find a microphone. Miriam whispers Esther’s name into it. Esther swings between the world around her and that of her visions as Robert reads to her, sketches, and interviews her for his thesis paper.
In the past, Esther’s seizures scare other residents in the overcrowded orphanage. In response to one girl’s suggestion that Frau Cohen send Esther away, Miriam insists that she can take care of Esther. They move to the attic, and from there, they watch English aircraft bombing the city of Hamburg.
In the present, Esther tells Robert about the girls from the orphanage and goes for evening rides in a trailer attached to his bicycle. In the past, Frau Cohen receives deportation orders for the girls. She tells them they’re going to Warsaw. That night, Dr. Rosenbaum sneaks Esther out while everyone else sleeps and connects her with a group fleeing the country in secret. Over the next few days, she hides in locked, crowded cellars. Everyone is dirty, hungry, and afraid. Eventually, she reaches a clinic where she’s given clothes, medication, and immigration papers for the US.
The Jewish Rescue Authority places Esther with a couple in New Jersey, Romanian immigrants coincidentally named Rosenbaum. She learns about the horrors occurring in concentration camps and writes to Miriam every day. At age 26, Esther meets her future husband. They get married, move to Ohio, and open a bicycle shop. At age 35, she gets a copy of a deportation manifest, dashing her hope that Miriam survived. The list includes Miriam’s name. It also includes Esther’s.
On July 4th, Robert lights fireworks. He knows his parents are on their way home, finally, with their adopted daughters. Esther hears only Miriam’s voice now, describing the place they’ll be going together, the same place Esther once saw in her vision of Dr. Rosenbaum’s wife. Watching the fireworks, Esther has a seizure. She wakes in the tall house beneath a sky full of stars. Outside, 11 girls are waiting for her. Miriam takes her hand, and they set off together.
Robert comes home from college for Thanksgiving and plays in the snow with his adopted sisters. Next door, Esther’s vacant house fills him with memories of her. They intertwine in a shared space with the new memories that he’s making with his young sisters.
As a Jewish girl in Hamburg during World War II, Esther’s external conflict is against Nazi persecution amid the historical context of the Holocaust. Doerr uses recognizable imagery to succinctly establish setting and evoke the horrors: “Photos in Reich newspapers show soldiers on parade, tanks draped in roses, plantations of flags” (194). The juxtaposition of the deeply personal nature of Esther’s story and the larger historical context of World War II highlights The Intersection of Personal and Collective History. The visual details Doerr emphasizes, paired with descriptions of their individual effects on Esther, urge readers to consider the Holocaust’s immediate and long-term effects on an individual’s life and identity. In the midst of war, Esther finds ways to cope with her fear. She and Miriam have ideas of other places—“Surely they will be welcomed elsewhere. Canada, Argentina, Uruguay” (201)—and other times—“Miriam and Esther imagine they can smell roasting goose, tomato soup, meals from long ago” (222)—to create refuges within their minds. The sensory imagery of food draws connections to comfort gained from memories, while the particularity of the meals themselves contributes to the collection’s exploration of Memory’s Role in Identity, Loss, and Preservation.
Esther also finds comfort and hope in her idea of a world folded within this world, a metaphorical setting that offers sanctuary and the possibility of another reality. Esther sees this other world glowing between a crow’s feathers and contained within a knot of wood in a dank and terror-filled cellar. Visions of this world inspire her sketches, which also serve as coping mechanisms through which Esther invents “a haven into which she and Miriam might flee” (214). Her metaphoric safe havens symbolize an inner sanctum where Esther can preserve herself and the memories that shape her and honor her friends’ lives. Esther tells Robert about the other girls so that their memories won’t be lost to the world with her death, and Robert makes new memories with his sisters while mourning the loss of his grandmother, events which further reinforce the thematic connections between memory, identity, loss, and preservation.
In the present, 81-year-old Esther’s conflict is, broadly, against the biological death of the body. More significantly, her conflict revolves around being caught between two worlds, undergoing a transition that most people have no conscious awareness of. Her episodes give her a unique kind of sight, one that allows her to sense the other world folded inside the living one, the “restless world rippling just beneath this one” (193), connecting to her earlier ideas of worlds within worlds. As she gets closer to death, she also moves closer to that afterworld and the memories that inhabit it, and further from conscious awareness of Ohio, Robert, and everything else in the living world.
The tall house in the yard of thistles, where Esther goes during her seizures and watches the orphan girls from her childhood, represents the world folded within a world, where people are said to await their third death and final release to the next world. Upon recognizing the place, the girls ask, “What is this place?” and “Where’s Esther” (187). Because they all died together in Birkenau, Esther, the only survivor, holds the last memories of them, upon which their third deaths hinge. Doerr’s presentation of this other world is ambiguous—whether the story presents this as a real place or one that only exists in Esther’s mind is left unanswered. Her question—“What if they’re not in my head? What if they’re real? Waiting for me?” (211)—helps cultivate this ambiguity.
Esther’s visions during seizure episodes make her aware of this afterworld and portray it as existing concurrently with the living world. Her sketches also reveal the confluence of these worlds: “Draw the darkness, Esther thinks, and it will point out the light which has been in the paper all the while. Inside this world is folded another” (208). Her drawings have always been inspired by images in her mind that blend imagination and “what feels peculiarly like memory” (194). Taken together, her sketches and visions belie the simple explanation that her seizures merely trigger childhood memories, or even that these episodes erase the binary distinctions of either past and present or this world and an afterworld. In fact, as she moves along the arc of her transition between life and death, she recognizes her life, her sketches, and her seizures all converging toward a final state of being. With Esther’s attention to the dichotomy of these two worlds and her description of them as representing dark and light, the story fits into the collection’s larger discussion of The Balance Between Loss and Renewal, as she sees these two worlds in tension but also deeply connected.



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