54 pages 1-hour read

Sisters Under the Rising Sun

Fiction | Novel | Adult | Published in 2023

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Part 1, Chapters 11-14Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of sexual violence, graphic violence, sexual harassment, death, and illness.

Part 1: “The Fall of Singapore”

Part 1, Chapter 11 Summary

In April 1942, at Camp II in Palembang, Captain Miachi announces that local guards will replace the Japanese soldiers. The nurses celebrate, especially the four who had been forced to sexually service officers. Dr. McDowell later tells Nesta that Commodore Modin protested from a nearby men’s camp to secure their safety. On Ena’s eighth wedding anniversary, she and Norah discuss how much they miss and fear for their husbands. Nesta in turn confides to Norah and Ena that she cares for Dr. Richard Bayley, or Dr. Rick. Later, Ena writes a letter to her husband, Ken, which Norah saves for her.


Quietly, the nurses start making a secret mah-jongg set as a Christmas gift for Nesta; it is one of several homemade presents created as the holiday approaches. During a rehearsal for a Christmas concert, some Dutch women interned in the camp report that they saw English-speaking male prisoners working nearby. The women make contact, and the men promise to pass by again. For several days, the women gather at the jungle edge to sing carols as the prisoners pass. On the last day, the men call their goodbyes; Norah and Ena shout for John and Ken but hear no reply.

Part 1, Chapter 12 Summary

On Christmas morning, Norah and Ena give June a handmade doll while Norah struggles with memories of Sally. Meanwhile, local guards deliver baskets of food sent by English male prisoners, and Margaret Dryburgh and Mrs. Hinch lead a prayer of thanks. The nurses host a Christmas meal, sharing what they have to make the day festive. After the meal, the nurses exchange gifts. Nesta receives the mah-jongg set and cries as the others comfort her.


On New Year’s Eve, Nesta gives an emotional speech acknowledging the strength and sacrifices of the nurses, who steady her when she is overcome. Some younger nurses have a brief party in The Shed before guards shut it down. The women sing “Auld Lang Syne” on their way back to their houses, leading Norah and Ena to recall past holidays with their parents and husbands. That night, however, Norah has a nightmare about soldiers chasing her.

Part 1, Chapter 13 Summary

In early 1943, Captain Miachi announces that there will be an important visitor the following day. He orders a full camp cleanup, providing only scissors for the task of cutting the grass, and tells the women to cover their skin. Guards impose this harsh dress code, scolding a young nurse named Wilma. Mrs. Hinch distributes more “modest” clothing to anyone whose outfit is deemed inappropriate but, in a show of protest, ensures that the women are dressed in absurd fashion; one wears a petticoat in her hair as the women assemble outside for inspection by the visiting delegation of officers.


In February, Miachi announces the return of some Japanese soldiers, who, he says, will be tasked with training the local guards. During one roll call, a soldier the women nickname Lipstick Larry slaps those he deems to be wearing makeup or immodest clothes. As he raises his hand to strike again, Nesta steps in and takes the blow. Afterward, the nurses discuss their fears that the officers' club will be reinstated. Vowing to resist this, the nurses sing “Waltzing Matilda,” and the entire camp soon joins in.


Later, Miachi offers the nurses a chance to write letters home, though they are skeptical that the letters will be delivered. At a roll call shortly afterward, guards seize boys showing signs of puberty and send them to the men’s camp, separating them from their mothers.

Part 1, Chapter 14 Summary

As the months pass, more internees from Singapore arrive at Camp II, causing severe overcrowding. Many of the women are Chinese and well dressed; Norah and her friend Audrey Owen see several of these women housed apart and conclude that they will be expected to sexually service the Japanese soldiers.


Around this time, Miachi informs Mrs. Hinch that he is permitting a local trader, Gho Leng, to sell goods at the camp. However, many of the women lack money or valuables; Ena and Norah, for instance, cannot even buy June the banana that she wants. Recognizing the problem, Margaret, Nesta, and Mrs. Hinch arrange a committee that will distribute and ration the purchased supplies.


As the anniversary of the Radji Beach Massacre approaches, Vivian Bullwinkel becomes withdrawn. Nesta and some of the other nurses propose organizing a remembrance service for the victims of Radji Beach. News of the service spreads, and the other women in the camp join and trade stories of their experiences; afterward, however, the nurses provide Vivian with space to share her story privately, and they exchange memories of their deceased friends.


Gho Leng eventually departs, and the situation in camp worsens. There is an outbreak of typhus, though the nurses catch it earlier and manage to contain it to one house. They tell Miachi that the well water is contaminated, and he allows the women to fetch water from a nearby spring.


By summer, famine conditions are intensifying. However, Vivian finds a nearby cemetery where locals leave food on graves as offerings. At night, Nesta and Norah slip out and bring back food for hungry children, including June. The Japanese replace Captain Miachi with a new commandant, Sergeant Major Kato, but this brings no relief. Typhus returns, along with an outbreak of dengue fever that soon causes the hospital to overflow. With morale low, Margaret Dryburgh tells a despairing internee to look up toward the beauty of the sky. Norah asks to borrow the phrase “look up” as a reminder to maintain hope.

Part 1, Chapters 11-14 Analysis

These chapters scrutinize how the women’s communal structures adapt to new pressures. For instance, the introduction of a market system via the trader Gho Leng tests the camp’s social cohesion by creating a division between those with valuables to trade and those with nothing. This economic disparity threatens to unravel communal bonds, but the camp’s leadership responds with quick institutional action: the formation of a shop committee to ensure the fair distribution of all purchased goods. This develops the theme of The Power of Female Solidarity in a Dehumanizing Environment by suggesting that the emotional bonds among the women, while important, are insufficient in the face of scarcity; the situation requires a deliberate, organized effort to counteract the divisive forces of individual want.


The theme of solidarity also continues to manifest in acts of both collective defiance and collective witness. After Nesta intercepts a slap intended for another woman, the nurses begin singing “Waltzing Matilda,” an act of cultural assertion and rebellion. The song spreads throughout the camp, transforming an episode that began with “Lipstick Larry’s” arbitrary and misogynistic punishment of individual women into a moment of shared resistance. The women’s singing of carols to the unseen male prisoners is another moment where music forges connection by reasserting a shared identity (cultural, religious, etc.), underscoring the theme of Art and Music as a Form of Spiritual Resistance. Storytelling and memory serve similar functions. Norah and Ena’s reminiscences about a pre-war New Year’s Eve party serve as a vital link to their former selves, culminating in Ena’s whisper that they will have more such times, “just not this year” (158). Similarly, the nurses’ private remembrance service for the victims of Radji Beach is a formalized act of storytelling that honors the dead, as well as the nurses’ memories of them.


Margaret Dryburgh remains a lynchpin of this kind of psychological and spiritual resilience. As morale plummets, she offers a simple coping mechanism: “Look up.” This instruction reminds the women that their current reality is not the only reality; she urges them to “see the sky, the tops of the trees, the birds” (195). Margaret’s leadership empowers the women by giving them a tool to imagine life beyond the camp, here symbolized by the enduring presence of nature. By contrast, Nesta continues to focus on practical concerns, her pragmatism underscored by her orchestration of the raids on food offerings. Nesta’s justification is unequivocal: “I’m worried about the children in this camp and what we can do to help them carry on living” (190). Her leadership is rooted in the material realities of starvation and disease, prioritizing survival above conventional ethics. Together, Nesta and Margaret represent the necessity of both physical sustenance and hope and mental discipline.


The narrative deepens its exploration of The Indiscriminate Brutality of War by focusing on the systematic cruelty of the prison camp, which is designed to strip the women of their identity and agency. The arbitrary inspections, the enforcement of a restrictive dress code, and the command to cut the camp’s grass with scissors are all ways of asserting absolute power while humiliating the prisoners. The separation of adolescent boys from their mothers strikes even deeper, at the core of the prisoners’ emotional lives. This psychological violence unfolds against a backdrop of slow physical violence, including the rampant spread of preventable diseases and the rising rates of malnutrition. Both problems, though superficially “natural” in origin, result from choices the Japanese command structure has made regarding things like sanitation and rations. They are also, if anything, even more arbitrary in their impact than the explosions and shootings that characterize the book’s opening chapters; the novel draws repeated attention to the fact that many of those suffering the most are not merely civilians but also children. Hunger thus emerges as a significant motif that highlights the cost of war.

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