54 pages 1-hour read

Sisters Under the Rising Sun

Fiction | Novel | Adult | Published in 2023

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Part 2Chapter Summaries & Analyses

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

Part 2: “Deep in the Jungle”

Part 2, Chapter 15 Summary

In October 1943, Mrs. Hinch learns from Sergeant Kato that the camp will move. Guards transport the nurses and the residents of a few additional houses to a new site with filthy barracks. The remaining women and children arrive the next day and are crowded into the huts. Norah and Audrey devise a sanitation system using kerosene tins and coconut shells to keep the drains clear. A boy named Jack helps them gather the coconuts needed for this endeavor.


Despite these efforts, disease spreads, and Margaret falls gravely ill. Nesta diagnoses dengue fever and treats her with minimal supplies. When Margaret slips into a coma, Norah gathers a small choir, including Ena, and they sing a Tchaikovsky piece originally intended for instruments at her bedside. Margaret wakes and credits the music for her recovery. Encouraged, Norah holds auditions and expands the group into a “voice orchestra,” planning a performance of Dvořák’s “Largo.”

Part 2, Chapter 16 Summary

Norah organizes the voice orchestra into sections and begins rehearsals in Camp III. As Margaret recovers, Norah enlists her help in arranging and transcribing various pieces. The orchestra gives its first concert a few days after Christmas, and the women respond with both tears and renewed energy. Internees clean the wells and start a vegetable garden as Norah begins planning how to tackle Ravel’s “Bolero.”


Nevertheless, food remains short. Norah learns that children, including June, crawl under the guards’ hut to scavenge rice grains, risking beatings to do so; the knowledge devastates her, causing her to feel that she is failing to care for June even as Ena and others reassure her that she is doing the best she can. Soon afterward, Ah Fat brings the internees rice and red palm oil. As they learn to cook with these unfamiliar products, the women record recipes of favorite meals on checkbook stubs, bringing back the Camp Chronicle’s cooking section.


One day, Ah Fat informs Mrs. Hinch that the Japanese have decided to house Indonesian guard trainees with the nurses. The women are unhappy with the arrangement but somewhat reassured when the guards erect a makeshift wall between their quarters and the nurses’. When some of the trainees beat a woman, the other women fight them off, and the Japanese remove them. Soon after, an internee named Mary Anderson dies, and the women arrange her burial in the jungle.

Part 2, Chapter 17 Summary

In April 1944, the Japanese replace Kato with a new commandant, Captain Seki. He announces ration cuts but seems unaware of what the internees were previously receiving; thus, the amount and quality of the food generally improves, though the nurses worry about the lack of vegetables.


As more internees arrive at the camp, the voice orchestra rehearses Ravel’s “Bolero” and performs a second concert, which Seki attends. Afterward, he orders them to perform Japanese music. Norah refuses, so Seki punishes her by forcing her to stand in the sun all day. When Ena pleads for her, a guard slaps her. Norah endures the punishment and collapses at sunset. Nurses treat her burns with palm oil, and Seki drops his demand for Japanese music.

Part 2, Chapter 18 Summary

During the 1944 monsoon season in Camp III, an officer the women nickname “Seedling” supplies vegetable seeds, which the internees use to plant a large garden. Monsoon storms damage the huts, and Sister Catherina leads repairs.


The crops thrive, but before the harvest, Ah Fat announces that the officers have reserved the food. Mrs. Hinch confronts Captain Seki, who rebuffs her, growing even angrier when he learns that she is American because of recent US victories in the war. As Norah slowly recovers from her ordeal, she proposes another concert, but Margaret explains that Seki now requires approval for all performances. Ultimately, Seki grants permission, and the orchestra performs to a prolonged ovation for Norah’s defiance. The women manage one last concert, but their declining health shows.

Part 2, Chapter 19 Summary

Guard violence escalates: Dr. McDowell and Mrs. Hinch protest after soldiers assault hospital patients, demanding that the sick women work, and Seki agrees to limit the attacks. However, as Allied planes begin flying overhead, Seki orders the prisoners to board all windows and threatens punishment for anyone seen outside during air raids. Nurses Ray and Valerie peek during a raid and are forced to stand in the sun as punishment. Ray, who has a heart condition, collapses and is pulled to safety by fellow nurses.


Mail arrives for the first time and then for a second. Betty receives a letter confirming that several of the nurses’ friends survived the escape from Singapore. Meanwhile, Mother Laurentia loans Nesta money from the Dutch Red Cross, which the nurses use to buy moon cakes from local traders. Immediately afterward, the guards ban traders from the camp.

Part 2, Chapter 20 Summary

In October 1944, Captain Seki announces that he will move half the camp the following day. This entails splitting the nurses into two groups, and Nesta’s protests against this fail. Guards assemble the first group—including Norah, Ena, June, Audrey, Betty, and nurses led by Jean—and take them by truck to a riverboat. A few women are forced to load cargo, including coffins.


The next day, the boat travels down the Banka Strait, where the Vyner Brooke sank, and the nurses silently recall the massacre of their colleagues. At Muntok pier, guards transfer the women to a junk boat and herd them into a hold reeking of kerosene. During an air raid, the guards seal the hatch, and the women choke on fumes for hours. Afterward, they drive the sickened prisoners onto trucks for a journey to an unknown destination.

Part 2 Analysis

These chapters chronicle the creation of the women’s most significant tool of defiance but juxtapose this achievement against the escalating brutality of their captors. The formation of the voice orchestra is the culmination of the theme of Art and Music as a Form of Spiritual Resistance. Its origin is a response to individual suffering: Norah’s attempt to rouse a comatose Margaret Dryburgh with a vocal arrangement of Tchaikovsky. This establishes the orchestra as therapeutic and life-affirming, but the survival involved is not merely physical. The orchestra’s repertoire—Dvořák, Ravel, Mozart, Beethoven—is drawn from European high culture, making it a defiant reclamation of a heritage the Japanese seek to erase. This cultural defiance climaxes when Norah refuses Captain Seki’s order to perform Japanese music, an act for which she willingly endures severe physical punishment.


The orchestra exists within a broader framework of community that exemplifies The Power of Female Solidarity in a Dehumanizing Environment. Upon arriving at the squalor of Camp III, the women immediately impose order. Norah and Audrey’s construction of a sanitation system from scavenged materials is a microcosm of this larger impulse to build a functioning society against all odds. The women’s solidarity manifests in numerous ways: the organized cultivation of their vegetable garden, the collective sharing of scarce resources, and the unified physical defense against the Indonesian trainee guards. Even in death, this solidarity holds; the formal burial service organized for Mary Anderson contrasts sharply with the captors’ indifference, affirming the value of each individual life within the society the women have built.


Despite the women’s efforts, a cyclical narrative structure across these chapters illustrates The Indiscriminate Brutality of War. Each surge of hope is undercut by a new deprivation or act of violence. For example, the orchestra’s triumphant first concert and the planting of the women’s first vegetable garden are followed by the grim reality of children scavenging for rice and the camp’s first burial. Likewise, the collective labor poured into the second vegetable garden is rendered meaningless by Captain Seki’s casual confiscation of the harvest, while the rare joy brought by the arrival of mail is instantly extinguished by the banning of local traders. That the Japanese respond to Allied flyovers with increased brutality is a particularly pointed and ironic reminder of the precariousness of the women’s existence, as something that should be grounds for hope becomes an occasion for further suffering. The novel suggests that this rhythm of hope and betrayal demands a particular kind of perseverance: A daily, conscious choice to create meaning in a world designed to offer none.


Within this narrative, Norah’s character arc solidifies her role as one of the camp’s spiritual and artistic leaders—someone who shapes the camp’s inner life. Her refusal of Captain Seki’s demand, knowing that she will be punished, is a defining moment. By accepting a personal, physical ordeal, she protects the orchestra’s integrity and, by extension, the camp’s collective soul. Her quiet endurance of a punishment symbolic of their captors’ broader oppression (due to Japan’s association with the sun) becomes a display of resistance that galvanizes the entire community. This act cements her moral authority, demonstrating that her leadership is rooted in principle. While her private moments reveal a continued struggle with personal loss, her public actions support the collective well-being, underscoring that the artist can be a leader in crisis.


The journey to Camp IV signals the narrative’s rising action as it approaches its climax, dismantling the community and the forms of resistance established in Camp III. The journey forces the women to traverse the sites of their foundational traumas—the waters where the Vyner Brooke sank and the shores of Banka Island, site of the Radji Beach Massacre. The subsequent transfer to the junk boat and confinement in the dark, kerosene-filled hold is a form of katabasis—in literature, a journey to the underworld, typically constituting a severe spiritual trial. This experience is the antithesis of the voice orchestra: Where the orchestra created harmony from human breath, the hold threatens the women’s very ability to breathe. This passage serves as a narrative turning point that signals the end of one phase of survival and the beginning of another, far more brutal one.

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