Strangers in Time

“He had told his people to be strong, and calm and patient, while the world fell apart around them. And they had, for years, mostly done just as he asked. Yet there were limits to people’s willingness and ability to sacrifice, and for Charlie and many like him, these limits were growing steadily nearer.”

Charlie sees a photo of Prime Minister Winston Churchill, who promotes the official government line of patience and endurance during wartime. The “war effort” is a major motif in the text, and this quotation explains the citizens’ mental work of contributing to the war through a proper communal attitude. However, with the final sentence, it also shows that people’s “ability to sacrifice” is limited, stripping back the veneer of war propaganda to the humans actually living through it.

“But they say rationing is equal? Don’t you believe it. Got to register our ration books at just a few shops, limits what we can get, don’t it? But others drive their fancy motors and eat at the Dorchester and go to the country for ‘week-ends’ like there’s not bloody war going on. I hope they feel some guilt in their hearts, though I don’t hold out much hope for that.”

Gran rants to Charlie about the inequalities of rationing among the rich and poor. Rationing is a motif that illustrates the scarcity of the wartime era while also developing the theme of Class Influence on Wartime Experiences. Gran highlights how rationing exposes the frivolous attitude of the rich while other citizens starve, and by putting the criticism in her voice instead of a narrative aside, Baldacci highlights the impact on the average citizen.

“Mustered out a year ago. Can’t hold a rifle worth nothin’ no more, and me eyes, well, they ain’t what they used to be ‘cause of a mortar round hitting close by. Though I can sees well enough with the specs to drive in the day if I don’t go too fast. And then there’s me bad leg. Got metal in it. Aches with the weather, I can tell you, and walkin’ ain’t so easy as it once was. So’s drivin’ a cab is ‘bout all I’m good for, Miss.”

Molly meets a veteran who must work as a cab driver because of injuries sustained in battle. The cab driver’s description of his permanent injuries develops the theme of the traumatic effects of war on the body and mind, which has affected his physical and emotional health, as well as his ability to find employment. As with Gran’s commentary on the ration books, the cab driver offers a first-person view of the position of veterans after their service is complete.

“Thus, she knew London. The amusing parts. The expensive parts. But as she looked doubtfully up and down her street in Chelsea, she began to feel that such a London no longer existed. This place, this world, had surely been transformed over the years she had been gone.

And so must I be, thought Molly with some trepidation.”

Molly compares herself to London in its changed form. Molly knew London as an amusing city on the surface, but through the experience of war, the city showed both its ugliness and resilience. She also uses London as a metaphor for herself, understanding that, like the city, she too will have to transform if she’s to survive the war.

“A bemused Charlie said, ‘So there really is such a thin’?’

‘What thing?’

‘A Min-stry of Food.’

‘Well, people do need food.’

‘But if there’s a bloody min-stry of it, then where’s the food got to? You sees my point?’

‘You shouldn’t say “bloody.” It’s coarse and disrespectful, especially in the presence of a lady,’ she added firmly.”

This passage exemplifies Molly and Charlie’s different social classes through its representation of their respective vernaculars, which are a result of their social classes. Charlie has a working-class Cockney accent, so he drops letters (“thin’” and “min-stry”) and uses improper verb conjugations (“sees”). Molly, on the other hand, is wealthy and highly educated, so she speaks in “proper” English and takes offense at Charlie’s vulgarities.

“Yeah, the bloke across the street told me about you, so I figures he deserves a tanner. He helped take care ‘a the bombs till his legs got blown off down East Ham way. And gran needs a hat and specs. Then some of it would go for some shoes and a coat for me, if I can find ‘em at the right price, or if I can find ‘em a’tall.”

Charlie explains what he’ll use the £5 for in exchange for his journal. This quotation demonstrates Charlie’s selflessness, as he’s primarily concerned with giving back to people who have helped him, from those as close as his grandmother to strangers who give him directions.

“Every time he drew close to the basement, his heart seemed to seize up, his muscles tensed, and his vision blurred. When he was actually inside the dank, gloomy room with his mask on, his mind shut down and the teacher would look at Charlie, who always sat hunched over in a little ball, with pity.”

Charlie describes the physical symptoms of his anxiety after living through a bombing. Connected to the theme of the traumatic effects of war on the body and mind, Charlie’s near-death experience completely alters his behavior and prevents him from participating in school without debilitating fear. Baldacci uses specific, well-recognized symptoms of post-traumatic stress disorder (PTSD) to illustrate the seriousness of the war’s impact on Charlie’s well-being.

“‘I’m sure that whatever you write down will be important,’ said Oliver.

‘I doubt that.’

‘Even if it’s only important to you,’ amended Oliver. ‘Which is often the most important thing of all.’

‘Very fine thoughts,’ said Molly.

‘It was Imogen who said them.’”

This quotation highlights the usefulness of writing, a key motif in the text, to self-awareness and examination. Ignatius parrots his wife’s belief—a habit of his—about the healing power of words. Though Charlie doesn’t believe him, journaling becomes a therapeutic practice for Charlie in future chapters and into his adult life.

“Some crossed themselves, others bowed their heads, and still others shed tears because life was so hard here and Gran had been kind and helpful to all. Knitting a cap or gloves for a neighbor’s child, bringing up a bowl of hot soup, freely giving away hunks of crusty bread from her shop throwaways, producing a plaster for a wheezy chest, or simply offering another pair of sturdy, loving hands and a soothing voice to help a weary mom with a newborn.”

This quotation describes the community’s shared grief in Gran’s passing. Developing the theme of The Importance of Community During Times of Trouble, this passage highlights the reciprocal support between Gran and her neighbors as they all tried to survive both the harsh conditions of the war and regular life. By listing specific instances of her generosity, Baldacci underscores the scope of her actions and how many people she touched.

“‘But right now, I really don’t have anyone,’ said Molly.

‘Well, you got me.’

Molly turned to look at him. ‘And you have me, Charlie. So we have each other. That means an awful lot, doesn’t it?’ she said, as though to buck up her own spirits.

‘It’s loads better than bein’ all by yourself. Havin’ someone to talk to, and all.’”

Expanding the theme of the importance of community support in times of trouble, Molly and Charlie express the importance of having someone to talk to about one’s hardships. Molly and Charlie both feel relief when they can get their thoughts out of their head and have someone to reaffirm or dissipate their worries. The trajectory of their exchange highlights how they support and bolster each other into positivity.

“‘I suppose I am quite young for work such as that,’ said Molly, more to herself than to either of them. ‘But they needed my help while I was there and thus I helped. It was the least I could do, you see. The men had sacrificed so much.’”

Molly explains why she started working as a nurse in Leiston: She felt compelled to help the hospital, not only to alleviate the nurses’ work but to give back to the soldiers who were fighting in Europe. This connects to the motif of the war effort, as Molly takes up a new occupation to contribute where she’s able, and her self-deprecating tone highlights the idea that being a part of the communal war effort involves recognizing the sacrifices of others as well.

“You ain’t even worth a farthin’, Charlie. Honorable? You’re no better than you ought to be. You’re no better than Lonzo. You steal and you get folks killed. You deserve the rope.”

This interior monologue demonstrates Charlie’s deteriorating self-image following the death of his friend, Eddie. Though Charlie never saw himself as honorable, he thought of himself as principled, but when he leaves Eddie for dead in a police chase, Charlie comes to think of himself only as a worthless criminal. Throughout the novel, Charlie struggles to overcome his low self-esteem and recognize his value to others.

“The scrawl was childish—Lonzo had had very little formal schooling, he knew. But Charlie could easily read the two words.

Sawree, Edee.

Charlie mouthed these two words, not simply parroting what was written, but perhaps with the understanding that he was talking to his deceased mate.”

Charlie finds Lonzo’s written apology to Eddie in Ignatius’s journal and repeats the short phrase to himself. Lonzo’s apology connects to the motif of books and writing, as his guilt was so overwhelming that he felt compelled to write down his feelings, despite his poor spelling. Charlie feels the same as Lonzo about his responsibility for Eddie’s death, and when he mouths the words, he connects to both Lonzo and his own devastation over the loss of Eddie.

“My father said that we must spread the wealth of books around, Iggy. Concentrating them in one place means others will be deprived of the experience of opening a tome of wonder. No, we must be where the people who need us are. And the people who need books are all over this great city, not simply in one exalted place.”

Also connected to the motif of books and writing, Ignatius recalls Imogen’s father’s decision to place The Book Keep in an obscure location. Imogen’s speech exemplifies the theme of class influence on wartime experiences, as she believes all people deserve to have access to the healing power of books, not just those who can afford to shop in upscale areas.

“The hotel looked like a doll’s house with its entire front sheared right off, allowing him to see directly into dozens of rooms. Fires roared everywhere, and desperate people were jumping from upper-level floors now, choosing a quick death over being burned alive.”

Ignatius uses a simile to describe the frightening scene he witnesses while working as an air-raid warden after a German bombardment. The text includes several moments of visceral description concerning the German bombings to illustrate the desperate realities for people in the city.

“‘People look at you funny, though,’ he said. ‘For not bein’ in the fightin’, I mean. Think I’m a damn coward. But it’s not like I can show ‘em pictures of my chest. I didn’t ask to have no funny heart.’ He glanced at Charlie with an anxious look. ‘Least I’m in some sort of uniform. Right, mate?’”

Charlie works with Peter Duckett as a telegram messenger, and Peter explains why he’s not in the army. Peter describes feelings of shame for not being able to fight due to a heart condition, because he feels like he can’t contribute to the war effort in a way that’s expected of him. This passage explores the motif of the war effort from a different perspective, highlighting the impact on the individual who feels that he cannot contribute as he’d like to.

“For around a year now it has just been me. And…and memories of Imogen. I can see now that that is not the healthiest manner of living. And it was you and Charlie who helped me to see it. That I had more to give, additional friendships to form. I mean, if life doesn’t contain that, what is the point of existing really?”

Ignatius’s speech to Molly exemplifies the theme of the importance of community in times of trouble. Before meeting Charlie and Molly, Ignatius was completely isolated in his grief, but the children and their mutual need for support helped Ignatius heal from his traumas and realize that his life is worth living for himself.

“‘Yes, well, the fact of the matter is, Ignatius, that there are so many such…messages…that…well, the government apparently believes that some uniformity is…necessary.’ He glances nervously at Charlie. ‘In other words, yes, they pretty much all read the same, except for the names, of course.’”

Arthur Benedict explains to Charlie (who has given his name as Ignatius) why the death notice telegrams are so uniform. Benedict struggles to describe the scale of death that necessitates such standardized telegrams without scaring Charlie further, since the experience of delivering the note already distressed Charlie deeply. Baldacci’s use of ellipses in this passage highlights the halting nature of Arthur’s speech as he struggles to rationalize the hurtful anonymity of the notices.

“The war had brought folks together for a bit, but it wouldn’t last, thought Charlie. Then things would go back to his lot, as always, being on the short end of pretty much everything.”

Charlie contemplates the theme of class influence on wartime experiences after delivering a death notice to a young family. Death doesn’t discriminate between rich and poor, and Charlie recognizes that this shared tragedy has temporarily bridged the gaps between classes. However, he doesn’t think this camaraderie will remain when the existential threat of war is gone.

“We all have each lost a great deal in this terrible war. But amidst all this destruction and despair, we managed to find one another. As a mathematician I can tell you the odds of that happening are staggeringly long. But here we are, together. As though it were somehow preordained.”

Ignatius expresses his luck at meeting Charlie and Molly at the right place at the right time. This quotation explores the theme of the importance of community in times of trouble, as Ignatius recognizes their fate could’ve been much worse if they hadn’t found one another in the right circumstances. He uses his math background to highlight the odds of their found family, but then equates it with fate, offering a more spiritual reason for their connection.

“‘He’s upset,’ said Molly.

‘He has a right to be. He’s lost his entire family to this damn war. And look at what you have to confront on a daily basis. It’s not fair. None of this.’

‘War doesn’t care about what’s fair. It’s like a virus. It only wants to invade and do harm.’”

Molly and Ignatius discuss the scale of tragedy in Charlie’s life. Connecting to the theme of the traumatic effects of war on the body and mind, Molly and Charlie are so young, yet they’ve endured so much hardship already because of the war. Molly uses a simile to compare war to a virus that doesn’t consider age or class as it spreads.

“That sort of mental trauma is like shell shock in a way. It does things to your mind. Terrible things. You can never seem to dig your way out of the hole the horrible event has placed you in. Your trust in humankind is also shattered. You see the world solely through the prism of your awful experience.”

At the Beneficial Institute, Dr. Foyle explains to Molly how traumatic events can alter a person’s perspective. Molly’s mother’s rape led her to see everyone as a potential threat, which initiated violent outbursts and blind rage. Dr. Foyle compares Molly’s mother’s experience to veterans with PTSD, since the rape was just as life-altering as frontline fighting.

“There was no real medicine that would help. Only apparently sticking sharp instruments into the soft tissues of the brain. And while that might ease some of their violent symptoms, it often subtracted everything of importance from the person, leaving something less than human.”

Molly describes the ineffectiveness of historic mental health treatments, which were experimental and unproven. Looking back from many years in the future, she laments how unequipped the Beneficial Institute was to deal with complex mental health issues. The frightening side effects of lobotomies that she witnessed motivated her to become a psychiatrist and develop more humane treatments.