The Door

The Door is a 1987 novel by Hungarian author Magda Szabó. The story portrays the close relationship that forms between the narrator and an elderly woman named Emerence against the backdrop of Hungarian social changes during the Cold War. Though a work of fiction, the book incorporates many autobiographical elements, reflecting Szabó’s experience of artistic repression. The novel (and its translation) received critical acclaim, and the book was adapted into a feature film in 2012.

This guide uses the 2020 Vintage edition of The Door, translated into English by Len Rix.

Content Warning: The source material and this guide feature depictions of death, child death, and death by suicide.

Language Note: The text uses the offensive term “insane,” which the guide reproduces in quotes.

Plot Summary

The Door is narrated by a woman named Magda. Like her husband (whom the novel doesn’t name), Magda is a writer. For much of her recent life, however, the government has censored their work, but recently permitted them to write and publish their work once again, so Magda is unexpectedly enjoying professional success. Narrating the novel from a time in the future, she introduces herself through her frequent dreams. Magda shares her fear that she killed Emerence, an elderly woman integral to the text since it charts Magda’s relationship with Emerence.

Busy writing and publishing again, Magda and her husband need a housekeeper. Without someone to take care of their house, neither will have time to keep up with their obligations as writers. A former classmate suggests to Magda that she should hire an old woman named Emerence. Magda arranges to meet with this prospective employee, but soon learns that Emerence is quite particular. During the interview, Magda feels as though Emerence is interviewing her. After the first meeting, Emerence agrees to work for Magda and her husband (whom Emerence refers to as the Master). Over several years, Magda grows accustomed to Emerence’s idiosyncratic ways. Emerence chooses when she’ll work and how much she’ll be paid, according to her own determination of what needs to be done and what her labor is worth. Despite this unconventional approach, neither Magda nor her husband can complain about the quality of Emerence’s work. She becomes an indispensable part of their lives, even if they’re perpetually unsure of her true character. Furthermore, most of the people in the neighborhood know Emerence, but though no one is entirely sure that they understand her or her character because she’s secretive and insists on privacy, everyone respects (and even fears) Emerence.

Emerence lives alone in a small apartment. She permits no one to enter, Magda learns. The door is locked to everyone in the neighborhood. Emerence cites her cat as the reason for this, as she doesn’t want to disturb the cat or allow it to escape. When she sees Emerence visiting sickly neighbors and carrying an ornate christening bowl, Magda convinces herself that Emerence took the bowl from a Jewish family who were forced to surrender their possessions and flee Hungary during World War II. She believes that Emerence is hoarding more of the Grossman family’s lavish furniture behind her perpetually closed door. Magda consults with the Lieutenant Colonel, perhaps the only person whom Emerence has allowed into her apartment. He’s quite fond of Emerence and often helps her with bureaucratic and legal matters. He doesn’t believe that Emerence’s apartment is filled with stolen possessions.

Magda’s relationship with Emerence begins to change when Magda’s husband is in the hospital. Emerence is offended that Magda doesn’t tell her about the health issue, and the two women later spend time together. Emerence shares a story from her youth, explaining that her younger brother and sister died in a storm while she was trying to run away with them. Emerence is still afraid of storms. This profound exchange bonds Emerence and Magda; Magda doesn’t tell anyone about Emerence’s past, though many people have their own private theories and interpretations of her character. When Magda finds and adopts a puppy, the puppy quickly becomes devoted to Emerence, who names the dog Viola (though the dog is male). Emerence emerges as the dog’s master, even though she insists that Magda is Viola’s owner.

Through Viola, Magda meets other people in the neighborhood, including Sutu, Polett, and Adélka. These three women are among Emerence’s closest associates, though Magda fails to grasp how they believe that she’s closer to Emerence than any of them. Polett dies by suicide, and Magda fears that Emerence will be upset. However, when she tells Emerence, she isn’t surprised, as she knew that Polett was struggling. The tragic incident illustrates Emerence’s practical and pragmatic view of death.

During their years together, Magda and Emerence become close, though their closeness is often masked by the various slights and grievances they bear toward one another. Emerence’s behavior irritates Magda and bemuses her husband, yet she remains committed to the older woman. When an old acquaintance cancels a dinner that Emerence had planned, for example, Magda offers her comfort in a reserved, quiet manner that allows Emerence to maintain her dignity and pride. The two women come from similar parts of the rural districts of Hungary, though Emerence rarely wants to talk about her youth. Despite her reluctance to discuss her past, Magda gradually learns of the great suffering and sacrifices that have marked her life. She has helped hide people from persecution, for example, including the Grossman family, whom she sheltered during the persecution of the Jews in Hungary. Emerence personally protected the Grossmans’ daughter, Eva, pretending that the baby was hers.

Eventually, Emerence begins to trust Magda enough that she permits Magda to enter her apartment on one occasion. Inside, Magda glimpses the meticulously maintained inner sanctum of Emerence’s existence, including a giant safe that blocks entrance to the inner rooms. No one else (not even Emerence’s estranged relatives) is permitted to enter her apartment, so Magda recognizes the significance of this moment. Emerence works hard and closely guards her true feelings. As she grows old, her health begins to fail, yet the people in the neighborhood are reluctant to intervene or help her too much, knowing her propensity to take offense toward anyone who impugns her pride or dignity. When Emerence withdraws into her apartment, no one wants to knock on her door. They know that she’ll chase them away. When no one sees her for several days, however, people try to call on her, bringing food or medicine.

As Emerence’s absence drags on, however, Magda becomes concerned. People urge Magda to do something, recognizing her as Emerence’s closest acquaintance. Magda struggles with the responsibility but decides that something must be done. She organizes a scenario to allow the authorities to enter Emerence’s house and take her to the hospital. Emerence is found in terrible condition; she has had a stroke and is surrounded by rotting food. Though she partially recovers, her pride is hurt, and she refuses to speak to Magda. The conditions inside her apartment require the attention of the authorities, who must burn many of her possessions. Magda lies to Emerence that she personally refused anyone else entry to her apartment, but her lie is eventually uncovered.

Emerence passes away, seemingly having lost the will to live. The community gathers to mourn her loss. Magda feels guilty, as though she betrayed her friend. She inherits Emerence’s possessions and, entering the inner rooms with the Lieutenant Colonel, finds that the ornate, valuable furniture is riddled with woodworm. It crumbles to dust when touched.