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Content Warning: This section of the guide includes discussion of death, child death, mental illness, and religious discrimination.
The German Wife alternates between the first-person perspectives of Sofie and Lizzie, thus exploring the experience of Project Paperclip from the perspectives of both the German newcomers and the rural Americans who greeted them with suspicion and hostility. These female perspectives offer a different view of WWII, the Holocaust, the Great Depression, and the Dust Bowl than is typically centered in discussions of these historical events. As a result, the text focuses on the multifaceted impact that women had, largely behind the scenes, even as patriarchal norms meant that men held nearly all official power. The power of women to impact world events is sketched in many of the minor characters. The pressure that Sofie feels when she comes to Huntsville is largely a product of the moral judgment she faces from the women around her. In 1930s Berlin, Adele and her friends represent how women could use their relative invisibility to undermine immoral and evil laws. Lizzie’s choice to eschew romance and motherhood, even while marrying Calvin, shows one way of maintaining independence within patriarchal social structures. Meanwhile, the effect that she has on both Calvin and Henry underscores the support that women provided to family members in America during and after the war.
The reaction of both German and American women in Huntsville toward Sofie’s arrival, given Jürgen’s role as an SS officer, demonstrates the collective social power of women. Although Sofie and Jürgen stay, and their primary threat is actually from Henry, the social pressure that Sofie and her children experience due to the judgment of other women could easily have pushed the family out of the community. Given Jürgen’s work with the US government, this social pressure might have meaningly influenced the course of the war. While it was largely men who made policy, went into battle, and wrote the laws, women had a consistent impact on daily social life, and the novel argues that such social conditions form the foundation of global events.
In Berlin, Adele and her friends similarly leverage social relationships to help those endangered by Nazi rule. Adele and her friends are old women who are often overlooked and elicit less suspicion than the younger women and men around them. Taking advantage of this relative anonymity, they call on friends and family for financial support, which they funnel to Jewish families seeking to escape the country. Adele helps Mayim escape to the border, likely saving her life. The relative invisibility of women, under certain circumstances, is a source of safety and power.
Lizzie defies traditional gender roles and expectations for women. Early in the novel, she resents the expectation that she will have to be a farmer’s wife rather than a farmer. She doesn’t want to have children, though she cares deeply for her friends’ children. When she marries Calvin, she views their marriage as a partnership and friendship rather than a romance. Her refusal, though largely concealed, to conform to societal expectations shows her strength. Though she could conceal Henry’s crime and allow the police to pin the attempted murder on Sofie, she chooses to reveal Henry’s actions and then to advocate for him. In doing so, she frees Sofie and makes sure that her brother receives the help he needs before he harms anyone else.
World War II was a global event with consequences far beyond the battlefield. Many stories of the war and the Holocaust focus on individual or societal impacts, but The German Wife looks at the war through a more intimate lens, exploring several elements of war’s impact on the family. Sofie and Jürgen lose their eldest children to the war and propaganda, as the entire structure of the German education system is transformed by the war. Henry and Lizzie become one another’s only family in the wake of the dust storm and their parents’ deaths, but the war and Henry’s subsequent mental health condition fracture their relationship. Jürgen’s experience as a child in World War I shapes his understanding of the world and leads to his recognition of the dangers of the rocket program.
Jürgen’s family was destroyed in World War I: “Jürgen was seven when his family home in Freiburg was bombed in the dying days of the Great War. His parents and infant sister, Ilsa, perished” (94). As a result, he went to live with Adele, who had lost her husband and sons to the war as well. Later, when Jürgen is sure that the rocket science he’s been working on will be used to create quieter, faster, more powerful bombs, he imagines his own rocket hitting a family somewhere in Europe. That early childhood trauma returns, forcing Jürgen to confront the impact that his work will have on families like his own.
The war leaves Sofie and Jürgen wounded both physically and emotionally. Before Jürgen begins working for the government, and before the war ramps up, their family is warm, close, and happy. They have Georg and Laura, and though their finances aren’t perfect, they’re happy as a unit. The war slowly eats away at that happiness, challenging their consciences and stealing their children. Georg is killed at 15 when he and Hans try to escape their assignment to protect Kassel. Before that, though, Sofie knows she’s losing both Georg and Laura to propaganda and hatred. When Sofie joins Jürgen in Alabama, she has Gisela and Felix, but Laura has chosen Hans and the Nazis over her own family. Because of Jürgen’s role in the war, Felix has never met Jürgen, and they struggle to develop a relationship.
Lizzie and Henry’s family is hurt well before the war, and their financial and emotional struggles are significant. However, Henry’s experiences in Germany have had such a harmful impact on him that he seeks any possible relief: “It was clear to me that they were just guessing how to help men like me. Hell, at one point they prescribed a course of ‘flower-picking therapy.’ And I was desperate, so I went with the nurse, and we picked flowers all day” (131). The insulin therapy that he eventually receives causes brain damage that leads to Henry’s crime and nearly leads Lizzie to go to prison in his place. The war nearly destroys Henry and Lizzie, and it’s only her strength and dedication that allows them to survive.
Sofie and Jürgen’s experiences in Germany offer a possible explanation for a question that is frequently highlighted in any Holocaust narrative: how seemingly normal and good people could justify either participating in or turning a blind eye to the horrors of the Nazi regime. Sofie and Jürgen never endorse the antisemitic ideas circulating around them, but they are complicit in both the attempted extermination of Jewish people in Germany and the attacks against civilians in the countries that Germany targets with their rockets. Rimmer’s storytelling emphasizes the slow, cumulative process by which these seemingly decent people become complicit in genocide. Again and again, Sofie and Jürgen choose their family’s safety over their sense of justice, and by the time they recognize the inevitable consequences of their choices, it’s too late to make a different choice. When Jürgen is recruited into the SS, he tells Sofie that this is the final bridge and one he is unwilling to cross. Yet he crosses it almost immediately when his wife and children are threatened. In truth, he likely crossed the final bridge unknowingly months or even years before this moment: By failing to resist or flee Germany when it would have been easier to do so, he drifted into a situation in which he could resist only at the cost of his family’s lives.
The slow advance of antisemitism, aggression, and violence in Berlin showcases how easy it is to accept a small injustice and how those small injustices can accumulate until they become overwhelming. Jürgen and Sofie know from the start that taking the rocket science job with the government is likely to lead to dangerous places, but Sofie’s narration reveals that they feel like they have no choice: “[T]he decision had already been made” because “in just two days, the Nazis [take] away [their] only source of income and threaten[] [their] home” (105, 115). This is the first of series of choices that only have one safe answer. Once they decide to prioritize short-term safety over doing what’s right, further moral compromises appear inevitable: relocating Mayim, joining the Nazi Party, allowing the children to enroll in Hitler Youth, and finally joining the SS. At every step, they try to find a way out, but the more they capitulate to the Nazi regime, the higher the price of resistance becomes. When Jürgen participates in bringing victims to Mittelwerk and Sofie sees the horrific conditions there, they’re willing to risk their lives, but again, the Nazis find another way to threaten them—their children. They want to stop and resist, but every step is impeded, and every move is surveilled.
The fear and anger directed at Sofie and Jürgen when they come to the United States represent a simplistic narrative—people in Huntsville have seen the horrific images from the liberated concentration camps, and they assume that anyone associated with the Nazi regime must have personally supported and desired such horrors. Sofie and Jürgen’s story demonstrates that this is not necessarily the case. Instead, even those who personally abhor racism and violence can be guilty of perpetrating these evils through failures of courage. Claudia was a citizen of Germany under Nazi rule, so she has a clearer understanding of the pressure that Sofie and Jürgen faced than the Americans in Huntsville. However, Claudia says that Sofie and Jürgen went too far and that it was one thing to fail to resist but entirely another to join the Nazi Party and even the SS. What Claudia does not fully understand is that these failures are the same. The longer Sofie and Jürgen failed to resist, the steeper the cost of resistance became. Their most consequential mistake was believing, while living under a malicious regime, that they could preserve their safety and decency at the same time.



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