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Magda mostly rejects the Christianity practiced by villagers in Piaski and instead embraces the concept of the wheel. For the gypsy population from which Magda descends, the wheel is a symbol of life in its entirety. It continues on, turning between the ground and the sky, without stopping to accommodate human wishes or desires. Magda introduces Hansel and Gretel to the term the first time that she meets them. When Hansel asks Magda about good luck, she does not give him a straight answer. Instead, she tells him that “The wheel moves on and we move with it” (19). Although the children do not understand what she means, Magda continues to mention it in their presence. For instance, when Father Piotr wonders whether Hansel’s dyed hair will prevent others from recognizing him as Jewish, Magda says, “It will work, and if not, then the wheel will go on” (46). Though her belief in the wheel does not seem to bring Magda much comfort in life, she is reassured by what she finds when her own wheel stops turning: “Blue above, green below,” she says, “we wander a long way, but love is what the cup of our soul contains when we leave the world and the flesh” (297). Magda took away love from her time on Earth.
For many characters in the novel, the changing seasons are a practical consideration as well as a suggestive motif. Winter descends upon Poland just as Hansel and Gretel arrive in the woods near Piaski. The cold forces them to find shelter quickly. On a larger scale, Magda believes that it slows the pace of the war: “Snow was good,” she thinks. “It slowed them all down. Things were postponed during the hard snow” (75). When spring arrives in March of 1944 and the forest begins to thaw, the pace of the novel rapidly accelerates. Plot developments stream forward like water from the melting snow and ice. As Russian forces push the Nazis out of Poland, Telek and Nelka escape with their baby, the Oberführer captures Magda, and Hansel and Gretel hide again in the forest. Though the end of winter does not mark the end of the war or of characters’ suffering, it brings the promise of change.
The forest in Western Poland is full of wild animals, which characters often reference to make statements about the world around them. Magda, for instance, uses animals to explain the war to Hansel and Gretel. She likens the Russian forces to “animals shaking the snow off, killing again when the armies moved” (75). Telek employs a similar metaphor when he compares the Russians to a bear that will chase out the “rabid dog” Nazis (117). Gretel creates a more poignant metaphor when she marvels at the lives of wild animals in the woods: “They just live out here,” she tells Telek. “They can walk around and are free and eat and play and have the whole forest to be their home” (101). Though Telek reassures Gretel that she also can spend time in the forest, Gretel understands that her life in Poland is far more restricted than those of the animals.



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