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51 pages 1 hour read

Alice Hoffman

The World That We Knew

Fiction | Novel | Adult | Published in 2019

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Chapters 20-26Chapter Summaries & Analyses

Chapters 20-26 Summary

In the fall of 1943, Julien has lived at the farm near Haute-Loire for about a year. He hasn’t seen Lea for nearly two years but still thinks about little else: “They had been cast into the far sides of a maze, blindfolded, with no walls or trees or bread crumbs to guide them” (226). One day when Marianne and Victor are both gone, Julien, returning to the farmhouse from his chores in the field, hears the ominous rumble of army trucks. He hides until he thinks it is safe. He returns to the farmhouse, his heart dark with the foreboding feeling of death. He finds the farmhouse ransacked and, worse, Marianne’s father hanging from a crossbeam. Julien knows he must run but first he wants to secure the identity papers he’s sure Marianne’s father hid on the farm. He deduces the perfect place: the farm’s beehives. Indeed, he finds the valuable papers. He leaves a note for Marianne, gifting her the papers, and runs. He heads toward Vienne. He runs by night and sleeps during the day. Alone and lost, he takes work wherever a farmer is hiring.

Meanwhile, Ettie has emerged as one of the most reliable and courageous Resistance fighters. She teams with Dr. Girard and become his de facto nurse, assisting him during dangerous runs to help wounded underground fighters. The work is risky and bloody. The two strike up a kind of friendship. The doctor, in mourning over his wife and dedicated to the cause, never crosses the line into inappropriate intimacy. They play chess in the off-hours. Dr. Girard tells Ettie about his wife’s difficult and doomed struggle against breast cancer and even offers Ettie any of her dresses and shoes she might like.

Julien makes his way at last to a chateau in Izieu in eastern France where dozens of Jewish children wait, they assume, to reunite with their parents who have, in fact, been sent to the death camps. The staff have agreed not to tell the children the truth about their parents. Thus, for the kids the chateau is like summer camp. They go to classes in the morning and play camping games in the afternoon, although the true intent of the camping games is to teach them critical survival skills should the Gestapo ever raid the orphanage. Julien agrees to teach the kids rudimentary math skills, but he feels lost, near despair: “Most mornings when he woke up, he had no idea where he was and he sprang from his bed confused” (257). In his free time, he sketches Lea from memory. One afternoon, as Julien is in his bed fighting off a fever from an ill-considered dive into a freezing river, the Gestapo raids the orphanage. Julien jumps from his bedroom window. When he returns, the grounds are dark and deserted. The Nazis have sent the children, teachers, and staff to Auschwitz, where all 51 will be gassed. Just a few days later, when Julien is on the run, the Gestapo arrest him while he sleeps. He joins a long string of Jewish detainees walking along the road toward a village where, Julien is certain, the Nazis will send them to the death camps. Julien, desperate, draws on his training in mathematics.

He reasons that this is a simple math problem and determines that the solution is escape. When the line of prisoners reaches the town, Julien drops white stones along the labyrinthine streets. He bolts and follows his own stones out of the town and into the freedom of the forests. His figure in flight now recalls the wolves running through the wintry woods of Russia: “Now, here he was alive as could be, his legs throbbing, pulling his filthy clothes back over his wet body, his posture bent as he shivered so violently he could hardly stand upright as he cut through the pitch dark of the woods” (282).

By April 1944, Ava is working in the kitchen of the refuge at La Chambon-sur-Lignon. Lea dutifully goes to classes and spends most nights hiding in the attic, fearing a Nazi raid. Ava scans the skies every morning for some sign of the heron, some message from Julien. Finally, after weeks, the heron arrives. The note attached to his leg is a map that Julien has drawn to direct Lea to Marianne’s farm, where he’s hiding. Ava hesitates. She understands that when Lea no longer needs her protection, she must destroy her. She decides not to give Lea the map.

The Resistance learns of the raid on the orphanage and the fate of the children and their teachers. They target the Gestapo captain responsible for ordering the deportations. Victor and Ettie agree to undertake the dangerous mission. They watch the captain for weeks to learn his routine. Daily, Nazi officers bring the captain Jewish girls, prisoners, for his sexual appetite. Ettie understands that the best way to get close to the captain is through his carnal lusts. She agrees to be the bait. Before she and Victor leave for the mission, however, she approaches Dr. Girard. She asks that he make love to her before she goes. She fears that things may go wrong, and she does not want to lose her virginity to a Nazi. The two make quiet and tender love: “[W]hat transpired between them was something they hadn’t expected, it was almost as if they had fallen in love in a world where anything could happen and nothing was impossible” (295). 

Chapters 20-26 Analysis

This section is the novel’s nadir. It conveys an unsettling desperation, a sense of a loss too profound to accommodate joy, too absolute to allow survival, too brutal to make love anything but cruelly ironic. These chapters pitch the novel into its darkest moments: the brutal hanging of Marianne’s father in his own barn, the prolonged separation of Lea and Julien, the heart-wrenching account of the death of Dr. Girard’s wife, Ava’s decision to interdict Julien’s love letter and his map, and the novel’s most disturbing episode: the raid on the school and the killing of the children and the teachers in the death camps. In these events stirs no sense of the world’s wonder, no intimations of Ava’s naive and grasping sensibility. The world is decidedly, oppressively dark, mimicking the surrealism of the Kafka novels that Julien reads during his time as a schoolteacher: “[T]he world made no sense, fates were cast for no reason, men were beasts and insects or they were simply lost” (257). That claustrophobic sense in which danger and absurdity fuse defines the events. In this world, Julien sleeps every night with a knife under his pillow, Ava selfishly lies to preserve her own existence, a lovesick Lea is sure she’ll never see Julien again, and the Gestapo sends Jewish schoolchildren—as young as they are innocent—and the teachers who help them to be gassed. The world of the hunters appears to be ascendant.

However, despair is never the last word. These chapters chart the emergence of Julien, of all people, into the role of wolf. Although keenly pining for his love, Julien hasn’t been the most resilient or defiant character. He seems to lack the wolf’s spirit. His characteristic response to danger is flight: He leaps out of his home in Paris when the Nazis raid and runs without questions or qualms from the soccer stadium when his father negotiates his freedom. When the Nazis raid Marianne’s farm, he lies in the fields nearby until the Nazis depart and he thinks it’s safe, surveys the damage in farmhouse—including the hanging body of Marianne’s father—and then runs. He lacks the nobility of the wolf and that sense of when fighting back is right. His flight is knee-jerk and poorly conceived, more a desperate dodge than any kind of awareness. He’s driven entirely by the promise he made to Lea: to stay alive. At the school in Izieu where Julien takes refuge, however, he emerges as a moral force. Initially, when he realizes that Gestapo officers are raiding the school, he runs.

When the officers arrest him and he’s forced to join the stream of Jewish detainees—bound, he’s certain, for deportation and extermination—Julien at last taps into his inner wolf. Unlike in Paris or at the farm, he understands the reality of the Nazi threat, feels the urgency to resist, feels the desperation in the Jews he joins walking listlessly toward their death in the camps. Julien decides then that flight means to fight. Drawing on his skills in math (and a game he played with his father that involved working his way logically through their garden maze), Julien decides not to surrender to the hunters. In dropping the white stones, he acts like the wolves that Lea’s grandmother recalls in her stories: He’s a heartbeat determined to evade capture, to not be killed. This is his own Resistance, not as grand as his brother’s but for Julien a moment of revelatory resilience and courage. He outsmarts the Nazis.

As in each of the novel’s sections, this one moves toward the affirmation of love: “People said love was the antidote to hate, that it could mend what was most broken, and give hope in the most hopeless of times” (292). Ettie and the widower Dr. Girard strike up an immediate friendship, and Ettie becomes the doctor’s assistant as he ministers to wounded Resistance fighters. He shares with her the story of his last months with his suffering wife as he watched helplessly (particularly difficult for a doctor accustomed to healing patients) as cancer destroyed the woman he loved. “He could not save her, he could only watch her die” (245). When Ettie comes to the doctor before she leaves on the mission to assassinate the Gestapo captain responsible for the raid at Izieu, she explains that she understands the risk, that the Nazis may take her prisoner and brutalize her. Here, the novel offers their unexpectedly tender night of lovemaking. She doesn’t want to give the Nazis her innocence, her virginity. Initially, Dr. Girard gallantly refuses, as he’s nearly twice her age. He agrees only if Ettie beats him in chess, which she has never done. In a moment that signals the magic of their approaching intimacy, Ettie wins. “Don’t treat me as if I were your patient,” she whispers as they collapse on the bed: “It was almost as if they had fallen in love in a world where anything could happen and nothing was impossible” (295). Thus, the section, despite its darkness, points a way to hope, both in Julien’s evolution and in the manifestation of love against and amid a world of death. 

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