They Went Left

During these chapters, Zofia becomes increasingly suspicious of Abek’s identity. In Zofia and Abek’s conversation about the future, Abek’s reluctance to return to Sosnowiec is evidence of the fact that he is not Abek Lederman; he would have to pretend to have knowledge of places and people that were totally unfamiliar to him. This possibility causes him evident anxiety, as is illustrated in his interruption:

‘We could live in our old apartment, and we could try to find our old friends. Do you remember your old room? I know Gosia would like to see you, and—’

‘What else?’ he interrupts. ‘You also said we could go with Breine and Chaim on their boat’ (294).

Zofia is reassured during moments where Abek seems to remember their shared past, such as when he remembers the character from the Polish fairy tale, “The Whirlwind”: “He said he suddenly remembered after all: The prince’s name was Dobrotek. And I was so happy. I took that memory as a sign. I took that memory to mean something important” (312). Zofia’s suspicion of Abek’s identity is illustrated in the way she desperately clings to evidence of his identity, such as his memory of Prince Dobrotek. However, this short-term relief turns to suspicion again when she sees the copy of “The Whirlwind” in the book of fairy tales in the library, sitting on a desk as if it were recently perused by Abek. As is Zofia’s tendency in the aftermath of the war, she works hard to avoid unpalatable truths, as is illustrated in her acceptance of Abek in earlier chapters. However, as she recovers her strength and resilience, she starts to question her reality more and more. She explains her growing unease about Abek to Josef: “I wonder if he doesn’t want to talk about the past because he doesn’t remember things—things that I feel he should remember. That are important to my family” (299). The voice of doubt becomes louder, despite her efforts to suppress her doubts and simply live in the moment: “I do not want to think about how he might not be my brother” (316). She reconstructs their reunion with a more critical eye and reflects that the difference in his appearance might be more than just the passing of time: “When he first arrived, showing up at this very spot, I’d noticed things about him that looked different” (318). She now wonders, “Could I take that same information and use it to reach different conclusions?” (318). Perhaps, Zofia realizes, Abek’s changes don’t reflect an older version of the same person but a different boy altogether.

Zofia’s progress toward confronting the truth continues to be complicated by the fact that her memories of the past are often obscured; Josef points out that Abek might be simply suffering from the same symptoms as Zofia: “Your memory has holes. You don’t remember things you should. You get confused about what really happened, and you’re not sure what’s real and what’s not. Maybe he’s just a little confused, too. The way you were” (301). Memory and Trauma continues to function as an important theme in this confusion. Zofia wonders if Abek’s forgetfulness is simply a consequence of the fact that “[they] are both broken” (301). This sentiment illustrates that Zofia is deeply worried about Abek’s well-being but also aware of a deep-seated, unnamable discomfort, which is the growing (but as yet unconfronted) awareness that the person who found her is not Abek.

Furthermore, Zofia is also tempted to simply accept Abek’s story, as this is easier than creating further pain, hurt, and confusion. She is motivated to continue living in this joyous place, as is illustrated by her hopeful reflection, watching Josef and Abek fixing the bikes: “Family? My heart asks the question before my brain can stop it” (285).

Zofia grows more discerning as memories continue to come back to her, such as her father’s death in the soccer stadium before the trip to Birkenau: “When he saw the German soldiers kick the old pharmacist, he went to help him, and they shot him” (267). She realizes that she had reconstructed her father’s death to avoid this painful memory. This recollection foreshadows Zofia’s recalling of Abek’s death.

Memory and Trauma is also explored in Zofia’s distressed response to the whistle, which clearly triggers a memory of something in the camps: “Before I can process what the sound is, my body has reacted. I’m on the floor. I’m under the table on my hands and knees, and I’m shaking and can’t control myself” (314). Her physical and psychological reaction illustrates Zofia’s struggle with post-traumatic stress disorder, known during World War II as shell shock, which is triggered in unexpected moments.

The Power of Love in Bringing Happiness and Redemption is presented in these chapters through Josef and Zofia’s developing romance. Sex is characterized as a joyful and restorative experience. After the dehumanizing experience of the concentration camps (and, for Josef, forced conscription into an army to which he is ideologically opposed), their passionate and loving sexual encounter reminds them of their humanity and their ability to still feel joy and sensual pleasure: “He puts his lips on my stomach, and I run my hands through his hair. I kiss the top of his head, and we remember that we are alive” (266). Josef’s true identity is alluded to in his efforts to confide in Zofia about the truth of what he did during the war: “‘There’s something else about me. I haven’t been able to think of a way to—’ ‘Please stop talking,’ I instruct him” (265). Josef is somewhat redeemed in the eyes of the reader through his efforts to tell Zofia the truth, even though it doesn’t happen in this interaction.

Antisemitic Violence, Genocide, and Displacement During and After World War II is further explored in these chapters through Zofia’s body, which is damaged and scarred. Her body becomes a symbol of the mistreatment of so many at the hands of violent Nazi policies and actions. Embarrassed, she explains to Josef that she is missing two toes, which had to be amputated after the war due to frostbite. Furthermore, she explains that she is extremely skinny and that “[she] ha[sn’t] bled in a long time” (265). Zofia’s body has stopped its natural cycle of menstruation due to extreme and prolonged starvation and deprivation, which alludes to the horrific conditions at the concentration camps where she was imprisoned.