57 pages • 1 hour read
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Michael receives a letter from the warden at Hanna’s jail. Next year, the parole board will likely let Hanna go. She’s spent 18 years in prison and will need someone to help her adjust to the outside world. As Michael consistently corresponded with Hanna, they ask if he can help her find an apartment and job. He can be her support system. The warden wants Michael to come and see her and Hanna in person.
Michael puts off the visit, but he finds Hanna an apartment and a job with a Greek tailor. With one week remaining before her release, Michael goes to see her.
Michael watches Hanna on a bench in jail. She has on a blue dress and holds a book. She realizes someone is looking at her and glances Michael’s way. When she spots him, her face becomes joyful. Michael sits beside her, and they hold hands. In detail, he recalls her many smells. They then talk. Hanna jokingly comments that Michael has grown up, but she calls him “kid” nonetheless. She says she reads but likes having Michael read to her more. Michael says he can still read to her. He’s proud she learned to read and write.
The pair discuss the trial. Hanna says she doesn’t think people can understand her; thus, they can’t accurately hold her accountable. Only the dead can comprehend her actions: In jail, the dead visit her every night.
Michael asks if she wants to leave jail quietly or with some celebration. Hanna wants to go quietly—no champagne or music.
Michael has to work on a lecture. As an older man, he can’t remember if he had a deadline or if he put pressure on himself to wrap it up. Either way, writing the lecture is difficult for Michael.
He gets IKEA furniture for Hanna’s apartment and talks to the Greek tailor. He buys her groceries and books and hangs up pictures. He then thinks about what Hanna said about the dead. He thinks she is letting herself off the hook and wonders why the living—including him—can’t understand her.
The day before Michael picks Hanna up, they speak on the phone. He asks if they should go home immediately or spend time in the woods. Hanna teases him about being a big planner. Michael gets irritated, and Hanna tells him not to be upset. Michael notices how young Hanna’s voice sounds.
The morning Hanna is supposed to go free, she dies by suicide. An emotional Michael arrives at the prison and speaks to the warden. The warden illustrates Hanna’s life as a prisoner; she liked the system, and the other women respected her and asked her to settle arguments. She successfully protested cuts in library funding and learned to read through Michael’s tapes. Whatever book Michael was reading, Hanna checked it out from the library and followed along. Once she learned how to read, she checked out numerous books about the Holocaust and Nazis, including canonized works by Hanna Arendt, Primo Levi, Tadeusz Borowski, and Elie Wiesel.
Hanna wanted Michael to write to her. In a letter, she asks Michael to give the 7,000 Deutschmarks she has to the daughter who survived the church fire.
The warden shows Michael Hanna’s cell. In the last few years, she stopped taking care of herself. She ate too much and didn’t bathe regularly. The warden wonders if Hanna couldn’t bear to return to the world. The warden expresses her frustration and shows Michael Hanna’s dead body.
In the fall, Michael has a meeting in Boston. He takes the train from Boston to New York and imagines living with Hanna in one of the country houses he sees out the window. In New York, he visits the daughter who survived the fire, who lives near Central Park. She serves tea, and they discuss Hanna. The daughter equates accepting the money with forgiveness. Michael says she can accept the money but not forgive.
The daughter laughs and realizes Michael liked Hanna. Michael tells her about their relationship. She calls Hanna cruel and presumes that Michael had an unhappy marriage and a child in boarding school. Michael says that countless people have such difficulties.
Hanna’s money is in a tea tin. The daughter once had a similar tin in which she kept opera tickets, a ring, and a hair from their dog. At the concentration camp, someone stole it—the tin had a lot of value.
The two return to Hanna’s money. Michael suggests donating it to a Jewish organization for illiteracy. The daughter jokes that illiteracy is not a big issue among Jewish people, but there’s probably an organization for it.
Ten years later, Michael writes his and Hanna’s story. He wants to write their narrative to separate himself from it, but then he realizes he’s writing it because it’s fading away. He wants to keep the memories sharp. He’s not sure if the story is happy or sad, but it’s true.
As for Hanna’s money, he donates it to the Jewish League Against Illiteracy in Hanna’s name. The organization sends him an automatic email thanking Hanna for her charitable contribution.
Michael and Hanna’s decades-spanning bond brings back the idea of fate and introduces the possibility of true love. However their union began, Hanna and Michael have a lifelong connection. When they meet in jail, the scene turns into a reunion—two lovers coming together after not seeing each other for years. They show affection, and Michael recalls her many smells. While things have changed—Hanna can read now, and Michael is an adult—she still calls him “kid,” indicating a reluctance to move forward into an uncertain future. The IKEA furniture and the automated email from the charity symbolize modern life, and all of Michael’s busy planning creates a dramatic juxtaposition. Michael prepares for Hanna’s homecoming, but she isn’t coming home.
The discussion about the trial brings in the theme of Secrets Versus Understanding and the motif of guilt. Hanna tells Michael:
I always had the feeling that no one understood me anyway, that no one knew who I was and what made me do this or that. And you know, when no one understands you, then no one can call you to account. Not even the court could call me to account. But the dead can. They understand (151).
Although Michael bristles at Hanna’s refusal to recognize the living, her understanding of her trial and punishment mirrors his. The court didn’t understand her; it didn’t produce an accurate account of what took place. They imposed a narrative on her. Hanna’s focus on the dead, whom she says visit her each night, highlights her sense of guilt and responsibility. Her connection with the dead also foreshadows her suicide; Hanna does not understand how she fits into the world of the living.
The Holocaust books Hanna reads help her see her situation and reinforce the problems of assigning guilt and doling out punishment. These intertextual elements draw these authors and ideas into the narrative. In Eichmann in Jerusalem: A Report on the Banality of Evil (1963), Hannah Arendt confronts Israel’s trial of Adolf Eichmann, the man in charge of transporting people to their deaths. Michael sees Hanna as human, and Arendt sees Eichmann as “terribly and terrifyingly normal” (276). In Survival in Auschwitz (1947), the Holocaust survivor Primo Levi brings up the theme of understanding when a guard says there is no why in the camps—reason is absent. Tadeusz Borowski, a Holocaust survivor, discusses the difficulty of assigning guilt in This Way for the Gas, Ladies and Gentlemen (1946). Borowski says the whole world functions like a concentration camp—everyone is a part of some form of brutality. Without claiming Hanna is innocent, these different perspectives solidify the idea that she is not uniquely monstrous or solely responsible for what happened; she was a participant in a system, and most other perpetrators went unpunished.
Michael’s interaction with the daughter reinforces his dedication to Hanna: He carries out her wishes. The daughter’s refusal to accept Hanna’s money advances the symbolism of Nazis as intolerable; she can’t assimilate Hanna’s money into her life. Yet she accepts the tin that holds the money, replacing the one she lost in the concentration camp. As both women had tins, they remain linked. Thus, the daughter doesn’t entirely banish Hanna from her life.
In the final scenes, the book’s postmodern elements enter the spotlight as Michael tells the reader he’s writing the story. Postmodernists often want to make readers aware that they are reading a constructed narrative. Michael's writing here reflects the themes of The Manipulation of Time and Memory and Feelings Versus Numbness. His goal is to sharpen his memories of Hanna, and he doesn’t reduce his feelings about her. He writes, “I think it is true, and thus the question of whether it is sad or happy has no meaning whatever” (165). This statement encourages the reader not to restrict the book to a single feeling, emotion, concept, or issue.
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