42 pages • 1 hour read
Kristin HarmelA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
As Yona makes her way through the forest, she encounters Zus and his brother returning from the pharmacy. She tells Zus what happened with Aleksander, and as they talk, she realizes the two men are very different—Zus is a man with a “different kind of heart” (188). He asks her to stay with the group, but she refuses.
For several weeks she continues toward the forest where she lived with Jerusza as a child, but to get there, she must cross a populated area filled with villages and soldiers. On the outskirts of one large village, she hears gunshots and sees a nun carrying a small child running toward a church. The nun asks Yona to help save the girl and offers her a room in the church attic.
In the morning, Yona goes into the town to get medicine for the child and food. She encounters a German officer on the road who comments about her unusual, mismatched eyes. When she returns to the church, the nuns tell her that the Germans are arresting villagers at random and will kill them in retribution for an attack on a German soldier.
The mother superior says she will speak with the German commander to try and stop it. Yona tries to discourage her, but the nuns urge Yona to take the injured girl to a parishioner, Maja, who will protect her, and then leave the village.
After leaving the girl with her protector, Yona leaves for the forest, but after walking a while, she turns back to the village. A German soldier blocks her way, and she lies about going out in search of milk for her daughter. The encounter with the soldier tells Yona something is terribly wrong, and she hurries to the square in front of the church.
The square is filled with townspeople and German soldiers, and the nuns stand watching the body of a young priest, which hangs lifeless from a gallows. A German officer tells the crowd that the priest offered his life to spare the rest of the townspeople from German retribution—and so did the eight nuns. The officer she saw the previous day glances at her and speaks to another officer. This officer turns toward her, and she realizes he is her father, Siegfried Juttner.
The German soldiers raise their guns to fire at the nuns, and Yona knows she must stop them. She calls her father’s name, and he recognizes her, calling her by her birth name, Inge. He agrees to call a temporary halt to the execution. He takes Yona to the large house where he is staying. He tells Yona that her mother died two years after her abduction and demands to know where she has been.
Yona tells him about her life in the forest with Jerusza and says perhaps Jerusza was right to call her parents bad people. Juttner tells her he is only following orders, and those orders are necessary to keep Jews from destroying Germany. He gives Yona clothes and a bedroom but locks the door.
The next day, Yona asks to see the nuns so she can know they are still alive. Juttner takes her to the church, and the nuns explain that they accept their fate in order to save the lives of villagers. They also hope that their deaths might ignite resistance against the Germans.
After Juttner escorts Yona from the church, she asks him to do something to save the nuns. He tells her that he is merely obeying orders, and the villagers need to know the consequences of challenging the Germans. Juttner tells her that within two weeks, the Germans will be coming for the Jews in the forest, and Yona knows she must escape and warn them.
The next morning, Juttner refuses to take Yona to the church but tells her he has spoken with the nuns. He tells Yona that he has a plan to save them by faking their deaths, but in return, Yona must reveal where the Bielski group is hiding, and she must go to Berlin. She tells him she has never seen the Bielski group, and he accuses her of lying. That night, Yona sneaks out and goes to the church, where she hears Juttner shouting at another officer. Inside, she finds all the nuns shot dead, apparently against Juttner’s orders.
Yona slips back to the house, gathers her things, and leaves. She stops at the farm to see if Maja and the girl are safe in a hidden tunnel under the farmhouse. Maja says Anka will be taken to safety, but she will stay. She tells Yona to follow the tunnel to a door that opens in the forest.
Yona’s journey out of the forest and into more populated areas leaves her exposed and vulnerable and reinforces the novel’s theme of Nature’s Sanctuary Versus Society’s Cruelty. She accepts that danger to help Anka, a girl whose situation is reminiscent of Chana’s, a child whose life Yona could not save. For Yona, this is a chance at redemption—to repeat a trial with a different, better outcome. Entering the village is also the next stage in Yona’s hero’s journey; her reunion with her father illuminates her self-conception in unexpected ways and helps her reach her apotheosis: Regardless of where she came from, her purpose is to help the Jewish refugees survive in the forest.
Her stay with the nuns in the village allows her to explore the questions of faith, Identity, Destiny, and Choice that she has struggled with since her years with Jerusza. The nuns accept their fate to die for the village as a matter of faith in a God who transcends religions, but Yona refuses to accept that plan, and she exposes herself in the most extreme way possible to save them. Yona’s understanding here foreshadows the Nazis’ later slaughter of the nuns outside of their agreement; one cannot bargain with dishonest forces.
Yona’s unique appearance has gone unmentioned for several chapters, but it serves a crucial purpose here. A German officer comments on her differently colored eyes and calls Juttner’s attention to them—a feature that, along with her dove-shaped birthmark, cements Yona’s claim to be his daughter. Juttner appears genuinely pleased to find Yona, but he remains committed to his duty as a Nazi officer, establishing him as the book’s primary antagonist. The contrasts deepen between Yona and Juttner in the village; Juttner follows orders that lead to violence and brutality, while Yona follows her instincts and makes her own choices, leading her to help and save others. With this, independent thought and making choices are elevated as moral virtues above conformity and obedience.
Until the events in the village, Yona’s knowledge of Nazi atrocities came from the stories told by Jewish survivors. Here she sees them firsthand, defended by her father, who has embraced the Nazi worldview since before her birth. Her identity is again called into question, as she feels more of a kinship with the Jewish refugees than her birth father, emphasizing how the choices one makes can meaningfully shape one’s identity. Juttner agrees to stay the execution of the nuns because they are not Jews, but after they are killed anyway, Yona fully rejects her identity as Inge Juttner. Her true home is the forest, and her loyalty is to the people hiding there.
These events parallel the hero’s journey narrative archetype. Traditionally called “atonement with the father” or “atonement with the abyss,” Yona’s questions about her identity are permanently altered by meeting her father. However, she doesn’t feel a connection with him because their value systems are drastically different; in her apotheosis, she defines herself in opposition to him and in alignment with Jerusza and the Jewish refugees hiding in the forest. Armed with this self-knowledge—her “ultimate boon”—she refuses to return to her birth world. She slips away to warn the group in the forest that the Germans are coming—her “magical flight”—ending this part of the story and ramping up the tension toward the book’s climax.
By Kristin Harmel
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