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54 pages 1 hour read

Kelly Rimmer

The Things We Cannot Say

Fiction | Novel | Adult | Published in 2019

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Prologue-Chapter 7Chapter Summaries & Analyses

Prologue-Chapter 7 Summary

Although the novel moves chapter to chapter between the story of Alina in Nazi-occupied Poland and the story of her granddaughter Alice Michaels in contemporary Florida, this study guide will separate the stories.

In the Prologue, Alina recalls her hastily arranged wedding in 1942 amid the squalid conditions of a refugee camp in the Russian town of Buzuluk. She and her husband, identified as Tomasz, have survived for more than three years in horrific conditions in their hometown of Trzebinia in Nazi-occupied Poland before escaping to the safety of Buzuluk. She acknowledges that in the darkest moments she never abandoned her love for Tomasz. The wedding, serenaded by a scratch choir of camp children (war orphans) singing a traditional Catholic hymn, signaled for Alina that the war was at last over.

The novel turns back to summer 1938. Everyone in the rural town of Trzebinia in southern Poland knows that Alina Dziak, who grew up on her family farm outside of town, is destined to marry Tomasz Slaski, the handsome son of the town’s respected doctor. Their childhood friendship has blossomed into a magical love that is about to be tested. Tomasz is to depart to begin medical studies in distant Warsaw. As they comfort each other before Tomasz heads to the city, Tomasz promises Alina he will return and that they will be married: “All I know and all I need to know is that whenever we are apart, I always miss you, and I know you feel the same” (25). The night that Tomasz departs, Alina’s mother gives her daughter her most precious possession, her own mother’s wedding ring, and assures Alina that someday when Alina marries Tomasz, she will wear the ring.

Within weeks of Tomasz’s departure, rumors begin to swirl about a possible German invasion of Poland, a bald land grab that causes concern as Trzebinia is barely four hours from the German border. The rumors incite anti-Jewish sentiment as people blame the Jews, the target of Nazi aggression. Initially, Alina and her family dismiss such rumormongering, certain the Polish army can defeat the upstart Nazis. Then on the morning of September 1, 1939, they hear the thunder of German tanks, and the family heads to their cellar. Alina is claustrophobic, and the three days the family spends hiding in the close darkness terrify her. Bombs shake the cellar. They listen to alarming news bulletins on a wireless radio. They wait. They pray. When they emerge from the cellar, they hear the Nazi government is occupying the town and has summoned everyone to a meeting in the town square. There, the soldiers execute the mayor and the town’s most prominent doctor, Tomasz’s father, as a demonstration of their power. Alina tries to comfort Tomasz’s little sister Emilia, who is horrified by watching the soldiers shoot her father.

Alina’s family fears the Nazis will confiscate their produce and even the farm itself. The Nazis issue an order that all children over 12 will be relocated to work camps. Alina is 14. Her two older brothers, twins, heroically volunteer, and the Nazis relent and allow Alina to stay to help with the farm. Before her brothers leave, however, they tell Alina that she cannot hope for Tomasz’s return. They say that Warsaw is occupied, the university is closed, and Tomasz himself is either dead or conscripted to a work camp. As her brothers depart, Alina cannot bring herself to abandon hope that Tomasz will return to her.

The story of Alice Michaels, Alina’s granddaughter, is set nearly 80 years later in Winter Park, Florida. Alice, married with two children, is a full-time mom. Her own mother, a respected circuit judge, hoped her daughter would follow in her footsteps. Alice studied journalism instead until two weeks before graduation, when she found herself pregnant. Alice never tells her mother that the pregnancy was deliberate, that she did not want a career or to be like her mother. Now, more than 10 years later, she struggles to handle the challenges of her younger child, Eddie, who was diagnosed on the autism spectrum and who has no verbal skills, communicating instead through a language app on an iPad.

Alice’s grandmother, now 95, has been taken to the hospital after having a minor stroke in her retirement community. Alice knows her grandmother as Hanna Slaski. Alice and Eddie are on the way to the hospital when Alice stops at a grocery store to get Eddie his yogurt. Eddie, however, has a meltdown in the store when he notices the yogurt has changed its label. Alice manages to get Eddie to the car, but not without thinking harshly about her husband Wade, a research executive whose job provides him an easy out from taking care of a special-needs son with whom he has never bonded. Wade believes Alice coddles their son: “Wade would say all of my efforts enable a spoiled little boy who could be closer to typical if we just pushed him more instead of pandering to him” (76).

When they arrive at the hospital, Alice sees that her grandmother is weak but stable. Alice’s mother is there but on her phone, distracted by her court commitments. Alice grew up particularly close to her grandmother, whom she calls Babcia, a Polish term of endearment. She can tell Babcia is agitated as she struggles to communicate something to Alice. Desperate to help, Alice gives her grandmother Eddie’s iPad with its communication app. The older woman types out “Find Tomasz.” Alina’s husband of more than 40 years, Tomasz, a successful pediatric surgeon, died just the year before. Alice assumes Babcia is confused, but Babcia presses the issue and then begs Alice to “find box.” Alice’s mother heads to Babcia’s room in the retirement home and returns with a box she retrieved from under the bed. Babcia immediately finds a vintage photo, dated 1941, of a handsome, if thin, young man with piercing eyes. Agitated, Babcia types, “Find Tomasz” and then “Trzebinia,” the town in Poland where she grew up. Something in her grandmother’s demeanor causes Alice to believe her grandmother is not confused. She resolves to “do whatever [she] can to help [Babcia] find whatever it is she’s looking for” (88).

Prologue-Chapter 7 Analysis

Much like the overture of an opera, the Prologue anticipates the larger work itself. Set in a refugee camp in the Soviet Union in 1942, the Prologue is at once a deeply moving love story and a profound mystery.

A first-time reader feels the first but does not suspect the second. The groom is identified as Tomasz Slaski, and there is no reason to doubt that. Rather, the Prologue celebrates the union of two lovers who have found a way to consecrate their love despite the horrific wartime conditions, suggested by the couple’s ragged clothing, their emaciated frames, and their deep-set eyes. “Our wedding day,” the bride shares, “was supposed to be a brief reprieve from all of the hardship and suffering” (9). The joy of the ceremony, illuminated by the singing of the war orphans, seems genuine enough—and the first-person narration creates confidence that what is being shared is truthful. But much like Alice Michaels, Alina’s granddaughter, years later, the reader is being deceived. A secret is being withheld, an example of the things we cannot say: The groom is not Tomasz Slaski but rather Dr. Saul Weiss.

The opening chapters define a contrapuntal narrative. That is, the chapters move from Alina’s story, set in Poland on the eve of the German invasion in fall 1939, to Alice’s story, set in the wealthy Orlando suburb of Winter Park, Florida. Neither story dominates. Rather, each story helps illuminate the implications of the other. They work together much like the left and right hands in a contrapuntal piano piece, each hand playing its own melody but creating a striking new harmony when played in syncopated simultaneity.

Alina in Poland and Alice in Winter Park frame a kind of before-and-after narrative. Alina, a farm girl in her teens, devoted to a boy she fell in love with at the tender age of nine, embraces that love as forever binding and profoundly magic. She considers herself “the luckiest girl in Poland—the luckiest girl on Earth, to find such a wonderful man” (25). In her young eyes, Tomasz is perfect: handsome, smart, clever, kind—the adjectives reveal the tender naivete of her love. His departure for university, at best a minor challenge (he will be three hours away), looms like some epic separation, a real test of the durability of their love. She promises to write. He promises to write back. She tells him she will never not be thinking of him. He vows he will return to marry her.

Without the complication of irony, Alina fears the approaching separation. The reader is positioned in an awkward place—we want the love to be as genuine as the starry-eyed 15-year-old says it is, but we know what the girl does not. From the perspective of history, we know what is about to happen to Poland. As her parents will reveal when the Nazi tanks come rumbling into their town, however, Alina is overly protected, a teenager who believes in the magical quality of the love she feels for this boy. To know that love is vulnerable and fragile, however, does not diminish this emotion’s intensity. All love, we want to believe, starts in such innocence, such conviction, such certainty.

If the fast-approaching war will surely test Alina’s youthful certainties about the magic of love, the story of Alice Michaels testifies to what happens when the ideals of youthful love meet the frustrations and disappointments of marriage. We first meet Alice during a very public showdown in a grocery store over a yogurt label with her seven-year-old, who is on the autism spectrum. Alice reveals that just 10 years into her marriage, the magic of love has decidedly evaporated. Approaching 40, she is burned out, frazzled by the demands of two singularly different kids. Whereas her son has special needs, her daughter is academically gifted and straining to be placed in accelerated programs at her school.

Alice is also frustrated by the hands-off strategy of a husband whom she once thought was ideal, a perfect fit for her and her dreams. Distant from her emotionally unavailable mother, who cannot get around her disappointment regarding her only daughter, Alice clings to the relationship she has with her grandmother, whom she knows as Hanna Slaski. She cannot say for sure why, but she has always found emotional support and generous love from her grandmother. Within a contrapuntal narrative, that relationship suggests that Babcia has much to teach her granddaughter.

Alice holds her husband at a distance, uncertain of the quality or degree of their love after years of frustration, disappointment, and estrangement. She cannot find emotional support in her family and turns to the escape of solitary baths, self-medicating with wine. She has lost touch with herself, believing that she is defined by her position within a dysfunctional family.

The novel then follows Alina as she experiences tests of her love and Alice as she discovers how to recover her love. Those journeys begin with parallel moments of self-discovery and self-challenge. Alina must confront her claustrophobia and overcome her panic at taking cover in the family’s cellar when the Nazis invade. That decision marks the first break with the young, naive, and carefree girl introduced in the opening chapters, as Alina begins her coming-of-age journey.

Similarly, Alice, against common sense and her mother’s admonitions, cannot shake the feeling that Babcia is not confused in her urgent request to find Tomasz. “Now that she needs me, I will not let her down” (88) is Alice’s courageous gesture of independence that marks, like Alina’s descent down the cellar steps, the beginning of her own type of coming-of-age narrative: the story of her recovery of herself and her love.

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By Kelly Rimmer