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The new house outside Winterswijk represents the false hope that many Dutch Jews had at the outset of the war. Instead of fleeing to the US, like their relatives, Annie’s mother insists on staying:
Mother felt we would be about as safe as in America. It made Father furious to hear her say that. But he built the house anyway. The house wasn’t going to be near that border. No, it would be far away, on the other side of Winterswijk. The Germans would not bother us there (6).
Her father’s anger underscores the false optimism of her mother’s hopefulness. Like few others, he understands the need to get much further away. Winterswijk borders Germany, and moving to the outskirts of town does little to protect the family from an army that has already advanced across Europe. Young Annie naively believes the illusion that simply moving across town will make a difference. This mirrors the false hope of Dutch Jews that if they volunteer to work for the Germans, nothing bad will happen to them. When the threat of deportation looms larger, Annie’s father looks for places to hide his family. Annie “stamped [her] foot. Mother had been wrong about the new house. Wrong. Wrong” (23). Annie soon realizes that the hope her mother had for the new house is false. Her repetition of the word “wrong” emphasizes the pain of this realization. At the start of the German occupation, the new house seems a beacon of hope for the family, but time proves that this hope is a mirage.
As the place where Germans post notices about new laws, the tree symbolizes both the Nazis’ threatening presence and Annie’s youth and innocence, thus helping thematically develop The Loss of Innocence in Extreme Circumstances. She explains how the tree “talks” to the town, which simplifies what’s happening during German occupation and reflects her naive outlook that these are simple rules (whereas the notices are part of a systemic plan to deport and exterminate Jews). Her innocence is apparent when they move to the new house and Annie notes, “The tree still talked, even to us outside of town” (19). Her simplistic belief that moving away would stop the rules and regulations from reaching her family shows how little she understands.
In contrast to Annie’s innocence, the notices on the tree symbolize German machinery and efficiency. First, “the tree had asked for Jewish volunteers” (22), insinuating that working for Germany would be a good thing and suggesting that the Nazis are kindhearted because they ask people to work of their own volition; the forced labor isn’t apparent to most Dutch Jews. However, as the war progresses and many have already been lost, the German military drops the ruse of kindness, and “the tree no longer spoke nicely” (23). Now that it’s too late for Dutch citizens to fight back, since many have already left and the Germans already have a stronghold on the area, the Nazis assert their authority without fear of resistance. They systematically built trust until they could do what they wanted. In fact, after the tree begins demanding that people work for Germany, the troops begin rounding people up off the streets. As a result, the tree is a complex symbol that paradoxically represents both Annie’s childlike perspective and the calculated moves of the German army, proving that traumatic events can shatter innocence.
For Annie, the sky symbolizes hope and freedom. During their two years at the Oosterveld home, the girls haven’t been outside during the day, so they beg Johan to take them out. He relents, carting them under a blanket to the wheatfield. As Annie lays there, she notes, “The sky was so blue. And not one cloud. Wasn’t it nice to be out?” (143). Her question indicates that this is a rarity, since they’ve been hiding indoors for so long. Seeing the sky is a treat because they aren’t used to it, much like the freedom to live and do as they please. The blue, cloudless sky is like having hope for what could be, unblemished by clouds of uncertainty.
Later, after a German officer spots Annie in the kitchen, the girls wait anxiously upstairs. Johan creates a plan to cover for the mishap, and a week later the Germans move out of the Oosterveld house. Afterward, Annie walks to the window: “It was covered with a layer of ice. I opened my mouth wide and breathed on it. Slowly the ice melted. I stopped when enough of the window was clear to let me see outside. Sky” (165). The melting ice reflects the Germans leaving the house and retreating in the war. When the ice dissipates, again revealing the sky, Annie has hope that the end of the war is near. The fact that she thinks of “sky” as a separate statement emphasizes that it’s something special, something coveted that she longs for.
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