57 pages • 1 hour read
In a letter from September 12, 2003, Oskar’s grandmother writes to him to tell him the story of how she married his grandfather. One day in the early 1920s, Oskar’s grandmother (who was just a child at the time) came home to find a letter addressed to the house, dated over a decade prior, from a man who was a prisoner of war in Turkey. Most of the letter was censored, and it was clear that the man did not know whom he was writing to, but just wanted to reach out to someone. Oskar’s grandmother wanted to investigate the man in the letter, but knowing she could not do that, she decided instead to learn more about the people she knew, having each of them write a letter to her.
Oskar’s grandmother knew Thomas Schell (Oskar’s grandfather) when they were just teenagers. She would watch him kissing her older sister, Anna, and found a sort of excitement in living through her sister. Oskar’s grandmother asked Thomas to write a letter for her at that time, and in it he expressed his dreams of marrying Anna and becoming a sculptor. Seven years later, Oskar’s grandmother saw Thomas at a bakery and nervously approached him. He was no longer able to speak and had not become a sculptor, and hearing all of this made Oskar’s grandmother cry. After four hours of talking, she went to leave but he stopped her and asked (with his pen and paper) if he could sculpt her. She agreed and spent the next several weeks with Thomas, allowing him to mold her into his ideal form. She remembers how his apartment was filled with animals. It occurred to her that he was trying to sculpt her into Anna, but she did not mind, only wanting to be needed and attended to. They made love, which Oskar’s grandmother says she is only telling Oskar because she trusts him. She proposes marriage to Thomas, and Thomas agrees, as long as she does not expect children.
Oskar recalls when he read the first chapter of A Brief History of Time by Stephen Hawking and became downtrodden at the thought of being insignificant in comparison to the vastness of space and time. His father had pointed out that if a person moves one grain of sand in the Sahara Desert, it may be a small act, but it still changes the universe and the course of history. Oskar compares that idea to his decision to meet all the people in New York named Black—it’s probably something small in the grand scheme of things, but it’s something, nevertheless.
To begin his expedition, which he plans to undertake in alphabetical order, Oskar packs a bag filled with things he might need (including a map of New York, iodine pills in case of a nuclear attack, some snacks, and a few other things) and tells his mother he’s going “out.” He tells himself he will be brave and won’t lie unless absolutely necessary. The doorman of the apartment, Stan, comments on how much Oskar is lugging around, but Oskar has business to attend to and doesn’t stop to converse. Oskar walks through various neighborhoods all the way to Queens to meet the first person on his list, Aaron Black. He reaches the apartment building and buzzes several times before an irritated voice finally answers. Oskar explains that he is searching for a lock and that his father has died, and the man becomes more sympathetic. He invites Oskar up so he can look at the key (he is too sick to come down), but Oskar fears going up to higher levels of buildings and declines. He leaves feeling guilty for leaving the man there wondering what just happened.
Next, Oskar makes his way to Greenwich Village to meet Abby Black. She’s a woman in her mid-40s, and Oskar immediately finds her beautiful and tells her so. She reluctantly lets him in after he lies and says he’s diabetic and needs something to drink. Oskar gets the feeling that Abby knows something and isn’t saying so, and he presses her about the envelope and key, but Abby repeatedly replies that she knows nothing. Oskar notices a photograph of an elephant on Abby’s wall and tells her about elephants’ extraordinary powers of memory, and Abby becomes emotional, but Oskar is unsure why. He takes a photograph of the elephant and one of the back of Abby’s head. Caught up in the moment, he asks Abby if he can kiss her, but she declines, noting their vast age difference.
Oskar returns home and decides to go see his grandmother, who seems to be upset but won’t let on about it. Oskar remembers how she took care of him when he was little, and how he once played a trick on her by pretending to be lost. The experience upset her deeply, and Oskar continues to feel guilty about it. He remembers how much time he spent with his grandmother after his father died, something that has not changed since. Oskar recalls the stamp collection his grandmother started for him. He wonders how, after spending so much time with his grandmother, he still knows so little about her past. That night, Oskar goes to bed thinking about the day he and his mother went to visit his dad’s storage locker after 9/11. The storage locker was full of old toys and other items that Oskar’s father had been saving for when he had kids someday, including the walkie-talkies that he now uses with his grandmother. He tries to occupy himself by designing jewelry (what his father did for a living), but it eventually hits him that perhaps the name on the envelope was the name of the storage facility. He goes to wake his mother, who tells him that the name was “Store-a-Lot” (107). Oskar feels like his search has been nothing but a disappointment so far.
In another letter, Oskar’s grandfather tells his son (Oskar’s father) of all the endless rules that he and his wife (Oskar’s grandmother) had in their marriage. At first, the rules were about minor things, like who would do which chores and when, but they slowly became something much deeper and more sinister. Thomas Sr. started spending more and more time away from home, usually at the airport, where he could watch people reunite with loved ones they had missed. He brought home newspapers and magazines for his wife to read, as she wanted to know English so well that it was “like she never came from anywhere else” (108). Thomas and his wife never looked at each other while undressing, and soon they started designating various areas of the house as “Nothing Places” (110) where they could pretend not to exist in the eyes of the other. The apartment slowly became a labyrinth of “Somethings” and “Nothings,” until the boundaries were impossible to distinguish. Thomas knew that if their relationship never became anything more than nothing, it was not worth keeping. He laments the fact that he still misses Anna and recalls how they met when he was 15 and she was 17. Their fathers had been friends, and during their first meeting, they had a lengthy conversation in which Thomas became enamored with her. He returned to her house for the next six days in the hopes of seeing her, but she was never there, and he grew increasingly disappointed. On the seventh day, he ran into Anna while walking to her house, and she admitted that she had been visiting his house every day as well, wondering where he was. Thomas, realizing he had found something special, asked Anna, “Do you like me?” (117).
Thomas reveals that, as he is writing the letter, he is preparing to leave his wife forever. Some years before leaving, he gifted her a typewriter and told her to write her life story. She expressed reluctance, claiming that she could not write or see well enough to do so, but she was willing to try. When she was done, she proudly announced that she had written down her life up to the present moment. Thomas confusedly shuffled through the papers to find all the significant moments, and when he looked for the pages about her first love, they were blank. In fact all of the pages were blank, and Thomas realized that he had taken the ink band out of the typewriter years before; his wife, nearly blind, did not know she was writing blank pages. He thinks back over their relationship and wonders if she has always had such poor eyesight, and if she had ever read any of the words he wrote to her at all. Thomas feels as though he has failed his wife and doesn’t tell her about the mistake. He spends weeks pretending to read and react to the story and encouraging his wife to write more. Thomas wonders if it is all just a test of his love for her.
Thomas describes the first time he made love to Anna. It was the first time for them both, and they made love outside of a small shack Anna’s father had fashioned out of stacks of books. On the inside, Anna’s father and his friend could be heard discussing the endlessness of war and the degradation of the world. On the outside, Thomas and Anna felt something that Thomas describes as an innate and eternal experience.
Thomas ends his last letter to his son by describing his parting from his wife. It was as if she knew what was going on, but nothing about it was said between them. She warned Thomas to take extra care of himself, and told him she loved him, but he could not return the sentiment. Although he would have stayed with her if he had two chances at life, because he did care about her and the loneliness she would soon feel, he knew he could not spend his only life with her and could never love her. He left with the knowledge that he would be leaving his son behind, and apologized for that, but stated, “I can’t live, I’ve tried and I can’t” (135). He left for the airport for the last time and purchased a ticket to Dresden, where he had met and fallen in love with Anna.
The story of Oskar’s family past unfolds like a slow mystery, with clues given in the form of letters from his grandparents and brief conversations between Oskar and his grandmother about her past. The first section of the novel explores The Complex Nature of Relationships from Oskar’s grandfather’s perspective, as he describes, in a series of letters, his fraught cohabitation with Oskar’s grandmother. Now, the reader is presented the same story, but from Oskar’s grandmother’s point of view. She describes how Thomas Sr. wanted to sculpt her, but it wasn’t really her he was sculpting. Instead, he was trying to mold Oskar’s grandmother into something that resembled Anna so that he could find a way to love her. The scene in which Thomas Sr. sculpts his future wife is thus a metaphor for the way he always saw her as not quite enough—a secondary replacement for something he could never have. It seemed that, throughout his life, Oskar’s grandfather wanted to love her, but could not. Oskar’s grandparents’ relationship was defined by rules, and one of these rules was that they could never discuss the past; thus, they were never able to understand one another. Because The Influence of the Past on the Present is inescapable, Oskar’s grandparents found that they were dealing with all the problems of their past in perpetuity because they were never willing to face them. Oskar’s grandmother types up blank pages as a representation of her life—symbolizing a marriage built around the impossible desire to erase the past. Oskar’s grandmother is fully honest in her letters to Oskar, even describing the way that she and his grandfather made love. These descriptions attracted controversy when the book was first published, as it was deemed an inappropriate and unnecessarily detailed discussion for a nine-year-old protagonist. Regardless, it is also an example of the deep trust Oskar’s grandmother feels in her grandson, to tell him things she has never told anyone else. Oskar is the most important thing in his grandmother’s life because he is her connection to both her husband and her son, both of whom she lost.
When Oskar starts to question the importance of his mission to find the lock, he reminds himself of a metaphor his father used to describe The Importance of Little Things. Being beyond his age in intelligence, Oskar had been reading A Brief History of Time and came to the realization that he was just a small part of a vast universe. His father challenged this assumption: “What would happen if a plane dropped you in the middle of the Sahara Desert and you picked up a single grain of sand with tweezers and moved it one millimeter?” (86). This memory reminds Oskar that, however small or seemingly unimportant his quest may seem, he will change something by undertaking it. This turns out to be more true than he could have expected, as he finds a friend in Mr. Black, meets a wide variety of interesting people, and confronts his fears as he experiences the great city of New York. He comes to see that, despite what happened on 9/11, the people of New York carry a sort of resilience and resolve that cannot be destroyed. On his journey, Oskar meets Abby Black, and the moment foreshadows the revelation in the novel’s conclusion that her husband is the owner of the lock. He suspects that she knows something she won’t admit but does not push her on the subject. Oskar is also moved by a photograph of an elephant that appears to be crying—in other words, defying assumptions about the nature of his reality.
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By Jonathan Safran Foer