57 pages • 1 hour read
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On the first day of Easter vacation, Michael gets up at four in the morning and gets on the streetcar. Hanna has the early shift, but she doesn’t come into his car. Michael intensely stares at her, and Hanna looks his way but stays put. At a stop in the country, Michael pulls the cord and the streetcar halts, but neither Hanna nor the driver looks at him.
Later in the day, Michael and Hanna meet at her house. They go over what happened on the streetcar. Michael thought she’d be happy to see him, and Hanna thought he got in a separate car to avoid her. Michael apologizes, but Hanna claims Michael lacks the power to trouble her.
Hanna takes a bath and Michael leaves, only to return 30 minutes later. She invites him into the tub and nods when he asks her if she loves him. Michael and Hanna have more fights, but Hanna doesn’t want to discuss them, and she doesn't read Michael’s letters about them.
One week after Easter, Michael and Hanna go on a four-day bike trip. Michael wants to pay for Hanna. He has extra pocket money due to his bout with hepatitis, and he sells his stamp collection for additional funds. Hanna lets Michael pick the routes and inns. They register as a mother and son, and Hanna likes not worrying about anything, but they have a major fight. One morning, Michael gets up early to get breakfast. He leaves a note, but Hanna doesn’t see it and thinks he abandoned her. When he returns, she hits him across the face with a belt.
The fight ends with Hanna asking Michael to read from Joseph von Eichendorff’s novella Memoirs of a Good-for-Nothing (1823). After they have sex, Michael pens a poem inspired by the 20th-century German poets Rainer Maria Rilke and Gottfried Benn. His poem expresses their dramatic bond.
As an adult, Michael can’t remember the lies he told his parents to pull off the bike trip with Hanna, but he remembers his punishment: He couldn’t go on vacation with his parents and older brother and sister. To bribe his little sister, also left behind, to leave the house, Michael has to steal a pair of jeans for her (he can’t afford to buy them) from the department store. Realizing shoplifting can be easy, Michael steals a sweater, but when he steals a silk nightgown for Hanna, the store detective spots him. Michael runs and avoids apprehension, yet he doesn’t go back to the store for years.
With the house to himself, Michael invites Hanna over and cooks for her. He watches her explore the apartment and touch the books in his father’s study. He reads her two German philosophers, Immanuel Kant and Georg Wilhelm Friedrich Hegel, and Hanna asks if he plans to write books someday. Michael shakes his head. Later, he gives Hanna the nightgown, and she puts it on and dances.
A new school year starts for Michael. He's in 11th grade and in a new co-ed class (his high school used to be only for boys). Sitting next to Michael is Rudolf Bargen, a big-bodied person who plays chess and hockey, and Sophie, who has brown hair and tan skin. Once again, Michael mentions how confident he is with girls, although he admits he regularly swerves from overconfidence to insecurity.
Michael describes the classroom. Sophie sees Michael look at her, and she smiles at him. The teacher makes fun of Michael for studying her instead of The Odyssey. Michael thinks of Nausicaa, who helps Odysseus after a shipwreck, and he wonders who is more like Nausicaa, Sophie or Hanna.
Michael thinks about airplanes. When their engines stop working, the plane doesn’t crash immediately; it continues to fly smoothly and then crashes when landing. Michael thinks his summer with Hanna is like a smooth flight. He reads Leo Tolstoy’s epic novel War and Peace (1867), and Hanna starts to call him names other than Kid, like Frog, Toy, and Rose.
Hanna asks Michael what animals she resembles, and Michael says a horse. Hanna is shocked but comes around to the comparison. He takes her to see Intrigues and Love in the next town, and while Michael likes hanging out with friends at the pool, he doesn’t feel like he’s missing anything by leaving them to be with Hanna. However, in July, his friends have a pool party for his birthday, and he leaves to be with Hanna. She’s in a bad mood, and Michael wishes he was with his friends.
Michael starts to hang out with people from school instead of Hanna. He likes Holger Schlüter due to their shared interest in literature and history. He also likes Sophie. One time, he and Sophie are caught in the rain and wind up under a garden shed. It’s cold, and Michael puts his arm around her to warm her. Sophie wonders why Michael is always coming later and leaving early. She thinks it has to do with hepatitis. Michael says there’s another reason, but he doesn’t tell her about Hanna.
Michael doesn’t know what Hanna does when she’s not working or they’re not together. They don’t share a world; instead, she gives him a specific space in her life. When he asks questions, she deflects them. They never see each other at the grocery store or the movies, although they love movies and discuss them. The sex becomes increasingly intense, and Michael wonders if she’s trying to push him beyond some hypothetical limit. One day, Michael sees Hanna at the swimming pool. He stands up, and she vanishes.
The day after Michael spots Hanna at the pool, he goes to see her. He rings the bell, but no one answers. He waits on the stairs, but she doesn’t come. He calls the streetcar company, and they tell him she didn’t show up for work. He tracks down the owner of the building, and she tells him that Hanna moved out in the morning.
He then visits the streetcar company, and the man there says she called them in the morning and quit. Losing Hanna makes Michael ill, but he hides his lovesickness from his family. He returns to the elusive image of Hanna at the pool and wonders if the woman he saw was Hanna.
Michael’s streetcar surprise backfires, setting the stage for the relationship’s deterioration. The couple’s ensuing fights link to the themes of Feelings Versus Numbness and Secrets Versus Understanding. Hanna’s secrets lead to misunderstandings; she’s illiterate and can’t explain her feelings, but she also cannot engage with Michael’s written communications. At the same time, blaming Hanna’s outbursts on her lack of reading and writing skills avoids the contention that she can be manipulative and abusive. She is predatory, and her prey is Michael. Michael says, “Sometimes I thought she just bullied me” (42), but his feelings for her override his doubts. They’re in love, and his lack of experience compared to her results in him tolerating her crueler moments.
The Easter bike trip gives Michael the chance to play the role of the adult boyfriend. He pays for everything and sets the itinerary; Michael says, “Hanna didn’t just let me be in charge of choosing our direction and the roads to take. I was the one who picked out the inns where we spent the nights, registered us as mother and son” (45). The mother-and-son detail reinforces the overt age gap and advances the theme of secrets. Their secret seems to excite and intrigue Michael, even as their mother-and-son roleplay undercuts his fantasy of being an adult partner to Hanna.
Their fight on the bike trip reinforces Hanna’s abusive characterization. It’s as if she’s getting worse, represented by the transition from statutory rape to physical violence. Once again, the themes of secrets, understanding, and feelings emerge. If Hanna were literate, she could read the note Michael left for her, and the fight likely wouldn’t have happened. Conversely, her assumption that Michael betrayed her reveals an inability to take Michael in good faith—Hanna’s insecurity makes her unable to trust others. Their sharp feelings for each other compel them to make up, creating another scene in which violence and passion blend. About the split lip, Michael says Hanna began “stroking it gently” (47). The blurring of love and abuse mirrors the power dynamics in their relationship, in which Michael feels like a consenting adult but is nonetheless a child. The diction in Michael’s poem—words like “submerge” and “vanish”—further their intense bond. It’s like their identities aren’t separate.
Adult Michael admits, “I have no memory of the lies I told my parents about the trip with Hanna” (49). His confession brings in the theme of memory and its fragility. It also calls into question Michael’s reliability, as some of his memories are lucid while others are nonexistent. Michael’s honesty and transparency about his memories compel the reader to trust him, and The Manipulation of Time and Memory becomes a broader theme in the book. As time passes and his memories lessen or sharpen, his perspective changes. Michael allows for multiple interpretations; maybe Hanna was a bully, or perhaps she’s projecting her hurt feelings onto him. Different interpretations become important in later chapters when Michael reflects on Hanna’s actions during World War II.
Michael’s thefts act as a foreshadowing. In Part 2, he’ll witness a different sort of crime. This is related to the two German philosophers Michael reads to Hanna, who provide a philosophical context for the story. Kant believed morals had categorical imperatives and that there are essential differences between right and wrong. In Part 2, the court concludes Hanna violated a categorical imperative. Hegel’s thoughts on history link to the instability of time and memory. Hegel sees history as a dynamic force that impacts the present. Michael’s mixture of past, present, and future in the narrative reveals the ever-present consequences of history.
Michael’s return to school reminds the reader that he is a teen and also sets up Michael and Hanna’s relationship as temporary. Sophie’s presence hints that Michael can have feelings for someone else. The extensive airplane analogy and the tension over his birthday party add to the tenuousness of Michael and Hanna’s relationship. Her nicknames for him, like “Kid” and “Toy,” deepen the unequal power dynamic as the secrets pile up. Michael admits, “We did not have a world that we shared; she gave me the space in her life that she wanted me to have” (62). It’s as if Michael is her pet. The secrets don’t diminish their feelings, though the feelings become almost intolerably intense for Michael. About sex with Hanna, Michael reflects, “[She] wanted to push me to the point of feeling things I had never felt before, to the point where I could no longer stand it” (63). Hanna could be testing the strength of their bond, though Michael’s discomfort highlights his youth and inexperience.
Hanna's sudden disappearance advances her mysterious characterization and brings back the motif of illness. Michael says, “The days went by and I felt sick” (66), continuing the text’s linking of physical illness and love. Without Hanna, Michael is not well, foreshadowing the long-lasting ramifications of their relationship.
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