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55 pages 1 hour read

Jonathan Safran Foer

Everything Is Illuminated

Fiction | Novel | Adult | Published in 2002

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Chapters 16-18Chapter Summaries & Analyses

Chapter 16 Summary: “The Dupe of Chance, 1941-1924”

Chapter Warning: The source material uses outdated, offensive terms for Romani people throughout, which is replicated in this guide only in direct quotes of the source material. These chapters also depict genocidal violence.

Safran and Maya have sex in the cellar. He wonders if he could've been a good person if things were different. We then learn Safran’s personal history. He was born with teeth, so he could not breastfeed. As a result, he was malnourished and he cannot move his right arm. In some cases, his disability keeps him safe, stopping him from doing dangerous things like working in the flour mill or fighting in the army. The women in the village also find his motionless arm attractive, and by the time we meet him, he has slept with more than 40 women in Trachimbrod and beyond.

Chapter 17 Summary: “The Thickness of Blood and Drama, 1934”

Safran, at the age of 10, is seduced by a widow and becomes a regular visitor to her house. In the end, he is paid to visit her and other widows by the Slouchers, who do not know that sex is part of these visits. Although Safran keeps a journal, he never writes about his affairs. The second woman he has sex with is also a widow, but a young one who was not yet married when her fiancée died and is a virgin. They only have sex once. The third woman he sleeps with is a Romani girl at the theater.

Alex writes Jonathan to tell him that Igor and his mother are doing well, but Grandfather cannot look him in the eye anymore. Alex discusses the events of their trip to Trachimbrod and Grandfather’s revelations in general terms. He knows he has to deal with something he has been avoiding, something about his grandfather pointing at Herschel in the photograph. In reference to Jonathan’s story, he wonders how Jonathan can write such terrible things about Safran. He questions Jonathan about being honest in his writing, asking how he can be brutally truthful about Safran while asking Alex to remove passages he wrote about Jonathan’s grandmother. Alex argues that Jonathan is making the story worse than it was. He theorizes that they could fix the story by having Alex’s grandfather save Jonathan’s grandfather.

Chapter 18 Summary: “What We Saw When We Saw Trachimbrod, or Falling in Love”

Augustine is taking them to Trachimbrod but cannot ride in the car. She walks with the dog and they drive the car behind her for many hours. On a break, she asks them all if they have children. Alex asks if she has children and she replies that she has a baby girl. They follow her for hours over all kinds of terrain until it is almost too dark to see. Finally, they arrive, but there is no sign of a town, just a bare, empty field. Grandfather tells her to tell them what happened.

She says that when the Nazis came to Trachimbrod, they ordered the men to desecrate the Torah or they would kill their families. When they got to her father, he refused. They shot her mother and her sister. At this point in the story, Alex stops translating for Jonathan, who says he does not want to hear anymore, but he and Grandfather continue to listen. The Nazis continued to threaten her father, who again refused to desecrate the Torah. They shot her pregnant sister, not killing her but allowing her to suffer. Even so, he would not spit on the Torah. Finally, they put the gun to his own head, and he spit on the Torah. The pregnant sister, injured but alive, crawled away from the square. The gentiles watched from their windows. The sister made it to the forest and lived, but her baby died. She returned to Trachimbrod after the Germans left and gathered all the items from the Jewish houses so that the neighbors couldn’t take them. She hid everything in the woods and escaped Ukraine. Many years later, she returned and there was no sign of Trachimbrod. She found a house nearby and brought all the things she had saved out of the forest and into the house. It becomes clear through the course of this story that she is the pregnant sister.

There is a monument at the site. Alex and Jonathan spend time there while the woman and Grandfather go off somewhere else, then they all return to her house. This woman does not know what happened to Augustine, but she knows Safran escaped because she saw him once when he came back to Trachimbrod a few years later. They spent the afternoon together, and that was the last she saw of him. There are a few people still in the area from that time, but they are so old she doubts they will be of any help. She gives Jonathan her old friend Rivka’s wedding ring and a box labeled IN CASE. At the end of the visit, they learn that her name is Lista. She begins to say something else, but Grandfather kisses her and stops her. She turns and goes inside, saying her baby needs her.

Chapters 16-18 Analysis

In Jonathan’s narrative, Safran keeps a journal but never mentions the sex that seems to be a large part of his life. Safran’s journals are not a true representation of his life, but they are the only version that future generations will know. This also raises the theme of generational trauma that Safran Foer explores throughout the novel: We realize that all that we know about another’s life is what they choose to reveal. Beyond the concept of generational trauma, this idea ties together the other themes Safran Foer is preoccupied with in this novel as well—fiction and truth, fact and memory, and the connections between them.

Alex’s revelations about the idea of truth continue as he questions Jonathan about being truthful in writing. In particular, he asks about the juxtaposition between being brutally truthful about his grandfather and asking Alex to remove passages about his grandmother. This shows how we are all susceptible to editing the truth in order to serve our needs or save someone’s feelings. We see another example of this truth-massaging in Lista, who tells about her pregnant sister escaping the Nazis after being shot and losing her entire family. Over the course of her story, it becomes clear that she is actually the one who escaped; she assigns her past to a sister in order to distance herself from her trauma. In representing her truth through fiction, Lista is able to tell her story rather than having it die with her untold.

Alex argues that if you are going to be untruthful in that way, you could at least try to make things better. He theorizes, for example, that they could fix the story and have Alex’s grandfather save Jonathan’s grandfather. This desire to rewrite history, to edit and shape uncomfortable truths, shows Alex trying to process the complexity of Trachimbrod’s history and Grandfather’s actions. But this forced forgetting, an erasure of the past, is problematic in this context. Not only does it absolve perpetrators of their guilt, but it perpetuates the antisemitism that resulted in the massacre at Trachimbrod in the first place. People throughout the book are hostile to Jonathan because he is a Jew, they are angry with Alex for asking about Trachimbrod, and a waitress even asks if Jonathan has horns, an old Jewish stereotype.

We are also reminded that, in his role as translator, Alex is the only character who is privy to everything that is said by everyone during the course of the story. When Lista is telling her story, Jonathan has the luxury of not listening, although Alex urges him later to read the story. Jonathan has inherited his family’s generational trauma, but he doesn’t have to relive it in the same way that Alex does through listening. Alex is forced to hear her story, similar to hearing previous characters’ antisemitic comments. As he noted earlier at Lista’s house, once something is heard, it cannot be forgotten, but he can choose what to translate or not; what to inflict on Jonathan and what to keep to himself. Similar to how he tells lies about his sexual prowess to give his younger brother a positive reputation, Alex lies to Jonathan for his own benefit. In this way, Alex expresses compassion by shaping a desirable narrative, even if it’s not completely truthful.

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