Narrator Joy Osmanski delivers the coming-of-age story of two girls who are separated by 70 years yet linked by world-changing events. Osmanski’s spirited tone gives life to the anxieties and hopes of 12-year-olds Hannah and Anna, who are both burdened by loneliness and distant parents. In 1939 Berlin, Hannah plots escape from the “ogres” and faces uncertainty on a ship to Cuba. In 2014 New York City, Anna feels friendless except for her photograph of her father, who disappeared on September 11, 2001. Osmanski’s character voices keep the girls center stage, while Hannah’s friend Leo and the girls’ parents remain less prominent characters. Even the elderly Hannah has a livelier voice than Anna’s mother when they meet in Cuba. The story is winding and uneven, but hope and wonder shine brightly in these girls. M.P.P. © AudioFile 2016, Portland, Maine
The German Girl
Narrated by Joy Osmanski
Armando Lucas CorreaUnabridged — 10 hours, 48 minutes
The German Girl
Narrated by Joy Osmanski
Armando Lucas CorreaUnabridged — 10 hours, 48 minutes
Audiobook (Digital)
Free with a B&N Audiobooks Subscription | Cancel Anytime
Already Subscribed?
Sign in to Your BN.com Account
Related collections and offers
FREE
with a B&N Audiobooks Subscription
Overview
Before everything changed, young Hannah Rosenthal lived a charmed life. But now, in 1939, the streets of Berlin are draped with red, white, and black flags; her family's fine possessions are hauled away; and they are no longer welcome in the places that once felt like home. Hannah and her best friend, Leo Martin, make a pact: whatever the future has in store for them, they'll meet it together.
Hope appears in the form of the SS St. Louis, a transatlantic liner offering Jews safe passage out of Germany. After a frantic search to obtain visas, the Rosenthals and the Martins depart on the luxurious ship bound for Havana. Life on board the St. Louis is like a surreal holiday for the refugees, with masquerade balls, exquisite meals, and polite, respectful service. But soon ominous rumors from Cuba undermine the passengers' fragile sense of safety. From one day to the next, impossible choices are offered, unthinkable sacrifices are made, and the ship that once was their salvation seems likely to become their doom.
Seven decades later in New York City, on her twelfth birthday, Anna Rosen receives a strange package from an unknown relative in Cuba, her great-aunt Hannah. Its contents will inspire Anna and her mother to travel to Havana to learn the truth about their family's mysterious and tragic past, a quest that will help Anna understand her place and her purpose in the world.
The German Girl sweeps from Berlin at the brink of the Second World War to Cuba on the cusp of revolution, to New York in the wake of September 11, before reaching its deeply moving conclusion in the tumult of present-day Havana. Based on a true story, this masterful novel gives voice to the joys and sorrows of generations of exiles, forever seeking a place called home.
Editorial Reviews
08/01/2016
In 1939, the German ship St. Louis set sail from Hamburg for Havana carrying more than 900 passengers, most of them German Jewish refugees, escaping from the Nazi regime. Correa’s debut novel follows one of those passengers, a 12-year-old girl named Hannah Rosenthal, as she and her rich, influential family hope to start a new life in Havana. But when they arrive, the St. Louis and its passengers are refused entry. Hannah and her mother manage to debark, but most of the other passengers—including Hannah’s father and her best friend Leo—are forced to stay aboard. The ship’s passengers were refused entry into America and Canada as well, eventually forced to return to Europe. Seventy years later, Hannah’s grandniece receives a package from her elderly aunt, who is finally ready to tell her family’s story. Correa’s novel is a timely reminder of the plight of refugees, and the real consequences of denying them aid, but the story itself is lukewarm—a tragedy that never complicates or deviates from its expected trajectories. Hannah never stops pining for Leo, and she and her mother shun other Jewish people while simultaneously isolating themselves from Cuban life. There is also a noticeable lack of detail concerning Jewish culture. Though the novel covers an important piece of history, the story of the Rosenthals never quite comes together. (Oct.)
A vital tribute to liberty, love and justice...one of the most fascinating and extraordinary literary events of recent times.
"A timely must-read."
"It was so true to our many life experiences... I became enthralled with the descriptions of the emotional turmoil that these characters endured.
Profound and moving ... This novel touched me personally, especially because it is written from the point of view of a girl, just like me, on the ship. This tragedy, ignored for so many years, contains a lesson the world must learn and never forget: compassion for refugees.
Fascinating . . . a brilliant entrée into the souls, terrors, ardors, endeavors and hopeless valor of people who have been written off. . . . Now, in a new age of people in peril and adrift on the world’s seas, this magnificent novel—and the unexpected and intricate tragedies of its powerfully imagined characters—bespeaks this eternal injustice.
I found myself unable to put the book down. I was able to identify with what my parents must have experienced first in Germany and later the St. Louis. . . . beautiful and heartbreaking.
An unforgettable and resplendent novel which will take its place among the great historical fiction written about World War II. Hannah Rosenthal will remain in your heart and her determination to tell the story of what she saw, lived, and lost will change the way you look at the world.
A vital tribute to liberty, love and justice...one of the most fascinating and extraordinary literary events of recent times.
★ 10/15/2016
Hannah Rosenthal enjoys a privileged existence in 1930s Berlin, but the escalating actions of the Nazis, called "the Ogres" by Hannah and her friend Leo, force her family to flee to Cuba. Hannah's life in Berlin alternates with that of Anna, a fatherless 12-year-old in present-day New York City who receives a package of photographs from Havana. Once safely aboard the ocean liner St. Louis, Hannah and the other refugees are treated well by the German captain and crew. On arrival in Cuba, hopes of freedom are dashed when only 22 of the Jewish passengers, including Hannah and her mother, are allowed to disembark. Hannah's father and Leo are among the 907 refugees denied asylum who return to Europe to face certain death. Hannah's life in Cuba is difficult, and two decades after leaving Germany, she again faces danger with the rise of another dictator. The narrative concludes in 2014 as Anna and her mother travel to Cuba to meet her father's Great-Aunt Hannah. VERDICT People en Español editor-in-chief Correa bases his debut novel on the real-life account of the ill-fated 1939 voyage of the St. Louis, delivering an engrossing and heartbreaking Holocaust story; his listing of the passengers' names at the end of the book adds to its power. [See Prepub Alert, 7/18/16; an ALA Buzz Book.]—Catherine Coyne, Mansfield P.L., MA
Narrator Joy Osmanski delivers the coming-of-age story of two girls who are separated by 70 years yet linked by world-changing events. Osmanski’s spirited tone gives life to the anxieties and hopes of 12-year-olds Hannah and Anna, who are both burdened by loneliness and distant parents. In 1939 Berlin, Hannah plots escape from the “ogres” and faces uncertainty on a ship to Cuba. In 2014 New York City, Anna feels friendless except for her photograph of her father, who disappeared on September 11, 2001. Osmanski’s character voices keep the girls center stage, while Hannah’s friend Leo and the girls’ parents remain less prominent characters. Even the elderly Hannah has a livelier voice than Anna’s mother when they meet in Cuba. The story is winding and uneven, but hope and wonder shine brightly in these girls. M.P.P. © AudioFile 2016, Portland, Maine
2016-07-27
Set in Berlin, New York, and Havana, this ambitious debut novel spans 70-plus years as two girls tell their gripping stories in alternating chapters.We meet Hannah Rosenthal in 1939 Berlin. A lively 11-year-old, she likes to roam the city with her best friend, Leo. But the Nazis—Leo and Hannah call them the Ogres—are closing in, forcing Jewish families like the Rosenthals to flee. Anna Rosen, also 11, lives in contemporary New York City with her mother, who has become increasingly despondent since the death of her husband, Anna’s father, on 9/11. His life was shrouded in mystery, and Anna is desperate to know more about him. Back in Germany, the Rosenthals set sail on the SS St. Louis, bound for Havana. The (real-life) St. Louis carries 937 passengers, most of them Jewish refugees, whom the Cuban government has promised to take in. But the Cubans renege, allowing only 28 people to come ashore. Those remaining are forced to return to Europe, where many perish. Hannah’s father is among those turned away, but she and her mother, Alma, are allowed to emigrate. Havana, though, never feels like home; Alma, in particular, finds the heat—as well as the political climate—oppressive. Eventually, the Hannah and Anna narratives intersect with both characters getting at least some of what they long for. The parts of the book set in Berlin and aboard the St. Louis are powerful and affecting; the Cuban-born author (who hints the novel is based on his own family history) is particularly good at showing the despair of German Jews like Alma, who considered themselves profoundly German. By contrast, the Cuban scenes seem a little flat and drawn out, and the ending—with Hannah now an old woman—is unexpectedly maudlin. Still, this is a mostly well-told tale that sheds light on a sorrowful piece of Holocaust history.
Product Details
| BN ID: | 2940170946907 |
|---|---|
| Publisher: | Simon & Schuster |
| Publication date: | 10/18/2016 |
| Edition description: | Unabridged |
Read an Excerpt
The German Girl
I was almost twelve years old when I decided to kill my parents.
I had made up my mind. I’d go to bed and wait until they fell asleep. That was always easy to tell because Papa would lock the big, heavy double windows and close the thick greenish-bronze curtains. He’d repeat the same things he said every night after supper, which in those days had become little more than a steaming bowl of tasteless soup.
“There’s nothing to be done. It’s all over. We have to leave.”
Then Mama would start shouting, her voice cracking as she blamed him. She’d pace the whole apartment—her fortress at the heart of a sinking city; the only space she’d known for more than four months—until she wore herself out. Then she’d embrace Papa, and her feeble moans would finally cease.
I’d wait a couple of hours. They wouldn’t put up any resistance. I knew Papa had already given up and was willing to go. Mama would be more difficult, but she took so many sleeping pills, she’d be fast asleep, steeped in her jasmine and geranium essences. Although she had gradually increased the dose, she still awakened during the night crying. I would rush to see what had happened, but all I could make out through the half-open door was Mama inconsolable in Papa’s arms, like a little girl recovering from a terrible nightmare. Except that, for her, the nightmare was being awake.
Nobody heard my cries anymore; nobody bothered about them. Papa told me I was strong. I would survive whatever happened. But not Mama. The pain was gnawing away at her. She was the child in a house where daylight was no longer allowed. For four months, she had been sobbing each night, ever since the city was covered in broken glass and filled with the constant stench of gunpowder, metal, and smoke. That was when they started planning our escape. They decided we’d abandon the house where I was born, and forbade me to go to school, where nobody liked me anymore. Then Papa gave me my second camera.
“So that you can leave a trail out of the labyrinth like Ariadne,” he whispered.
I dared to think it would be best to be rid of them.
I thought about diluting aspirin in Papa’s food or stealing Mama’s sleeping pills—she wouldn’t last a week without them. The only problem was, first of all, my doubts. How many aspirin would he have to swallow to give him a lethal ulcer, internal bleeding? How long could Mama really survive without sleep? Anything bloody was out of the question, because I couldn’t bear the sight of blood. So the best thing would be for them to die of suffocation. To smother them with a huge feather pillow. Mama made it clear that her dream had always been for death to take her by surprise while she slept. “I can’t bear farewells,” she would say, staring straight at me—or, if I wasn’t listening, she would grab me by the arm and squeeze it with the little strength she had left.
One night I woke up during the night in tears, thinking my crime had already been committed. I could see my parents’ lifeless bodies but was unable to shed a single tear. I felt free. Now there would be no one to force me to move to a filthy neighborhood, to leave behind my books, my photographs, my cameras, to live with the terror of being poisoned by your own father and mother.
I started to tremble. I called out “Papa!” But no one came to my rescue. “Mama!” There was no going back. What had I turned into? How did I end up so low? What would I do with their bodies? How long would it take for them to decompose?
Everyone would think it was suicide. No one would question it. My parents had been suffering constantly for four months by then. Others would see me as an orphan; I’d see myself as a murderer. My crime existed in the dictionary. I looked it up. What a dreadful word. Just saying it gave me the shivers. Parricide. I tried to repeat it and couldn’t. I was a murderer.
It was so easy to identify my crime, my guilt, my agony. What about my parents, who were planning to get rid of me? What was the name for someone who killed their children? Was that such a terrible crime there wasn’t even a word for it in the dictionary? That meant they could get away with it. Whereas I had to bear the weight of death and a nauseating word. You could kill your parents, your brothers and sisters. But not your children.
I prowled through the rooms, which to me seemed increasingly small and dark, in a house that would soon no longer be ours. I looked up at the unreachable ceiling, walked down hallways lined with the images of a family that was disappearing little by little. Light from the lamp with the snowy-white shade in Papa’s library filtered out into the corridor where I stood disoriented, unable to move. I watched as my pale hands turned golden.
I opened my eyes and was in the same bedroom, surrounded by well-worn books and dolls I had never played with, nor ever would. I closed my eyes and sensed it wouldn’t be long before we fled without a set destination on a huge ocean liner from a port in this country where we had never belonged.
In the end, I didn’t kill my parents. I didn’t have to. Papa and Mama were the guilty ones. They forced me to throw myself into the abyss alongside them.
The apartment’s smell had become intolerable. I didn’t understand how Mama could live between those walls lined with moss-green silk that swallowed what little daylight there was at that time of year. It was the smell of enclosure.
We had less time to live. I knew it; I felt it. We wouldn’t be spending the summer there in Berlin. Mama had put mothballs in the closets to preserve her world, and the pungent odor filled the apartment. I had no idea what she was trying to protect, since we were going to lose everything regardless.
“You smell like the old ladies on Grosse Hamburger Strasse,” Leo taunted me. Leo was my only friend; the one person who dared look me in the face without wanting to spit on me.
Spring in Berlin was cold and rainy, but Papa often left without taking his coat. Whenever he went out in those days, he wouldn’t wait for the elevator but took the stairs, which creaked as he trod on them. I wasn’t allowed to use the stairs, though. He didn’t walk down because he was in a hurry but because he didn’t want to bump into anyone else from the building. The five families living on the floors beneath ours were all waiting for us to leave. Those who were once our friends were no longer friendly. Those who used to thank Papa or who tried to ingratiate themselves with Mama and her friends—who praised her good taste or asked for advice on how to make a brightly colored handbag match their fashionable shoes—now looked down their noses at us and could denounce us at any moment.
Mama spent yet another day without going out. Every morning when she got up, she would fasten her ruby earrings and smooth back her beautiful, thick hair—which was the envy of her friends whenever she appeared in the tearoom of the Hotel Adlon. Papa called her the Goddess, because she was so fascinated by the cinema, which was her only contact with the outside world. She would never miss the first night of any film starring the real screen goddess, “La Divine” Greta Garbo, at the Palast.
“She’s more German than anyone,” she would insist whenever she mentioned the divine Garbo, who was, in fact, Swedish. But back then motion pictures were silent, and no one cared where the star had been born.
We discovered her. We always knew she would be worshipped. We appreciated her before anybody else; that’s why Hollywood noticed her. And in her first talkie she said in perfect German: “Whisky—aber nicht zu knapp!”
Sometimes when they came back from the cinema, Mama was still in tears. “I love sad endings—in movies,” she explained. “Comedies weren’t meant for me.”
She would swoon in Papa’s arms, raise a hand to her brow, the other holding up the silk train of a cascading dress, toss back her head, and start talking in French.
“Armand, Armand . . .” she would repeat languidly and with a strong accent, like La Divine herself.
And Papa would call her “my Camille.”
“Espère, mon ami, et sois bien certain d’une chose, c’est que, quoi qu’il arrive, ta Marguerite te restera,” she would reply, laughing hysterically. “Dumas sounds ghastly in German, doesn’t he?”
But Mama no longer went anywhere.
“Too many smashed windows” had been her excuse ever since the previous November’s terrible pogrom, when Papa had lost his job. He had been arrested at his university office and taken to the station on Grolmanstrasse, kept incommunicado for an offense we never understood. He shared a windowless cell with Leo’s father, Herr Martin. After they were released, the two would get together daily—and that worried Mama even more, as if they were planning an escape she was not prepared for yet. Fear was what prevented her from leaving her fortress. She lived in a state of constant agitation. Before, she used to go to the elegant salon at the Hotel Kaiserhof, just a few blocks away, but eventually it was full of the people who hated us: the ones who thought they were pure, whom Leo called Ogres.
In the past, she would boast about Berlin. If she went on a shopping spree to Paris, she always stayed at the Ritz; and if she accompanied Papa to a lecture or concert in Vienna, at the Imperial:
“But we have the Adlon, our Grand Hotel on the Unter den Linden. La Divine stayed there, and immortalized it on screen.”
During those days, she would peer out the window, trying to find a reason for what was happening. What had become of her happy years? What had she been sentenced to, and why? She felt she was paying for the offenses of others: her parents, grandparents—every one of her ancestors throughout the centuries.
“I’m German, Hannah. I am a Strauss. Alma Strauss. Isn’t that enough, Hannah?” she said to me in German, and then in Spanish, and in English, and finally in French. As if someone were listening to her; as if to make her message entirely clear in each of the four languages she spoke fluently.
I had agreed to meet Leo that day to go take photographs. We would see each other every afternoon at Frau Falkenhorst’s café near Hackescher Markt. Whenever she spotted us, the owner would smile and call us “bandits.” We liked that. If either of us was later than expected, the first to arrive had to order a hot chocolate. Sometimes we’d arrange to meet at the café near the Alexanderplatz Station exit, which had shelves filled with sweets wrapped in silver paper. When he needed to see me urgently, Leo would wait for me at the newspaper kiosk near my home, allowing us to avoid running into any of our neighbors, who, despite also being our tenants, always shunned us.
In order not to disobey the adults, I bypassed the carpeted stairs, which were increasingly dusty, and took the elevator. It stopped at the third floor.
“Hello, Frau Hofmeister,” I said, smiling at her daughter, Gretel, who used to be my playmate. Gretel was sad, because not long before, she had lost her beautiful white puppy. I felt so sorry for her.
We were the same age, but I was much taller. She looked down, and Frau Hofmeister had the nerve to say to her, “Let’s take the stairs. When are they going to leave? They’re putting us all in such a difficult situation . . .”
As if I wasn’t listening, as if it was only my shadow standing inside the elevator. As if I didn’t exist. That’s what she wanted: for me not to exist.
The Ditmars, Hartmanns, Brauers, and Schultzes lived in our building. We rented them their apartments. The building had belonged to Mama’s family since before she was born. They were the ones who should leave. They were not from here. We were. We were more German than they were.
The elevator door closed, it started to go down, and I could still see Gretel’s feet.
“Dirty people,” I heard.
Had I heard it right? What have we done for me to have to endure that? What crime had we committed? I was not dirty. I didn’t want people to think of me as dirty. I came out of the elevator and hid under the stairs so I wouldn’t meet them again. I saw them leave the building. Gretel’s head was still bowed. She glanced backward, looking for me, perhaps wanting to apologize, but her mother pushed her on.
“What are you staring at?” she shouted.
I ran back up the stairs noisily, in tears. Yes, crying with rage and impotence because I could not tell Frau Hofmeister that she was dirtier than I was. If we bothered her, she could leave the building; it was our building. I wanted to hit the walls, smash the valuable camera my father had given me. I entered our apartment, and Mama could not understand why I was so furious.
“Hannah! Hannah!” she called out to me, but I chose to ignore her.
I went into the cold bathroom, slammed the door, and turned on the shower. I was still crying; or rather, I wanted to stop crying but found it impossible. Fully clothed and wearing my shoes, I climbed into the perfectly white bathtub. Mama kept on calling to me and then finally left me in peace. All I could hear was the sound of the scalding water cascading onto me. I let it flow into my eyes until they burned; into my ears, my nose, my mouth.
I started to take off my clothes and shoes, which were heavier because of the water and my dirtiness. I soaped myself, smeared on Mama’s bath salts that irritated my skin, and rubbed myself with a white towel to get rid of every last trace of impurity. My skin was red, as red as if it was going to peel. I turned the water even hotter, until I couldn’t take it anymore. When I came out of the shower, I collapsed on the cold black-and-white tiles.
Fortunately, I had run out of tears. I dried myself, scrubbing hard at this skin I didn’t want and which, God willing, would start to slough off after all the heat I’d subjected it to. I examined every pore in front of the steamed-up mirror: face, hands, feet, ears—everything—to see if there was any trace of impurity left. I wanted to know who was the dirty one now.
I cowered in a corner, trembling, shrinking, feeling like a slab of meat and bone. This was my only hiding place. In the end, I knew that however much I washed, burned my skin, cut my hair, gouged out my eyes, turned deaf, however much I dressed or talked differently, or took on a different name, they would always see me as impure.
It might not have been a bad idea to knock at the distinguished Frau Hofmeister’s door to ask her to check that I didn’t have any tiny stain on my skin, that she didn’t have to keep Gretel away from me, that I wasn’t a bad influence on her child, who was as blond, perfect, and immaculate as me.
I went to my room and dressed all in white and pink, the purest colors I could find in my wardrobe. I went looking for Mama and hugged her, because I knew she understood me; even though she chose to stay at home and so didn’t have to face anyone. She had built a fortress in her room, which in turn was protected by the apartment’s thick columns, in a building made up of enormous stone blocks and double windows.
I had to be quick. Leo must have already been at the station, darting all over the place, trying to stay out of the way of people running to catch their trains.
At least I knew that he thought of me as being clean.
Videos
