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Late in November, Irena is visited by a “Wanda,” of the Free Poles in London. She is carrying money for Irena with her, and she tells her that she is Irena’s new contact for “money, medicine, documents, and ‘other items’ that need to be smuggled into the ghetto” (195). Wanda also informs Irena that she is to take Irena to an important meeting with ZEGOTA and the writer Zofia Kossak. Irena is surprised; Kossak is a famous albeit controversial writer, one who was famously anti-Semitic prior to the war but has since reversed her positions, pleading with Poles to come to the aid of Jews: “Whoever remains silent in the face of murder becomes an accomplice of the murder. He who does not condemn, condones” (197).
Two days later, Irena and Wanda travel together to a ZEGOTA house, where she is led up the stairs to Kossak. Irena compliments Kossak on her courage; she responds that she “was born without fear, and without fear one cannot truly be said to be courageous” (198). She and her accomplices tell Irena about their network and explain that they have the same goals. ZEGOTA, however, is nationwide, with contacts and supporters outside of Poland, as well. Although they are working toward the same ends, they have had limited success. However, “[e]verywhere [they] go people say, ‘See the two Irenas. They’ll get you whatever you need’” (200). As a result, they are looking to have her coordinate the Children’s Division of ZEGOTA. Irena accepts, under the condition that she be allowed to run it her way.
The ZOB continues to assassinate enemies of the resistance and of the Jewish people. In January, the Germans respond by rounding up the “wild ones” (201), the Jews without Ausweis still living illegally in Warsaw. Unbeknownst to them, ZOB fighters “had infiltrated the orderly march of the condemned” (201). At a predetermined time, the fighters attacked the Germans leading the march, killing many and procuring a cache of weapons: “But for the first time since the occupation, the Germans were afraid to pursue Jews into their attics and basements, many of which were now fortified bunkers” (201). Overnight, the ZOB become heroes, an “admirable fighting force” (202).
Children continue to come to Irena through the ZOB; the gates are all heavily manned now, so Irena and her couriers must rely on holes in the wall and the sewers. The Germans ask for volunteers for relocation, but the ZOB counters with posters arguing that “[v]oluntary relocation means nothing more than the complete annihilation of the ghetto” (202). They continue their counteroffensive, disrupting German plans for relocation wherever possible.
During a meeting with Kossak, she urges Irena to get more sleep. Irena begins to explain, but Kossak cuts her off: “The more tired you are, the more likely you are to blunder, which would cost us dearly. […] You and I, we’ll always be rescuing someone from the ghetto—however it may manifest itself in twenty or forty years” (203).
Irena’s mother’s condition continues to worsen; further, she worries about Irena, aware of the rumors and the Gestapo lists with Irena’s name on them. She also notes that Irena is more short-tempered lately. Irena doesn’t tell her or anyone else about her frequent headaches or the fact that she is “tired to her core” (205). Irena wants to explain that what she’s doing is the right thing to do, but she knows that “what [keeps] her going in and out of the ghetto [is] something more powerful and primal […] something beyond rationality” (206).
Irena is also keenly aware of her failures. For example, the Rosners—who were featured in Life in a Jar—are convinced to give up their baby Isek but ask for one more day with their other child, Mirjam. When she returns the next day, however, she discovers that there has been another Aktion, and the family is gone.
After the January Uprising, all telephone communication to the ghetto is cut off, leaving only unreliable or dangerous means of communication. Irena’s network is “inundated, and from day to day escape [grows] more hazardous” (210).
In January, Irena is woken up at three in the morning to knocking at her apartment door, along with the distinct smell of the sewers. A courier, “Teresa,” and her the children were separated from Sewer Man and the others. As Irena pulls them into her apartment, she notices one of her neighbors watching her through a slit in the doorway.
Irena takes them all into the bathroom, orders them to undress, and begins to bath the sewer stench and grime off the children. She recognizes one of the children as Piotr Zettinger, whose father she worked with prior to the war. Janina wakes up due to the commotion: “After three and a half years of occupation, this [is] the first time Irena [has] brought the risk of hiding Jews to her mother’s doorstep” (212), although she was certain her mother knew of her activities.
Realizing they do not have enough soap to wash the four children, they are forced to ask the same neighbor for some: “All these years and now something stupid—not enough soap” (212). By seven in the morning, the children are washed and on their way, but Irena cannot help but fear that they have been betrayed in the meantime. When she arrives home, everything seems normal. Her mother tells her that their neighbor had wondered about the soap; Janina, however, had explained that Irena misses her husband, and that doing the wash late at night helps her to forget.
In April 1943, during Passover, the Germans launch a final offensive against the ZOB and the remaining Jews in the ghetto:“Despite being vastly outnumbered and outgunned, the Jews [prove] to be persistent and elusive fighters, hiding in the elaborate underground city they had constructed” (214). Irena’s network continues to place those who escape during the fighting and provide supplies and funds for those in hiding. On Easter, Irena passes a fair that had been set up next to the wall—on one side, children play; on the other is a fierce battle between the SS and the ZOB. Irena struggles to discern from which side the screams come.
The fighting creates chaos and reckless abandon: “Children unexpectedly [pop] out of manholes, covered with sewage, accompanied by teenage couriers. The Germans [pump] poison gas into the sewers, which [are] now choked with bloated bodies. Yet children [continue] to escape, and Poles [continue] to shelter Jews” (215). Money for ZEGOTA is “parachuted into Poland tied about the waists of couriers” (216). Despite the influx of money, Irena still cannot keep up with the demands to place children.
After three weeks, the ZOB continues to battle the SS, but the “Ghetto Uprising” is finally put down, the ghetto leveled and destroyed: “No more children [appear] for ZEGOTA to hide. It [is] as if the spigot to the sewers [has] been turned off, the holes in the wall suddenly plastered over” (217). Irena returns to work but realizes that “it was rescue that had given meaning to chaos and cruelty” (218).
The night of Irena’s Naming Day, October 20, her friend Janina comes to visit with an illegal jar of homemade vodka; they stay up well past curfew, and Janina stays the night. They are woken early in the morning by a sharp knocking at the door. Irena’s first instinct is to throw two tissue-paper lists she had set aside out the window as a precaution but stops when she sees two SS soldiers looking up at her from the courtyard. Janina instead takes the lists and hides them. Then Irena opens the door, and 10 SS troopers march into the apartment.
The soldiers hold guns on Irena and Janina while they ransack the apartment. Somehow, they do not find the zloty and Kennkarte hidden beneath her bed. As she’s taken away in the police car, she realizes that she still has part of the tissue-paper lists; she carefully tears the list into scraps, then lets it flutter away out the window.
At Szucha #25, Irena is interrogated and asked what she knows about ZEGOTA. She maintains, however, that she’s just a social worker. When she is shown a file on her, she discovers that she was betrayed by the owner of a laundry that served as one of their meeting places; the woman had broken under torture and was later executed. She did not, however, mention ZEGOTA by name, only “a secret organization” (223). In reading through the file, she realizes they don’t know who she really is and continues to play dumb.
Following her initial interrogation, she is taken formally to Pawiak Prison and assigned to a small, “windowless cell with two bunks and seven other women” (225). The women take turns on the bunks, and Irena, who has not slept in two days, falls into a fitful sleep. She soon meets her interrogator, a “stout German” with “two or three days’ growth of beard,” who smells “of alcohol and tobacco” (225). He tells her that if he does not get a confession out of her, he’ll be sent to the Eastern Front, so for him, it is his life or hers.
Each day, she alternates between working in the laundry room and interrogations with Herr Bach. She soon learns from Basia, an older cellmate, that they come for the executions early in the morning, following which, you know you are safe: “It’s horrible to live like this, but this is the way it is” (227). Her beatings begin lightly at first, then get heavier; each day, they last for an hour, after which she must “stand for ten more hours on her swollen throbbing legs, blood clotting her prison pinafore to her skin” (227-28). In order to elude the pain, Irena chooses a different childhood memory to focus on, a different loved one to conjure up. On a particularly vicious day, she passes out from the pain and regains consciousness on the floor of the toilet room, “lying in her own dried blood” (228).
Some of the women are allowed to have their children with them if there is no one to care for them at home; the children are allowed to play in the courtyard twice a day. One day, Irena watches an SS officer offer some candy to a child, which the child takes. As the child walks away, the soldier takes “his Luger from its holster, casually [aims it] at the boy’s back, and [shoots] him dead” (229).
On Christmas Eve, Irena is ordered to go see the dentist, despite having no problems with her teeth. While the dentist drills her healthy tooth, she places a grypsy—a note from the outside—into her cheek from ZEGOTA; the note tells Irena that ZEGOTA is doing everything it can to get her out. Irena replies that the lists are safe, but doubts ZEGOTA’s ability to get her out of Pawiak, a place no one escapes.
On New Year’s Day, Irena receives another message, this time from Irena Schultz, telling her that her mother is not doing well. Although it makes her sad, she is grateful for the message. She hopes that her mother will die before she is executed. On January 20, Irena is finally called forward to be executed.
The bathtub scene is prominent not only for the vividness of the experience but because of its relationship to the theme of communication and silence. This scene is the first time that Irena’s mother Janina becomes fully—or at least formally—aware of Irena’s activities. Irena will repeat several times later on that one of her biggest regrets was that she forsook her mother for the children, and until this point had worked hard to keep the two spheres separate. It isn’t that her mother wouldn’t approve, of course; she had herself married a revolutionary who died helping those in need. But Irena knows the dangers of allowing family to even be suspected of knowing about family members’ illicit activities. By taking the work home, even unintentionally, her risks become even more compounded.
This scene, therefore, elaborates upon the complicated nature of family. Adding to the symbolism is the familial connection of one of the boys whose father had worked with Irena previously. The boy was given up by his parents in order to keep him safe, and he is kept safe only because Irena is risking her own life while inadvertently risking her own mother’s. It’s a complex web of obligation and responsibility with no easy moral solutions.
As the final battle rages between the ZOB and the Germans, the book presents a striking image of the duality and incomprehensibility of the city. On one side of the wall, a battle rages on; on the other side, children play and celebrate Easter, further symbolic as the day that Christ, in Christian mythology, rose from the dead in order to save the souls of the Jews. This is a scene of two Warsaws, and the children playing echoes the earlier ways that the people of Warsaw strove to retain some sense of normalcy, and in doing so, lost some sense of humanity.