Ginger

“There had to be some meaning to it. Judgment, punishment, test, trial, strengthening—something that made sense out of it. Some scheme into which what was happening could all be fit—Rita, Urs, Tadeusz, Stefan, Erich, Freddy . . . A story from which she might at least learn something about herself and her life. At the end of it, when the war was over, if she survived, there would be a plot with a natural beginning, a long, painful, tension-filled middle, villains and heroes, and a satisfying end, or at least one that brought the story to a close—her survival. When it was all over, the story would stitch together everything that had happened—her perpetual discomfort and danger—even if it didn’t make sense of the horrors visited on the millions somehow suffering through the demented melodrama that would end with her survival. Yes, there would be a story at the end, if she did survive—a plot with dangers and escapes, in which her actions and everyone else’s would make sense. But”
― Alex Rosenberg, The Girl from Krakow