The Shawl" is noteworthy because of its scrupulous control of its limited point of view, with the point-of-view character being the mother of a starving infant during the Holocaust. There is nothing in the story about the political conditions in Germany’s Third Reich, which developed a policy of mass extermination of Jews; yet, within just a few pages, the story provides an inside view of the horror as it affected those who were the victims of this unspeakable policy. The story requires great attention, for the details are not described objectively but rather appear as they have been filtered through the suffering eyes and mind of the major figure, Rosa.
Survival
Underlying Ozick's story is the theme of survival. Rosa struggles with this constantly. During the march to the concentration camp, Rosa struggles over whether or not she should pass Magda to an onlooker, possibly ensuring her child's survival. Rosa decides against this, however, realizing that she would risk her own life in doing so and could not guarantee Magda's safety. Rosa chooses survival in the moment for both of them, rather than probable death for herself and uncertainty for her child. As Rosa struggles over what to do about Magda, Stella longs to be Magda: a baby rocked and sleeping in her mother's arms. Rosa also thinks that the starving Stella gazes at Magda as if she wishes to eat the child. Magda, though far too young to have any knowledge of what is happening to and around her, gives up screaming and quietly sucks on the shawl.
Life in the camp is a constant battle for survival. Rosa, apparently caring more about Magda's survival than her own. gives most of her food to her child. Stella, caring mostly about her own survival, gives no food to Magda. Magda herself turns to the shawl for comfort: it is her "baby, her pet, her little sister"; when she needs to be still—and stillness is necessary to her survival—she sucks on a corner of it.
Halfway through the story, Stella takes Magda's shawl because she is cold. It is, perhaps, the only one of her afflictions that she can do anything about. There is no food to ease her hunger, and there is nothing she can do to escape from the camp; but Magda's shawl might ease her cold. This, too, is a form of reaching for survival. Stella has chosen to bring what small comfort she can to herself, ignoring the potential cost to Magda and Rosa.
Magda, knowing no better, leaves the barracks in her search for the shawl. Again, Rosa has to make a choice about her survival. If she runs to Magda, they will both be killed. If she does nothing, Magda will be killed. The only solution she can think of, however slim, is to get the shawl to Magda before she is discovered by the camp's guards. She runs for the shawl and returns to the square with it, but she is too late. A soldier carries Magda away toward the electric fence at the other side of the camp. Rosa watches her baby fly through the air, hit the fence and die, then fall to the ground. Again, there are choices. If she goes to Magda, she will be shot; if she screams, she will be shot. Rosa chooses survival, using the shawl to mute her scream.
Motherhood and Nurturing
Closely linked to the theme of survival are issues of motherhood and nurturing. Throughout "The Shawl," Stella longs to be nurtured. On the march, she longs to be a baby, comforted by her mother's arms. In the camp, she longs for food, sometimes causing Rosa to think that she is "waiting for Magda to die so she could put her teeth into the little thighs.'' She takes the only bit of nurturing she can find: warmth from Magda's shawl.
The issues of motherhood are more complex. Because she is a mother, Rosa cannot think only of herself, as Stella does. Each decision must be weighed. What is the possible benefit to her? To Magda? What are the possible costs? With each decision, Rosa must decide whether it is in her best interest to sacrifice herself, her baby, or both of them.
Prejudice and Tolerance
Issues of prejudice and tolerance are also raised in "The Shawl." Rosa, Stella, Magda, and the others are imprisoned or killed in concentration camps simply because they are Jewish. Prejudice exists on then- part too—at least on the part of Stella. Looking at Magda's yellow hair and blue eyes, she says "Aryan," in a voice that makes Rosa think she has said, "Let us devour her."
The issue of tolerance is raised in the camp itself. Rosa and Magda are not alone in the barracks they occupy. The other occupants are aware of Magda's existence and of Rosa's deception. In the camp, "a place without pity," they cannot know what might happen to them if Magda is discovered in the barracks. Yet no one reports her presence.
Betrayal
Rosa constantly fears that Stella—or someone else—will kill Magda to eat her. While this does not happen, it is Stella's betrayal that costs Magda her life and Rosa her child. "The Shawl'' points to one reason for this kind of betrayal: the inhuman treatment Stella has received has made her pitiless. "The cold went into her heart," the narrator says. "Rosa saw that Stella's heart was cold."
I liked the fact that this story doesn't sound the same like most holocaust stories do. If you've read on holocaust story, you've read most of them. But this takes a much different perspective, describing what happens to affected people internally. And it's a little ambiguous about being in the holocaust, which makes it more about the way that the people are affected than about what the Nazis were doing. I liked the fresh perspective, it was a good way to tackle an overdone thing without making it feel overdone.
ReplyDeleteThis is a really good point. This could almost be a story about any impoverished mother, fighting for the life of their child. In this case, the historical events of the Holocaust, while not necessarily essential for the plot, present a poignant back drop that helps to exemplify some of the themes of the story, such as prejudice/tolerance and betrayal. Because of the use of the Holocaust we know that these themes are not only expressed through the relationship of Rosa and Stella, but also by a larger historical presence.
DeleteI agree. I remember reading this story in elementary school and in comparison to the other books we were reading and looking at it just stood out to me. It was really impacting to me personally, because like you said the deep emotional connection it presented with the mother trying to protect her child was just a lot more raw than anything I had previously read. And yes with the use of the Holocaust all of those things are made larger by the historical presence. But nonetheless the description and vivid images help the reader to feel the suffocating haunting feeling that this story has while the key or heart of it all boils down to relationship. The relationship with Magda and Rosa is just so emotional and it continuously tugs at the readers heart, it's so strong.
DeleteThis story was startling in the depth of its emotional description. While it is not overwhelmed by plot, or even imagery in a traditional sense, it delves deeper than many longer and more elaborate stories. The reader is sucked into the mind of the long suffering, instinctual mother, Rosa, whose sole focus in what remains of her life is to preserve the life of her baby, Magda. There is an intense vividness to the cold, the hunger, and the desperation that the author describes through the families experiences. Rosa's older daughter, Stella, is isolated by her mother's obsession with the survival of her younger sister. One of the most vivid elements of the story for me was imagining Stella's experience of wanting to be Madga, seeming to have outgrown the protection of her mother's maternal instinct. I also enjoyed the bits of the story that described the situation using Magda's thoughts and feelings. All of these elements culminated in the final scene where Rosa tears the shawl from sleeping Rosa, and runs as though she is flying through air or swimming through water towards Magda who is unknowingly walking towards her death. Through Rosa's eyes, the author was able to create an incredibly overwhelming feeling of being stuck in quick sand as Rosa tries to get to Magda. The expositionary descriptions of Rosa's devotion to Magda built beautifully to this moment of paralysis, where she could do nothing but watch her daughter's life be eaten up by the electric fence.
ReplyDeleteWhy do you think Stella is Rosa's daughter? It's not expressly stated in the story, and even though I understand how it's implied I didn't come to the same conclusion.
DeleteI totally agree with everything else you said, and want to point out that it's said that Rosa knew Magda would die, and yet she gives everything she can to Magda. When Magda does die at the end of the story, it's still the end of the world to Rosa and there is still that moment of helpless paralysis.
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ReplyDeleteWhy did Salvatore's just deliver tampons to my door?
ReplyDeleteShush, no tears. Only dreams now.
DeleteI liked this story compared to other Holocaust stories because of its complex descriptions of emotions, thoughts, and imagery rather than of events. You could maybe label it as magic realism. The last two paragraphs are my favorite. They describe the events of a short span of time but are elaborate. The events are also very negative, yet the language of the description is not. For example, when Rosa flies out of the barracks and into the arena, the author describes the atmosphere as reminiscent of "another life, of butterflies in the summer. The light was placid, mellow." She then describes the land beyond the fence with its green meadows and colorful flowers. Other writers might stress the bleakness of the situation. Even when Magda is being thrown against the fence at the beginning of the last paragraph, her motion and appearance aren't being described with negative language.
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