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49 pages 1 hour read

A Long Long Time Ago And Essentially True

Fiction | Novel | Adult | Published in 2009

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Themes

Transcending the Past

Content Warning: This section of the guide describes and analyzes the guide’s treatment of antisemitism, rape, and wartime violence.

The novel is set during a time of extraordinary upheaval for the Polish people. Consequently, everyone has bitter memories of the war years and of the Nazis and communists who took over the country. Authoritarian rule by foreigners results in the need for secrecy to protect anything of value. When livestock and valuables are likely to be plundered, people hide their possessions. They also hide themselves away whenever a new contingent of soldiers is sent to bother them. The need to conceal also has the unintended effect of making people conceal the painful episodes of their past, even from themselves. Anielica refuses to tell Beata any sad stories: “She didn’t like telling me stories with sad endings. She said she had lived all the sad endings herself so I wouldn’t have to” (9).

Anielica is trying to shield her granddaughter from the atrocities that she herself experienced but is also suppressing a vital part of her own history. The same is true of other central characters. Beata is bemused by Irena’s mulish insistence that nothing changes. She follows the same tiresome routine every day and never socializes with anyone. All this changes when she visits her ex-husband’s grave and tells Beata the story of her dismal marriage. Confessing her misery has the positive effect of breaking the hold of the past on Irena. Soon, she goes back to painting and renews contact with friends she hasn’t seen in decades.

Czesław is presumed dead until he surfaces toward the novel’s end. Visiting the Hetmański farmhouse opens the floodgates to the most traumatic day of his life. Tearfully, he talks about his wife’s rape and reproaches himself for not getting home in time to protect her. This confession prompts Beata to make one of her own: She tells her grandfather that she blames herself for Magda’s death. These long-suppressed traumas lose their grip the moment they’re recounted to a witness. Now revitalized, Beata takes her video camera and goes out to interview the old people in Kraków, who share their personal stories of grief and hardship during the war years. The novel shows that neither a nation nor an individual can move forward without bringing the past out of hiding and confronting it.

Building a Future

One of the consequences of Poland’s occupation by both the Nazis and the communists is the lack of self-determination. Ideologically, both governments wished to impose authoritarian values on the nation and its people. While the resistance movement during the war years tried to maintain a sense of nationalism, these efforts were covert and sporadic. The apparatus of government was more effective at instilling its own propaganda into the minds of the people. Anielica grows upset when the communists order the removal of all the crucifixes from the school where she teaches. As a devout Catholic, she sees such actions as sacrilegious and quits her job.

The tension between deep-rooted cultural values and foreign ideology amounts to a national identity crisis once Poland is finally freed. People no longer know who they are. Dictators have regulated every aspect of their lives for so long that they simply go along from day to day without any sense of agency. Beata exemplifies this behavior. She lacks dreams or ambitions for herself. While she bemoans her dreary daily routine, she doesn’t actively seek to change it. When Tadeusz gives her a video camera and encourages her to film something, she shies away from the idea.

Irena falls into the same trap. She has become so disillusioned by the external forces that dictated her choices for the preceding two decades that she’s now convinced that life has passed her by. When the story begins, Magda has high hopes of graduating from law school, but the system seems rigged to her disadvantage. Since she isn’t a tuition-paying student, the school wants to free up her place for students who bring more cash into the institution. Irena pressures her to study harder, but both mother and daughter seem to suspect that success is impossible.

Like Magda, Kinga hopes for a better life, but she too believes that external forces are blocking her from pursuing that life. She blames the people in charge of the au pair agency in Italy for her dismal experience there. Likewise, the Englishman she meets seems intent on exploiting her sexually rather than giving her a legitimate job overseas. The novel is set in 1992, shortly after Poland held its first democratic election since the war. Consequently, the nation and the novel’s characters all seem uncertain about how to chart their futures. Free agency isn’t learned overnight. Fortunately, Beata and her country show signs of taking control of their futures by the end of the novel.

Claiming an Identity

Moving into and embracing one’s dreams of the future is possible when one establishes a path and creates the momentum to follow it. The novel often depicts Irena and Beata performing the same repetitive actions from day to day. Both see their options as limited. Irena says she’s too old to start fresh. Beata doesn’t believe she has any big dreams at all:

Here in the city, the dreams that once swelled inside me now feel like nothing more than a dried-up little kernel rattling around, and the only thing I can see is the crumb trail of obligations leading me from one day to the next (89).

Neither woman permits herself to dream. Like their country, they’re mired in a past that is too painful to acknowledge. The catalyst for real change in both instances is a willingness to grapple with their inner demons of guilt and grief. Magda’s death comes as a wake-up call. Initially, Irena blames herself for allowing Magda to go to the disastrous party that resulted in her death. Beata, too, blames herself for not keeping a closer eye on her cousin that night. Choosing a happy ending is only possible once they believe they deserve one. If Beata and Irena continue punishing themselves for past mistakes, they’ll continue to make disastrous choices that limit their potential. This becomes a way of doing penance for sins they cannot forgive.

In a pivotal scene at the end of the novel, Beata and Irena ask each other for forgiveness. Neither can move forward without the absolution of the other. Once they forgive each other, they learn to forgive themselves. Having conquered their guilt, the women are now free to assert their right to a meaningful identity. Irena not only begins openly dating Stash but pursues her interest in painting again. She can now claim the identity of an artist, which she abandoned decades earlier to curry favor with the communist party.

Beata no longer shies away from her aspirations as a budding filmmaker. She has begun assembling a documentary from her interviews and is applying to film school. She understands that her family, friends, and nation share her bold desire for a meaningful identity: “I know, in my deepest deep, that we are all working for Magda’s Big Life now, for Tadeusz’s and Kinga’s and Nela’s and Poland’s” (352). Daring to claim a dream will make the New Poland a reality.

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