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It is the midsection of the roaring '20s, and Gittel is moving into The Hague with her parents, whose blazing rows are the traditional conserve of Sundays and general population holidays. What good luck, then, that Gittel is Jewish and must submit to 'the double helping of general population holidays this is the great deal of Jewish people'. After each matrimonial slanging match, Gittel's mom operates off to her parents' home in Antwerp - with her little girl in tow. Much to her delight, Gittel makes the acquaintance of the well-to-do Mardell family, who allow her to practise on their Steinway. Gittel seems that she actually is taken significantly by Mr Mardell, the top of the household, and by 30-year-old Lucie, whom she adores. When these friendships turn out to be nothing but an illusion, Gittel discovers her first lessons about trust and betrayal. Her second comes immediately after, when her dad, whose abilities for business leave much to be desired, attempts to produce a quick getting rid of in Berlin on the eve of the Wall Block crash. Though this intimate portrayal of familial strife is defined in the shadow of the Holocaust, Simons says little about the horror that awaits her heroes, yet she succeeds in supplying the listener the sense that the book is about more than a young girl's lack of innocence. In the fluid, almost informal style, she's written a masterly and ageless ode to a relatively carefree interlude in a deep and dramatic period.
