51 pages • 1 hour read
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Content Warning: This section of the guide includes discussion of religious discrimination, graphic violence, illness and death, and physical abuse.
A brief passage introduces Part 5 in an unnamed limited third-person viewpoint. In it, a girl feels as if the yellow fabric star on her coat burns her. Strangers now notice only the star she wears, not the ones in the sky.
Edith, Margot, and Anne go to the Jewish street market for vegetables. Food is becoming scarce; there is no meat because the Germans now say kosher meat is against the law. Anne is suddenly deeply saddened by the bruised and rotten produce, the women fighting over it, the ragged awnings, and the rats. She says she has dust in her eye, but Edith knows Anne is upset. Edith takes Anne’s arm to walk home. They make potato and onion soup in the afternoon.
Anne spends more time writing. She writes stories and lists of everyday freedoms that are lost. The Nazis have taken so much away: They have stolen money and possessions; they won’t allow Jewish teachings; they will not allow participation in sports or use of public parks or pools; no Jewish people can run businesses or use public transportation. Their human rights have gradually disappeared.
In the past, Purim was a time to visit, share food, and tell the story of Esther in the form of a small play. Anne often played the role of Esther, a biblical figure who hides her Jewish identity when a king chooses her as his queen but later saves her people by revealing the truth. This year, Anne writes out the story of Esther and asks to read it aloud. Otto and Margot praise and applaud her; her mother offers no accolades. But Anne demands to know what Edith thinks. When pressed, Edith says Anne is destined to be a storyteller. Anne believes it is true: “She would be a writer” (206).
When Anne’s bicycle is stolen, Otto takes her to the book market to brighten her spirits. Jewish people are no longer allowed to sell books, but Old Edgar and his wife Clara, Sephardic Jews whose family had originally fled the Inquisition and found safety in Amsterdam, still secretly carry on the book trade. Clara wants Anne to buy a book of Greek and Roman myths. Otto wanted A Tale of Two Cities, but he buys the myths instead. Going home, Anne looks longingly at a journal in a shop window, and Otto teases her about her birthday.
May arrives with a new directive: All Jewish people over age six must wear a yellow star to identify themselves as Jewish. They must buy the fabric, cut the stars from a pattern, and sew them onto their clothing themselves. Otto tells Anne that the Americans will arrive soon.
Anne meets a cousin of her friend Wilma’s, Helmut Silberburg. A tall and handsome young man, his parents sent him to Amsterdam from Germany to keep him safe; he wants badly to emigrate to America, so he is teaching himself English. Since he greets everyone with “Hello,” his nickname is Hello. He and Anne fall hard for one another and begin spending time together. They hold hands when no one can see. Hello tells Anne he loves her, but she tells him it is too soon for such deep feelings. She does, however, enjoy the thought of him loving her. Hello plots ways for them to get to America, though Anne says it is impossible. She tries to tell Hello that they are too young for love; she knows inside that she must spare herself from a broken heart. But when Hello brings her a discarded carnation, her emotions sail away. She forgets everything as if she is in the middle of a book.
Anne tries to ask her parents what romantic love is. Edith rolls her eyes and says it is only for stories; Otto says it is different for everyone, but that Anne will certainly get to experience it. She wants to believe him, but she knows the world is changing against them more and more.
On Anne’s 13th birthday, her parents and Margot give her the journal she wanted, along with other gifts like a blouse and face cream; friends at school give her a book of Dutch legends. Her parents also throw a get-together with her close friends at the Franks’ apartment. Since Jewish people are no longer allowed in movie theaters, Otto brings a movie projector, and they watch Rin Tin Tin on the dining room wall. Not being able to escape into the world of the movie makes Anne cry. She is grateful for the gifts and party, but in turning 13, she feels she should know more about the uncertain future.
In school, Anne cannot stop side conversations during math. The teacher good-naturedly tries to curb her behavior by assigning her essays to write: “A Chatterbox,” “An Incorrigible Chatterbox,” “Quack, Quack, Quack, Said Mistress Chatterback” (239). Anne turns this last assignment into a poem; the teacher seems more understanding of her inability to keep quiet. Anne also devotes more and more time to writing. She writes at school but refuses to allow anyone to read it. She grows quieter and more pensive as she writes, feeling a deep despondency at the danger so pervasive now. But Anne still acts on inner strength: “Despite her sadness, she arose each morning ready to face the day” (241), knowing Oma’s counsel would be to live each moment to the fullest.
Anne sees a terrible sight: A Jewish man is beaten and arrested by the Nazis, and when his wife asks what crime he committed, an officer strikes her. Edith worries about the impact of this daily brutality on Anne. Anne wishes they could have helped the man and his wife, but Edith tells Anne that remaining true to their identity is already a strong act of resistance.
Hello convinces Anne to allow him to meet her parents. Edith lets Anne know she thinks Hello is “a good choice” (245), and Anne reflects on the pressure to rush through all life experiences. After tea and biscuits with her parents, she and Hello go walking. He talks about going to Jerusalem to join the Zionists, who feel that the Jewish people should have a place in the world by “returning to their homeland” (247). When Anne and Hello realize they are out after the 8 pm curfew, they run to the Franks’ apartment. Otto angrily reprimands Anne, who cries over her childish error. Otto does not tell her that Jewish people will now be sent from Amsterdam to “work camps” (forced labor camps) by the hundreds a day; those between ages 16 and 40 will be “called up” for transport.
Anne sees Hello again the next week. They laugh when he tells her how his grandfather makes him sleep in the closet in case soldiers come for him in the night. They plan to meet again in the afternoon. At home, Anne discusses love again with Edith, who tells her she is sure Anne will marry because her heart has such capacity for love. Edith also thinks about how special Anne is but does not voice this aloud.
Then, a policeman brings a notice: Margot is being called up to leave for a labor camp. Edith tells Margot not to answer the door; with Otto not home, she hastens off to Hermann van Pels, a partner of Otto’s. Anne does not want to believe Margot is being sent away. She suggests the Americans will be there soon, but Margot points out that they have not arrived in time. Hello knocks, but Margot tells Anne she cannot answer the door: “He can’t know what we’re doing” (258). Anne feels terrible as Hello beats on the door, calling for her. Eventually, he leaves.
As soon as Otto is home, he tells the family they must go into hiding immediately in a secret place he and Mr. van Pels prepared. Mr. van Pels, his wife, and his son will hide in the same space. Otto had planned they would “disappear” in 10 days, but now they cannot wait. In shock, Anne packs her diary and a few other things. Miep and Jan come late at night to deliver the Franks’ packed bags to the secret place. Before dawn the next morning, Anne dresses in many layers of clothing as a way to transport her apparel without a suitcase. Margot and Miep go ahead to the secret place. Anne realizes at the last second that she must leave her cat behind; Otto says the neighbors will care for it. The Franks leave a note suggesting they are heading to Switzerland.
The secret place is the upper floors of the rear building attached to Anne’s father’s office. Anne can hear the Westertoren clock nearby. Edith holds Anne’s hand and reassures her that hiding will keep them safe. Anne thinks of Persephone going into the underworld, but she feels comforted knowing she can write her experiences in her new diary. Anne writes “Remember us; remember me” on a scrap of paper and ties it to a nearby elm with the blue ribbon she found at the hotel. Then she goes inside the building and shuts the door.
While the previous parts conclude with chapters titled “What We Lost,” Part 5 concludes with “What We Will Remember.” The second-person voice lists many remembered facets of Anne’s life and traits, such as “your grandmother sleeping in the dining room” and “the books you read” (273). Continuing in a direct address to Anne, the voice credits her with knowing the importance of writing down the events of her life in hiding and knowing that love cannot be stolen away.
In an author’s note that follows the text, Alice Hoffman comments on the profound impact Anne’s diary had on her when she read it in 1964 at age 12. It taught her about the history of the Holocaust and inspired her own decision to be a writer. She briefly recounts biographical details and reminds readers that, along with all the qualities that made Anne special, she was also an ordinary girl who sought a future for herself, universal qualities to which readers can relate. Hoffman states that the diary should be required reading worldwide to remember the Holocaust and those lost.
Part 5 offers a strong juxtaposition in the way time treats Anne before and after her 13th birthday. As her freedom disappears, time begins to drag. The Nazis take away pastimes for Jewish people: no sports, no parks, no movie theaters. With the future increasingly uncertain, Anne finds it hard to look forward to anything, which also contributes to the feeling of time at a standstill. After the sad market trip, Edith says, “All we have to think about is the soup” (199), a comment intended to comfort Anne but ironically also a statement summarizing how little freedom they have to accomplish anything else. Anne feels frustrated by inaction and passivity when she witnesses the neighbor’s arrest; Edith tries to convince Anne that passive resistance is still resistance: “We are doing something […] We’re refusing to believe the story they’re telling about us” (244).
Simultaneously, though, Anne feels a contrasting urgency to experience everything in life before it is too late. This prompts convoluted emotions; she appreciates the birthday party and gifts as examples of Family and Community as a Source of Support, but she worries that her entrance to the teen years carries no accompanying wisdom: “She felt as if she was now supposed to know what she should do with her life, but given the way the world was, she couldn’t see the possibilities of what her future might be” (237). She struggles with Hello’s love for her, enjoying his apparent infatuation but bitter at not being allowed the gradual, natural development of true love: “Shouldn’t I have all the time in the world?” (246). The sense that time is running out parallels Anne’s inner push to live each day fully “as if it were your last” (241), further developing The Loss of Innocence in the Context of War and Genocide and establishing a new mood of pressure and compulsion.
This juxtaposition between the sensation of time standing still and the rush to live a lifetime in the space of weeks is particularly evident when Margot receives her call-up notice: “It was a summer afternoon and everything was the same, and then, before they knew what was happening, nothing would ever be the same again” (253). The deepening tone of alarm transitions to panic and paves the way for the final scenes in which the Franks rush into hiding 10 days early.
Anne’s early coming-of-age solidifies in Part 5. With both her first beau and her development as a writer. Anne transcends the gloom of oppression—if briefly—which indirectly reinforces her growing inner strength and stamina. Anne’s comprehension of metaphorical thought also indicates her growing maturity, and she continues to turn to stories as a means to understand her experience; for example, she thinks of Persephone entering the underworld as she goes into hiding. Edith insists that she will stay with Anne, and Anne thinks of her mother as Demeter, the hero who rescued Persephone from the underworld: “Edith held on so tightly that Anne knew that if she ever disappeared her mother would search the whole world over until she found her” (267). Anne’s new understanding of her mother points to The Impact of Violent Ideologies on Interpersonal Relationships and shows how young Anne has matured and is ready for older Anne’s continued progress and growth while in hiding.
Finally, it is significant that the character Anne has a last moment of autonomy in closing the door of the office herself. This symbolizes her control over her identity and her rekindled hope of “flying away” to safety, as the fairy tale’s younger sister wishes to do in Part 4’s introduction. The moment also serves as a concrete link for readers to transition to the historical Anne’s diary or further research on Anne Frank’s remarkable life.
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By Alice Hoffman