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  CONTENTS

  Acknowledgments

  Dedication

  PART I

  Sage

  Sage

  Leo

  Sage

  Josef

  Sage

  Josef

  Sage

  Sage

  Leo

  PART II

  Minka

  Minka

  PART III

  Sage

  Leo

  Sage

  Leo

  Sage

  Author's Note

  About Jodi Picoult

  ACKNOWLEDGMENTS

  This book began with another: The Sunflower, by Simon Wiesenthal. While a prisoner in a Nazi concentration camp, Wiesenthal was brought to the deathbed of an SS soldier, who wanted to confess to and be forgiven by a Jew. The moral conundrum in which Wiesenthal found himself has been the starting point for many philosophical and moral analyses about the dynamics between victims of genocide and the perpetrators--and it got me thinking about what would happen if the same request was made, decades later, to a Jewish prisoner's granddaughter.

  To undertake a novel grounded in one of the most horrible crimes against humanity in history is a daunting task, because even when one is writing fiction, getting the details right becomes an exercise in honoring those who survived, and those who did not. I am indebted to the following people for their assistance in bringing to life both Sage's world in the present day and Minka's world in the past.

  For teaching me to bake bread, and the most delicious research session of my career, thanks to Martin Philip. Thanks to Elizabeth Martin and One More Page Books in Arlington, Virginia, for teaching me how to bake with nefarious intent.

  For anecdotes about Catholic school, thanks to Katie Desmond. For helping me spell Darija's dance terminology, thanks to Allyson Sawyer. For teaching me the dynamics of a grief group, thanks to Susan Carpenter. For preliminary legal, law enforcement, and war tribunal questions, thanks to Alex Whiting, Frank Moran, and Lise Gescheidt.

  While writing this book, I auctioned off a character name to help raise money for the Gay and Lesbian Advocates and Defenders. Thanks to Mary DeAngelis for her generosity, and for providing her name to Sage's best friend.

  Eli Rosenbaum, Director of Strategy and Policy for the Human Rights and Special Prosecutions Section of the Department of Justice, is a real-live Nazi hunter who found the time to teach me what he does, let me create a character based on his experiences, and still managed to slay dragons. I am incredibly grateful to know someone like him is out there tirelessly doing what he does. (And I appreciate the fact that he let me take artistic license on the speed it takes for historians to get information from NARA. In real life it would be days, not minutes.)

  I am grateful to Paul Wieser, who gave me my first lesson on Third Reich history, and to Steffi Gladebeck, who provided the German perspective. But I am most indebted to Dr. Peter Black, Senior Historian at the United States Holocaust Memorial Museum, who suffered my endless questions, corrected me with great patience, helped me cobble together a viable Nazi upbringing, and read sections to help ensure historical accuracy. I mean it wholeheartedly when I say I could not have written this book without his input.

  I am grateful to Team Jodi at Emily Bestler Books/Simon & Schuster: Carolyn Reidy, Judith Curr, Kate Cetrulo, Caroline Porter, Chris Lloreda, Jeanne Lee, Gary Urda, Lisa Keim, Rachel Zugschwert, Michael Selleck, and the many others who have helped my career grow. Thanks to the crackerjack PR team of David Brown, Valerie Vennix, Camille McDuffie, and Kathleen Carter Zrelak, who are so good at getting everyone else as excited about a new book as I always am. To Emily Bestler, I value your guidance, your friendship, your commitment to my writing, and your ability to find the best shopping websites ever.

  Laura Gross, happy anniversary. Thanks for the information on Oneg Shabbat, for letting Sage get under your skin, and most of all for being my wingman.

  Thanks to my father, who did indeed conduct a Seder in a Donald Duck voice when we were small. As for my mother--I knew she was formidable, but when I asked if maybe she could find me some Holocaust survivors, I had names and numbers within a day. She paved the way for this book, and I am grateful.

  It is to those men and women, however, that I owe the greatest debt. The extensive research I conducted for this novel included speaking to a group of amazing people--Holocaust survivors, whose experiences during the war in the ghettos, in villages, in cities, and in concentration camps fed my imagination and allowed me to create the character of Minka. Although Minka suffers similar horrors as those described to me by survivors and Nazi hunters, she is not based on any one person I met or heard about; she is truly a work of fiction. So, to the survivors who opened their homes and their hearts, I am honored that you chose to share your stories with me. Thank you, Sandy Zuckerman--who provided me with the transcript of her mother, Sylvia Green's experiences during the Holocaust. Thank you, Gerda Weissman Klein, for your courage and your creativity as a writer. Thank you, Bernie Scheer, for your honesty and your generosity of spirit while telling me your experiences. And thank you, Mania Salinger, for your bravery, for letting me rifle through the bits and pieces of your life, and for becoming a treasured friend.

  And last, thanks to my family: Tim, Kyle (who had the great foresight to take German while I was writing this book), Jake, and Samantha (who penned a few vampiric paragraphs for me to use). The four of you are the story of my life.

  For my mother, Jane Picoult, because you taught me there is nothing more important than family. And because after twenty years, it's your turn again.

  My father trusted me with the details of his death. "Ania," he would say, "no whiskey at my funeral. I want the finest blackberry wine. No weeping, mind you. Just dancing. And when they lower me into the ground, I want a fanfare of trumpets, and white butterflies." A character, that was my father. He was the village baker, and every day, in addition to the loaves he would make for the town, he would create a single roll for me that was as unique as it was delicious: a twist like a princess's crown, dough mixed with sweet cinnamon and the richest chocolate. The secret ingredient, he said, was his love for me, and this made it taste better than anything else I had ever eaten.

  We lived on the outskirts of a village so small that everyone knew everyone else by name. Our home was made of river stone, with a thatched roof; the hearth where my father baked heated the entire cottage. I would sit at the kitchen table, shelling peas that I grew in the small garden out back, as my father opened the door of the brick oven and slid the peel inside to take out crusty, round loaves of bread. The red embers glowed, outlining the strong muscles of his back as he sweated through his tunic. "I don't want a summer funeral, Ania," he would say. "Make sure instead I die on a cool day, when there's a nice breeze. Before the birds fly south, so that they can sing for me."

  I would pretend to take note of his requests. I didn't mind the macabre conversation; my father was far too strong for me to believe any of these requests of his would ever come to pass. Some of the others in the village found it strange, the relationship I had with my father, the fact that we could joke about this, but my mother had died when I was an infant and all we had was each other.

  The trouble started on my eighteenth birthday. At first, it was just the farmers who complained; who would come out to feed their chickens and find only an explosion of bloody feath