Address Unknown

“To the family we seem American millionaires.”

On returning to Germany, Martin finds himself caught in a strange position. He is a wealthy German, but he does not feel integrated into his own culture. His wealth separates him from Germans, just as his national identity separated him from Americans. The economic turmoil that Martin hints at also helps to explain why Germany is vulnerable to a fascist uprising. The Nazis prey on vulnerable people, promising to make them strong. Martin may be an economic outsider, but he is just as vulnerable to Radicalization as everyone else.

“If I do not sell Mrs. Fleshman our horror, somebody else will sell her a worse one. We must accept these necessities.”

In his business dealings, Max reveals himself to be a pragmatic and not necessarily scrupulous person. He is happy to sell bad art to wealthy old women because, in his own words, “somebody else will sell her a worse one.” This desire to justify his actions foreshadows Martin’s later attempts to justify his turn to fascism. If he does not prop up the fascist state, Martin later explains, then someone else will.

“But these may be minor things, the little surface scum when a big movement boils up.”

To Martin, outbursts of antisemitic violence can be dismissed as “minor things” because they do not affect him personally. He lacks the empathy to understand why such violence might be bad until, later in the novel, the violence is turned on him. His initial dismissal of antisemitism contrasts with the desperation he will feel when the fascist state believes him to be Jewish.

“Alas, to us Jews they are a sad story familiar through centuries of repetition.”

Max feels deeply saddened but not surprised by the antisemitic violence in Germany. As a Jewish man, he knows very well that antisemitic violence is part of “centuries of repetition.” He does not yet know the tragic reality of the Holocaust, but he knows more than his gentile friend that antisemitic violence is not new.

“I have loved you, not because of your race but in spite of it.”

Martin reveals that he has harbored antisemitic views for many years; he simply dismissed them due to his friendship with Max. Rather than try to learn from Max or examine his own flaws, he accepts the Nazis’ propaganda and unapologetically reveals his hatred for Max’s “race.”

“What is so futile as the liberal? I know him well because I have been one.”

Martin’s turn toward fascism nears completion as he leaves his liberal ideals behind. Calling liberalism “futile” hints at his desire to be strong and to seize control of his future, both of which are part of the Nazi narrative of German superiority. Martin removes his mask of liberalism to reveal the full fascist that he has become.

“I write again because I must.”

Martin has not been subtle about his turn to fascism, but Max hopes that some part of his old friend is still capable of good. Max’s sister Griselle is missing, and Martin may be the only one who can find her. Max makes himself clear: He knows their friendship is over, but he hopes that the love Martin and Griselle once shared may be enough to overcome Martin’s antisemitism. The letter is an act of desperation.

“You will destroy us all, Griselle.”

Despite Max’s pleas for Martin to help Griselle, Martin has fully embraced Nazism. In spite of their shared history, he doesn’t help her, showing how much he has transformed. Griselle is at fault, he believes, because she is guilty of being Jewish. To the antisemitic Martin, she is threatening his family simply by existing. In denying Griselle sanctuary or protection, he condemns himself as irredeemable.

“Don't forget grandma's birthday.”

After Martin’s betrayal of Griselle, Max turns Nazi antisemitism against his former friend. He hints at their shared family and emphasizes his own Jewish identity by signing the letter with his surname, rather than his first name (as he did in earlier letters). Max forces Martin to experience the terrible treatment suffered by Jewish people.

“You will prepare for your students the following reproductions: Van Gogh 15 by 103, red; Piussin 20 by 90, blue and yellow; Vermeer 11 by 33, red and blue.”

In stark contrast to his earlier, friendlier letter, Max talks about art with reference to specific dimensions and products. These references are meaningless, but, to the paranoid agents of the Nazi state who may be reading Martin’s communications, the specific numbers and references to artists resemble a secret code. In a sense, this is a code. Martin knows that the words are meaningless, but they contain a deeper meaning: Max subtly communicates to Martin that he is punishing him for what Martin did to Griselle.

“You will be tired after these festivities.”

Max begins to assert control in his later letters. He no longer asks Martin how he feels. Instead, he tells him. Max makes Martin feel tired and helpless, forcing him to feel like Griselle felt when she reached his home. The rise of the Nazi Party may have felt like “festivities” to Martin, but now Max makes him see how exhausting and punishing the regime has become for Jewish people.

“Do you know what it is to be taken to a concentration camp?”

Martin warns Max that Max’s letters threaten to land him in a concentration camp. Martin did not care about this when Jewish people were being persecuted; he only cares now when his own life is being threatened. His lack of empathy is revealed when he has the audacity to ask Max whether he knows about the brutal treatment that Jewish people have been enduring for a long time and that has already led to Griselle’s execution.

“Seven inches of rainfall here in 18 days.”

Martin began an earlier letter by proudly declaring his newfound love for fascism after Max implored him to reconsider. Max then opens his response to Martin’s request with a blunt declaration. He sticks to cryptic language, implying to anyone reading Martin’s letters that a code is being used. Through a simple description of rainfall, Max reaffirms his loathing for his former friend and condemns Martin to death.