The Invisible Bridge

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Julie Orringer’s astonishing first novel, eagerly awaited since the publication of her heralded best-selling short-story collection, How to Breathe Underwater (“fiercely beautiful”—The New York Times; “unbelievably good”—Monica Ali), is a grand love story set against the backdrop of Budapest and Paris, an epic tale of three brothers whose lives are ravaged by war, and the chronicle of one family’s struggle against the forces that threaten to annihilate it.

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The Invisible Bridge

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Julie Orringer’s astonishing first novel, eagerly awaited since the publication of her heralded best-selling short-story collection, How to Breathe Underwater (“fiercely beautiful”—The New York Times; “unbelievably good”—Monica Ali), is a grand love story set against the backdrop of Budapest and Paris, an epic tale of three brothers whose lives are ravaged by war, and the chronicle of one family’s struggle against the forces that threaten to annihilate it.

Paris, 1937. Andras Lévi, a Hungarian-Jewish architecture student, arrives from Budapest with a scholarship, a single suitcase, and a mysterious letter he has promised to deliver to C. Morgenstern on the rue de Sévigné. As he falls into a complicated relationship with the letter’s recipient, he becomes privy to a secret history that will alter the course of his own life. Meanwhile, as his elder brother takes up medical studies in Modena and their younger brother leaves school for the stage, Europe’s unfolding tragedy sends each of their lives into terrifying uncertainty. At the end of Andras’s second summer in Paris, all of Europe erupts in a cataclysm of war.

From the small Hungarian town of Konyár to the grand opera houses of Budapest and Paris, from the lonely chill of Andras’s room on the rue des Écoles to the deep and enduring connection he discovers on the rue de Sévigné, from the despair of Carpathian winter to an unimaginable life in forced labor camps and beyond, The Invisible Bridge tells the story of a love tested by disaster, of brothers whose bonds cannot be broken, of a family shattered and remade in history’s darkest hour, and of the dangerous power of art in a time of war.

Expertly crafted, magnificently written, emotionally haunting, and impossible to put down, The Invisible Bridge resoundingly confirms Julie Orringer’s place as one of today’s most vital and commanding young literary talents.

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  • The Invisible Bridge
    The Invisible Bridge  

Editorial Reviews

Janet Maslin
…the horrors of war never become Ms. Orringer's primary subject. She devotes far more attention to conveying the intricacies of Jewish life and describing the ways in which they were cherished and preserved. This is a book in which one family's cooking rituals can take on an almost totemic importance…Andras's most enduring wish…is to create a kind of family memorial. And Ms. Orringer, writing with both granddaughterly reverence and commanding authority, has done it for him.
—The New York Times
Andrew Ervin
We all know what happened in the Holocaust, even if few among us can ever understand it, and the close of the novel demonstrates the refreshing trust Orringer has in her audience. The Invisible Bridge provides another literary glimpse of the day-to-day horrors of that time, and also reminds us of the potential contributors to the postwar world—the architects and painters, the professionals and tradesmen—who were lost from Mitteleuropa…The strength of The Invisible Bridge lies in Orringer's ability to make us care so deeply about the people of her all-too-real fictional world. For the time it takes to read this fine novel, and for a long time afterward, it becomes our world too.
—The New York Times Book Review
Donna Rifkind
…Orringer uses the symbolism of invisible bridges in many inventive ways, re-engineering traditional dimensions of time and space, calibrating the immensity of world-war deaths against the specifics of one family's life, and building emotional connections between parents and children, husbands and wives, the preserved and the obliterated…She maintains a fine balance between the novel's intimate moments…and its panoramic set-pieces. Even those monumental scenes manage to display a tactful humility: This is a story, they keep reminding us, and it's not bringing anybody back. With its moving acknowledgment of the gap between what's been lost and what can be imagined, this remarkably accomplished first novel is itself, in the continuing stream of Holocaust literature, an invisible bridge.
—The Washington Post
Publishers Weekly
Orringer's stunning first novel far exceeds the expectations generated by her much-lauded debut collection, How to Breath Underwater. In this WWII saga, Orringer illuminates the life of Andras Lévi, a Hungarian Jew of meager means whose world is upended by a scholarship to the École Spéciale d'Architecture in Paris. There, he makes an unlikely liaison with ballet teacher Claire Morgenstern (née Klara Hász), a woman nine years his senior whose past links her to a wealthy Hungarian family familiar to Andras. Against the backdrop of grueling school assignments, exhausting work at a theater, budding romance, and the developing kinship between Andras and his fellow Jewish students, Orringer ingeniously depicts the insidious reach of the growing tide of anti-Semitism that eventually lands him back in Hungary. Once there, Orringer sheds light on how Hungary treated its Jewish citizens—first, sending them into hard labor, though not without a modicum of common decency—but as the country's alliance with Germany strengthens, the situation for Jews becomes increasingly dire. Throughout the hardships and injustices, Andras's love for Claire acts as a beacon through the unimaginable devastation and the dark hours of hunger, thirst, and deprivation. Orringer's triumphant novel is as much a lucid reminder of a time not so far away as it is a luminous story about the redemptive power of love. (May)
From the Publisher
Praise for Julie Orringer’s The Invisible Bridge
"One of the best books of the year."
—Junot Diaz, author of The Brief Wondrous Life of Oscar Wao

“If you’re still looking for a ‘big’ novel to carry into the summer holidays—one in which you can lose yourself without the guilty suspicion that you’re slumming—then Julie Orringer’s The Invisible Bridge is the book you want. . . . Stunning. . . . In every admirable sense an ‘ambitious’ historical novel, in which large human emotions—profound love, familial bonds and the deepest of human loyalties—play out against the backdrop of unimaginable cruelty. . . . Orringer traverses this perilous rhetorical terrain with remarkable—and, more important, convincing, self-possession. . . . Remarkably affecting. . . . A life powerfully, unsentimentally and inspiringly evoked in this gracefully written and altogether remarkable first novel.”
—Tim Rutten, The Los Angeles Times
The Invisible Bridge deserves to be praised. It takes the introspective themes we’ve loved so well in American literature—from Walt Whitman’s Song of Myself to A. M. Homes’s Music for Torching—and points them in a different direction. . . . Rendered in sweeping, epic fashion . . . a close look at the terrible ways that enormous historical events can affect individual lives. . . . The strength of The Invisible Bridge lies in Orringer’s ability to make us care so deeply about the people of her all-too-real fictional world.”
—Andrew Ervin, The New York Times Book Review (Editor’s Choice)
“Evocative . . . exquisitely precise . . . rapturous . . . uses history as a backdrop to her story’s grand passions with a sweep akin to that of Dr. Zhivago. . . . The horrors of war never become Ms. Orringer’s primary subject. She devotes far more attention to conveying the intricacies of Jewish life . . . writing with both granddaughterly reverence and commanding authority.”
—Janet Maslin, The New York Times
“Intricately layered. . . . We have seen images like these . . . in the literature of eyewitnesses such as Elie Wiesel and Imre Kertész. . . . [Orringer makes] brilliant use of a deliberately old-fashioned realism to define individual fates engulfed by history’s deadly onrush. . . . With its moving acknowledgment of the gap between what’s been lost and what can be imagined, this remarkably accomplished first novel is itself, in the continuing stream of Holocaust literature, an invisible bridge.”
—Donna Rifkind, The Washington Post Book World
“Truly breathtaking . . . gloriously rendered . . . a sensual feast. . . . I didn’t want it to end.”
—Debra Spark, San Francisco Chronicle
“A straightforward storyteller, [Orringer] captures our attention with her sympathetic characters and lets her deft handling of time and place do the rest. She never indulges in melodrama. In her hands, the human drama, pared to its essentials, is heartbreaking—and inspiring—enough.”
—Lloyd Sachs, Chicago Sun-Times
“Haunting. . . . [The Invisible Bridge] exhibits wonderfully evoked realism. . . . A literary throwback of sorts, a fat facsimile of a nineteenth-century novel, the kind of story that critics would faintly praise as ‘sweeping’ (commonly meaning they write it off in other respects) were the author not so obviously endowed with talent, and the novel’s particularities so vibrant.”
—Art Winslow, The Chicago Tribune
“Dazzling . . . Like Tolstoy and Stendhal, she chronicles sea changes in European history through the eyes of finely fashioned characters, and like them she has created a story simultaneously epic and intimate. . . . An ambitious slice of literature, but Orringer fulfills her ambitions with crisp writing. . . . This stunning work manages to feel both original and part and parcel of the well-blazed tradition of historical novels that came before it.”
—Keith Staskiewicz, Entertainment Weekly (Grade: A)
“Bold, ambitious . . . beautiful, breathtaking and vital. . . . Orringer’s prose is unfaltering, and she shows remarkable skill in weaving together the two main sections of the novel—the first part, a coming-of-age story reminiscent of early parts of W. Somerset Maugham’s Of Human Bondage; and the second part, a tense account of a family threatened with war and hatred, which recalls the heroic, romantic realism of Michael Chabon’s The Amazing Adventures of Kavalier & Clay. . . . The Invisible Bridge might not be the novel that Orringer’s fans were expecting, but it’s every bit as powerful and haunting as her debut. She’s no longer just a writer to watch—she’s a writer to follow, and one whose talent, daring and compassion are beginning to look boundless.”
—Michael Schaub,
“Orringer avoids bathos and has a gift for re-creating distant times and places: a Paris suffused with the scent of paprikas and the sounds of American jazz, the camraderies and cruelties of the work camps. The ticking clock of history keeps it urgent and moving forward, and the result is, against all odds, a Holocaust page-turner. Buy it.”
New York magazine
“What begins as a jewel-box romance soon breaks open into a harrowing saga of war.  Orringer, drawing upon assiduous research into Hungarian history (and her own), conveys a piercing sense of what it means to be fated by one’s blood, as well as a rich understanding of the capricious nature of survival.”
The Invisible Bridge is an unabashedly big, wartime epic à la Dr. Zhivago, with ‘They Can’t Take That Away From Me’ as a theme song instead of a balalaika ballad. And when it comes to the memory of love, you can’t do better than Gershwin.”
—Yvonne Zipp, The Christian-Science Monitor
“A Tolstoy-esque novel of the Holocaust, one that tracks the passage of quotidian life and the flutter of the human heart against the implacable roil of history. The Invisible Bridge brings the pre- and early-World War II period to life in a way I can only compare to Suite Francaise, which was actually written at that time. . . . Meanwhile, the love story that unfolds in Orringer’s pages is as romantic as Doctor Zhivago, and the seamless, edifying integration of truckloads of historical and topical research (architecture, ballet, mid-century Paris neighborhoods) brings to mind Michael Chabon’s The Amazing Adventures of Kavalier & Clay. . . . I was stunned, then awed.”
—Marion Winik, Newsday
“Julie Orringer’s sense of history, her keen eye for the smallest of details, her in-depth characterizations, help make her first novel, The Invisible Bridge, an astonishing read. But what is arguably best about this epic story of Hungarian Jews in the mid-20th century is the author’s keen sense of pace and storytelling that unfurls the 602 pages with breathtaking (and heartbreaking) speed.”
—Rege Behe, Pittsburgh Tribune-Review
“A rare achievement, a hefty and compellingly readable piece of literature that, published mere weeks ago, feels as if it pre-dates the author’s own 37 years. . . . In the expansive tradition of Pasternak or Tolstoy, Orringer seduces us . . . . Big, passionate ideas illustrated in so much masterly detail that we can taste and smell and see. . . . The Invisible Bridge is dense with a master’s intelligence.”
—Darren Sextro, The Kansas City Star
“This is a big, old-fashioned love story set against the backdrop of war—the type Tolstoy might have scratched out with a gnawed pencil—but it’s also a modern riff on architecture, existentialism, and how people persist in making and remaking their lives when ‘the world has lost its mind’ . . . . The romantic exploits in Paris . . . are breathy and gilded, yet they never spill over completely into melodrama. . . . The small miracles that abound in Orringer’s novel make a strong argument that literature is the best way to get at the core of something in absentia.”
—Gregg LaGambina, The A. V. Club (Grade: A)
“[Orringer] imbues the novel with a luminosity equally at odds with and inherent to Holocaust-themed works, wherein a turn of phrase results in a turn of fate, or a happenchance encounter results in a relationship that saves a soul. No less miraculous, however, are the tools by which Orringer builds these connections: Her writing is glorious, at times awe-inspiring. Her research is painstaking and deftly woven into the body of her work—never academic, yet consistently learned. And her grasp of detail—her knowledge of and affiliation with place—is front and center, highlighting the feisty merger of architecture and culture, theatrical review and politics, that roiled in the lull between the world’s great wars, that roils still.”
—Ellen Urbani, The Oregonian
“A major talent. . . . Reminiscent of 19th-century novels. . . . This fascinating book . . . has much to say about war, and how it affects individuals indiscriminately, changing their dreams.”
—Anne Morris, The Dallas Morning News
“Brilliant. . . . Orringer covers the darkest matters with a tender authority while imbuing her characters with the subtle, endless dimensions of love and suffering. . . . It’s an arduous charge, and Orringer has succeeded: She’s written a Shoah novel that is gripping, fresh and worth remembering and, unlike much of the ephemera consumed poolside this summer, this novel will endure.”
Allison Yarrow, The Jewish Daily Forward
“The sheer joy of storytelling fills each moment of Orringer’s novel. Like Tolstoy and Eliot’s work, it transports us completely into its world—that of young Andras, his friends, family and loves—and a landscape of war and redemption. Thrilling, tender, and terrifying; a glorious reminder of how books can change our lives. It is the novel of the year.”
—Andrew Sean Greer
“To bring an entire lost world—its sights, its smells, its heartaches, raptures and terrors—to vivid life between the covers of a novel is an accomplishment; to invest that world, and everyone who inhabits it, with a soul, as Julie Orringer does in The Invisible Bridge, takes something more like genius.”
—Michael Chabon
“Orringer’s stunning first novel far exceeds the expectations generated by her much-lauded debut collection, How to Breathe Underwater. . . . Orringer’s triumphant novel is as much a lucid reminder of a time not so far away as it is a luminous story about the redemptive power of love.”
Publishers Weekly (starred review, pick of the week)
“A long, richly detailed debut novel from prizewinning short-story writer Orringer. . . . Her story develops without sentimentality or mawkishness, though it is full of grand emotions. Though the events of the time, especially in Hungary, are now the stuff of history books and increasingly fewer firsthand memories, Orringer writes without anachronism, and convincingly. Written with the big picture view of Doctor Zhivago or Winds of War—and likely to be one of the big books of the season.”
Kirkus Reviews
“A hugely ambitious undertaking, but [Orringer] has every detail under control, from the architectural currents in Europe in the 1930s to the day-to-day struggle to survive. . . . Completely absorbing . . . an astonishing achievement.”
—Mary Ellen Quinn, Booklist (starred review)
Praise for How to Breathe Underwater
“Orringer’s engaging wit, her eye for detail, her ear for patterns of speech and thought, and her insights into human nature proclaim her a writer to be reckoned with.”
—Merle Rubin, Los Angeles Times
“The harsh landscape in which Orringer’s characters dwell corresponds to the fierce beauty of her writing. Even the grimmest of these stories conveys, along with anguish, a child’s spark of mystery and wonder.”
—Lisa Dierbeck, The New York Times Book Review
“A major new talent. . . . A dark and beautiful book.”
—Heidi Benson, San Francisco Chronicle Magazine
“Unclouded by sentimentality . . . Orringer writes with penetrating intelligence and remarkable self-possession.”
—Amanda Heller, The Boston Globe

Library Journal
In September 1937, Andras Lévi leaves Budapest for Paris, where he will study at the École Spéciale on a scholarship. Before he leaves, he encounters Elza Hász, who asks him to carry a letter to Paris addressed to C. Morgenstern. Andras posts the letter and begins his studies, getting help from a Hungarian professor, a desperately needed job from a theater director he met on the train, and an introduction to some friends from an actress at the theater. The daughter is sullen and disinterested, but the mother turns out to be Claire Morgenstern, recipient of the mysterious letter, and it is with Claire that Andras launches a tumultuous affair. Soon, a painful secret about Claire's past emerges—and then war comes to sweep everything aside. VERDICT With historic detail, a complex cast of characters, and much coincidental crossing, this book has a big, sagalike feel. Unfortunately, it also has a paint-by-the-numbers feel, as if the author were working too hard to get through every point of the story she's envisioned. The result is some plain writing, not the luminous moments we remember from her story collection, How To Breathe Underwater. Nevertheless, this should appeal to those who like big reads with historic significance. [See Prepub Alert, LJ 1/10.]—Barbara Hoffert, Library Journal
Kirkus Reviews
A long, richly detailed debut novel from prizewinning short-story writer Orringer (How to Breathe Underwater, 2003), unfolding from a little-explored area of the Holocaust. The brothers Andras and Tibor Levi, Hungarian Jews, are models of aspiration. As the narrative opens, Andras is bound for Paris to study architecture, Tibor for Italy to study medicine. The year is 1937, far enough along in the proceedings that neither should be surprised to learn that bad things are about to happen; yet both are so resolutely set on their paths that, it seems, the outside world does not always figure. Andras is helped along by a few fellow Jews at the Parisian academy, as well as a seemingly sympathetic artist who inspires him to contemplate, at 22, converting to "become a Christian, and not just a Christian-a Roman Catholic, the Christians who'd imagined houses of God like Notre-Dame, like the Saint-Chapelle, like the Matyas Templom or the Basilica of Szent Istvan in Budapest." This will not be the first time Andras gives free play to lofty-mindedness, but the mood gives way to earthlier concerns when he meets a woman who has an engagingly complex past-and whose story will travel alongside Andras's through the labor-camp system and, eventually, the Nazi death machine. Tibor's story is a quieter version of Andras's; indeed, the reader sometimes wonders whether Orringer has forgotten about him, though only for a time. The author works large themes of family, loyalty and faith across a huge sweep of geography and history. Her settings are the smart avenues of world capitals, snowy dirt tracks on the road to Stalingrad, even the woods of upstate New York. Her story develops without sentimentality or mawkishness, though it is full of grand emotions. Though the events of the time, especially in Hungary, are now the stuff of history books and increasingly fewer firsthand memories, Orringer writes without anachronism, and convincingly. Written with the big-picture view of Doctor Zhivago or Winds of War-and likely to be one of the big books of the season. Author tour to Boston, Los Angeles, New York, Portland, Ore., San Francisco, Seattle
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Product Details

  • ISBN-13: 9780307713544
  • Publisher: Penguin Random House Audio Publishing Group
  • Publication date: 5/4/2010
  • Format: CD
  • Edition description: Unabridged
  • Product dimensions: 6.56 (w) x 5.16 (h) x 2.23 (d)

Meet the Author

Julie Orringer

Julie Orringer is the author of the award-winning short-story collection How to Breathe Underwater, which was a New York Times Notable Book. She is the winner of The Paris Review’s Discovery Prize and the recipient of fellowships from the National Endowment for the Arts, Stanford University, and the Dorothy and Lewis B. Cullman Center for Scholars and Writers at the New York Public Library. She lives in Brooklyn, where she is researching a new novel.


Julie Orringer is a graduate of the Iowa Writers' Workshop and Cornell University, and was a Stegner Fellow in the Creative Writing Program at Stanford University. Her stories have appeared in The Paris Review, The Yale Review, Ploughshares, The Pushcart Prize Anthology, and Zoetrope: All-Story.

Author biography courtesy of Random House, Inc.

Good To Know

In our interview, Orringer shared some fun facts with us:

"My first exposure to writing came when I was three years old, when my father sat down with me and made me a little book out of tiny pieces of paper he'd stapled together. He was the one who taught me that a book was not just something you could read, but something you could create. Soon I began composing the stories with him. Some of our early titles were The Bowling Party, The Very Tiny Owl, The New Baby, and The Time We Went to Hollywood."

"Here are some of the jobs I had in San Francisco after I first moved here when I was 23: fertility clinic receptionist, fabric warehouse assistant, fax/copy clerk at the Park 55 hotel, office concierge at a creative consulting firm, consultant at same creative consulting firm, part-time calligrapher. Jobs I applied for in San Francisco but didn't get: greeting card writer, web site content writer, waiter, elementary school teacher, book salesperson."

"I play the violin and love to ski."

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    1. Also Known As:
      Julie Ellen Orringer
    2. Hometown:
      Brooklyn, New York
    1. Date of Birth:
      June 12, 1973
    2. Place of Birth:
      Miami, Florida
    1. Education:
      B.A., Cornell University, 1994; M.F.A., University of Iowa, 1996 Stanford University, Stegner Fellowship, 1999-2001
    2. Website:

Read an Excerpt


A Letter

Later he would tell her that their story began at the Royal Hungarian Opera House, the night before he left for Paris on the Western Europe Express. The year was 1937; the month was September, the evening unseasonably cold. His brother had insisted on taking him to the opera as a parting gift. The show was Tosca and their seats were at the top of the house. Not for them the three marble-arched doorways, the façade with its Corinthian columns and heroic entablature. Theirs was a humble side entrance with a red-faced ticket taker, a floor of scuffed wood, walls plastered with crumbling opera posters. Girls in knee-length dresses climbed the stairs arm in arm with young men in threadbare suits; pensioners argued with their white-haired wives as they shuffled up the five narrow flights. At the top, a joyful din: a refreshment salon lined with mirrors and wooden benches, the air hazy with cigarette smoke. A doorway at its far end opened onto the concert hall itself, the great electric-lit cavern of it, with its ceiling fresco of Greek immortals and its gold-scrolled tiers. Andras had never expected to see an opera here, nor would he have if Tibor hadn’t bought the tickets. But it was Tibor’s opinion that residence in Budapest must include at least one evening of Puccini at the Operaház. Now Tibor leaned over the rail to point out Admiral Horthy’s box, empty that night except for an ancient general in a hussar’s jacket. Far below, tuxedoed ushers led men and women to their seats, the men in evening dress, the women’s hair glittering with jewels.

“If only Mátyás could see this,” Andras said.

“He’ll see it, Andráska. He’ll come to Budapest when he’s got his baccalaureate, and in a year he’ll be sick to death of this place.”

Andras had to smile. He and Tibor had both moved to Budapest as soon as they graduated from gimnázium in Debrecen. They had all grown up in Konyár, a tiny village in the eastern flatlands, and to them, too, the capital city had once seemed like the center of the world. Now Tibor had plans to go to medical college in Italy, and Andras, who had lived here for only a year, was leaving for school in Paris. Until the news from the École Spéciale d’Architecture, they had all thought Tibor would be the first to go. For the past three years he’d been working as a salesclerk in a shoe store on Váci utca, saving money for his tuition and poring over his medical textbooks at night as desperately as if he were trying to save his own life. When Andras had moved in with him a year earlier, Tibor’s departure had seemed imminent. He had already passed his exams and submitted his application to the medical school at Modena. He thought it might take six months to get his acceptance and student visa. Instead the medical college had placed him on a waiting list for foreign students, and he’d been told it might be another year or two before he could matriculate.

Tibor hadn’t said a word about his own situation since Andras had learned of his scholarship, nor had he shown a trace of envy. Instead he had bought these opera tickets and helped Andras make his plans. Now, as the lights dimmed and the orchestra began to tune, Andras was visited by a private shame: Though he knew he would have been happy for Tibor if their situations had been reversed, he suspected he would have done a poor job of hiding his jealousy.

From a door at the side of the orchestra pit, a tall spindling man with hair like white flames emerged and stepped into a spotlight. The audience shouted its approval as this man made his way to the podium. He had to take three bows and raise his hands in surrender before they went quiet; then he turned to the musicians and lifted his baton. After a moment of quivering stillness, a storm of music rolled out of the brass and strings and entered Andras’s chest, filling his ribcage until he could scarcely breathe. The velvet curtain rose to reveal the interior of an Italian cathedral, its minutiae rendered in perfect and intricate detail. Stained-glass windows radiated amber and azure light, and a half-completed fresco of Mary Magdalene showed ghostly against a plaster wall. A man in striped prison garb crept into the church to hide in one of the dark chapels. A painter came in to work on the fresco, followed by a sexton bent upon making the painter tidy up his brushes and dropcloths before the next service. Then came the opera diva Tosca, the model for Mary Magdalene, her carmine skirts swirling around her ankles. Song flew up and hovered in the painted dome of the Operaház: the clarinetlike tenor of the painter Cavaradossi, the round basso of the fugitive Angelotti, the warm apricotty soprano of the fictional diva Tosca, played by the real Hungarian diva Zsuzsa Toronyi. The sound was so solid, so tangible, it seemed to Andras he could reach over the edge of the balcony and grab handfuls of it. The building itself had become an instrument, he thought: The architecture expanded the sound and completed it, amplified and contained it.

“I won’t forget this,” he whispered to his brother.

“You’d better not,” Tibor whispered back. “I expect you to take me to the opera when I visit you in Paris.”

At the intermission they drank small cups of black coffee in the refreshment salon and argued over what they’d seen. Was the painter’s refusal to betray his friend an act of selfless loyalty or self-glorifying bravado? Was his endurance of the torture that followed meant to be read as a sublimation of his sexual love for Tosca? Would Tosca herself have stabbed Scarpia if her profession hadn’t schooled her so thoroughly in the ways of melodrama? There was a bittersweet pleasure in the exchange; as a boy, Andras had spent hours listening to Tibor debate points of philosophy or sport or literature with his friends, and had pined for the day when he might say something Tibor would find witty or incisive. Now that he and Tibor had become equals, or something like equals, Andras was leaving, getting on a train to be carried hundreds of kilometers away.

“What is it?” Tibor said, his hand on Andras’s sleeve.

“Too much smoke,” Andras said, and coughed, averting his eyes from Tibor’s. He was relieved when the lights flickered to signal the end of the intermission.

After the third act, when the innumerable curtain calls were over—the dead Tosca and Cavaradossi miraculously revived, the evil Scarpia smiling sweetly as he accepted an armload of red roses—Andras and Tibor pushed toward the exit and made their way down the crowded stairs. Outside, a faint scattering of stars showed above the wash of city light. Tibor took his arm and led him toward the Andrássy side of the building, where the dress-circle and orchestra-floor patrons were spilling through the three marble arches of the grand entrance.

“I want you to have a look at the main foyer,” Tibor said. “We’ll tell the usher we left something inside.”

Andras followed him through the central doorway and into the chandelier-lit hall, where a marble stairway spread its wings toward a gallery. Men and women in evening dress descended, but Andras saw only architecture: the egg-and-dart molding along the stairway, the cross-barrel vault above, the pink Corinthian columns that supported the gallery. Miklós Ybl, a Hungarian from Székesfehérvár, had won an international competition to design the opera house; Andras’s father had given him a book of Ybl’s architectural drawings for his eighth birthday, and he had spent many long afternoons studying this space. As the departing audience flowed around him, he stared up into the vault of the ceiling, so intent upon reconciling this three-dimensional version with the line drawings in his memory that he scarcely noticed when someone paused before him and spoke. He had to blink and force himself to focus upon the person, a large dovelike woman in a sable coat, who appeared to be begging his pardon. He bowed and stepped aside to let her pass.

“No, no,” she said. “You’re just where I want you. What luck to run into you here! I would never have known how to find you.”

He struggled to recall when and where he might have met this woman. A diamond necklace glinted at her throat, and the skirt of a rose silk gown spilled from beneath her pelisse; her dark hair was arranged in a cap of close-set curls. She took his arm and led him out onto the front steps of the opera house.

“It was you at the bank the other day, wasn’t it?” she said. “You were the one with the envelope of francs.”

Now he knew her: It was Elza Hász, the wife of the bank director. Andras had seen her a few times at the great synagogue on Dohány utca, where he and Tibor went for an occasional Friday night service. The other day at the bank he’d jostled her as she crossed the lobby; she’d dropped the striped hatbox she was carrying, and he’d lost his grip on his paper folder of francs. The folder had opened, discharging the pink-and-green bills, and the money had fluttered around their feet like confetti. He’d dusted off the hatbox and handed it back to her, then watched her disappear though a door marked private.

“You look to be my son’s age,” she said now. “And judging from your currency, I would guess you’re off to school in Paris.”

“Tomorrow afternoon,” he said.

“You must do me a great favor. My son is studying at the Beaux-Arts, and I’d like you to take a package for him. Would it be a terrible inconvenience?”

A moment passed before he could respond. To agree to take a package to someone in Paris would mean that he was truly going, that he intended to leave his brothers and his parents and his country behind and step into the vast unknown of Western Europe.

“Where does your son live?” he asked.

“The Quartier Latin, of course,” she said, and laughed. “In a painter’s garret, not in a lovely villa like our Cavaradossi. Though he tells me he has hot water and a view of the Panthéon. Ah, there’s the car!” A gray sedan pulled to the curb, and Mrs. Hász lifted her arm and signaled to the driver. “Come tomorrow before noon. Twenty-six Benczúr utca. I’ll have everything ready.” She pulled the collar of her coat closer and ran down to the car, not pausing to look back at Andras.

“Well!” Tibor said, coming out to join him on the steps. “Suppose you tell me what that was all about.”

“I’m to be an international courier. Madame Hász wants me to take a box to her son in Paris. We met at the bank the other day when I went to exchange pengö? for francs.”

“And you agreed?”

“I did.”

Tibor sighed, glancing off toward the yellow streetcars passing along the boulevard. “It’s going to be awfully dull around here without you, Andráska.”

“Nonsense. I predict you’ll have a girlfriend within a week.”

“Oh, yes. Every girl goes mad for a penniless shoe clerk.”

Andras smiled. “At last, a little self-pity! I was beginning to resent you for being so generous and coolheaded.”

“Not at all. I could kill you for leaving. But what good would that do? Then neither of us would get to go abroad.” He grinned, but his eyes were grave behind his silver-rimmed spectacles. He linked arms with Andras and pulled him down the steps, humming a few bars from the overture. It was only three blocks to their building on Hársfa utca; when they reached the entry they paused for a last breath of night air before going up to the apartment. The sky above the Operaház was pale orange with reflected light, and the streetcar bells echoed from the boulevard. In the semidarkness Tibor seemed to Andras as handsome as a movie legend, his hat set at a daring angle, his white silk evening scarf thrown over one shoulder. He looked at that moment like a man ready to take up a thrilling and unconventional life, a man far better suited than Andras to step off a railway car in a foreign land and claim his place there. Then he winked and pulled the key from his pocket, and in another moment they were racing up the stairs like gimnázium boys.

Mrs. Hász lived near the Városliget, the city park with its storybook castle and its vast rococo outdoor baths. The house on Benczúr utca was an Italianate villa of creamy yellow stucco, surrounded on three sides by hidden gardens; the tops of espaliered trees rose from behind a white stone wall. Andras could make out the faint splash of a fountain, the scratch of a gardener’s rake. It struck him as an unlikely place for Jewish people to live, but at the entrance there was a mezuzah nailed to the doorframe—a silver cylinder wrapped in gold ivy. When he pressed the doorbell, a five-note chime sounded from inside. Then came the approaching click of heels on marble, and the throwing back of heavy bolts. A silver-haired housemaid opened the door and ushered him in. He stepped into a domed entrance hall with a floor of pink marble, an inlaid table, a sheaf of calla lilies in a Chinese vase.

“Madame Hász is in the sitting room,” the housemaid said.

He followed her across the entry hall and down a vaulted corridor, and they stopped just outside a doorway through which he could hear the crescendo and decrescendo of women’s voices. He couldn’t make out the words, but it was clear that there was an argument in progress: One voice climbed and peaked and dropped off; another, quieter than the first, rose and insisted and fell silent.

“Wait here a moment,” the housemaid said, and went in to announce Andras’s arrival. At the announcement the voices exchanged another brief volley, as if the argument had something to do with Andras himself. Then the housemaid reappeared and ushered Andras into a large bright room that smelled of buttered toast and flowers. On the floor were pink-and-gold Persian rugs; white damask chairs stood in conversation with a pair of salmon-colored sofas, and a low table held a bowl of yellow roses. Mrs. Hász had risen from her chair in the corner. At a writing desk near the window sat an older woman in widow’s black, her hair covered with a lace shawl. She held a wax-sealed letter, which she set atop a pile of books and pinned beneath a glass paperweight. Mrs. Hász crossed the room to meet Andras and pressed his hand in her large cold one.

“Thank you for coming,” she said. “This is my mother-in-law, the elder Mrs. Hász.” She nodded toward the woman in black. The woman was of delicate build, with a deep-lined face that Andras found lovely despite its aura of grief; her large gray eyes radiated quiet pain. He gave a bow and pronounced the formal greeting: Kezét csókolom, I kiss your hand.

The elder Mrs. Hász nodded in return. “So you’ve agreed to take a box to József,” she said. “That was very kind of you. I’m sure you have a great deal to think about already.”

“It’s no trouble at all.”

“We won’t keep you long,” said the younger Mrs. Hász. “Simon is packing the last items now. I’ll ring for something to eat in the meantime. You look famished.”

“Oh, no, please don’t bother,” Andras said. In fact, the smell of toast had reminded him that he hadn’t eaten all day; but he worried that even the smallest meal in that house would require a lengthy ceremony, one whose rules were foreign to him. And he was in a hurry: His train left in three hours.

“Young men can always eat,” said the younger Mrs. Hász, calling the housemaid to her side. She gave a few instructions and sent the woman on her way.

The elder Mrs. Hász left her chair at the writing desk and beckoned Andras to sit beside her on one of the salmon-colored sofas. He sat down, worrying that his trousers would leave a mark on the silk; he would have needed a different grade of clothing altogether, it seemed to him, to pass an hour safely in that house. The elder Mrs. Hász folded her slim hands on her lap and asked Andras what he would study in Paris.

“Architecture,” Andras said.

“Indeed. So you’ll be a classmate of József?’s at the Beaux-Arts, then?”

“I’ll be at the École Spéciale,” Andras said. “Not the Beaux-Arts.”

The younger Mrs. Hász settled herself on the opposite sofa. “The École Spéciale? I haven’t heard József mention it.”

“It’s rather more of a trade school than the Beaux-Arts,” Andras said. “That’s what I understand, anyway. I’ll be there on a scholarship from the Izraelita Hitközség. It was a happy accident, actually.”

“An accident?”

And Andras explained: The editor of Past and Future, the magazine where he worked, had submitted some of Andras’s cover designs for an exhibition in Paris—a show of work by young Central European artists. His covers had been selected and exhibited; a professor from the École Spéciale had seen the show and had made inquiries about Andras. The editor had told him that Andras wanted to become an architect, but that it was difficult for Jewish students to get into architecture school in Hungary: A defunct numerus clausus, which in the twenties had restricted the number of Jewish students to six percent, still haunted the admissions practices of Hungarian universities. The professor from the École Spéciale had written letters, had petitioned his admissions board to give Andras a place in the incoming class. The Budapest Jewish community association, the Izraelita Hitközség, had put up the money for tuition, room, and board. It had all happened in a matter of weeks, and at every moment it seemed as if it might fall through. But it hadn’t; he was going. His classes would begin six days from now.

“Ah,” said the younger Mrs. Hász. “How fortunate! And a scholarship, too!” But at the last words she lowered her eyes, and Andras experienced the return of a feeling from his school days in Debrecen: a sudden shame, as if he’d been stripped to his underclothes. A few times he’d spent weekend afternoons at the homes of boys who lived in town, whose fathers were barristers or bankers, who didn’t have to board with poor families—boys who slept alone in their beds at night and wore ironed shirts to school and ate lunch at home every day. Some of these boys’ mothers treated him with solicitous pity, others with polite distaste. In their presence he’d felt similarly naked. Now he forced himself to look at József?’s mother as he said, “Yes, it’s very lucky.”

“And where will you live in Paris?”

He rubbed his damp palms against his knees. “The Latin Quarter, I suppose.”

“But where will you stay when you arrive?”

“I imagine I’ll just ask someone where students take rooms.”

“Nonsense,” said the elder Mrs. Hász, covering his hand with her own. “You’ll go to József?’s, that’s what you’ll do.”

The younger Mrs. Hász gave a cough and smoothed her hair. “We shouldn’t make commitments for József,” she said. “He may not have room for a guest.”

“Oh, Elza, you’re a terrible snob,” said the elder Mrs. Hász. “Mr. Lévi is doing a service for József. Surely József can spare a sofa for him, at least for a few days. We’ll wire him this afternoon.”

“Here are the sandwiches,” said the younger, visibly relieved by the distraction.

The housemaid wheeled a tea cart into the room. In addition to the tea service there was a glass cake stand with a stack of sandwiches so pale they looked to be made of snow. A pair of scissorlike silver tongs lay beside the pedestal, as if to suggest that sandwiches like these were not m eant to be touched by human hands. The elder Mrs. Hász took up the tongs and piled sandwiches onto Andras’s plate, more than he would have dared to take for himself. When the younger Mrs. Hász herself picked up a sandwich without the aid of silverware or tongs, Andras made bold to eat one of his own. It consisted of dilled cream cheese on soft white bread from which the crusts had been cut. Paper-thin slices of yellow pepper provided the only indication that the sandwich had originated from within the borders of Hungary.

While the younger Mrs. Hász poured Andras a cup of tea, the elder went to the writing desk and withdrew a white card upon which she asked Andras to write his name and travel information. She would wire József, who would be waiting at the station in Paris. She offered him a glass pen with a gold nib so fine he was afraid to use it. He leaned over the low table and wrote the information in his blocky print, terrified that he would break the nib or drip ink onto the Persian rug. Instead he inked his fingers, a fact he apprehended only when he looked down at his final sandwich and saw that the bread was stained purple. He wondered how long it would be until Simon, whoever that was, appeared with the box for József. A sound of hammering came from far off down the hallway; he hoped it was the box being closed.

It seemed to please the elder Mrs. Hász to see that Andras had finished his sandwiches. She gave him her grief-etched smile. “This will be your first time in Paris, then.”

“Yes,” Andras said. “My first time out of the country.”

“Don’t let my grandson offend you,” she said. “He’s a sweet child once you get to know him.”

“József is a perfect gentleman,” said the younger Mrs. Hász, flushing to the roots of her close-set curls.

“It’s kind of you to wire him,” Andras said.

“Not at all,” said the elder Mrs. Hász. She wrote József?’s address on another card and gave it to Andras. A moment later, a man in butler’s livery entered the sitting room with an enormous wooden crate in his arms.

“Thank you, Simon,” said the younger Mrs. Hász. “You may leave it there.”

The man set the crate down on the rug and retreated. Andras glanced at the gold clock on the mantel. “Thank you for the sandwiches,” he said. “I’d better be off now.”

“Stay another moment, if you don’t mind,” said the elder Mrs. Hász. “I’d like to ask you to take one more thing.” She went to the writing desk and slid the sealed letter from beneath its paperweight.

“Excuse me, Mr. Lévi,” said the younger. She rose and crossed the room to meet her mother-in-law, and put a hand on her arm. “We’ve already discussed this.”

“I won’t repeat myself, then,” said the elder Mrs. Hász, lowering her voice. “Kindly remove your hand, Elza.”

The younger Mrs. Hász shook her head. “György would agree with me. It’s unwise.”

“My son is a good man, but he doesn’t always know what’s wise and what is not,” said the elder. She extricated her arm gently from the younger woman’s grasp, returned to the salmon-colored sofa, and handed the envelope to Andras. Written on its face was the name C. Morgenstern and an address in Paris.

“It’s a message for a family friend,” said the elder Mrs. Hász, her eyes steady on Andras’s. “Perhaps you’ll think me overcautious, but for certain matters I don’t trust the Hungarian post. Things can get lost, you know, or fall into the wrong hands.” She kept her gaze fixed upon him as she spoke, seeming to ask him not to question what she meant, nor what matters might be delicate enough to require this degree of caution. “If you please, I’d rather you not mention it to anyone. Particularly not to my grandson. Just buy a stamp and drop this into a mailbox once you get to Paris. You’ll be doing me a great favor.”

Andras put the letter into his breast pocket. “Easily done,” he said.

The younger Mrs. Hász stood rigid beside the writing desk, her cheeks bright beneath their patina of powder. One hand still rested on the stack of books, as though she might call the letter back across the room and have it there again. But there was nothing to be done, Andras saw; the elder Mrs. Hász had won, and the younger now had to proceed as though nothing out of the ordinary had happened. She composed her expression and smoothed her gray skirt, returning to the sofa where Andras sat.

“Well,” she said, and folded her hands. “It seems we’ve concluded our business. I hope my son will be a help to you in Paris.”

“I’m certain he will,” Andras said. “Is that the box you’d like me to take?”

“It is,” said the younger Mrs. Hász, and gestured him toward it.

The wooden crate was large enough to contain a pair of picnic hampers. When Andras lifted it, he felt a deep tug in his intestines. He took a few staggering steps toward the door.

“Dear me,” said the younger Mrs. Hász. “Can you manage?”

Andras ventured a mute nod.

“Oh, no. You mustn’t strain yourself.” She pressed a button in the wall and Simon reappeared a moment later. He took the box from Andras and strode out through the front door of the house. Andras followed, and the elder Mrs. Hász accompanied him to the driveway, where the long gray car was waiting. Apparently they meant to send him home in it. It was of English make, a Bentley. He wished Tibor were there to see it.

The elder Mrs. Hász put a hand on his sleeve. “Thank you for everything,” she said.

“It’s a pleasure,” Andras said, and bowed in farewell.

She pressed his arm and went inside; the door closed behind her without a sound. As the car pulled away, Andras found himself twisting backward to look at the house again. He searched the windows, unsure of what he expected to see. There was no movement, no curtain-flutter or glimpse of a face. He imagined the younger Mrs. Hász returning to the drawing room in wordless frustration, the elder retreating deeper behind that butter-colored façade, entering a room whose overstuffed furniture seemed to suffocate her, a room whose windows offered a comfortless view. He turned away and rested an arm on the box for József, and gave his Hársfa utca address for the last time.

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Interviews & Essays

A conversation with JULIE ORRINGER, author of THE INVISIBLE BRIDGE

What was your inspiration for THE INVISIBLE BRIDGE?
Ten years ago, a few weeks before I went to Paris for the first time, my grandfather told me he'd lived in that city for two years when he was a young man. That was the first I'd heard of it. He told me he'd been accepted to architecture school on a scholarship in 1937, but had to quit when the war began. Because he was Jewish, and a Hungarian citizen, he was conscripted into the Hungarian labor service and lost his student visa.

Before that moment I'd never known he'd trained to be an architect. He'd been a window dresser for Sears Roebuck and Co. for thirty years: that was what I knew of his professional life. His war experience was even more patchy and abstract in my mind: he'd been in and out of forced labor camps, I knew, but I'd heard nothing about what he'd experienced and witnessed there.

Over the weeks and months that followed, he and I began to talk about that time of his life-how he'd won the scholarship; what it had been like for him, a Jewish boy from rural Hungary, to move to Paris; how he'd survived there; what he'd studied; where he'd lived; who his friends were; why he'd had to leave. Then I started asking about what had happened during the war. Those questions gave rise to a cascade of stories, events that no one in our family had ever spoken of-what his time in forced labor had been like, how his relationship with my grandmother had developed during his furloughs, how his own brothers had been conscripted, imprisoned, and killed. As I listened, it occurred to me that few Americans knew the fate of the Hungarian Jews during the war-Hungary wasn't occupied by Germany until spring of 1944, its Jewish population left mainly intact until the Final Solution had become such an efficient machine that it did away with more than half of Hungary's Jews in a matter of months.

As we talked, a narrative began to take shape in my mind-not one that followed my grandfather's experience exactly, but one that began in 1937 with a young Hungarian Jewish man and a scholarship to architecture school in Paris, and that extended through the war years. I knew the story had the shape and scope of a novel. I had imagined I might always be a short-story writer, but this was a tale that demanded telling.

Did you do any special research while writing the book?
I had long talks with both of my Hungarian grandparents and with my grandfather's younger brother, Alfred, who had been imprisoned in Siberia. I took one research trip to Paris and Budapest before I began writing, and another trip three years later, after I'd written most of a first draft and had a better sense of what I needed to know in order to finish the novel. I spent a lot of time in those cities getting to know the neighborhoods where my grandfather had lived, the places he'd studied and worked, the streets he'd walked. In the National Hungarian Archives in Budapest, I met a scholar who recommended the works of Randolph Braham, a professor emeritus at CUNY and a former forced labor inmate himself, who had devoted his professional life to studying the Holocaust in Hungary. In those same archives I came across amazing documents: photographs, letters, and-most surprising-dozens of handwritten underground newspapers produced by the forced labor inmates, full of bawdy dark humor. Laughter in the face of death: that was what I'd least expected to find. I knew those newspapers had to be part of the book.

I met other Holocaust survivors and heard their stories; read dozens of books about the war; watched many hours of the Shoah Foundation's videotaped interviews; listened to radio programs from the 1930s and 40s; pulled artifacts from the reserves of the United States Holocaust Memorial Museum; got to know the maps librarian at the New York Public Library; watched wartime films and films about the war; scoured the Internet; and spent many more hours talking to my family about their experiences. Novels like Jeff Eugenides's Middlesex and Michael Chabon's The Amazing Adventures of Kavalier and Clay provided inspiration: evidence of how good research could fertilize good fiction.

After Andras, which characters came to you first? Who was the most difficult to write, and who was the easiest?
Andras and Tibor and Mátyás came into being all at once-each brother's character is shaped by the others, and shapes the others. I knew that the eldest brother would be more serious, the youngest more prone to flights of fancy; I knew, too, that of all three, Andras's character would change the most over the course of the novel.

From the beginning I knew that Andras would fall in love, but it came as a surprise to me that he would fall in love with Klara, a woman nine years his senior, instead of with her sixteen-year-old daughter. (The idea presented itself one morning in San Francisco as I was washing the breakfast dishes.) Another surprise was Madame Gérard, who at first seemed solicitous and helpful, but whom I later discovered was jealous, vain, capricious, and prone to schadenfreude. József Hász, too, began in my mind as merely a self-centered frivolous sybarite, but became truly dangerous as the novel unfolded.

How do you create such three-dimensional characters, each with their own vivid and complicated pasts?
I'm glad the characters feel three-dimensional. Certainly each one took a long time to get to know, and evolved in my mind over a span of years. As soon as I knew that Klara was thirty-one when the novel started and had a sixteen-year-old daughter, I knew her past must hold some terrible secret. But it was quite a while before I knew what the secret was, and longer still before I knew how it would affect Andras and his family. As for Andras's own history, when I first started the novel I wrote many pages about his village and his childhood home and his parents; almost none of that material remains in the final version, but it helped me understand who he was and where he came from. I wanted readers to feel that the characters' lives extended beyond the scope of the novel in both directions, so I felt I had to know what happened to them before and after the events described in the book.

Tell us a little about your writing process-how you write, when, etc.
Years ago, when I was a Stegner Fellow at Stanford, the writer Tim O'Brien came to talk to us about his work and his writing process. When he told us he wrote for eight hours a day, we all thought he was either crazy or lying. At the time, I wrote for around half that many hours, and it was exhausting. But now I work for eight hours a day, too-and it seems crazy that at one time, three or four hours felt like enough. Especially with this novel, the continuity seemed important-it helped so much to be able to work through a long section, or read and edit an entire chapter, in a single day. Time at colonies helped a great deal too; over the course of the seven years that I worked on this book, I spent about three months at MacDowell and two at Yaddo. There, all distractions were removed except the social ones, which were optional and welcome, and the natural ones (i.e., the woods, the ponds, the mountains), which were helpful to the work.

At home in Brooklyn I have a writing studio in the brownstone next door, a third-floor room that looks out over the garden. There's a desk, a bookcase, a chair, a bed, three windows, and an automatic teapot. On the walls are old photos, maps, and postcards; on the desk, a miniature complete Shakespeare, each play separately bound; a little glass caterpillar; a wooden dog; silly pictures of my brother and sister; a childhood picture of my husband; a few books. Mornings are usually for revision, afternoons for composition. When I'm working on something new or difficult, I like to write late at night-the hours between 10 p.m. and 3 a.m. feel particularly private and permissive.

Theater and ballet play peripheral but significant roles in the lives of some of the characters in THE INVISIBLE BRIDGE. How did these art forms find a way into your novel?
Both forms are close to my heart. I began studying ballet when I was four, and acting in plays when I was seven or eight. In high school I spent more time in theaters than at home (and certainly more time acting, directing, and writing plays than I did writing fiction). The theater initially came into the novel because of a real-life connection-my grandfather worked as a gopher at the Théâtre Sarah-Bernhardt when he lived in Paris-but I don't think it would have played such a significant role in the novel, or become so important to the characters, had it not been for the fact that I loved the stage and spent so much time in the theater as a young person. Ballet seemed a natural choice too-I knew something of its pleasures and its language (though I found I had to learn a great deal more as the novel progressed).

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Reading Group Guide

The questions, topics for discussion, and suggestions for further reading that follow are designed to enhance your group’s discussion of The Invisible Bridge, a sweeping novel of World War II told through the story of one family, their loves and their losses. Julie Orringer, the author of the bestselling short-story collection How to Breathe Underwater, brings their world to life with astonishing power and insight.

1. What does the opening chapter establish about the cultural and social milieu of prewar Budapest? What do Andras’s reactions to Hász household reveal about the status of Jews within the larger society? How do the differences between the Hász and Lévi families affect their assumptions and behavior during the war? Which scenes and characters most clearly demonstrate the tensions within the Jewish community?

2. Why do Andras and his friends at the Ecole Spéciale tolerate the undercurrent of anti-Semitism at the school even after the verbal attack on Eli Polaner (pp. 39–40) and the spate of vandalism against Jewish students (p. 94)? To what extent are their reactions shaped by their nationalities, political beliefs, or personal histories? Why does Andras agree to infiltrate the meeting of Le Grand Occident (pp. 97–102)? Is his belief that “[the police] wouldn’t deport me . . . Not for serving the ideals of France” (p. 102), as well as the reactions of Professor Vago and Andras’s father to the German invasion of Czechoslovakia (p. 266) naïve, or do they represent widespread opinions and assumptions?

3. Andras and Klara’s love blossoms against the background of uncertainties and fear. Is Klara’s initial lack of openness about her background justified by her situation? Why does she eventually begin an affair with Andras? Are they equally responsible for the arguments, break-ups, and reconciliations that characterize their courtship? Do Klara’s revelations (pp. 214–34) change your opinion of her and the way she has behaved?

4. Despite the grim circumstances, Andras and Mendel produce satirical newspapers in the labor camps. What do the excerpts from The Snow Goose (p. 331), The Biting Fly (pp. 360–61), and The Crooked Rail (p. 437) show about the strategies that helped laborers preserve their humanity and their sanity? What other survival techniques do Andras and his fellow laborers develop?

5. In Budapest, the Lévi and Hász families sustain themselves with small pleasures, daily tasks at home and, in the case of the men, working at the few jobs still available to Jews (pp. 352–55, pp. 366–77, pp. 405–10). Are they driven by practical or emotional needs, or both? Does the attempt to maintain ordinary life represent hope and courage, or a tragic failure to recognize the ever-encroaching danger? What impact do the deprivations and degradations imposed by the Germans have on the relationship between the families? Which characters are the least able or willing to accept the threats to their homeland and their culture? 

6. What details in the descriptions of Bánhida (pp. 356–63, pp. 392–99), Turka (pp. 486–503), and the transport trains (pp. 558–66) most chillingly capture the cruelty perpetrated by the Nazis? In addition to physical abuse and deprivation, what are the psychological effects of the camps’ rules and the laws imposed on civilian populations? 

7. General Martón in Bánhida (pp. 399–402), Captain Erdó, and the famous General Vilmos Nagy in Turka all display kindness and compassion. Miklós Klein engages in the tremendously dangerous work of arranging emigrations for fellow Jews (pp. 422–23). What motivates each of them to act as they do?  What political ideals and moral principles lie at the heart Nagy’s stirring speech to the officers-in-training (pp. 506–7)? (Because of his refusal to support official anti-Semitic policies, Nagy was eventually forced to resign from the Hungarian army; in 1965, he was the first Hungarian named as a Righteous Among the Nations by the Yad Vashem Institute.)

8. Why does Klara refuse to leave Budapest and go to Palestine (p. 510)? Is her decision the result of her own set of circumstances, or does it reflect the attitudes of other Jews in Hungary and other countries under Nazi control?

9. “He could no sooner cease being Jewish than he could cease being a brother to his brothers, a son to his father and mother” (p. 46). Discuss the value and importance of Jewish beliefs and traditions to Andras and other Jews, considering such passages as Andras’s feelings in the above quotation and his thoughts on the High Holidays (pp. 201­–3); the weddings of Ben Yakov and Ilana (pp. 255–56) and of Andras and Klara (p. 317); the family seder in wartime Budapest (pp. 352–55); and the prayers and small rituals conducted in work camps.

10. The narrative tracks the political and military upheavals engulfing Europe as they occur. What do these intermittent reports demonstrate about the failure of both governments and ordinary people to grasp the true objectives of the Nazi regime? How does the author create and sustain a sense of suspense and portending disaster, even for readers familiar with the ultimate course of the war?

11. Throughout the book there are descriptions of Andras’s studies, including information about his lessons and the models he creates and detailed observations of architectural masterpieces in Paris. What perspective does the argument between Pingsson and Le Corbusier offer on the role of the architect in society (pp. 273–74)? Whose point of view do you share?  What aspects of architecture as a discipline make it particularly appropriate to the themes explored in the novel? What is the relevance of Andras’s work as a set designer within this context?

12. Andras’s encounters with Mrs. Hász (p. 6) and with Zoltán Novak (pp. 19–20) are the first of many coincidences that determine the future paths of various characters. What other events in the novel are the result of chance or luck? How do the twists and turns of fortune help to create a sense of the extraordinary time in which the novel is set?

13. Does choice also play a significant role in the characters’ lives? What do their decisions (for example, Klara’s voluntary return to Budapest; György’s payments to the Hungarian authorities; and even Jószef’s attack on Andras and Mendel (p. 492)) demonstrate about the importance of retaining a sense of independence and control in the midst of chaos?

14. The Holocaust and other murderous confrontations between ethnic groups can challenge the belief in God. “(Andras) believed in God, yes, the God of his fathers, the one to whom he’d prayed . . . but that God, the One, was not One who intervened in the way the needed someone to intervene just then. He had designed the cosmos and thrown its doors open to man, and man had moved in . . . The world was their place now” (p. 432). What is your reaction to Andras’s point of view? Have you read or heard explanations of why terrible events come to pass that more closely reflect your personal beliefs?

15. What did you know about Hungary’s role in World War II before reading The Invisible Bridge? Did the book present information about the United States and its Allies that surprised you? Did it affect your views on Zionism and the Jewish emigration to Palestine?  Did it deepen your understanding of the causes and the course of the war?  What does the epilogue convey about the postwar period and the links among past, present, and future? 

16. “In the end, what astonished him the most was not the vastness of it all—that was impossible to take in, the hundreds of thousands dead from Hungary alone, and the millions from all over Europe—but the excruciating smallness, the pinpoint of which every life was balanced” (p. 558). Does The Invisible Bridge succeed in capturing both the “vastness of it all” and the “excruciating smallness” of war and its impact on individual lives?

17. Why has Orringer chosen “Any Case” by the Nobel Prize–winning Polish poet Wislawa Szymborkska as the coda to her novel? What does it express about individuals caught in the flow of history and the forces that determine their fates?

(For a complete list of available reading group guides, and to sign up for the Reading Group Center enewsletter, visit

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See All Sort by: Showing 1 – 20 of 448 Customer Reviews
  • Anonymous

    Posted May 2, 2010

    I Also Recommend:

    WW2 historical fiction masterpiece!

    This novel takes place in Paris and Hungary between 1936 and the end of WW2. It is the story of two devoted Hungarian brothers, their families and friends, and the love of one of those brothers for an older woman. The story is full of suspense, grace, survival and sacrifice without the melodrama that often accompanies a novel with these themes.

    It is beautifully written and so well-researched that I had to keep reminding myself that it was fiction. The novel had a sepia-toned feel and was haunting but uplifting. I think it will make an excellent book club choice; there is much to be discussed. I loved it and will recommend it to everyone I know.

    22 out of 22 people found this review helpful.

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  • Anonymous

    Posted July 4, 2010

    I Also Recommend:

    a celebration of human endurance

    This novel is a masterpiece. The characters are challenged again and again by circumstances beyond their control, yet they rise to the challenges and endure. The reader can't help but wonder - what would I do in that situation? What gives them the strength to go on? What strengths could I draw on in my life?

    These are realistic portrayals of people you would want to know - the friends you know well whom you really admire for their personal qualities and measure yourself against. Yet the heroes in this book are very human and not beyond frustration in the foibles of life.

    This book has some of the same qualities as Dr. Zhivago. It is at heart a love story set in a time of war and a celebration of human endurance under inhumane circumstances. It has the same level of quality writing and insight as demonstrated in that Russian masterpiece. I suspect "The Invisible Bridge" will enter school reading lists as essential reading, as it should.

    8 out of 9 people found this review helpful.

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  • Posted May 29, 2010

    I Also Recommend:

    The Invisible Bridge

    A scholarship to study architecture in Paris - a dream come true for a poor young Hungarian with a talent for drawing and an innovative vision. As you start reading The Invisible Bridge, Julie Orringer will lull you with her beautiful descriptions of Parisian streets, gardens, that you will feel you are there. But too soon, she reveals that Andras is Jewish and Europe is becoming Hitler's - changing everything and the real tale begins.

    The story moves slowly carrying you through the lives of three young brothers - intelligent men, with strong family ties, who start out in pre-war Hungary with potential. Andras, the middle brother, is the fulcrum. He begins his studies in Paris, succeeds in creating designs admired by his professors, helps his older brother, Tibor, get sponsorship for medical studies in Italy, and mentors his younger brother, Matyas, a talented artist/performer. He meets his true love, Klara, a ballerina and a fugitive from Hungary, living in Paris.

    Shifting gears into wartime, Orringer seasons her lengthy descriptions with astute observations - ".it made [Andras] aware of his own smallness in the world, his insignificance in the face of what might come." Her detailed understanding of Jewish customs instills credibility, and Orringer uses an effective technique to keep you engaged: she gives you the outcome, then backtracks to how it got there. As she explains, her lengthy and precise clarifications of architectural and military procedures mirror Melville's summation of whaling - you want to get on with the action, but are afraid you might miss something if you skip through. And, besides, the explanations are fascinating. Be prepared to read slowly.

    The terrors of war take over, but art and family help Andras survive. The title is taken from an illustration he draws for a comic-relief newsletter while trying to live through the horror in the camps. More than the filth and humiliation of the conscripted Jewish work-camps, it's the uncertainty and terror of the unknown that creeps in. Each short leave at home gives him new worries - Will his wife be safe? Will his brothers survive? Will anyone survive?

    This is a book you will not be able to bear to read at times, and then you will not want it to end - a haunting revelation of bittersweet anomalies - beautifully written. Orringer's grandfather lived through this time, and she has used him as her initial resource, but her research into Hungarian Jews and Hungary during the war is authentic and commanding.

    7 out of 7 people found this review helpful.

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  • Posted August 14, 2010

    Hard to Put Down!

    On my nook, I'm currently reading an amazing book called "The Invisible Bridge" by Julie Orringer. The problem is, I have a hard time putting it down, so it's on my bedside table, and I read it before going to bed each night, which actually has done wonders for helping to put me to sleep (can't say much for the staying asleep bit). It's a very fluid novel, save some of the parts that go into architectural mumbo jumbo that I just sort of breeze by. The focus of the novel is a Jewish gent from Budapest who heads to Paris for architectural school in pre-war times. He rallies around a group of Jewish fellows, falls for a mysterious woman with a scarred past, and eventually ends up back in Budapest (which is where I am now, and I still have a ton left to read, so I have no idea what's going to happen, so no worries about spoilers). The narrative and dialogue are brilliantly written, very period appropriate, and my only beef with the novel, as I said, is the random tangents on architectural stuff (also, sometimes the Jewishly peppered stuff seems forced). So, I know he's in architectural school and that the goings on at the Ecole d'Especial is very important, but the detail is a little obnoxious at times. I'm sort of mesmerized, however, with Orringer's attention to detail, and I'm really mystified as to where this novel is going, what with the war having started and me still having half the book left to read. The characters are so vivid, I feel like I'm walking the streets of Paris with them, eating at the same bars as them, and smelling the fresh bread they're purchasing. Pick this up, stat.

    (Note: I wrote this about 100 pages short of the end -- my sentiment stands: READ THIS STAT!)

    4 out of 4 people found this review helpful.

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  • Anonymous

    Posted June 20, 2010

    One of the Best Novels I have ever read.

    Top 5 novels I've ever read. Just a wonderful book.

    4 out of 5 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 19, 2011

    Loved it, didn't want it to end.

    Enjoyed this book very much! Loved the characters and felt very much that I was involved in their lives. This book draws some very poignant conclusions about life, and human nature that make reading it very memorable. Its a love story, but if you look past that (if your not into them) , its a very good historical presentation of the time with more than the obvious message.

    3 out of 3 people found this review helpful.

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  • Posted August 4, 2011

    One of the Best Books I have ever read!!!!

    The Invisible Bridge is an Epic Novel moving through Paris and Hungary. I can't get the charachters out of my mind like they were friends of mine that I have known all my life. I could not put this book down and when I just had to finish to see how it ends, I stayed up until 1:30 in the morning just to finish. I cried a few times because I felt I knew the characters and their struggles. A definite read. And by the end, you will have learned more and you will want to add seeing Budepest to your bucket list. Amazing!!!!

    3 out of 9 people found this review helpful.

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  • Anonymous

    Posted August 17, 2010

    I Also Recommend:


    The character development takes quite awhile but is my no means boring, and quite necessary. It is imperative that we get to know the characters in order to feel what eventually happens to them. One of the best books ever.

    3 out of 3 people found this review helpful.

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  • Posted August 27, 2012

    I Also Recommend:

    BEST BOOK I'VE READ ALL YEAR! This has got to be the best love

    BEST BOOK I'VE READ ALL YEAR! This has got to be the best love story
    I've read in a long time. the love that Andras and Klara had for each
    other and their family was unbelieveable. The cruelty and human
    suffering of war was something we should never forget or repeat ever
    again. I could not put this book down, oh and the ending brought happy
    tears to my eyes. This is one book I will not soon forget. I am also
    looking for Julie Orringer's next book, loved her writing.

    2 out of 2 people found this review helpful.

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  • Posted March 16, 2012

    more from this reviewer

    I Also Recommend:

    One Of the Best Books I Have Ever Read!

    The Invisible Bridge is great. I am not a big fan of Holocaust books. However, this book has something for everyone. It taught me much about France and Hungry's involvement in WWII. I want to visit France after reading this book. It will make you laugh and cry and the same time. Also, I learned a bit about architecture from the book. It shows readers that you must learn about both the good and the bad parts of your history. Also, it teaches that we must be tolerant of each other. There is also a lesson about redemption. I also loved this book because a friend of mine has a name that is close to one of the main characters names. My book club loved it. I highly recommend this book.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted March 14, 2012

    Absolutely Wonderful Book!

    This is the kind of book that you want to read forever and when it's done, you feel like you lost your best friend. It is beautifully written with such feeling and description that I felt like I was watching a movie. What's so amazing is that your heart breaks because you know what happened during WW2 and yet you are spared the horrid details, but still felt and lived what the characters went through. You will NOT forget this book!

    2 out of 2 people found this review helpful.

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  • Posted February 28, 2012

    Highly Recommend

    It's an excellent tale of life and times in Hungary before and during World War II. It's a great love story and shows the true passion of people trying to survive and carry on their life against all odds.

    2 out of 2 people found this review helpful.

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  • Posted October 15, 2011

    Interesting but flawed novel with historical import.

    Who edited this book? Or should I say, failed to edit it? It is foiled by its redundancies, but offers an interesting story with important insights into the Hungarian Jewish experience during Hitler's rise and the second World War.
    The writer has moments of brilliance, passages that take her from the mundane to the poetic. It should have been a much better read, and could have been with a serious tightening of the narrative and elimination of unnecessary repetitiveness. But it does add much to the holocaust literature now available, and is worth reading.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted October 6, 2012

    Couldn't put it downed

    I cared about the characters almost at once. The story rolled along, keeping my interest and luring me to continue turning the page.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted August 6, 2012


    This is an amazing book. Exceptionally well written and researched. The story will stay with you long after you finish the book. I am looking forward to more from this talented writer.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted June 2, 2012

    This was one of my favorite books ever. I love reading WWII nove

    This was one of my favorite books ever. I love reading WWII novels, and this one tops all of the other ones I've read. I loved that it was so incredibly real. It started out having nothing to do with the war, and was mainly a story about a young guy finding his way in a new city and falling in love. Then the war began, and it turned into a completely different story. It went from super depressing to hopeful, and back to depressing about a million times. I liked that, because life can be that way sometimes, and reading a book about the war that is only dreadfully sad isn't as nice as a book with some hope and little happiness. I won't stop thinking about this book for a long time.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 31, 2012

    An intriguing perspective written in descriptive detail

    The Invisible Bridge is a beautifully written novel full of descriptive detail. The characters are very real and draw you in and keep you going even when the brutality and horror of the events make you want to turn away. However, there was, in some places, almost too much detail and some plot lines seemed somewhat drawn out and unnecessary. When I finally finished the book (over 600 pages on the Nook!), I felt like I had lived a lifetime and was physically exhausted.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 22, 2012

    An engaging read

    This was more and less than I expected. The details and situations made me want to find out more about the circumstances of the war. Being of Hungarian descent, but not a speaker of the language, I could identify with some of the foods and customs, but think an outsider might find the excess information cumbersome. I had difficulty accepting the connection of the two major characters, but the action held my attention and compelled me to keep reading until the end.

    1 out of 1 people found this review helpful.

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  • Posted April 20, 2012

    I picked this book up on a whim and didn't expect much. I had n

    I picked this book up on a whim and didn't expect much. I had never heard of it. I was so surprised by how well written, informative, and addictive it was. It's an epic story that spans years. I agree with others that this book is a masterpiece and one of the best novels I've read in a long time.

    1 out of 1 people found this review helpful.

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  • Posted April 18, 2012

    Hungarian Jewish Life

    I haven't finished the book yet. It is more than 600 pages. It is an interesting story taking place in Hungary Pre World War2 and the start of the War. I am looking foward to the next 200 pagesand finding out what happens to the main characters.

    1 out of 1 people found this review helpful.

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See All Sort by: Showing 1 – 20 of 448 Customer Reviews

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