Introduction

“Jillian Cantor’s In Another Time is a love song to the most powerful of all human emotions: hope. It is the story of Max and Hanna, two star-crossed lovers fighting to stay together during an impossible moment in history. It is gripping, mysterious, romantic, and altogether unique. I was enchanted by this beautiful, heartbreaking novel.” — Ariel Lawhon, author of I Was Anastasia

A sweeping historical novel that spans Germany, England, and the United States and follows a young couple torn apart by circumstance leading up to World War II—and the family secret that may prove to be the means for survival.

1931, Germany. Bookshop owner Max Beissinger meets Hanna Ginsberg, a budding concert violinist, and immediately he feels a powerful chemistry between them. It isn’t long before they fall in love and begin making plans for the future. As their love affair unfolds over the next five years, the climate drastically changes in Germany as Hitler comes to power. Their love is tested with the new landscape and the realities of war, not the least of which is that Hanna is Jewish and Max is not. But unbeknownst to Hanna is the fact that Max has a secret, which causes him to leave for months at a time—a secret that Max is convinced will help him save Hanna if Germany becomes too dangerous for her because of her religion. 

In 1946, Hanna Ginsberg awakens in a field outside of Berlin. Disoriented and afraid, she has no memory of the past ten years and no idea what has happened to Max. With no information as to Max’s whereabouts—or if he is even still alive—she decides to move to London to live with her sister while she gets her bearings. Even without an orchestra to play in, she throws herself completely into her music to keep alive her lifelong dream of becoming a concert violinist. But the music also serves as a balm to heal her deeply wounded heart and she eventually gets the opening she long hoped for. Even so, as the days, months, and years pass, taking her from London to Paris to Vienna to America, she continues to be haunted by her forgotten past, and the fate of the only man she has ever loved and cannot forget.

Told in alternating viewpoints—Max in the years leading up to WWII, and Hanna in the ten years after—In Another Time is a beautiful novel about love and survival, passion and music, across time and continents.

Editorial Review

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Excerpt

Prologue

Hanna, 1958

I haven’t told Stuart the whole truth about where I came from. Because for one thing, he wouldn’t understand. How could he, when I don’t really understand it for myself? And for another, even if I did tell him, he wouldn’t believe it. He would frown, and his blue eyes would soften, crinkle just around the edges, illuminating both his age and his kindness. Oh, my dear, he might say, as Sister Louisa once did, after I’d stumbled into the last-standing church in Gutenstat, freezing cold and sick with thirst and hunger.

Sometimes, even now, I wonder if I made it all up. If Max, too, was just a dream, a figment of my imagination. Impossible, like all the rest of it.

You have been through a trauma, Sister Louisa reminded me, after I first saw the doctor in Berlin. Your mind plays tricks to protect you.

And it was a strange thing, but when Sister said it, I almost believed her. How could she be wrong, after all? This nun with her wrinkly face, pale as snow, and light gray eyes, with her habit and her soft smile. She wouldn’t lie. Then she pointed to my violin in my hand. Can I hear you play, my dear?

She touched my Stradivari. I’d had it since my sixteenth birthday, an extravagant present from Zayde Moritz, just before he passed. I was holding it when I came to in the field. I’d held it playing for Max, in the bookshop once, too. And sometimes the only thing to me that still feels real, even now, is my violin.

I have played the violin since I was six years old, and it has always felt a part of me, another limb, one that is necessary and vital to my daily survival. My violin connects my present and my past, my dreams and my reality. My fingers move nimbly over the strings, my mind forgetting all I’ve lost or forgotten. There is only the music that is my constant companion. Nothing but the music. Not Stuart. Not Max. Not now. Not the past, either.

“Hanna,” Stuart interrupts me today. I’ve etched the date, November 6, 1958, in pencil at the top of my music, so I know it is real, so I don’t forget. I do this every single day and have since I was living in London with Julia. While I sometimes still forget how old I am now, my fingers do not move as they used to. Some days my knuckles swell, and I must cover them in bags of ice when I get home after practice. I hide this from Stuart, too, like so much else.

Today, I’m practicing at the conservatory, as I do every day after the group rehearsal. The orchestra will tour again in the spring. We’ll go around Europe this time, playing Bach and Vivaldi and Holst. London, Paris, Berlin. As first chair violinist, I must play everything right, everything perfect. Though I already know all the music well, it is not enough. I have to breathe it, too. It has to sink into my skin, into my memory, so I will never ever forget it, a sweet perfume that lingers on and overtakes all my senses.

When Stuart walks in, I rest my violin on my knee and smile at him. Dear, sweet Stuart who brought me into the orchestra’s fold five years ago. He’s ten years older than I am and would like nothing more than to marry me. Which he has told me on more than one occasion. But I laugh and pretend as though I believe him to be joking, though we both know he’s not. You’re an old soul, he told me once, as if trying to explain away our age difference. It was only then that I’d thought: Maybe Stuart really does know me?

“Hanna,” he says now. “You have a friend here to see you.”

My world in New York City is a bubble. Rehearsal and practice. I live alone in a one-bedroom apartment in Greenwich Village, and though I am friendly with nearly everyone in the orchestra, I wouldn’t call any of them dear friends. Only Stuart. And it’s only because he thinks he loves me, thinks he understands me. “It must be some mistake,” I tell him, bringing the violin back to my chin.

“No mistake,” Stuart says. “He asked for Hanna. He said the ‘girl who plays violin like fire.’” Stuart laughs. His eyes crinkle. He is both amused and stricken by the accuracy of the description.

Once, so many years ago, when I was insisting I would have to give it all up, that I had ruined everything, Max had told me that I would have other auditions. Other orchestras. And you can’t give up, he’d told me. You play the violin like fire, Hanna. You can’t give up the fire.

?

Chapter 1: Max, 1931

Max heard Hanna before he saw her. Rather, he heard her violin as it pierced through the empty auditorium at the Lyceum: sharp and bright, passionate and enormous. He’d never heard a violin before other than maybe once on a record playing on his mother’s phonograph when he was boy. And the sound in real life, echoing in the large empty room, was so beautiful and intense that, for a moment, Max froze.

Max had opened the door to this particular auditorium quite by accident. He’d been looking for Herr Detweiler’s lecture on economics, which, as it turned out, was taking place in a different auditorium, in a building across the green. The Lyceum in Gutenstat was large, sprawling. Max had read the schedule wrong and had reversed his course, landed himself exactly opposite where he’d intended, here, instead, where Hanna was practicing onstage.

He walked toward her, toward the music. Her eyes were closed, and she was small but her body swung with the notes she played, a force like a giant gust of wind that bowled her back and forth, and yet would never topple her. No. She was in control of the music, of the instrument. That much was clear to him. Even knowing nothing about music, about the violin. This woman possessed this music. Not the other way around.

She finished with one hard downward sweep of the bow, and then she opened her eyes, saw him standing there, not ten feet from the stage now, because he’d walked closer and closer as he’d been listening. She put her hand to her mouth. Shocked? Alarmed? Angry?

“I’m . . . I’m . . . sorry,” he stammered. “I’ve gotten the wrong auditorium.” He suddenly felt foolish for having invaded her space. It wasn’t a performance; her music this morning had been meant to be private. And feeling like an intruder, he turned and ran out.

It wasn’t until he was across the green, walking into the correct building, that he realized he should’ve introduced himself, that he should’ve asked her name. Because the sound of that violin, her violin, he could not get it out of his mind.

Max’s father had owned a small bookshop in the center of Gutenstat, and when his heart stopped last spring, suddenly and all at once while he was in the middle of a conversation with a patron, Max had taken over the shop. His mother had died when Max was only ten, and so after his father’s death, there was no one else. Max had no choice but to continue running the shop. Even if he had, he would’ve chosen what was handed to him: he loved his father’s shop: the smell of the books, ink, paper, binding glue, the patrons in the town who came in looking for stories and suggestions. Max felt a comfort in this life, the familiar town of Gutenstat, just an hour train ride west from Berlin, where he’d grown up. But the bookshop was quieter than it had once been, and that was why Max had enrolled in Herr Detweiler’s economics lecture. It had occurred to him more than once that he might not be able to run the bookshop forever, that he might need to learn something else. And an economics class had felt like a good place to start. At the very least it might give him some help in keeping the bookshop afloat.

He slipped into the correct auditorium in the middle of Detweiler’s lecture, trying not to draw attention to himself now. Most of the seats were taken, and in the front of the room, Detweiler—an older, overweight balding man with spectacles—was talking animatedly, scribbling an equation on a chalkboard. People all around Max listened intently, took notes. And he tried to follow the lecture. It had been a few years since he’d been in school, and truth be told, he’d always enjoyed literature so much more than math and science. His mind drifted back to the woman across the green, playing the violin. If he went back, could he still catch her? He wanted to ask her name, ask her if she liked books, or coffee. Yes, he would invite her to coffee.

He slipped back out of the lecture, ran across the green, and back into the auditorium where she’d been playing on the stage. But now the room was empty; Max had lost his chance.

Max lived a ten-minute train ride from the Lyceum on Hauptstrasse in Gutenstat, in a tiny three-room apartment above the bookshop. The apartment still contained many of his father’s things and some of his mother’s things as well, though she had been gone over ten years now. What was their life had become Max’s life, with the exception of the dull ache of loneliness that came over him each evening. The bookshop was in the shopping district of Gutenstat and sat next to Feinstein’s bakery shop and across the street from Herr Sokolov’s Fischmarkt. Between the two he was never wanting for anything fresh to eat, though, since his father’s passing, he was often wanting for company in which to eat it. His parents had never been alone here—first they’d had each other. Then his father had him. And though Max had friends in Gutenstat, it wasn’t the same.

When he got home from the Lyceum that morning, Max searched through the closet in the bedroom until he found his mother’s old phonograph and her records. It was dusty from lack of use, and he wasn’t sure if the records would still play. He tried one, and out came an operatic voice, high and distant and scratchy. It was nothing at all like the violin music he’d heard. Not even close. And he felt it again in his stomach, an ache, an emptiness.

Max opened the bookshop at noon (as he did every day now but Sundays), and as he straightened up the shelves, still feeling quite lonely, he glanced again toward the closet at the back of the store. His father had hung a sign on the door and installed a lock years ago, cautioning patrons to stay out: ACHTUNG! The sign still hung there now, but it wasn’t visible because Max had moved a bookshelf in front of the closet door a few months earlier.

He had opened the closet door only once, in June. It was just a month after his father had died. Max’s heartache had felt so fresh and painful, and business in the shop was already slowing. The economy was bad, and people who were worried about buying food did not have enough money for books. On top of everything, his girlfriend, Etta, had just broken up with him, and he’d been feeling quite sorry for himself. He’d wondered: Is this it? Is this all he could expect for his life? Or is there something else?

The bell over the shop door chimed now, bringing Max’s attention back to the front of the store. And much to his shock and delight, there she was, walking into his bookshop: the beautiful girl who’d been playing the violin at the Lyceum earlier.

He stared at her, his mouth slightly agape. She was taller than he’d thought from seeing her up onstage, only a head shorter than him. Her brown hair was in a knot behind her head, but wayward curls escaped in front and fell across her heart-shaped face in misdirected wisps. She pushed them back, absentmindedly.

“You left this,” she said, her tone brusque. “When you were . . . what was it you were doing exactly this morning? Spying on me or something?” She held up a book, and it was only then that he remembered he’d had it in his hand earlier when he’d walked in on her playing violin. He’d taken it to read on the train. He must’ve put it down in the auditorium and he’d forgotten all about it until now. Like all the books they sold in the shop, this one too was stamped with the store’s name and address in the very back, a way, his father had always said, to remind their patrons to return for more after they’d turned the very last page.

Max took the book back and thanked her. “I’m Max,” he said. “Max Beissinger.”

“Ah, so this is your store?” She ran her fingers across a row of spines on a shelf. Beissinger Buchhandlung—the words that had been stamped inside the back of the book were also painted on the shop’s glass front window.

“Yes, it was my father’s, but he recently passed.”

She looked up from the bookshelf, and her face softened. “Oh, I’m sorry.” She walked toward him and held out her hand. “Hanna Ginsberg.”

He took her hand, shook it. Her fingers were tiny, thin, but felt quite strong. “I didn’t mean to intrude earlier. I stepped inside the wrong room by accident. But your violin playing . . . it’s, it’s so beautiful.”

She smiled a little, pulled her hand away. “Well, that’s very kind of you to say, but Herr Fruchtenwalder—he’s my instructor at the Lyceum—says it’s not good enough for the symphony yet.”

“Not good enough? Is he mad?” Max said quickly.

She laughed. “And you are a violinist too?”

He shook his head. “But your playing . . . it’s amazing. I’ve never heard anything like it before.”

“There are hundreds of violinists in and around Berlin. There’s nothing special about me,” she said.

“I disagree,” Max said. “I think you are special, Hanna Ginsberg.”

She laughed again and then told him she had to go, she was late.

“Will I see you again?” he called after her, but she didn’t answer. She held up a hand to wave behind her on the way out.

The bright butterfly pin she had in the back of her hair, holding her knot of curls together, caught the late afternoon sunlight and glinted, momentarily blinding him. He blinked, and then she was gone.

?

Chapter 2: Hanna, 1946

When I opened my eyes, I was in a field. The sky was black. A million stars glittered above me, and my first thought was how beautiful they were. How the night was diamonds and Beethoven’s Concerto in D Major. And then I realized I was holding my violin. I clutched it in my right hand, my fingers numb and cold, and shaking. My hands vibrated so much that the violin was hitting my leg, the hard wood bruising my kneecaps.

“Max,” I called out. “Max?” My voice quivered, and the words echoed back at me. No response. Only silence and night sky and stars. And my violin?

I was just in the bookshop. I was playing Mahler, and Max was sitting behind the counter, reading a book. Play me the fire, Hanna. And he looked at me that same way he did when we were lying next to each other in bed, his green eyes ablaze, like music and desire were the same thing. Fire.

I’d smiled at him, closed my eyes to play, and the music had taken over me. But then there was that horrible sound: pounding against the glass. Men’s voices. The SA. They were shouting to open up. Shouting that we had broken the law. What had we done?

The store was closed for the night; Max had the front door locked. But I liked the acoustics in the shop, so I often practiced there at night. The men rattled the door, pushing on it. The lock wouldn’t hold out much longer.

“You have to hide,” Max said, running toward the back of the store.

More banging against the glass storefront, and I ran to where Max was standing. He grabbed me, pulled me close, and hugged me so hard.

And that was the last thing I remembered before now, the starry night, this field. How in the world had I gotten here? And where was here, exactly?

“Max,” I cried out again, softer this time. Because the SA. What if they were still looking for me?

But the field was open, quiet; the night air, crisp and cool. I shivered. I heard an owl hooting somewhere in the distance, but that was all. I pinched myself on the arm, and it hurt, but nothing changed. I wasn’t dreaming. I was here, wherever this was. And I was all alone.

I began walking. Because, what else could I do? I couldn’t stay in this field, waiting for Max, or for those horrible SA who wanted to, what? Arrest me? Murder me? And what was my crime exactly? I shivered again, but I clutched my violin and kept walking.

I walked and I walked and I walked, and the sky began to turn from black to pearly gray to orange blue. In the distance, there was a cathedral. I saw the steeple first, rising above the hill, and as I got closer the structure looked vaguely familiar, like the cathedral I would see from the train window riding from Hauptstrasse toward the Lyceum. But that church was white; this one was brown. My legs were so tired, but I would just make it there, and surely someone inside could help me get back to the bookshop. And Max would know what happened. Max would remember. Max. What if something had happened to him?

I went over it again and again in my mind, retracing those last words, those last moments with Max, pushing myself to remember after that. But try as I might I still had no memory of getting to this field.

By the time I reached the church door, I was so thirsty and cold. And tired. My head ached, and something was terribly wrong. I knew it was. I just wasn’t sure what, and my body was heavy with dread and exhaustion.

Had the SA broken down the door then, taken me, brought me here? Had I hit my head? Is that why I could not remember? Was I injured? I put my hand to my head, my face, but everything felt normal. No bumps. No blood. No pain.

I opened the door to the church and walked inside. It was filled with wooden pews, all empty. A large stained-glass window in front was partially boarded up, as if it had shattered and not yet been repaired. “Hello,” I called out. “Is anyone here? Hello?”

No one answered back, and I was exhausted. It was much warmer inside the church, and I went to the closest pew, lay down on the hard wood bench, and hugged my violin tight to my chest. I would rest. Just for a little while. And maybe when I awoke, I would be back in the bookshop, back with Max.

“Are you all right, child?” A woman’s voice brought me out of sleep. I’d been dreaming of music, as I often did. Whatever I’d been practicing most of late, burned so deep into my mind, it almost haunted me in my dreams. I’d been dreaming Wagner. But no, that wasn’t right. I’d been practicing Mahler in the bookshop. My fingers twitched against the fingerboard of the violin, restless, wanting. The woman placed her hand on my shoulder, and I jumped, opened my eyes. The church. The field. Max? I shrank away from her. “It’s okay, you’re safe here. I’m not going to harm you,” the woman said gently. “I’m Sister Louisa.”

“Where am I?” I asked her.

“Menchen’s Dom, about twenty kilometers outside of Berlin.” So this was the church I would see from the train. They must’ve painted it recently, and I hadn’t noticed. Or had it always been brown? “And what brings you here, child?”

“I . . . I . . .” I wanted to answer her question. But I wasn’t sure how. “I need to get back into Gutenstat,” I told her. “Beissinger Buchhandlung. My . . . um . . .” I paused, remembering I couldn’t say the truth about Max and me out loud without fear. “I just need to . . . visit the shop.”

She shook her head and frowned. “That shop has been gone for many years, child. Since . . . before the war.”

“No, I was just there last night. Many years after the Great War ended.”

“The Great War?” She sat down next to me on the bench. “I don’t know what has happened to you,” she said. “And I am sorry for whatever it was, child . . . But you are safe now. All the camps have been liberated. Hitler is dead.”

I despised Hitler with every fiber of my being. He’d stolen my mother and the symphony from me, and relief coursed through my body, just hearing that he was dead. But why couldn’t I remember it happening? “If you could help me get to the train station nearby,” I said, “I could take the train back into Gutenstat.”

“The station was bombed,” Sister Louisa said, sadly. “We’re lucky to still be standing, with only minor damage remaining.” She glanced toward the boarded-up window. “Come, why don’t you let me get you some food and water, and we can go into Berlin, see a doctor.”

“I don’t need a doctor,” I insisted.

But did I? My memory was blank, devoid of the moments that led me here. And then there were the events Sister Louisa insisted upon that I couldn’t recall: Hitler was dead; the train station had been bombed. She said that Gutenstat and the bookshop weren’t here any longer, though, and that couldn’t be right. I was just there.

“I just need to find Max,” I said, meekly. But if she was right, and something had happened to the bookshop, to Gutenstat, then where was Max?

I was not a religious person, and besides that a Jew, not a Catholic. But here in the cathedral I said a silent prayer to myself: Please, please, God. Let Max be okay. view abbreviated excerpt only...

Discussion Questions

1. The book begins with a quotation about time and ends with Hanna thinking, The time is everything in this piece, in this concert. In Berlin. Discuss the importance of time and how it is used in multiple ways throughout the novel. Why do you think the novel is called In Another Time?

2. Max’s story begins when he first meets Hanna and ends when he believes he’s lost her, but Hanna’s story both begins and ends with her violin. Whose story is this: Hanna’s, Max’s, or both? Is this a love story? Whose love story is it?

3. The novel moves back and forth in time between prewar Germany and postwar Europe. In Berlin in 1933, Max thinks, The city was as it always had been—busy . . . Everything appeared oddly the same . . . except for the Nazi flags hanging up in storefronts. In 1946 London Hanna thinks, I’d . . . gotten used to the sight of missing and bombed buildings, so that I barely even noticed the piles of rubble and ash anymore, tucked in among the beauty and the splendor of what still stood in the West End. Compare and contrast prewar Germany and postwar Europe as settings. How do the conditions in both affect Hanna’s and Max’s lives and their relationships?

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