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    • Not a true story

      • Sophies’s Choice is not a true story, per se. Styron based his novel on his memory of a real-life woman named Sophie, a survivor of Auschwitz he met during his youth in Brooklyn. From that encounter, he constructed a character, not Jewish, but Polish Catholic.
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  1. Apr 25, 2014 · A frightened Polish mother stands in line for the German concentration camps, holding her young daughter while her young son huddles closely against her. A rapacious Nazi officer makes some lurid...

    • Jeff Labrecque
    • 2 min
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  3. Sophie's Choice is said to have been partly based on the author's time in Brooklyn, where he met a refugee from Poland, and he is said to have visited Auschwitz while researching the novel. [6] Alexandra Styron , the author's daughter, published the following account in The New Yorker in 2007:

  4. Apr 13, 2024 · Sophies’s Choice is not a true story, per se. Styron based his novel on his memory of a real-life woman named Sophie, a survivor of Auschwitz he met during his youth in Brooklyn. From that encounter, he constructed a character, not Jewish, but Polish Catholic.

  5. Sophie tells Stingo before she came to the U.S., her husband and father were killed in a German work camp, and she was interned in Auschwitz. Stingo later learns from a college professor Sophie's father was a Nazi sympathizer. When Stingo confronts Sophie with this, she admits the truth.

  6. Jun 22, 2024 · The Nazi officer instructs her that only one of her children will be allowed to live, and it’s up to her to decide which one of them is spared. Placed in an impossible predicament of choosing between Jennifer Lawn’s Eva or Adrian Kalitka’s Jan, Sophie is torn apart from the inside out after settling on the latter.

  7. Sophie’s Choice, novel by William Styron, published in 1979, that examines the historical, moral, and psychological ramifications of the Holocaust through the tragic life of a Roman Catholic survivor of Auschwitz.

  8. It is true that Sophie’s Choice explores the evils of sexism, but it is not sexist itself. Styron sets his novel in the “frozen sexual moonscape of the 1940s,” a time following the Second World War of great sexual and moral confusion.

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