Plot
A German high school student, Sonja (Lena Stolze as a fictionalized version of Anna Rosmus) wins an essay contest and goes on a trip to Paris.
Martin Wegmus begins teaching physics at Sonja's school and one of Sonja's classmates falls in love with him. Almost by luck, Mr. Wegmus and Sonja kiss. The teacher promises to return for her.
The next year, she enters the contest again. She chooses "My Town During the Third Reich" from the possible topics. Her research leads her to discover that her picture-perfect town had been intimately involved in the Third Reich and that nearly all of the city's prominent families were members of the Nazi party long before it came to power. As she digs further, local authorities stonewall her efforts. Sonja persists and learns that there had been eight concentration camps in the area and that all the Jews were forced out of the town and had their property confiscated.
Sonja marries Martin, and the townsfolk think Sonja has dropped the issue of Nazi involvement. Sonja bears two daughters and studies history at the University. She resumes her research into the town's Nazi past, and wins court cases granting her access to archives. She still has to employ trickery to get the information she wants, however. In response, her town's hostility grows from verbal abuse, to death threats to physical assaults as they attempt to silence her with increasing desperation, but nothing deters her.
Meanwhile, her husband feels emasculated as he's forced to take care of the children. The family survives a bomb from the angry townsfolk, but Sonja keeps up her research.
At the end, the townspeople change their tune, even putting a bust of Sonja at the town hall. Sonja sees this as a means to silence her and rejects the honor.
Read more about this topic: The Nasty Girl
Famous quotes containing the word plot:
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)