The Fact that Truth "is multiple, many-layered, and seldom final"

The gush of symbols and references is a unite force rather than something that overwhelms the story, as Taubman bakshiss reveal when he writes,

Anna G.'s cozy fantasies . . . have a double meaning, in more than than a freudian thought. They arn't only clues to the unconscious mind: they contain precognitions. The fire, the alluvial deposit and the fall observed at the white hotel turn out to have their meaning at Babi Yar as well as in the depths of Lisa's childhood repressions. The novel is held together by these symbols, which point both inwards and outwards for Lisa, and forwards and backwards in time (Taubman 18).

Anna's shortness of breath is raised a tally of times and evokes knowledgeable extravagance. It is first raised in the inception passage of the poem she writes on the train, when she dreams of falling (itself a exciteual image) and says that she met Freud's son on a train somewhere as it passed into a dark tunnel ( other sexual metaphor):

my dress amongst my thighs I could not breathe (Thomas 15).

Such difficulty in breathing is a physical response to sexual excitement and is not a surprising metaphor to recur in her dreams. It in any case serves

Taubman, Robert. "Casualty Reports." capital of the United Kingdom Review of books (February 5, 1981), 18.

The crash of foliage grew louder behind her, for they were men, and could run regular(a) faster. Even if she reached the end of the wood there would be more soldiers waiting to shoot her, but these few extra moments of emotional state were precious (Thomas 31).

as a link in the midst of sex and death, between Eros and Thanatos, in Freudian terms: " finding it almost impossible to breathe, she spread her thighs and made it easier" (Thomas 37).

The link between the two is evoked indirectly at the beginning of the Gastein journal as shortness of breath is evident when she is running blindly from a group of men, soldiers waiting to shoot her:

Her gasping for breath is also an effort to maintain life, and here the effort is also link with escaping to a different form of life by bonny a tree.

Her hand touched something hard and cold; when she decipherable a office the leaves she found the iron ring of a trapdoor (Thomas 32).

This sense of balance is often seen as maintained by nature, and that at the same time, Anna is linked to nature in a number of symbolic ways. The flight of wild swans seen over the lake is a symbol of freedom and purity--the swans be said to be so white "the dazzling peaks seemed grey in comparison" (Thomas 86). This contrasts with the way Anna feels at the moment--"she felt uneasy and closed in" (Thomas 86). The swans are not closed in and are not uneasy--they take flight free and show their majesty as they rise above the lakes na above the surrounding mountains. Many of the people unremarkably seen on the lake, those who give the lake a sense of peace and continuity, are missing: "But swans were soaring between the mountain peaks; whether sailplaning down to the lake or rising to leave it" (Thomas 86).

The trapdoor would mean bleed from the death following her, an escape into a different ground through the door--a door is an opening onto another existence, another realm, another
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