57 pages • 1 hour read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Angelo’s memories begin to return, distressing him. He is only soothed by hugging Train. He recounts that his name is Angelo Tornacelli and conveys the horrors he saw at St. Anna, including the murder of his mother. The now-dead German prisoner turned against his own people in the massacre, killing the soldier who killed Angelo’s mother before helping Angelo escape. Rodolfo had been the one to lure the residents of St. Anna from their homes, promising that the Germans only wished to speak with them. Rodolfo, a listening Ettora realizes, did all this to catch Peppi; when Peppi was not found, the angry Germans “had a killing party” (249). She screams and weeps her rage, causing Ludovico to realize he has always loved her.
Fatigued and hopeless from the constant danger, many of the villagers elect to drink their remaining wine rather than attempt to flee the village before the Germans arrive. Stamps struggles to decide what their next move should be, weighing orders against the approaching Germans. Bishop approaches, unconcerned when he hears about the dead prisoner; Stamps, horrified with Angelo’s graphic report of the St. Anna violence, is furious at Bishop’s nonchalance. He blames Bishop for sending Train after Angelo, framing it as the inciting incident of all their troubles. Bishop accuses Stamps of being “just like the white man” (256), wielding his power and changing his mind, then blaming others for the consequences. Bishop brags that he had sex with Renata and the two men fight until Hector breaks them apart, announcing Nokes’ arrival.
Angelo struggles to summon Arturo, who advises him not to think about the church and promises that Train has “plenty more” chocolate, though Angelo has checked, and Train’s pockets are empty. He watches as two jeeps with six American soldiers arrive. Nokes tells Hector, Stamps, Bishop, and Train to board the jeeps and to “get rid of that kid” (259).
Train protests that he pities Angelo and doesn’t want to leave him behind; Nokes expresses astonishment that a Black man would pity a white child before realizing that exhibiting the force of his racism while surrounded by armed Black soldiers is unwise. Train scolds Nokes for making Angelo cry and Stamps attempt to cover for him, saying it was his idea to bring Angelo with them. Nokes orders Birdsong to make the four soldiers comply while he retrieves the German prisoner (whom he does not yet know to be dead). Stamps accuses Birdsong of being excessively loyal to the racist white captain.
Nokes emerges from Ludovico’s house, furious that the German prisoner is dead. Train gives Angelo his helmet; Nokes threatens to shoot Train for insubordination. The soldiers in the jeep urge Nokes to bring Angelo. Train hoists Birdsong by the neck when he attempts to grab Angelo and Bishop holds Nokes at gunpoint. Ludovico watches from nearby, deciding that Train is the Mountain of the Sleeping Man come to life to protect Angelo, a “child of innocence” (267), and bring Americans to Bornacchi to end the war. He sees this as a proof of divine power.
Train drops Birdsong as the artillery fire nears. Nokes and Birdsong board one jeep and depart; the other jeep hesitates but leaves when Train, Bishop, Hector, and Stamps decline to board. As they drive away, Nokes’s jeep is hit by artillery fire, causing the second jeep to fall over the ridge and explode.
Stamps leads the men, Angelo, and the villagers to the ridge above St. Anna, save for Ettora, who has been struck by shrapnel. She dies contented that her spell has worked as Hector drags a screaming Ludovico away from the village.
Train wonders how he will get Angelo back to America as the evacuees climb through the snow to find a cave to hide in. Shelling rains down around them. Train feels his invisibility coming and suddenly realizes he can understand Angelo. Train feels something strike Angelo and lays him down, despite the rapidly approaching German tanks. Bishop runs back to aid Train, musing on the selfishness and absence of faith that has led him to miss out on having friendships in his life. He sees two bullets hit Train.
Bishop reaches Train as Stamps is shot and killed while trying to throw a grenade at the German machine guns. Train, dying, asks if Angelo is alive; Bishop lies and says he is. Bishop drags the dead man and boy to the church doorway, feeling himself shot in the back as he does so. He looks up at the carving of St. Anna, feeling he understands divine miracles, breathes two resuscitative breaths into Angelo’s mouth, and dies.
Angelo wakes beneath the carving of St. Anna to silence, alone except for Arturo. Angelo remembers everything that has happened even while experiencing a sudden certainty that he will soon forget all of the war and that this forgetting is important for his future happiness. Angelo, now invisible, grabs Arturo’s hand and flees, leaving behind Hector, the only American survivor, and a dead Renata held by her sobbing father.
Tim Boyle, the reporter who finds the head of the Primavera in Hector’s apartment after he shoots a customer, receives a promotion, even as his story is quickly forgotten. Hector is transferred to a psychiatric ward where he refuses to explain how he obtained the head or why he killed the customer. The statue’s head is returned to Italy. Because he is promoted to another beat, Boyle never learns that the dead customer is a mechanic named Randy Mitchell, born Rodolfo Berelli.
Rodolfo arrived in America following the war, luggage full of salt that was valueless in America. Only when he sees Hector’s mangled ear in the seconds before his death does Rodolfo realize that he is being killed for his crimes against Peppi (whom Rodolfo killed weeks before the end of the war). Rodolfo, still haunted by the deaths at St. Anna, does not resist death.
Hector spent his postwar years suppressing his experiences and drinking heavily, beginning to doubt his own experiences as Black and Puerto Rican soldiers were written out of American narratives about World War II. Hector’s murder case fades to obscurity until a lawyer from a powerful Italian firm, secretly backed by a rich patron, pays his bail. Hector vanishes.
Hector flees to the Seychelles where he can no longer suppress memories of the two days he spent trapped at St. Anna before being rescued by Driscoll. He sits on a beach and, after days of silence, eventually speaks to the young Italian man whose money secured his release. When Hector claims he was the only survivor at St. Anna, the young man (Angelo, now an adult), reveals himself and shows he has obtained the head of the Primavera. The two men embrace.
The novel’s final chapters look at the exhaustion of war and the way in which small triumphs may hold significant meaning in the face of such vast suffering. This portion of the text sees various characters struggling to go on when put up against endless violence, whether due to mental fatigue or physical injury. Hector, the only survivor besides Angelo (and the only character to never encounter death at all, given that Angelo is miraculously revived), labors under a mental weariness that makes him increasingly less interested in surviving than in dying well. To Hector, this means dying while thinking of his childhood in San Juan, which he instills with an idyllic nostalgia, despite the poverty and abuse he faced during that time in his life.
Ettora, similarly, dies contented despite the exhaustion she cites as the reason she refuses to leave her home village. She focuses, in her last moments, on the pleasure that her spell worked (though the text remains ambiguous as to what spell this refers to, given the multiple magical or miraculous elements in the novel). Bishop reaches the end of his life as he performs an unselfish act, which fills him with a sense of peace that he understands divine miracles and will submit himself to a God whose existence he has doubted throughout his life but now is certain of. Train is peaceful himself in his last moments, pleased he has saved Angelo. Each of these small triumphs convey the power of maintaining one’s humanity amid The Brutality of War.
The violent last battle at St. Anna operates under different plot forms for different characters. For Train and Bishop, the narrative takes the form of a hero’s tragedy; they are doomed by the circumstances of war but nevertheless manage to acquit themselves heroically in defending those they care about (even if that care only arrives at the last moment). For Angelo and Hector, the last stand at St. Anna emerges as a kind of rebirth. Angelo’s rebirth is more literal, as he is miraculously brought back to life after being shot (nominally by Bishop’s resuscitative breathing, though symbolically through Bishop and Train’s sacrifice). Though his rebirth is optimistic, the Epilogue’s denouement reveals that Angelo has more suffering to undergo before he can achieve success as an adult. Hector’s emergence from the carnage at St. Anna is a more complicated version of rebirth; he may have survived World War II, but the less obvious war of Being Black in America and Abroad remains to be fought.
The novel’s ending is bittersweet, intermingled with death and personal triumphs in the face of forces too vast to overcome. Miracle at St. Anna suggests that personal achievements like dying well may be worthwhile accomplishments in the face of the overwhelming brutality of war. And while the Epilogue suggests that surviving is worthwhile—the final embrace between Hector and Angelo, reunited after decades, ends the text on a hopeful note—it nevertheless projects survival as a deeply difficult project.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
By James McBride