Fic­tion

Spin­ning at the Edges

By – May 8, 2026

Spin­ning at the Edges, the lat­est nov­el from author and poet Eliz­a­beth Polin­er, weaves an engross­ing tale of a fam­i­ly attempt­ing to find joy in the after­math of the Holo­caust. With vivid sto­ry­telling, Polin­er fol­lows Ruth Pearl and her par­ents as they flee Ger­man-occu­pied Ams­ter­dam for Amer­i­ca, describ­ing their ever-increas­ing web of friend­ships and rela­tion­ships over the decades. Employ­ing shift­ing time­lines and char­ac­ter per­spec­tives, Polin­er depicts the human strug­gle to build fam­i­lies, find love, cre­ate com­mu­ni­ty, and, most of all, redis­cov­er hope after life has brought chal­lenges and dev­as­tat­ing pain. Polin­er also expert­ly con­veys the dev­as­tat­ing effects of mis­com­mu­ni­ca­tion with­in fam­i­lies and even between acquain­tances and neigh­bors, along with the pow­er of empa­thy in healing.

The nov­el tog­gles between two main time­lines and set­tings. In the ear­li­er time­line, a young Rut­tie Pearl endures her sister’s mur­der before her fam­i­ly escapes the Holo­caust. In the sec­ond cen­tral time­line, Ruttie’s name has been Amer­i­can­ized to Ruth; she’s an old­er woman who lives in a small New Eng­land town and is intent on pre­serv­ing her lake view.

The nov­el cen­ters on one dra­mat­ic moment when Ruth, head­ing out to skate, stum­bles upon a teen boy just as he’s falling through the ice. Ruth and a local judge res­cue the teen and care for him. The encounter not only alters the tra­jec­to­ry of their lives but also affects the peo­ple who love them, includ­ing Stephanie, Ruth’s daugh­ter. Polin­er also sets the unfold­ing dra­ma on frozen Lake Topaqua against the back­drop of the uncer­tain­ty of the con­tro­ver­sial 2000 U.S. pres­i­den­tial elec­tion. The jux­ta­po­si­tion allows her char­ac­ters to puz­zle through how to pur­sue lov­ing rela­tion­ships and sta­bil­i­ty in an uncer­tain polit­i­cal climate.

The nov­el also explores the dam­age that results when fam­i­ly mem­bers keep secrets from each oth­er. The cen­tral two char­ac­ters — Ruth and Stephanie — are shown as unable to ful­ly con­nect, in part because Ruth skates around her truth, unable to ful­ly reveal the pain of her child­hood. Polin­er is par­tic­u­lar­ly effec­tive in describ­ing the painful rela­tion­ship between Ian, the teenag­er whom Ruth helps res­cue, and his moth­er, who isn’t aware of the degree to which her son is strug­gling emotionally. 

Through­out the nov­el, Polin­er shows her mas­tery of lan­guage and her back­ground in poet­ry through beau­ti­ful imagery. She moves seam­less­ly between Ams­ter­dam, Wash­ing­ton, D.C., and Con­necti­cut, allow­ing read­ers to immerse them­selves in each set­ting and time peri­od. In addi­tion, by skip­ping between close third per­son per­spec­tives, Polin­er con­vinc­ing­ly tells the sto­ries of mul­ti­ple, some­times seem­ing­ly unre­lat­ed, char­ac­ters, ulti­mate­ly reveal­ing how their com­pli­cat­ed lives are inter­con­nect­ed. Polin­er goes back­wards in time to describe the hopes and needs of Ruth’s par­ents, along with how their spir­its were crushed. Under­stand­ing Ruth’s moth­er and father helps the read­er absorb how their trau­ma affect­ed not just Ruth, but Stephanie, their grand­daugh­ter, even though she was born decades after the war’s end.

Ulti­mate­ly, in Spin­ning at the Edges, Polin­er has cre­at­ed a pow­er­ful study of the strength and fragili­ty that comes with every human con­nec­tion, as well as the effect of inter­gen­er­a­tional trauma.

Anna Stol­ley Per­sky, a jour­nal­ist and lawyer by back­ground, writes fic­tion and cre­ative non­fic­tion. She’s been pub­lished in The Wash­ing­ton Post, Mys­tery Tri­bune, Ellery Queen, and Pit­head Chapel.

Discussion Questions

Ques­tions cour­tesy of Eliz­a­beth Poliner

  1. How does the title relate to the sto­ry? How many ways are char­ac­ters spin­ning”? How many dif­fer­ent kinds of edges does the nov­el encompass?
  2. The nov­el explores inter­gen­er­a­tional trau­ma though sev­er­al sto­ry lines. In which sto­ry lines do you see this theme at play, and how are char­ac­ters affect­ed by it?
  3. In what ways are the char­ac­ters in the 2000-01 time peri­od of the nov­el iso­lat­ed? How has that iso­la­tion impact­ed them? What hap­pens when they find some com­mu­ni­ty and how do they find it, if they do. In what way(s) is the Jew­ish com­mu­ni­ty in Ams­ter­dam in 1941 isolated?
  4. On page 20, while Stephanie Pearl and Rona Adler skate at the rink in Wheaton, MD, Rona relates to Stephanie a dream she has had of her moth­er’s ear­ly life. Why does Stephanie become envi­ous of Ron­a’s abil­i­ty to have this dream? What oth­er char­ac­ter­is­tics of Ron­a’s rela­tion­ship with her moth­er trig­ger envy in Stephanie, and why? Do you see Rona mak­ing a per­son­al sac­ri­fices (con­scious­ly or not) in the inter­est of car­ing for her moth­er? Do you see Stephanie doing that?
  5. Ruth Pearl reads the legal deci­sion of the Flori­da Supreme Court, Gore v. Har­ris, and is heart­ened by its rea­son­ing which she quotes to Stephanie: The right to vote is the right to par­tic­i­pate; it is also the right to speak, but more impor­tant­ly the right to be heard.” Why is she so drawn to these words? And why is she so down­heart­ed by the sub­se­quent U.S. Supreme Court deci­sion, Bush v. Gore? What is the mean­ing to her of her per­son­al file of legal cas­es marked Good”?
  6. Sev­er­al of the char­ac­ters in the 2000-01 sto­ry peri­od feel that it’s hap­pen­ing again.” Where do you see this sen­ti­ment expressed in the nov­el and what does it mean for a giv­en char­ac­ter? Is it hap­pen­ing again? Or are the char­ac­ters sim­ply pro­ject­ing the past onto the present? Is there a way to test whether it is or isn’t hap­pen­ing again, and do the char­ac­ters do that?
  7. There are cer­tain recur­ring images in the nov­el includ­ing going round and round, walls, and dia­monds. Where do you see these images and how do they relate to the story?
  8. How do the Nazi laws (decrees, direc­tives, orders, etc.) not­ed at the start of each chap­ter relate to the sto­ry as a whole? How do they help to tell the sto­ry of what hap­pened to the Dutch Jew­ish community?
  9. Grief and despair take many forms in this nov­el, from Sophi­a’s reck­less trips to Oost­er­park, to Tes­sa’s inabil­i­ty to see Sophi­a’s face for years and years and replac­ing that image with a girl she met but briefly in Lis­bon, to Ian’s flir­ta­tions with risk on Bar­ton Hill and on the lake and then final­ly his jump­ing into the lake. Col­lec­tive grief and despair show, too, in the waves of sui­cides with­in the Jew­ish com­mu­ni­ty in Ams­ter­dam fol­low­ing cer­tain his­tor­i­cal events. Do you see oth­er man­i­fes­ta­tions of grief and despair in the nov­el? Some char­ac­ters pro­tect them­selves from grief and despair by devel­op­ing cop­ing mech­a­nisms. Where do you see this in the novel?
  10. On page 175, Stephanie and Ian cross paths briefly when out on the ice of Lake Topaqua in the ear­ly morn­ing. Stephanie calls to Ian, Ice is for dream­ers.” What does she mean by this, and in what ways are Ian and Stephanie sim­i­lar to each other?
  11. Why do you think Ian opens up about his life and emo­tion­al pain to Mrs. Pearl more eas­i­ly than he does with his oth­er? Why can’t Stephanie open yp to her moth­er as eas­i­ly as Ian does?
  12. On page 182, when Willa Fletch­er con­tem­plates her frame of mind when she wrote and mailed in the ethics com­plaint against Arthur, she describes her­self as hav­ing shrunk. In what ways have oth­er char­ac­ters in the 2000-01 sto­ry peri­od shrunk” or are liv­ing shrunk­en lives due to past wounding?
  13. On page 270, Arthur Cantrell writes to Willa Fletch­er: That luck, which you talk about, is per­haps more avail­able to us than we even know.” He lat­er states that he’s ques­tion­ing what he thinks about when he thinks about luck. I think I’ve got­ten all that quite wrong, make it all too sim­ple.” What do you think Arthur means by these words? Are these char­ac­ters- all of whom are bro­ken in some ways- lucky? In anoth­er pas­sage between Jozef and Tes­sa, Tes­sa rejects the con­cept of luck as it relates to their sur­vival. How do you see luck relat­ing to Jozef and Tes­sa, and is under­stand­able why Tes­sa would reject Holo­caust as it occurred in the Netherlands?
  14. Sev­er­al of the char­ac­ters call them­selves sur­vivors.” What do they mean by that?
  15. In what ways does the nov­el speak to cur­rent cir­cum­stances in the U.S., if at all?