makes her sing tunes; any tunes will do at first; and then hymns, real hymns, and with English words.
Time moves so fast. She forgets her first language, she forgets where she comes from, but she does not forget where she is going.
3. When She Feels Doubtful to Decide Her Will to Meet Her Father
In the following event, Suzie is invited to join in the skipping games with the other girls though some of them imitate her singing, and talk anything bad behind her back. She
discovers her tool of survival – her singing voice – is a blessing but also a curse. Some will love her for what she can do, but some will hate her for it, too. So, she learns to parody
herself for the other children, to pre-empt their mockery, to win friends where otherwise she would find only rivals. Also, she learns to hold part of herself back.
She feels afraid because of her past experiences which are her father leaves her, her village is attacked, burned, and her mother is killed at the same time. All of those
experiences make her feel repressed and doubtful whether to continue meet her father or not. She leaves the house that is never home and says goodbye to the lady with virulent hair
because she is going to join a choir competition with Miss Modern’s Touring Troupe in Paris, and as she goes the shred of photo. The photo of her father is taken from her for her
own good and is held in safe-keeping for this everyday. She wonders why her father leaves him, she recalls again about what happens to her before.
Alone in the hostel for chorus girls that she finds herself in that night, shestares at the photo, at the tall thin man standing to attention for the camera, asif she is hypnotized
by the ghost. Why did you leave me? Why? She whispers
What did I do wrong? Potter, 2000: 21. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
After a few weeks, Suzie finds that there, at last, in Paris, she feels safe and she can breathe a little, and so something in her starts to let go. She makes a decision which is to
stay in Paris and even Miss Modern’s troupe returns to England. Suzie meets her friend, Lola, the dancer from Russia, voluble, voluptuous, and full of
blonde ambition, who always knows what jobs are going and who is to talk to to get them. Now Lola lives with Suzie. She has moved in with Suzie.
Lola discovers that Suzie must have come from Russia, too, from lettering on the back of the scrap of photo that Suzie shyly shows her. The address of the studio in the town where
the photograph is taken, and a man’s name written beside are virtually illegible, but are unmistakably in Russian script.
Lola becomes excited when she finally describes the address and starts to talk in Russian, but in vain, because Suzie understands not a word. Lola stares at the photo, at the
clothes the tall thin man is wearing, and quietly repeats the man’s name. Then, she concludes that he is a Jew.
When they attend a party, they meet a guy named Dante. He attends the party as a guest star. First, when she sees Dante, Suzie begins to tremble, uncontrollably, like the horse
beside her. Lola manoeuvres her way through the crowd towards Dante, pulling Suzie behind her, and who manages, somehow, to catch his attention with her flashing smile, and
who manages also, somehow, to tell him that she is a dancer who needs a job and asks for a help. Then, Dante agrees so that they can be with him together in an Opera.
Because he feels flattered to be needed by such a beauty, he waves her towards the hovering grey-haired man from the opera house, who reluctantly agrees to audition
her; and then it is not just the blonde, but her dark friend, too, because she can sing, really, she has a lovely voice you know Potter, 2000: 23.
One day, when the concierge asks Suzie, grumpily, if soon there will be not one, not two, and three but perhaps four occupants in the little room tonight and then exclaims
irritably in Yiddish, Suzie freezes, rooted to the spot and suddenly remembers. She asks the concierge to say it again, that word, which she does willingly, and more, though it is no use
because it is only the first exclamation that Suzie remembers, imprinted dimly in her memory in her grandmother’s panicking voice.
That is enough for the concierge to understand what is what. By then,she becomes Suzie’s conduit into a world of rumor, fear and also, strangely, of reassurance, because she
is safe here, now in Paris, she says, for this is the country where they write the Declaration of the Rights of Man.
Suzie remembers her dream of broken glass and realizes that then she is afraid until finally she meets Cesar, the linguists and the spokesman. Cesar introduces her to his family
for who she is and about her family too. Cesar explains that she has proved herself to be a friend they can trust. When the women take Suzie aside to wash her hands, they take the
opportunity to touch her and ask her where her children are. Then, Suzie answers that she has nothing and suddenly the women exclaim pityingly. Some of Cesar’s families continue
to be wary of Suzie. Yet, they still give freedom for Suzie to become a friend with Cesar. They looking at her with narrowed eyes as if to say, what does she really want? But
the others gradually accord her a status which allows her to move relatively freely amongst them: the status of an honorary man, or perhaps the status of an orphan,
whose unimaginable aloneness deserves their pity Potter, 2000: 28.
As Suzie becomes more and more involved with the Gypsies and their preoccupations, and learns about their taboos and their beliefs, and even, one rainy night, is persuaded to
