s,
Anna G.'s sexual fantasies . . . have a double meaning, in more than a freudian sense. They aren't only clues to the unconscious mind: they contain precognitions. The fire, the flood 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 number of times and evokes sexual excitement. It is first raised in the opening passage of the poem she writes on the train, when she dreams of falling (itself a sexual image) and says that she met Freud's son on a train somewhere as it passed into a dark tunnel (another sex
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