83 pages • 2 hours read
Markus ZusakA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
In a book narrated by Death, one might expect that the concept of death represents a central theme. However, only a certain type of death achieves prominence in The Book Thief. It is significant that the story follows Liesel from the age of 9 to 14. She is growing up during the Second World War years—1939 through 1943. During that time, she repeatedly witnesses the deaths of her family and friends, and none of them die naturally. The death of her brother from illness and the disappearance of her mother can both be indirectly attributed to the Nazi persecution of her communist father.
Hitler’s regime is implicitly responsible for most of the stupidly random deaths that occur throughout the book. A soldier who switches seats in a van with Hans is thrown from the vehicle and suffers a broken neck. An American pilot accidentally crashes his plane into the Amper River and dies. Everyone living on Himmel Street is killed in an aerial bombing that was an offshoot of an attack meant for another target. Alex Steiner’s decision to keep his son at home accidentally gets Rudy killed.
The theme of wartime deaths also reaches back in time to World War I, when Max’s father saves Hans from dying on a battlefield by a stray comment about his penmanship. That same friend dies while Hans is safely copying letters for a commanding officer. Of course, Hans later dies in the bombing raid that wipes out all of Liesel’s community.
Clearly, the author is trying to draw a distinction between ordinary death and the colossal stupidity of wartime death. He expands the canvas by allowing Death, the narrator, to talk about collecting the souls of people outside the main story. All of their deaths are also attributable to war. The battles on the Russian front, the beachhead at Normandy, and the slaughter of millions of Jews keeps Death busy during the war years. Even he becomes demoralized by the carnage that he has to clean up. He says, “There is death. Making his way through all of it. On the surface: unflappable, unwavering. Below: unnerved, untied, and undone” (97). The only central character in the story who gets to live to a ripe old age and die of natural causes is Liesel.
Liesel demonstrates her attachment to words from her very first theft of The Grave Digger’s Handbook. At the time, she still can’t read but instinctively feels drawn to the written word for reasons she can’t explain. Her passion for books expands with every new volume she steals. When she is first allowed admittance to Frau Hermann’s library, the girl feels as if she’s died and gone to heaven. Liesel and Max both use words for their therapeutic ability to heal. Max heals his own shattered psyche by creating The Standover Man for Liesel. She reciprocates by reading to him during his grave illness. The words draw him back from the brink of death.
The girl later uses a similar tactic when she begins reading aloud to the inmates of the bomb shelter during aerial raids. The words contained in her books have the power to calm her distressed neighbors. Even the hard-hearted Frau Holtzapfel is willing to end her feud with Rosa if Liesel will come and read to her.
Words also function as a form of physical salvation for two characters. Hans is saved from death during World War I because of his penmanship. The only reason Liesel survives the bombing of Himmel Street is because she’s writing in the basement.
However, it is necessary to remember that words are a double-edged sword. They can harm as well as heal. In The Word Shaker, Max describes Hitler as a man who understands the power of words to motivate a nation toward hate. The dictator intends to rise to greatness using nothing more than the mesmerizing power of well-chosen words and symbols. He can only be defeated by the words of love and hope expressed between Liesel and Max.
When Death himself becomes demoralized by the magnitude of carnage he’s forced to handle, he seizes on Liesel’s copy of The Book Thief, hoping to find some words of consolation to counteract the depravity of Hitler’s regime. Her words give him a glimmer of hope that the world contains more than suffering and hate.
Zusak expresses the third theme of the book principally from Death’s viewpoint. Most of the human characters lack the breadth of experience that he possesses to grasp the existential dilemma. Death spends his entire existence witnessing spent lives and transporting souls. He sees the worst moments of human behavior as well as the worst atrocities of which humans are capable. This is particularly true during the mass destruction of World War II. It would be easy for him to succumb to despair in the face of so much brutality.
At the same time, Death is perplexed by the generosity and love that humans demonstrate towards one another. This paradox is best demonstrated by the contradictory behavior of the book’s major characters. Liesel is a girl who can’t read yet is attracted to books. Rudy is a starving thief who ends up giving bread to condemned prisoners. He even gives a comforting teddy bear to a doomed enemy pilot. Rosa is a shrew who beats her foster daughter and verbally abuses her husband, yet she shelters a Jew in her basement without complaint. Frau Holtzapfel ends a bitter feud with Rosa for the sake of a good story. The mayor’s wife welcomes a dirty street urchin into her pristine library and eventually into her home and life.
Most of the human characters are unaware of the paradoxes they demonstrate, but Liesel becomes conscious of the contrast late in the book. She bitterly rips apart a book in the library when she feels that the inspiring messages that books contain are nothing but lies. Ironically, it is the woman who has completely given up, Frau Hermann, who brings Liesel a notebook and exhorts her to believe in the best rather than the worst that words can do.
Death is disturbed that these contradictory qualities in humans can never be reconciled. The human paradox must remain as it is. He ultimately sums up his bafflement in the last lines of the book when he says, “I am haunted by humans” (173).
By Markus Zusak