Hans hubermann and liesel relationship problems

Hans Hubermann and Identity | The Gates of Thievery

He immediately becomes her papa, and they go on to build an unbreakable relationship. When Liesel first meets Hans, she thought that his. At times, you may have trouble following what is happening. Liesel believes Hans Hubermann's eyes show kindness and from the beginning How has Liesel's relationship with each of the other main characters (Hans and. Liesel, when seeing those eyes, understood that Hans Hubermann was worth a lot”. Hans relationship to Erik Vandenburg is a key component in Hans ” Liesel, if you tell anyone about the man up there, we will all be in big trouble at the.

When his shop is vandalized inHans Hubermann paints over a slur that has been written on his door. The two often fist-fought each other as part of a friendly rivalry. When Max faces persecution and possible imprisonment as a Jew, Kugler—who is not a Jew, and therefore safe from the reach of Nazis—hides Max for nearly two years.

When Kugler finds out he is being relocated to Poland, he meets with Hans Hubermann to see if Hans will help Max hide.

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Liesel Meminger Liesel Meminger, the main character in The Book Thief, is a girl who is left in the care of a foster family at a young age. Her brother dies on the way to the foster home, and at the cemetery where he is buried, Liesel sees a book resting in the snow.

She takes it, and thus begins her career as a book thief. Ilsa Hermann catches her stealing a book, and invites her to borrow more books from her massive library.

Liesel becomes an avid reader, and Ilsa Hermann eventually encourages her to write her own book. She does, working in the basement of her foster family's home, where she once spent time with Max Vanderburg, a Jew in hiding.

One night, while Liesel is reading over her finished book in the basement, Allied forces bomb Himmel Street, killing everyone except for Liesel. She is then taken in and raised by Ilsa Hermann and her husband, the mayor. The book she has written, lost in the rubble of Himmel Street, is found by Death and kept as an example of how humans are as capable of wonderful things as they are of horrible things.

Paula Meminger Liesel's biological mother, PaulaMeminger, leaves Liesel with a foster family in Munich and, though Liesel later tries to contact her, disappears.

Liesel's Relationships by kayla kerbs on Prezi

Liesel later figures out that it is likely she was taken away by Hitler for being a communist. Werner Meminger Werner Meminger, Liesel's younger brother, dies after having a coughing fit on the train journey to Munich with his mother and sister.

Liesel and her mother bury the boy at a local cemetery before continuing their journey; this cemetery is where Liesel steals her first book, The Grave Digger's Handbook. Plagued by chronic ear infections and scarred by several related operations, Tommy is partially deaf and prone to facial twitches. Rudy Steiner stands up for Tommy during Nazi Youth activities after he fails to hear commands, and both boys are frequently punished together.

Like the others on Himmel Street, he is killed during the Allied bombing. Pfiffikus Pfiffikus is a foul-mouthed old man who lives on Himmel Street. No one seems to know his real name, but he is called Pfiffikus because he constantly whistles a tune as he walks. He is one of the Himmel Street residents who later shares the Fiedlers' basement during air raids. After Hans is injured when their transport truck rolls over, Schipper—who likes Hans due to his generosity when he wins at cards—recommends that Hans be allowed to return home and work in an office in Munich.

Ludwig Schmeikl Ludwig Schmeikl is a boy in Liesel's class who teases her for being unable to read during her first months in Molching. One day during recess, after he relentlessly insults her, Liesel snaps and gives him a serious beating. The two later make amends during the bonfire at Hitler's birthday celebration.

One day, he offers one soldier a chance to perform a non-combat-related task. Knowing that the other men will face the possibility of death, Erik recommends Hans for the job.

Rosa Hubermann

He works as a tailor and owns his own clothing store in Molching. When Nazi officials want to take Rudy to a special officer's school due to his athletic and academic prowess, Alex refuses to let him go. Because of this, he is sent off to help with the war effort. Though he survives, his entire family is killed by the bombing of Himmel Street. Rudy Steiner Rudy Steiner is Liesel's best friend, frequent companion, and occasional partner in thievery. He often looks out for Liesel, and frequently attempts—unsuccessfully—to get her to kiss him.

Rudy is terrorized by his Hitler Youth leader, Franz Deutscher; after switching Hitler Youth groups, however, he excels at both athletics and academics. Nazi officials notice this, and ask his parents to allow him to attend a special Nazi officer's school they are creating.

Rudy's parents refuse to let him go. He dies with his mother and siblings when the bombs are dropped on Himmel Street. The two served together during World War I. Vandenburg, a Jew, teaches Hans how to play the accordion, and is responsible for Hans surviving when Vandenburg and everyone else in their unit is killed in combat: Hans keeps Vandenburg's accordion, and promises his wife that he will do whatever he can to repay the debt he owes to Vandenburg for saving his life.

He lives for a time in the Hubermanns' basement, and becomes close friends with Liesel. He makes Liesel two books of stories and sketches. Eventually, he leaves the Hubermanns' basement because he fears capture. Later, he is indeed captured, and Liesel sees him being marched through town on the way to a concentration camp.

Max survives, and after the war he reunites with Liesel. When playing cardshe is a gloating winner and a sore loser. After Hans takes all of his cigarettes used in place of moneyZucker gets angry and holds a grudge against him.

hans hubermann and liesel relationship problems

Later, Zucker forces Hans to change seats with him on the transport truck as they head out to duty. The truck rolls over, and Zucker is the only one on board who is killed. Most of the major events in the story revolve around this theme. Even Hitler's rise to power, it is suggested, is largely the result of the popularity of his autobiography, Mein Kampf.

Later, the power of this book is used against the Nazi cause: Hans hides the key he sends to Max inside a copy of it, knowing that no one would suspect the sender or receiver of such a book to be engaging in suspicious activities. The book serves a final purpose when Max tears out its pages and paints over them to create his own books.

For Liesel, her first book helps her hold on to the memory of her dead brother and absent mother. It is also the gateway for Liesel to forge a loving relationship with Hans, who teaches her how to read using the book. Words also bind Liesel to Max, who creates his own homemade books as gifts to her since he has nothing else to offer.

Ilsa Hermann is tied to Liesel by books as well: Their relationship is almost ended by written words—the letter Ilsa gives her for her mother, terminating her employment—and is also saved by them when Ilsa writes Liesel a letter of apology and gives her a dictionary. Finally, written words save Liesel's life.

The Book Thief

Because she is in the basement, rereading her work on her own memoir, she is the only survivor on Himmel Street when the Allied bombs are dropped.

It is this book that leads Death to remember and share Liesel's story with the reader. The novel, however, also depicts certain limitations to the power of the written word. For Hans, letters are insufficient to convey his thoughts and emotions while he is away as a soldier. Also, books are dependent upon one thing for their power: The books lining the walls of Ilsa Hermann's library serve no function—and indeed, the room itself appears cold and lifeless—until Liesel begins reading there.

Liesel's own book is never read by another living soul, and is tossed onto a pile of trash after the bombing. It is very nearly lost before Death spots it and saves it. Duality Duality is the presence of different—often opposing—forces or traits in a single thing or person. This is used throughout The Book Thief to emphasize both the wonderful and terrible possibilities of humankind. This dual nature is shown in nearly every character, including the most virtuous.

Liesel herself is, as the title suggests, a thief; taken out of the context of her life, many of her actions would be considered immoral or worthy of punishment. She steals books, food, and even money from her foster mother, and she destroys one of Ilsa Hermann's books. He later threatens her with awful consequences if she ever reveals the secret of Max Vandenburg.

He does these things for her protection, and he does them reluctantly; however, this illustrates the potential within even the most virtuous people to hurt those they love. Rosa Hubermann is a clearer example of duality. She is brash, insulting, and speaks venomously of nearly everyone with whom she comes into contact—especially her husband Hans.

When Hans is conscripted to serve in the war, however, her true feelings about him are revealed; Liesel discovers her sitting on the edge of her bed, cradling his accordion—an instrument she previously seemed to despise—and silently praying for his safe return.

Duality is perhaps most dramatically shown in Death's observations of humans. As the narrator, Death takes great pains to delineate the interconnected nature of the actions and reactions of the characters.

Although many events might be described as lucky or unlucky occurrences, their causes are nearly always revealed. The first time, he is saved because his friend Erik Vandenburg recommends him for a non-combat assignment; the indebtedness he feels to Erik, who dies that day, eventually results in him taking in Erik's son Max, a Jew in hiding, twenty years later. This in turn causes dramatic changes in the lives of Liesel and Rosa as well.

At the same time, Hans's friendship with Kurt results in an enduring sympathy for persecuted Jews, which ultimately leads to Max having to leave the Hubermann's basement for fear of discovery by Nazis suspicious of Hans. It also leads Hans back to military duty, pressed into service as a sort of punishment for his sympathizing with Jews.

Research the topic of strategic bombing during World War II. Who engaged in it? What were the reasons for bombing non-military targets, and how were the targets chosen? What did this accomplish, and what were the consequences? In your opinion, was the practice justified by what it accomplished? Do you think the bombing of civilian targets is justified in other situations? Why or why not? Write a paper summarizing your findings and taking a position on the issue of strategic bombing.

The main message of The Book Thief, however, is rather opposite: Do you think words hold the same power as physical action? Provide examples—from your personal experience or from historical research—to support your point. The Hitler Youth organization was meant to indoctrinate young Germans in the ideas and beliefs of the Nazi Party.

Enrolling in the Hitler Youth was made mandatory inthough enforcement was often lax; many young people, as shown in The Book Thief, thought the organization was beneficial only as an athletic or social organization, and ignored or dismissed its ideological underpinnings.

Pope Benedict XVIshortly after he was selected as the head of the Roman Catholic Church inbriefly came under fire for having been a member of the Hitler Youth. Do you think it is fair to condemn young people who participated in the Hitler Youth as supporters of Nazism? What about adults who were drafted to fight for Nazi Germany? One important element of The Book Thief is the notion of duality in humans—the idea that people are capable of both horrible and wonderful things.

Death sees the horrible results of human action on a daily basis, and therefore cherishes the rare examples he finds—such as Liesel's story—that convince him humans are actually worthy beings.

This dual nature is shown to exist in nearly every person in The Book Thief; Rosa Hubermann in particular is shown to be stern and cruel at first, but gradually her soft and loving side is revealed. At the same time, some figures—such as Hitler and Reinhold Zucker—are never revealed as having any redeeming qualities.

In your opinion, do all people contain the potential for both good and bad, or are some people simply good while others are bad? Is there a danger in viewing certain people such as Hitler as simply evil, without attempting to understand their actions? Similarly, Hans escapes death a second time because he beats his fellow soldiers at cards—a game largely of chance. His win, even though he is gracious and offers some of his winnings back to the other players, angers another soldier, who later forces Hans to change seats with him on their transport truck.

During that trip, the truck rolls over, and the other soldier—sitting where Hans would have sat—is the only casualty. In addition, Hans's generosity when winning at cards persuades his sergeant to recommend that he be able to return home to his family. This lucky turn of events results in Hans being present on Himmel Street when the Allied bombs are dropped, resulting in his death. A memoir is a personal record of events in the writer's own life.

Hitler's Mein Kampf, mentioned often in the novel, is a memoir, as is the book that Liesel writes about her own experiences. In addition, The Book Thief itself often serves as a memoir for its narrator, Death; in addition to revealing his own experiences with Liesel and the people in her life, there are also sections throughout the book labeled Death's Diary that relate brief glimpses of the narrator's other grim work during World War II. Foreshadowing and Flash-Forwards Foreshadowing, or the suggestion of what will happen later in the story, is used extensively in The Book Thief.

For example, after revealing how many times he saw the book thief, the narrator goes on to provide detailed descriptions of each occasion—though two of those events will not take place until near the end of the book.

Another example of foreshadowing occurs when Liesel convinces herself that Ilsa Hermann did not see her take a book from the bonfire. She was just waiting for the right moment. The foreshadowing in The Book Thief often explicitly reveals the fates of the characters. The narrator tells the reader in no uncertain terms what will happen, as when he states about Reinhold Zucker shortly after introducing him: Stories Within Stories The Book Thief contains many stories within the main tale being told by the narrator.

This includes brief asides by the narrator, which touch upon events not directly related to Liesel's story. In addition, the books Liesel reads are mostly fictional works, and the basic plot of each is described for the reader, often along with snippets of text from many of the books.

The clearest examples of stories within the story, however, are the ones Max creates for Liesel. They are even presented in a different format than the rest of the book, in what is meant to represent Max's own hand-written and hand-drawn work.

Founded inthe party focused on a platform of national unity and pride, coupled with the darker goals of driving Jews out of the country and expanding Germany's borders at the expense of neighboring countries. Adolf Hitler became a member and quickly rose to the highest ranks due to his ambition and oratory skills; he attempted to seize control of the German government inbut was unsuccessful and instead spent a little over one year in jail.

During this time, he wrote Mein Kampf My Strugglea book that offered a positive and persuasive view of his actions and political beliefs. As economic conditions worsened in the years that followed—in part due to the Great Depressionwhich had a drastic effect on the global economy—Hitler's promises of a prosperous Germany won over a large percentage of the population.

By the early s, the Nazi Party had won substantial power in the Reichstag, or German parliament, not by force but by election. Hitler, however—despite his popularity—was not elected. Instead, as the governing bodies of Germany fell into chaos, the president appointed Hitler Chancellor of Germany. He quickly seized control of government and military offices, silencing his critics and any other social elements he considered undesirable.

The Hitler Youth was created incomposed primarily of the children of Nazi Party members. Like the Nazi Party itself, the organization grew slowly but steadily untilwhen membership expanded dramatically; between andHitler Youth membership skyrocketed from 26, to over 3.

The organization was meant to serve as pre-military training, and older members of the Hitler Youth almost inevitably went on to become Nazi soldiers fighting on the front lines or officers in charge of expanding Hitler Youth membership. Equivalent organizations for females and for younger children were also formed; these more closely resembled activity clubs than military groups, though they also provided the Nazi Party with an opportunity to indoctrinate youngsters with their beliefs.

Although Hitler Youth began with voluntary membership, it was later required for all eligible German children. As the German war effort faltered in the early s, the Nazi Party began to call up younger and younger members of the Hitler Youth to active duty in the national militia. Members as young as fourteen were called upon to serve in antiaircraft units, and were killed in the increased bombings within Germany's borders.

With the defeat of Germany in by Allied forces, the Hitler Youth and its related organizations were quickly disbanded. Many German children who had been forced into compulsory Hitler Youth programs were often stigmatized later in life due to their involvement with organizations so closely associated with Nazism. The justification for these bombings was twofold: Munich, the large city near which Liesel and her foster family live in The Book Thief, was subjected to over seventy separate bombing attacks by air.

One of the worst bombings, however, was reserved for the city of Dresden in February of The city was obliterated in two days of nonstop attacks—the bombs set off fires that raged uncontrolled in their wake.

Conservative estimates of civilian casualties—deaths of those not involved in combat in any way—exceed twenty thousand, and some believe that as many as 40, German citizens were killed. In all, historians estimate that approximatelyGerman civilians were killed by Allied bombings during the war—dwarfing the estimated loss of around 14, British citizens due to German air attacks. One in every nine German civilian casualties was a child. Because of these startling statistics, the practice of bombing in city areas has been a source of great controversy ever since.

However, reviews for the novel were overwhelmingly positive, which helped to propel the book to the status of bestseller. Most of the praise for the work centered on the resonant power of the story, though the author's skill with language was also complimented in many reviews. And has there ever been a better celebration of the lifesavingand affirming power of books and the reading of them? Some reviews of the book included brief cautions about the subject matter and its appropriateness for young readers.

It has also been a number-one seller in Ireland, Taiwan, and Brazil. The book earned Zusak a Michael L. In this essay, Wilson argues that the author's use of Death as the narrator of The Book Thief conflicts with the most basic theme of the novel. Markus Zusak's young adult novel The Book Thief has received wide acclaim for its unique portrayal of the life of a young girl growing up in Nazi Germany. Indeed, Zusak's story and characters are memorable, and even haunting. In addition, he employs numerous techniques to convey the otherworldly nature of the narrator.

However, these techniques amount to a narratorial intrusion in the story that weakens its most basic—and most important—message. Synesthesia is a condition in which a victim suffers from an uncontrolled commingling or interconnection of the senses.

Cytowic, in his book Synesthesia: A Union of the Senses, sums up the condition: Is synesthesia a real perception of a sense datum or just a projection? Is there actually the rare individual who can really hear colors and taste shapes? Yes, there is, and his existence does not rely on our wanting to believe the impossible.

Zusak uses synesthetic descriptions—combining seemingly contradictory sensory information—throughout The Book Thief. It is suggested by the narrator's connection of certain colors to the deaths of different people, but it also appears more explicitly, as when the narrator refers to the colors in the following way: The problem is, descriptions such as these are deliberately showy; they stop the reader's eyes as they scan, and either force the reader to try and visualize something they cannot, or ask the reader to acknowledge that they are, indeed, clever turns of phrase.

They interrupt the story in order to showcase the narrator's voice or the author's. Another characteristic of the novel, again sensibly attributed to the narrator's inhuman nature, is the constant use of foreshadowing. Sometimes the foreshadowing precedes the events themselves by merely a paragraph.

Some examples are simply confusing, as when the narrator mentions—just after Liesel arrives in Munich at the beginning of her tale—a half-dozen events that will not occur for hundreds of pages. Many foreshadowed moments are detailed enough to qualify as flash-forwards, such as Death's descriptions of his encounters with Liesel in the Prologue.

However, this also tends to rob the story of much of its surprise and impact. Another technique of the narrator—again giving the author the benefit of the doubt and assuming he meant it to reflect his narrator's voice, and not his own—is the repeated use of callouts within the body of the story. They occur on almost every page as centered and headlined blocks of bolded text. It reads in full: One can choose to view this as an author's attempt to experiment with description, or as the narrator's attempt to do the same.

Either way, it fails; worse yet, it stomps on an otherwise touching moment where Liesel realizes the true depths of her foster parents' relationship. The narrator also seems able to describe in vivid detail scenes at which hewas not present. He clearly indicates in the beginning that he only saw the book thief three times though this is not quite true, since he also sees her when she dies as an old woman.

Yet the remainder of the book includes extensive descriptions of events that even Liesel was not present for, such as the flashbacks of Hans Hubermann and Max Vandenburg. In addition, many of the narrator's descriptions seem to presume knowledge inside the heads of characters other than Liesel. Even if we allow that Death is telling us a story based on Liesel's memoir—which is by and large the only source of information he would have access to—we would also have to concede that these descriptions are then based upon Liesel's recollections and interpretations.

It would seem, then, that the story we are being told consists entirely of at least second-hand and largely of third-hand information Death interpreting Liesel's words interpreting another character's behavior or words. This begs the question: Why not do away with the device of the narrator altogether? Why do we, the readers, not get to enjoy Liesel's words ourselves?

We see very brief snippets, and we are offered a rather lame excuse about the book having deteriorated from so many read-throughs by the narrator that it has fallen apart. The reason this becomes problematic has to do with the main theme of the novel.

The obvious message of The Book Thief is simple: They can sway a nation, as with Hitler's Mein Kampf; they can serve as a link to past experiences, as The Grave Digger's Handbook does for Liesel; they can capture the imagination so thoroughly that a group of terrified Germans huddled in a basement briefly forget about the threat of bombs dropping upon them; they can literally save a person's life, as they do for both Max Vandenburg and Liesel.

It is disappointing that this underlying conceit of the novel—that words wield such amazing power, especially in book form—is undermined by the fact that we as readers are kept at a distance from Liesel's own words—her own powerful book.

What better way to illustrate the power of books than to give us access to Liesel's own? Instead we are given an intermediary—and a showy, contrived one at that—who gives us a second-hand version of her tale.

Why does Zusak choose to tell the story in a way that undermines its most basic theme? Everyone says war and death are best friends. Based upon the amount of attention the novel earned due to its high-concept narrator, one has to wonder if the idea just so tickled Zusak with its cleverness and audacity—the same way it later tickled many potential readers, who knew almost nothing else about it but were compelled to pick it up—that he found a way to make sure he fit his story into that framework, regardless of how much shoving it took to get it in.

This trick up Zusak's sleeve in The Book Thief is a device no less gimmicky than the one Alice Sebold employed in The Lovely Bones, coincidentally—or perhaps not—another young adult novel that achieved great success among adult readers.

For Sebold's novel, the gimmick—that the narrator was murdered before the tale begins—masked a comparatively meatless and mawkish story, making it at first appear far better than it actually was. Throughout the book, Pilgrim experiences snippets of events from throughout his life, one of the most significant being as a prisoner of war who lives through the fire-bombing of Dresden during World War II.

Anne's account was actually written during the ordeal, as her family and a few others lived in a hidden portion of a building in Amsterdam during the Nazi occupation. Though Anne herself died in the Bergen-Belsen concentration camp in —days before Allies arrived to save the remaining prisoners—her tale has endured as a testament to the horrors perpetrated by Nazi Germany.

I Am the Messenger is a novel by Markus Zusak. Unlike The Book Thief, it is a contemporary tale; it concerns a young man named Ed Kennedy who becomes an accidental hero when he stops a bank robbery.

Soon after, he begins receiving messages prompting him to perform other acts of justice and beneficence. The novel was chosen as the Book of the Year by the Children's Book Council of Australia, where it was originally published. Memories of a Holocaust Rescuerwritten by Irene Gut Opdyke with Jennifer Armstrong, is an autobiographical account of a Polish woman who risked her life to help save Jews in her Nazi-occupied homeland.

Forced to work as a waitress for German officers, she used her position to gain information about German plans and shared it with the local Jews, with whom she sympathized for the hellish treatment they experienced. Later, after becoming a maid for a German major, she used the officer's own villa as a secret hideout for a dozen Jews.

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It is entirely possible that this made The Book Thief more popular; however, it most certainly did not make the book better.

Tom Deveson In the following essay, Deveson takes Zusak to task for adopting an uneven and sometimes inappropriate style that trivializes his subject matter. This over-praised, overlong novel is in trouble before it starts. There are many two-word sentences: The grim thought occurs that writing like this has helped the book to its position at the top of the American bestseller lists.

Nine-year-old Liesel is the book thief of the title. Inafter seeing her brother die, she goes to live with the Hubermanns, a foster family, near Munich. She gets into fights, makes friends and is involved in sports events.

hans hubermann and liesel relationship problems

She learns to keep the dangerous secret that a Jew has been hidden by the good-hearted Hubermanns. Above all, she steals books and discovers how to read them, finally becoming a writer herself. Markus Zusak shows good intentions in describing wartime Germany as an extraordinary country inhabited by ordinary people.

Organising the story around a girl preoccupied with clandestine writing might seem parasitic on an already famous book, although here the Jewish secret scribbler is male and hidden in the basement not the attic. The mere facts are indeed powerfully affecting; the Hitler Youth is a baleful presence, neighbours suffer terribly at Stalingrad, prisoners are marched to Dachau, those who take pity on them are beaten and, finally, Allied bombers kill nearly everyone we've got to know.

Unfortunately, Zusak has made Death himself the storyteller, ruining the book's cohesion and plausibility. Writers such as Anatoli Babi Yar and Gunter Grass Cat and Mouse managed with great concentration to describe the horror of war through the eyes of a child; their authenticity derives from the fearsome gap between innocence and experience. Zusak's Death is a cumbersome trope; he doesn't solve the narrative problem so much as betray the author's failure to recognise its nature.

He is verbose and vapid, sentimental and simplistic, pleased with his own facile ironies, constantly inviting the reader's connivance in tediously familiar postmodern games. Sometimes Death sounds like a goofy teenager: Especially in Nazi Germany.

As a means of moral exploration, its nudging facetiousness is both smug and shallow. One of the many annoying interpolations in bold font reads: In fact, frightfully sticky. Elsewhere, Death tries to be poetic. He likes flaunting conspicuously synaesthetic phrases that don't work when looked at closely: This pretentiousness suggests that Zusak has thought of setting himself a stylistic challenge, only to take the slick or crowd-pleasing way out.

It's a dangerous literary tactic to make a portentous promise that isn't performed. Words are at the centre of the novel's claims on our imagination. A fable in the book is called The Word Shaker. Yet at the climax, the words that Zusak chooses have a glossy Hollywood emptiness. Liesel addresses her dead mother: Language like this trivialises whatever it touches. Publishers Weekly In the following review, the reviewer praises Zusak's writing, while criticizing his narrator's heavy-handedness.

This hefty volume is an achievement—a challenging book in both length and subject, and best suited to sophisticated older readers. Liesel Meminger, the book thief, is nine when she pockets The Gravedigger's Handbook, found in a snowy cemetery after her little brother's funeral. Hans is haunted himself, by the Jewish soldier who saved his life during WWI. His promise to repay that debt comes due when the man's son, Max, shows up on his doorstep. Death also directly addresses readers in frequent asides; Zusak's playfulness with language leavens the horror and makes the theme even more resonant—words can save your life.

It's a measure of how successfully Zusak has humanized these characters that even though we know they are doomed, it's no less devastating when Death finally reaches them.

He is a bright-eyed, straightforward Aussie guy, casual in his demeanour and endearingly uncomfortable on the subject of his book.

One Night, after my usual nightmare, a shadow stood above me. This quote is an example of counter hate and teachers the reader of the trust and compassion shared by Liesel and Max; despite the dictating Nazi propaganda, Liesel forms her own opinions and allows the reader to follow her example by looking at Max in a positive light and find the true beauty of human nature.

An example of this is shown in the first chapters of the story where Liesels brother dies on their dreadful train journey to Mochling.

The Book Thief - "Do you know what this says?" - Clip HD

Liesel and Hans share a loving Father, Daughter relationship shared once again between their love of reading and imagination. Hans and Liesel share a loving relationship in Liesels time of need and Hans offers countless love and support. He looked over at Liesel and winked. She would have no trouble calling him Papa. Hans and Liesel share a common interest of reading and writing and as Hans teaches Liesel to read and write, he teaches himself to advance his reading skills.

Further, Liesel helps the reader to understand the ideas that we can counter loss and hatred with the power of words through her actions related to books and reading. In life, we as readers find that stories are means of escape — imagination is one place we can control in even the darkest of times. Isla lost her son in a fatal incident with a barbed wire fence and uses her library and books as a means of escape from reality.

Liesel and Isla share a mutual passion for books and reading and find a friendship forming because of this. Liesel is most certainly a moral compass, helping the reader that we can counter loss and hatred with the power of words and acts of compassion.