Introduction

(It's just a small story really, about among other things: a girl, some words, an accordionist, some fanatical Germans, a Jewish fist-fighter, and quite a lot of thievery. . . .

Set during World War II in Germany, Markus Zusak's groundbreaking new novel is the story of Liesel Meminger, a foster girl living outside of Munich. Liesel scratches out a meager existence for herself by stealing when she encounters something she can?t resist?books. With the help of her accordion-playing foster father, she learns to read and shares her stolen books with her neighbors during bombing raids as well as with the Jewish man hidden in her basement before he is marched to Dachau.

This is an unforgettable story about the ability of books to feed the soul.


From the Hardcover edition.

Editorial Review

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Excerpt

DEATH AND CHOCOLATE

First the colors.

Then the humans.

That's usually how I see things.

Or at least, how I try.

***HERE IS A SMALL FACT ***

You are going to die.

I am in all truthfulness attempting to be cheerful about this whole topic, though most people find themselves hindered in believing me, no matter my protestations. Please, trust me. I most definitely can be cheerful. I can be amiable. Agreeable. Affable. And that's only the A's. Just don't ask me to be nice. Nice has nothing to do with me.

***Reaction to the ***

AFOREMENTIONED fact Does this worry you?

I urge you—don't be afraid.

I'm nothing if not fair.

—Of course, an introduction.

A beginning.

Where are my manners?

I could introduce myself properly, but it's not really necessary. You will know me well enough and soon enough, depending on a diverse range of variables. It suffices to say that at some point in time, I will be standing over you, as genially as possible. Your soul will be in my arms. A color will be perched on my shoulder. I will carry you gently away.

At that moment, you will be lying there (I rarely find people standing up). You will be caked in your own body. There might be a discovery; a scream will dribble down the air. The only sound I'll hear after that will be my own breathing, and the sound of the smell, of my footsteps.

The question is, what color will everything be at that moment when I come for you? What will the sky be saying?

Personally, I like a chocolate-colored sky. Dark, dark chocolate. People say it suits me. I do, however, try to enjoy every color I see—the whole spectrum. A billion or so flavors, none of them quite the same, and a sky to slowly suck on. It takes the edge off the stress. It helps me relax.

***A SMALL THEORY ***

People observe the colors of a day only at its beginnings and ends, but to me it's quite clear that a day merges through a multitude of shades and intonations, with each passing moment.

A single hour can consist of thousands of different colors.

Waxy yellows, cloud-spat blues. Murky darknesses.

In my line of work, I make it a point to notice them.

As I've been alluding to, my one saving grace is distraction. It keeps me sane. It helps me cope, considering the length of time I've been performing this job. The trouble is, who could ever replace me? Who could step in while I take a break in your stock-standard resort-style vacation destination, whether it be tropical or of the ski trip variety? The answer, of course, is nobody, which has prompted me to make a conscious, deliberate decision—to make distraction my vacation. Needless to say, I vacation in increments. In colors.

Still, it's possible that you might be asking, why does he even need a vacation? What does he need distraction from?

Which brings me to my next point.

It's the leftover humans.

The survivors.

They're the ones I can't stand to look at, although on many occasions I still fail. I deliberately seek out the colors to keep my mind off them, but now and then, I witness the ones who are left behind, crumbling among the jigsaw puzzle of realization, despair, and surprise. They have punctured hearts. They have beaten lungs.

Which in turn brings me to the subject I am telling you about tonight, or today, or whatever the hour and color. It's the story of one of those perpetual survivors—an expert at being left behind.

It's just a small story really, about, among other things:

* A girl

* Some words

* An accordionist

* Some fanatical Germans

* A Jewish fist fighter

* And quite a lot of thievery

I saw the book thief three times.

BESIDE THE RAILWAY LINE

First up is something white. Of the blinding kind.

Some of you are most likely thinking that white is not really a color and all of that tired sort of nonsense. Well, I'm here to tell you that it is. White is without question a color, and personally, I don't think you want to argue with me.

***A REASSURING ANNOUNCEMENT ***

Please, be calm, despite that previous threat.

I am all bluster—

I am not violent.

I am not malicious.

I am a result.

Yes, it was white.

It felt as though the whole globe was dressed in snow. Like it had pulled it on, the way you pull on a sweater. Next to the train line, footprints were sunken to their shins. Trees wore blankets of ice.

As you might expect, someone had died.

They couldn't just leave him on the ground. For now, it wasn't such a problem, but very soon, the track ahead would be cleared and the train would need to move on.

There were two guards.

There was one mother and her daughter.

One corpse.

The mother, the girl, and the corpse remained stubborn and silent.

"Well, what else do you want me to do?"

The guards were tall and short. The tall one always spoke first, though he was not in charge. He looked at the smaller, rounder one. The one with the juicy red face.

"Well," was the response, "we can't just leave them like this, can we?"

The tall one was losing patience. "Why not?"

And the smaller one damn near exploded. He looked up at the tall one's chin and cried, "Spinnst du! Are you stupid?!" The abhorrence on his cheeks was growing thicker by the moment. His skin widened. "Come on," he said, traipsing over the snow. "We'll carry all three of them back on if we have to. We'll notify the next stop."

As for me, I had already made the most elementary of mistakes. I can't explain to you the severity of my self-disappointment. Originally, I'd done everything right:

I studied the blinding, white-snow sky who stood at the window of the moving train. I practically inhaled it, but still, I wavered. I buckled—I became interested. In the girl. Curiosity got the better of me, and I resigned myself to stay as long as my schedule allowed, and I watched.

Twenty-three minutes later, when the train was stopped, I climbed out with them.

A small soul was in my arms.

I stood a little to the right.

The dynamic train guard duo made their way back to the mother, the girl, and the small male corpse. I clearly remember that my breath was loud that day. I'm surprised the guards didn't notice me as they walked by. The world was sagging now, under the weight of all that snow.

Perhaps ten meters to my left, the pale, empty-stomached girl was standing, frost-stricken.

Her mouth jittered.

Her cold arms were folded.

Tears were frozen to the book thief's face. view abbreviated excerpt only...

Discussion Questions

From the Author's web site:

•Discuss the symbolism of Death as the omniscient narrator of the novel. What are Death’s feelings for each victim? Describe Death’s attempt to resist Liesel. Death states, “I’m always finding humans at their best and worst. I see their ugly and their beauty, and I wonder how the same thing can be both.” (p. 491) What is ugly and beautiful about Liesel, Rosa and Hans Hubermann, Max Vandenburg, Rudy Steiner, and Mrs. Hermann? Why is Death haunted by humans?


•What is ironic about Liesel’s obsession with stealing books? Discuss other
uses of irony in the novel.


•The Grave Digger’s Handbook is the first book Liesel steals. Why did she take the book? What is significant about the titles of the books she steals? Discuss why she hides The Grave Digger’s Handbook under her mattress. Describe Hans Hubermann’s reaction when he discovers the book. What does the act of book thievery teach Liesel about life and death? Explain Rudy’s reaction when he discovers that Liesel is a book thief. How does stealing books from the mayor’s house lead to a friendship with the mayor’s wife? Explain how Liesel’s own attempt to write a book saves her life.


•Liesel believes that Hans Hubermann’s eyes show kindness, and from the beginning she feels closer to him than to Rosa Hubermann. How does Hans gain Liesel’s love and trust? Debate whether Liesel is a substitute for Hans’s children, who have strayed from the family. Why is it so difficult for Rosa to demonstrate the same warmth toward Liesel? Discuss how Liesel’s relationship with Rosa changes by the end of the novel.


•Abandonment is a central theme in the novel. The reader knows that Liesel feels abandoned by her mother and by the death of her brother. How does she equate love with abandonment? At what point does she understand why she was abandoned by her mother? Who else abandons Liesel in the novel? Debate whether she was abandoned by circumstance or by the heart.


•Guilt is another recurring theme in the novel. Hans Hubermann’s life was spared in France during World War I, and Erik Vandenburg’s life was taken. Explain why Hans feels guilty about Erik’s death. Guilt is a powerful emotion that may cause a person to become unhappy and despondent. Discuss how Hans channels his guilt into helping others. Explain Max Vandenburg’s thought, “Living was living. The price was guilt and shame.” (p. 208) Why does he feel guilt and shame?


•Compare and contrast the lives of Liesel and Max Vandenburg. How does Max’s life give Liesel purpose? At what point do Liesel and Max become friends? Max gives Liesel a story called “The Standover Man” for her birthday. What is the significance of this story?


•Death says that Liesel was a girl “with a mountain to climb.” (p. 86) What is her mountain? Who are her climbing partners? What is her greatest obstacle? At what point does she reach the summit of her mountain? Describe her descent. What does she discover at the foot of her mountain?


•Hans Junior, a Nazi soldier, calls his dad a coward because he doesn’t belong to the Nazi Party. He feels that you are either for Hitler or against him. How does it take courage to oppose Hitler? There isn’t one coward in the Hubermann household. Discuss how they demonstrate courage throughout the novel.


•Describe Liesel’s friendship with Rudy. How does their friendship change and grow throughout the novel? Death says that Rudy doesn’t offer his friendship “for free.” (p. 51) What does Rudy want from Liesel? Discuss Death’s statement, “The only thing worse than a boy who hates you [is] a boy who loves you.” (p. 52) Why is it diffi cult for Liesel to love Rudy? Discuss why Liesel tells Mr. Steiner that she kissed Rudy’s dead body.


•How does Zusak use the literary device of foreshadowing to pull the reader
into the story?


•Liesel Meminger lived to be an old woman. Death says that he would like to tell the book thief about beauty and brutality, but those are things that she had lived. How does her life represent beauty in the wake of brutality? Discuss how Zusak’s poetic writing style enhances the beauty of Liesel’s story.

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Weblinks

»	Publisher's Book Info
»	Reviews “Brilliant and hugely ambitious…Some will argue that a book so difficult and sad may not be appropriate for teenage readers…Adults will probably like it (this one did), but it’s a great young-adult novel…It’s the kind of book that can be life-changing, because without ever denying the essential amorality and randomness of the natural order, The Book Thief offers us a believable hard-won hope…The hope we see in Liesel is unassailable, the kind you can hang on to in the midst of poverty and war and violence. Young readers need such alternatives to ideological rigidity, and such explorations of how stories matter. And so, come to think of it, do adults.” -New York Times, May 14, 2006
»	Author Markus Zusak's web site
»	Q&A with the Author From the author's web site
»	New York Times review for The Book Thief

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