The Book Thief

Liesel Meminger is an orphan in Nazi Germany. Given up by her mother, she is sent to live with Hans and Rosa Hubermann near Munich. It is there that she learns to read; it is also where she learns to steal--first one book, then the next. Dividing her time between reading stolen books with her foster father, playing soccer in the streets, and attending Hitler Youth Activities, Liesel learns that life isn’t all about nightmares of her dead brother. After all, she has Rudy, the boy who once fancied himself as Jesse Owens to spite the Führer. But the distant war is coming closer, and soon childhood games are interspersed items of a more serious nature: the threat of guns and bombs. And then there is the secret, one she can’t even tell her best friend. Max is a German; he's also Jewish. He is living in the basement. And it’s up to Liesel to make certain no suspicion falls on her shoulders.

I’ll start off by saying that The Book Thief is a very powerful novel. It has an intense take on reality, life and death, and has an emotional quality that pushes against the border of reality. That’s my version of “Wow.”

The harsh, grating realism of the piece is what makes it powerful, especially towards the end. The blatant enthusiasm of Rudy, the raw stubbornness of Liesel, the sheer humanness of Max; these characterizations are what makes the characters stick out in the mind. The vivacity of their emotions defines them as people, and not simply separate and aloof entities. And Max is a person, instead of a stranger.

I will admit that the beginning is a little long-winded. Certainly, the actions taken during that time become important later, but Death, as narrator, seems to drag the story on. The only entertainment provided for me during that time was said narrator’s tendency to interject in the telling of his own story with important statements. When things begin picking up, those statements carry more and more weight, until they become essential to the story itself. This element of the story allows the narration to carry more of an omniscient presence than the first person point of view normally allows.

Said presence is used in part to dispel the tension of the moment. We know from the beginning that certain characters die, and this fact is repeated in a matter-of-fact, though regretting, tone. Death is sorry for what he has to do. The sorrows of humanity do not escape him, and his narration is often pulled off on tangents, with great effect. His style of narration allows for flashbacks that aren’t quite flashbacks, because they don’t seem to be so; instead they appear to be pain-filled restatements of the past. It is the presence of these tangents, when placed in parallel to the main story, that fills the book with a kind of pain and horror only a too-vivid memory can inflict.

I would recommend this book for just about anyone, with a few exceptions. The message delivered is extremely powerful in its emotive qualities, and the actions of the characters speak for themselves. However, the sheer rawness of the described violence may be enough to upset some readers, as may the fairly liberal use of swearing. Though it is worth it to note that these elements, one full of pain, the other matter-of-fact, serves to help pound the book through the barrier between harsh reality and harmless fiction.

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Notes: The Book Thief is Markus Zusak's fifth and latest book. It was first published in 2005 by Pan Macmillan Australia. The version I read was hardcover, published in 2006 by Knopf Books for Young Readers, an imprint of Random House Children’s books, a division of Random House.

Young Adult Historical Fiction (though some places have it marked as Children’s Historical Fiction), 552 pages, first person point of view

Topics: Hope, friendship, family, loyalty, sacrifice, failure, success, compassion, life, death, censorship, voice

Publisher’s age recommendation: Unavailable (though I’ve seen it placed anywhere between 13+ to 14+)

Warnings: Prevalent violence (bombing, cruelty, hitting; though it is imperative to the book’s impact; keep in mind that it is set during World War II). Moderate use of drugs (smoking) and minor use of alcohol. Use of drugs (smoking) and alcohol by legal minors, although it is implied that this is legal according to the setting of the book. Thievery, though in some instances this is not condoned. Anti-Semitic and racist talk, though this is not condoned. Liberal swearing and prevalent religious-themed curses.

I Am the Messenger

Ed Kennedy is the epitome of mediocrity. His younger brother has gone off to university; he stays home and becomes a taxi driver. His sisters are both married and have kids; he is single and lives with his dog, the Doorman. He lives his monotonous life, never reaching for anything, always finding excuses, ways to deal with his hopelessness, especially when it comes to his love for his friend, Audrey. Then Ed receives the first ace. Three addresses, three people. It appears that he has been chosen to care for the people on the cards, even if in the process he hurts them. As he works his way through each ace, the deliberateness of these addresses makes its way into his mind. Who is sending him these cards? And why did they choose him?

I liked Zusak’s fourth novel mostly for the messages it carries more than any other aspect. With each person or family Ed helps, it seems that he gains more life, more character, though the conflict isn’t always clear and the characters don’t seem all that strong. And each message is like its own story, as a single person finds himself caring for another person’s story rather than his own. A theme like that is worth remembering, and I believe that it was carried off extremely well, and more than a little lyrically.

There were a few things that bothered me about the book, though. The ending, first of all, seemed a little too deliberate. No, there will be no spoilers--but the number of deus ex machina used within this book is enormous, and this might have subtracted slightly from my opinion, though the deliberateness of the use of this element did make the book easy to follow. This, combined with a few cheesy statements, served to make the book, at least for me, a bit of a dragged-on narration. On top of that, I felt that Ed and his friends weren’t really well-characterized, except near the end. Everything appeared to be superficial when it concerned them.

However, that lack of characterization fits perfectly into the the theme of potential versus expectation, and so turns out to be a good thing. Ed’s friends--and Ed, for that matter--learn that they can reach for something more, if they try. That discovery causes them to think more of themselves, and therefore they become stronger characters. Following that line of thought, it could be argued that they were never really flat to begin with, as their own secrets and stories were present before they were revealed.

Another thing I really liked--and I’ve noticed this in all of Zusak’s works I’ve read so far--is that no detail can be deemed unnecessary. Every scene contributes itself to the story and relevant themes in a clearly defined manner, and every detail about a person is relevant to their character. Every dialogue serves to say something about a person, whether it’s a sarcastic attitude or a lighthearted facade. However, I think this may also lead to some of the more awkward statements, though there is something to be said for the use of the deus ex machina within the plot, which contributed greatly to the storyline itself.

This isn’t so much a coming-of-age novel, but rather a coming-into-oneself story. The self-discovery evident throughout this book is solid. Despite my own lack of interest, I would still say that it’s a good read with an overall positive message.

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Notes: I Am the Messenger was Markus Zusak's fourth novel. It was first published in 2002 by Pan Macmillan Australia under the title The Messenger. The version I read was paperback, published in 2006 by Knopf Books for Young Readers, an imprint of Random House Children’s Books, a division of Random House.

Young adult fiction (though some places have it marked as Children’s fiction), 357 pages, first person point of view

Topics: Identity, kindness, friendship, respect, potential versus expectations, family

Publisher’s age recommendation: Unavailable (though I’ve seen it placed anywhere between 12+ and 12-17)

Warnings: Prevalent, blatant sexual references, and some brief talk of semi-graphic fantasies. Some violence (beatings), though it is not condoned. Strong implications of rape. Liberal use of drugs (smoking) and alcohol, and implication of substance abuse. Thievery, though this is not condoned. Liberal swearing and minor death threats aided by guns.

Getting the Girl

Cameron Wolfe has finally found the girl for him. Her name is Octavia Ash, and she’s a harmonica player from across town. But of course, there’s a problem: She’s his brother’s girlfriend, at least for now. Rube’s become a player, and it lately seems like everything he does serves to pull their old friendship apart and accentuate the differences between them. So when Octavia dumps Rube for Cam, the two brothers come together in a fight that will result in the changing of both brother’s perspectives--of themselves, and of each other.

The thing that struck me the most about Zusak’s third book was how Cameron has evolved--as a narrator and as a person. His sincerity and raw determination make him a stronger character than he was in the first two books. Every one of his actions towards Octavia is made with good intention, and he is always very honest about his feelings. I noticed this in the other books too, but it always seemed as if this sincerity was put on the back-burner as Cam went about his way. Now, he seems much softer than before, to the point where he almost appears helpless. This makes him awkward at times, and slightly cheesy in his actions, but it also makes him a very real and sympathetic character.

Rube, on the other hand, seemed a bit two-dimensional, at least until Octavia leaves. Then his actions are blunt and insincere. In a way, he was the really deep character, with thoughts and feelings that were never shared, but implied. While Cam is focused inward, Rube is focused outward; he knows what he is, and is happy to be just that: he holds on to that fact throughout the book, regardless of what he has to do. After all, Rube is still facing his own struggles from Fighting Ruben Wolfe. The fact that Rube’s motivation is never revealed, but is a strong motivating factor in the conflict between the two brothers takes his character to deeper level than in the other two books.

The one thing I really didn’t like about this book was Cam’s actions toward his brother. His fighting I could see, but I got the feeling that Rube was the really deep character there, not Cam. Sure, Cam has his moments, but the best moments come from Rube, whenever he reveals just a little bit more of his own character. Cam’s actions seem more bent on discovery, on finding himself--again, making him sympathetic--but it didn’t do much for my interest. Cam’s actions towards Octavia were very much along these lines, and that, I think, is what made them cheesy. He was too focused on discovering who he was and what he wanted to see what was really in front of him.

I liked this book; Cam’s ability to appeal to reality, and Rube’s blunt harshness, put together a scenario that was very real. The storyline may have been a little difficult to get into, but things pick up with Rube very quickly, and the driving conflict is put into play almost right away. In all, a good conclusion to the Wolfe trilogy.

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Getting the Girl was Markus Zusak's third novel, and the third and final book in the Wolfe trilogy. It was first published in 2001 by Pan Macmillan Australia under the title When Dogs Cry. The version I read was hardcover, published in 2003 by Arthur A. Levine Books, an imprint of Scholastic.

Young adult fiction (though some places have it marked as Children’s fiction), 261 pages, first person point of view.

Topics: Identity, family

Publisher’s age recommendation: Unavailable (though the reviews I’ve seen have placed it anywhere between 12+ and 14+)

Warnings: Mild innuendo and non-detailed kissing, most of which consists of non-involved descriptions. Some brief violence (a fistfight), and implied violence with a described graphic result (the condition of a person after taking a beating), although it is not condoned. Possible implication of stalking and unhealthy obsession. Legal minors drinking alcohol, though it is implied that this is legal according to the setting of the book. Mild swearing.

My opinion: = I liked it quite a bit, but things were really winding down with the series, and certain elements seemed lacking.

Fighting Ruben Wolfe

The Wolfe family has fallen on hard times. Cameron’s father is recovering from injuries received from a burst pipe, and meanwhile, is unemployed. His mother works full time to help make up for the loss. His sister Sarah is working overtime, and his brother Steve has postponed moving out so the family can get his rent. For Cam and Rube, the situation seems hopeless. The brothers spend their time at the greyhound track, misplacing bets and losing money. At school, they are taunted; it is there that Rube snaps. When the two are contacted by an underground boxing manager, they see it as an opportunity to pocket some money. And so Rube becomes the unbeatable Fighting Ruben Wolfe; Cameron becomes The Underdog. But although they began fighting for the money, it seems that the reason they continue is entirely different. The question is, what are they fighting for?

The sequel of The Underdog and Markus Zusak’s second novel, this book grounds out the reality of the situation tremendously well. The passionate motivations of both Rube and Cam make them very real and identifiable, and their conflict as Cam observes Rube’s reactions to his success drives the impact of the story home. On top of this, the constant implied conflict between the brothers as they continue to separate from their mirror image causes each character to maintain a certain depth that didn’t exist in The Underdog. Now the differences are even more apparent: Rube is the winner; Cam is the loser. They don’t follow each other around anymore, even though they try. This is what makes the main action of the story appear to be very real: the parallels and blatant contrasts between the two scenarios.

Like The Underdog, each action the characters take has a meaning that relates in some way to the overarching theme. However, instead of painting the reality on, this tendency serves to heighten it, making the novel that much more believable. On top of this, Cam no longer keeps track of his dreams, rather choosing to make more of a note his nightly conversations with his brother Rube. These dialogues don’t hold the cheesiness that the dreams did, and each one serves to ground out each brother’s sense of self.

However, if there was one thing I didn’t like, it was the cheesiness of some of Rube’s dialogue. I got the feeling that while his character was strong, he was still a bit awkward, despite the fact that he appeared to be absolute. Some of the same occurs in his actions, and I think this might be aided by the broken narrative style, which is a little more noticeable than in the previous book. In certain parts, it even seemed as if the chapter or scene had ended, when in fact it had not.

I think that the impact of this book is what makes it worth reading. The conflict between Cam and Rube appears very real as each one appears to separate from his mirror image. The story was easy to get into and had enough action to keep me reading until the end. On top of that, the overall narrative style is comfortable and easily read, and the characters deep and identifiable.

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Fighting Ruben Wolfe was Markus Zusak's second novel, and the second book in the Wolfe trilogy. It was first published in 2000 by Omnibus Books, an imprint of Scholastic Australia. The version I read was hardcover, published in 2001 by Arthur A. Levine Books, an imprint of Scholastic. Note: In the United States, Fighting Ruben Wolfe is considered to be Markus Zusak's debut novel, instead of The Underdog, which never sold in the United States.

Young adult fiction (though some places have it marked as Children’s fiction), 219 pages, first person point of view

Topics: Family, identity

Publisher’s age recommendation: Unavailable (though the reviews I’ve seen have placed it anywhere between 9-13)

Warnings: Some brief innuendo, and a non-detailed, non-involved kiss. Prevalent violence (boxing). Descriptions of depression. Talk of immoral acts, and possible innuendo that they are taking place, though this is denied. Talk of drugs and alcohol and description of substance abuse. Talk of thievery, which is carried out, though it is not condoned and the stolen object is replaced. Minor swearing and prevalent coarse language.

My opinion: = I loved the impact of it.

The Underdog

Cameron Wolfe knows what he is. He is a boy, young and dirty, and happy to just accept his place in life. He and his brother Ruben make trouble, planning crimes they never commit and playing one-handed boxing games in their backyard. When Cam begins to work for his father, he meets Rebecca Conlon. He would do anything for her; she doesn’t care for him. He realizes then that he doesn’t want to accept his life for what is it. And it’s then that he vows that if he ever got a girl, he would treat her right. He wants to change--but how?

The first thing I noticed about The Underdog by Markus Zusak was how difficult it is to find. It wasn’t even mentioned when I tried to look for book reviews, and nothing about the sequel says anything about a previous book. To people in the United States, it appears that this book does not exist. The only place, it seems, to find copies is in Germany and Australia--even then it’s still difficult to find.

Granted, I did have trouble getting into it. The books starts off humorously enough, but I didn’t feel that it was carried well by the characters. I got the feeling that everything was two-dimensional and flat, even Cam’s feelings for Rebecca. It almost seemed as if the eldest brother and sister, Steve and Sarah, were characterized the most. Cam isn’t too strong a narrator, and all he does is follow Rube around, at least until near the end, when he learns to think for himself.

And that, I think, is the novel’s greatest strength. Cameron Wolfe learns to think for himself, and in doing so he becomes a stronger narrator. There exists conflict in his actions and thoughts; he wants to change. Maybe the book seems a bit dull at first because he doesn’t know how to really think for himself, the way Steve does, and the way Sarah later learns. That fits itself very nicely into the theme of identity, as the self-discovery Cam puts himself through is mirrored by his brother Rube. Blemishes appear in their identical images, and while they are still friends, they are actually different people, with different feelings and noticeably different styles.

Another thing that struck me was the fact that no scene contributes nothing to the story. Every dream, every action, holds some sort of symbolism relating to the overarching theme. Everything he does relates in some way to his search for what he really is. In some places, this fact leaves a very strong sense of identity behind. In others, it leads to the sense of disillusionment. Much of the book consists of the latter tendency, though that is changed as Cam learns more about himself.

I would say that this book is worth the read just for the message it sends. The Underdog sets up Cam and Rube’s sense of self for the rest of the next book, and provides the back story for the rest of the series. Granted, the broken-narrative style taken in certain scenes can be difficult to get used to, but it doesn’t overpower the rest of the book.

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The Underdog was Markus Zusak's first book, and the first in the Wolfe trilogy. It was first published in 1999 by Omnibus Books, an imprint of Scholastic Australia. I found it here. The version I read was paperback, published in 2007 by Omnibus Books.

Young adult fiction (though some places have it marked as Children’s fiction), 140 pages, first person point of view

Topics: Identity, coming of age

Publisher’s age recommendation: Unavailable (though some reviews I’ve seen have placed it anywhere between 12+ and 14+)

Warnings: Some brief innuendo, and a non-detailed, non-involved description of kissing. Some violence (boxing), though it is not condoned. Possible descriptions of depression. Talk of drugs and possible innuendo of substance abuse. Talk of thievery and similar illegal acts, though these are never carried out. Minor swearing and prevalent coarse language.

My opinion: = I liked it, but there were certain elements that seemed lacking.

Renovations

Hello all. This is but a small note to say that I've renovated the place. You'll notice that things are a bit simpler and more organized.

To those who were not here for the previous two months or so, welcome. This blog was created as a motivational tool for a project I'm working on. The product may look like an essay; it may look like a review. I prefer the term analysis, even though that isn't quite right, either. It's more of an analysis-review. A short summary goes before each analysis, and I'll be focusing on what I liked--or didn't like--and why (hence the "review"). In the process, It'll probably look like I'm going more in-depth than I should. I'm not. This is just how I like to analyze things--hence the "analysis."

I'm currently putting my past posts up for heavy revisions. This probably won't happen more than once, because there's already five of them, and it's a major pain having to copy everything and go nitpicking.

And yes, there is a method to this madness. I have a goal: to get through all the books on my bookshelf. But I also have another goal, one that's far more interesting and time-consuming: to study how each author has evolved over time. So far, it's led to the discovery of one book I didn't know existed, one series I would never have read otherwise, and one book that I would never have read due to preconceptions. And I've loved them all.

All right, so every book has its moments. But I can't say I've regretted starting this.

Lastly, I think it might be important to note that I will either own the books analyzed, or they will be checked out of the library. I’ll provide a link in the post of the particularly hard-to-find books (so far there’s been two) to wherever I bought my copy from.

Other than that, my reading list is in the next page over, and some random little updates on the page next to that.

That's it, I think. Advice will be received warmly, book recommendations with much excitement, and general comments with much gratitude. If you have any questions, feel free to ask. Pertinent contact information stands as thus: sixcentsofspeculation(at)gmail(dot)com.

Now I think I’ll stop rambling. Heh, that’s a funny word.

Ramble.