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iarlais's review against another edition
dark
emotional
inspiring
sad
tense
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? No
5.0
One of, if not the easiest 10/10 I've ever given in my life.
It's embarrassing that I should even try and write this review. Associating my pitiful prose with this magnificent masterpiece just feels wrong. It's describing the indescribable, articulating the appearance of a biblical angel.
But I did say I'd try, and it fits in that this book is full of triers. Spoilers ahead, because I'd find it hard to get into why this is a perfect piece of literature without delving into the plot.
I'll say the first of many obvious things and proclaim Death to be the greatest narrator of all time, and for The Book Thief to contain the greatest characterisation of death ever. I really do think it holds an indisputable claim to that throne. Death isn't exactly kind, but he's far from harsh or cruel. He's consistently sensible and rational. Hearing about someone who tries to enjoy the little things in life (maybe the wrong word) while going about his depressing job is greatly compelling, and it makes him feel very human, though I suppose telling him that would make him feel haunted. A friend of mine put it nicely when he said "It's the difference between a god of death and a god of the dead." Death here very clearly falls into the latter category, whereas Castlevania, or Puss in Boots 2's Death(s) fall into the former. Personally, after reading or watching versions of the entity where he's a mad murdering machine, it's so novel to read about an incarnation of this spirit that's again, not kind, but sympathetic to the plight of others.
So that's a whole paragraph on the narrator. Like I'm telling ya, this is just an impossible work to adequately review. If I'm not careful, I'll write a Wikipedia synopsis.
How about our characters? Well, when Himmel Street isn't being bombed, or marched on by Nazis with tortured Jews in tow, we've got an entirely character-driven story on our hands, and that is honestly such a rare accomplishment. It's so difficult to write a story where almost everything revolves around a character's motivations and not the events that surrounds them, but this is an exceptional work of art, after all. Everybody in this novel is so unbelievably fleshed out. Every chapter builds character, or if not, pushes the story forward, which results in some astounding pacing. Nothing is drawn-out, Death wants you to spend as many moments with the community of Himmel Street as possible.
The motifs are truly brilliant too. The book's foreshadowing is immaculate, and when it foregoes foreshadowing for outright telling you the ending, you'd think it'd ruin said ending but it somehow only strengthens it. I don't really know how Zuzak does it, but my theory is as follows: informing the reader of the ending lessens the shock value, true, but the shock isn't what he values. He drops the knowledge of the ending so that the reader can appreciate the time they have with Himmel Street more. It's like, I don't know, appreciating your last moments with a loved one because you know a certain someone is preparing to whisk a soul away. Since the character building is already so effective, it makes the inevitable conclusion that haunts us in the leadup all the more impactful. Two of Zuzak's many strengths working in tandem.
Liesel Meminger acts a great protagonist of my favourite fictional book ever written. Having a coming-of-age story set within a time where morality and kindness is so crucial is genius. Hans, Rosa, Max and her make for such a beautiful family, the strong beating heart that gives the book its blood. They are the core, and she is the core's core.
But I've saved the best for last. What truly makes this novel stand out from any I've ever read is its command of languages. Zuzak is an absolute fiend for using words in new and mind-boggling ways. I felt my jaw drop so many times during my reading, not so much for the plot as the awe-inspiring use of his vocabulary. I genuinely do not understand how someone can be so creative with words that have existed for hundreds of years, he truly makes the English language his personal weapon of choice in his quest to astound.
That's my attempt done anyways. The Book Thief is one of the finest works of art ever conceived. I see no reason why this shouldn't be held to the same acclaim as any classical text that survives to today. Plain and simple, it's a masterpiece, and I think I will be kept waiting for some time before I find a contender to its spot as my favourite literary work of fiction ever written.
It's embarrassing that I should even try and write this review. Associating my pitiful prose with this magnificent masterpiece just feels wrong. It's describing the indescribable, articulating the appearance of a biblical angel.
But I did say I'd try, and it fits in that this book is full of triers. Spoilers ahead, because I'd find it hard to get into why this is a perfect piece of literature without delving into the plot.
I'll say the first of many obvious things and proclaim Death to be the greatest narrator of all time, and for The Book Thief to contain the greatest characterisation of death ever. I really do think it holds an indisputable claim to that throne. Death isn't exactly kind, but he's far from harsh or cruel. He's consistently sensible and rational. Hearing about someone who tries to enjoy the little things in life (maybe the wrong word) while going about his depressing job is greatly compelling, and it makes him feel very human, though I suppose telling him that would make him feel haunted. A friend of mine put it nicely when he said "It's the difference between a god of death and a god of the dead." Death here very clearly falls into the latter category, whereas Castlevania, or Puss in Boots 2's Death(s) fall into the former. Personally, after reading or watching versions of the entity where he's a mad murdering machine, it's so novel to read about an incarnation of this spirit that's again, not kind, but sympathetic to the plight of others.
So that's a whole paragraph on the narrator. Like I'm telling ya, this is just an impossible work to adequately review. If I'm not careful, I'll write a Wikipedia synopsis.
How about our characters? Well, when Himmel Street isn't being bombed, or marched on by Nazis with tortured Jews in tow, we've got an entirely character-driven story on our hands, and that is honestly such a rare accomplishment. It's so difficult to write a story where almost everything revolves around a character's motivations and not the events that surrounds them, but this is an exceptional work of art, after all. Everybody in this novel is so unbelievably fleshed out. Every chapter builds character, or if not, pushes the story forward, which results in some astounding pacing. Nothing is drawn-out, Death wants you to spend as many moments with the community of Himmel Street as possible.
The motifs are truly brilliant too. The book's foreshadowing is immaculate, and when it foregoes foreshadowing for outright telling you the ending, you'd think it'd ruin said ending but it somehow only strengthens it. I don't really know how Zuzak does it, but my theory is as follows: informing the reader of the ending lessens the shock value, true, but the shock isn't what he values. He drops the knowledge of the ending so that the reader can appreciate the time they have with Himmel Street more. It's like, I don't know, appreciating your last moments with a loved one because you know a certain someone is preparing to whisk a soul away. Since the character building is already so effective, it makes the inevitable conclusion that haunts us in the leadup all the more impactful. Two of Zuzak's many strengths working in tandem.
Liesel Meminger acts a great protagonist of my favourite fictional book ever written. Having a coming-of-age story set within a time where morality and kindness is so crucial is genius. Hans, Rosa, Max and her make for such a beautiful family, the strong beating heart that gives the book its blood. They are the core, and she is the core's core.
But I've saved the best for last. What truly makes this novel stand out from any I've ever read is its command of languages. Zuzak is an absolute fiend for using words in new and mind-boggling ways. I felt my jaw drop so many times during my reading, not so much for the plot as the awe-inspiring use of his vocabulary. I genuinely do not understand how someone can be so creative with words that have existed for hundreds of years, he truly makes the English language his personal weapon of choice in his quest to astound.
That's my attempt done anyways. The Book Thief is one of the finest works of art ever conceived. I see no reason why this shouldn't be held to the same acclaim as any classical text that survives to today. Plain and simple, it's a masterpiece, and I think I will be kept waiting for some time before I find a contender to its spot as my favourite literary work of fiction ever written.
Content Warnings
Graphic: Child death, Gore, Sexual violence, Slavery, Antisemitism, and Death of parent
Moderate: Genocide