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He slowly extracted the pilot’s soul from his ruffled uniform and rescued him from the plane,” (Zusak 491) In this point of view, Death gives an imagery of being both an idea and a physical person. A second exemplar that adequately displays the diversity of the narrator is very indirectly related to Liesel.
Death spoke about sufferings with the Parisians: “When their bodies [the Jews] had finished scouring for gaps in the doors, their souls rose up…their fingernails had scratched at the wood and in some cases were nailed into it by sheer force of desperation…” (Zusak 349) Death keeps the reader aware of the WWII happenings both in and out of Molching.
The final piece of evidence that demonstrates variety in the character of the narrator is found at the very end of the book.
After a stock character, named Frau Holtzapfel, spits on the door of the Hubermans, Death remarks, “Both [of her sons] were in the army and both will make cameo appearances by the time we’re finished here, I assure you.
” (Zusak 44) This hint at the future of the book is a preparation of what is to come for these characters, and if caught, is very important.
As World War II progress circumstances get dire and Max is forced to leave, later being captured, and Hans must rejoin the army.
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All seems fine until an enemy air raid blows up Liesel’s life by landing on Himmel Street, and killing her Mama, Papa, Rudy, and others…The Hubermann’s raise Liesel well, helping her through chaos she went through, as Liesel made friends, like her best friend and unknown lover, Rudy Steiner.As Liesel explores her love of books and her thrive to steal she is acquainted with a Jew, who comes to hide in the Hubermann basement.Zusak uses this tool to give hints, often time very blatant, at important parts of the story.For example, in a short chapter in which Rudy, Liesel’s best friend, saves a book for her, we are given key information into the future of this boy.(Zusak 30) From this we gather not only that Liesel continued a illustrious career of stealing, but also that her life entailed a ‘hidden Jew.’ A third occurrence of foreshadowing in this novel is a discrete example of this device.While these foreshadowings may be hard to catch on to, they can give away essential information to the story.Irony is third and final literary device the reader finds to enhance the story.Death’s clever side note tells us, “He didn’t deserve to die the way he did,” and a few sentences later, revealed to us is: “he was not deserving of the fate that met him a Worthington 3! ” (Zusak 242) Now the reader anticipates a near death for this young character.The next instance of foreshadowing is not related to death, and gives away no more than a slice of what is about to come in the story.