The Book Thief Literary Analysis

She swears at her neighbors, her husband and Liesel. Rosa occasionally beats Liesel with a wooden spoon. But Hans Hubermann is the total opposite. He is portrayed as this tall, quiet and kind man. He rolls his own cigarettes, and teaches Liesel to read during the early hours of the morning.

Rose, Liesel's foster mother in "The Book Thief." Rose definitely has some unique qualities as a mother figure. She may not fit the traditional mold of a nurturing and affectionate mother, but she does care for Liesel in her own way. To start off Rose's introduction in the book, she was described as said "On the other was the squat shape of Rosa Hubermann, who looked like a small wardrobe with a coat thrown over it. There was a distinct waddle to her walk.

For instance, "The accordion remained strapped to her chest. When she bows her head, it sank to her lap. Liesel watched. She knew that for the next few days, mama would be walking around with the imprint of an accordion on her body. There was also great beauty in what she saw and she decided not to disturb it." (429). This shows a new side of Rosa Hubermann that has compassion, how the times of crisis and how Hans was drafted to the war and the bond that the family has made with Max. After everyone was taken, Rosa then realizes that her life was not as horrible as she previously thought, but in fact, was great. She finally realizes she should appreciate her life and starts to treat everyone with warmth and compassion. Rosa Hubermann shows herself to be a true example of a dynamic character as she transforms

Rosa Huberman is Liesel's new mom. Another way is when, after death, the narrator looked at the good in Rosa Huberman when Liesel was only looking at the bad. “She was a good woman in a crisis. Even when the arthritic Helena Schidt canceled the washing and ironing service, a month after Max’s debut.she simply sat at the table and brought the bowl to her. Good soup tonight.

In the beginning of the story, Rosa’s feelings for Hans were not straightforward, and she would often raise her voice or yell at him. Rosa shows this behavior where she says, “‘Don’t ask him for help,’ Mama pointed out. ‘That Saukerl.’ Papa was staring out the window, as was often his habit. ‘He left school in fourth grade’” (Zusak 28). This quote displays Rosa’s her loving attitude towards her husband. However, towards the end of the story Rosa proves her affection to Hans. The text states, “Rosa Hubermann was sitting on the edge of the bed with her husband’s accordion tied to her chest...The accordion remained strapped to her chest. When she bowed her head, it sank to her lap. Liesel watched. She knew that for the next few days, Mama would be walking around with the imprint of an accordion on her body” (Zusak 290). This quote describes how lost and devoted Rosa felt when Hans had to leave for war. All in all, Rosa became more affectionate towards Hans as the story

After losing her mother and her brother, Liesel’s life and identity is changed drastically many times. It is through books that she discovers and becomes comfortable with this change. When she first meets Hans and Rosa Hubermann, her new foster parents, she does not wish to speak with them or get to know them. However, once Hans discovers Liesel with the book she stole when her brother was buried, The Gravedigger’s Manual, they bond over Hans teaching Liesel to read. Liesle describes the first time her and Hans have a lesson in the middle of the night: “She had done this at school, in the kindergarten class, but this time was better. … It was nice to watch Papa’s hand as he wrote the words and slowly constructed the primitive sketches” (Zusak

Liesel meets her new foster mom, Rosa Hubermann, who is a very tough, hard woman who swears and calls everyone names. She doesn’t know how to care for or comfort a child who has been through such a traumatic experience.

She start of with “Stella, cold, cold, the coldness of hell”. She has already seat the mood for the reader. The story will have a certain darkness to it. Stella her niece is described to be this cold thing that only intention is to eat rosas baby, Magda. At 14 rosa is describes as “too small, with breasts of her own,.......ravenous,a growing child herself, but not growing much, stella did not menstruate.”

“I [Death] am haunted by humans” (Zusak 550). This example of imagery, a literary device, in The Book Thief juxtaposed how Death was haunted by the cruelty of human action, just as how humans were haunted by Death. Literary devices were implemented by authors to create gripping stories that they wanted to share with their readers. Novelist Aldous Huxley once said that “the essay is a literary device for saying almost everything about everything”. While casual readers may not realize the intricacies of literary devices in writing, they could definitely remember how the stories went. Through literary devices, stories can metamorphose into something greater and memorable. In The Book Thief by Markus Zusak, “To An Athlete Dying Young” by A.E.

Mrs. Linde was not as privileged as Nora was--she had to accept responsibility and work hard for her money. Mrs. Linde's acceptance of responsibility draws attention to Nora's abandonment of her father. When her father was sick, she chose to spend all of her time caring for her husband and waiting for the arrival of her child, then to find any time to go and visit him. Nora did whatever she could to raise money to go on a trip to save Torvald's life and did not think once about visiting her dying father. During the friend's conversation, it was actually Mrs. Linde that brought up her father. When Nora was discussing how difficult it was to get away and go to Italy, because she had just had her child, she failed to mention that her father had passed away during that time and could have contributed to the difficult timing. Mrs. Linde is the one who had brought up the death of Nora's father in the conversation, in which Nora replied "yes...wasn't it dreadful, I couldn't go look after him. I was expecting little Ivar any day. And then I had my poor Torvald to care for--we really didn't think he'd live. Dear, kind Papa! I never saw him again", (Ibsen, 374). Mrs. Linde's priority was taking care of her mother; Nora's priority was raising money to take her husband on a trip to care for him while completely abandoning her father. Mrs. Linde's responsible actions exaggerate Nora's irresponsibility and neglect.

She wants to get her father to lend them some money, but Lydgate does not want that because he says that it is “too late to do that” (p. 368). She does not understand how asking for help makes Lydgate feel. Rosamond’s attitude changes when Dorothea comes to visit her and forgives her for what she did with Will. She was “taken hold of by an emotion stronger than her own” (p.491), and becomes a much nicer, less self-centered person.

Near the play's resolution, Nora witnesses Torvalds reaction towards the letter. When talking to Nora about what he just read in the letter, Torvald said, “Oh, what an awful awakening! In all these eight years-she who was my pride and joy-a hypocrite, a liar,-worse, worse-a criminal! How infinitely disgusting it all is! The shame!” (Ibsen Act 3). Nora comprehends more about their soon to be failing marriage that she failed to realize in the past. Now, Nora understands that during her and Torvald's relationship, Torvald has never respected Nora's decisions. When realizing this, Nora accepts the fact that she has never been an obedient wife and a great mother for her children. As a result of the play, Nora walks out on her husband and children leaving them alone without a companion for Torvald and without a mother that is supposed to nourish and love the children. Reflecting on this, if Nora would have talked to her husband before borrowing money to figure things out together, this conflict might have all been avoided and the Helmer family would have been a happy, loving

The Duke took her under his protection and gave her home after he had exiled her father from his home. Although Frederick likes her as much as his daughter, as the time passes, he starts to be suspicious and accuses her of betrayal. She has to escape and Frederic’s daughter Celia joins her since they are like sisters. To be successful in their plan, they decide to disguise themselves. Rosalind guises herself as a young man Ganymede, because her body constitution is tall and reminds of that of man’s while Celia dresses herself as a poor girl called Aliena. However, the decision to flee in disguise was the idea of Celia, not

Hans is a passionate, caring man who earns his living as a house painter by day and an accordion player by night. Liesel believes his eyes show kindness, and is closer to him from the beginning than to her foster mother. He is one of a few in their village who is not a registered member of the Nazi party, which comes to have serious repercussions on the family as the book progresses. Rosa Hubermann is a stern, strong woman who looks like a “wardrobe with a coat thrown over it” and would be “cute,” but appears perpetually annoyed. She peppers her language with epithets like “Saumensch” and “Saukerl” and “Arschloch”. “Sau” refers to “pig” and mensch is girl and kerl is man, arschloch sounds pretty close to its English equivalent. From the beginning Liesel is “saumensch,” which at first refers to Rosa’s annoyance at taking this girl in, even though it does mean more money for the family. But by the end, it has become a term of true endearment. Liesel’s best friend in the village is a little boy named Rudy, “the boy next door who was obsessed with the black American athlete Jesse Owens.” Rudy is in love with Liesel and always pesters her for a kiss, which he does finally receive, after some pretty serious turns in the story. He is a simple, almost naïve boy, and would do almost anything for her, including jumping into a nearly

The story also states that the poor living conditions damaged Rosa’s health, since she was almost starving to death her breast could not produce any milk for Magda and she was not menstruating any longer. This health impediments would force Rosa too lose her role as a mother. Any mother starts as the ‘’ideal mother’’. The ideal mother is that one who fulfills all the needs of her offsprings and takes the responsibility of raising them as the best human being possible. Rosa losses this role once she suffers during the Holocaust, her health deterioration made her impossible to take care of her baby, ‘’Magda took Rosa’s nipple, and Rosa never stopped walking, a walking cradle. There was not enough milk; sometimes Magda sucked air; then she screamed. ‘’ This is the peak of her loss of the ideal mother, once Rosa can’t feed Magda she can’t fulfill any other responsibility and is no longer anything for Magda other than a sack of skin and bones who carries