Response to Mitchell

Mitchell, I love the connection you made on page 303. The symbol of renewal for Rudy is not a major deal, like a new found resolution to world hunger or something, but Rudy has been after a kiss from Liesel for a while, and saving one of the things that means a lot to her definitely is a way for Rudy to bargain. When you connected the water Rudy stood in to a baptism-like renewal, it made me see the situation in a different light. Rudy may be young boy, but at the bottom of page 303, the narrator tells us Rudy "...loved her so incredibly hard...he would never ask for her lips again and would go to his grave without them." This statement really brings out the importance and reasoning behind Rudy's persistant nature for a simple kiss.

Structural Patterns

The author uses symbolism between pages 26,185, and 193-194. On page 26, the author translates the name of the Hubermann's street for the reader. The street name is "Himmel" which translates to "Heaven." This concept may be found as ironic for the first third of the novel because Himmel Street seems to be everything but Heaven due to the less fortunate living circumstances and Rosa's attitude; however, page 185 changes the irony. The narrator states on page 185, "Max Vandenburg, the Jew, closed his eyes and drooped a little furter into safety" Max has just entered the Hubermann's household, his safe haven. When the narrator is describing the last time Max saw his mother on pages 193-194, he states, "From a drawer, she [Max's mother] took an old piece of paper and stuffed it in his jacket pocket. '....This could be your last hope.'" Page 194 informs the reader the paper had Hans Hubermann's name and address on it, thus the author is now demolishing the irony between Himmel Street and it's meaning. The author is enforcing that Himmel Street, though rough on the outside, and perhaps not quite to people's liking, is a safe, loving place compared to the other places in Nazi Germany.

Plot Plod page 161

The narrator changes his view of characterization of Max Vandenburg and Liesel Meminger on page 161. Death says, "You could argue Liesel Meminger had it easy. She did have it easy compared to Max Vandenburg. Certainitly, her brother had practically died in her arms. Her mother abandoned her. But anything was better than being a Jew." Prior to this statement, the author portrayed Liesel as the character deserving the most sympathy. On page 23, the narrator describes Liesel's behavior after her brother's burial, "Her knees entered the ground...Still in disbelief, she started to dig. He couldn't be dead..." Because of the sympathetic diction, the reader develops a pity for Liesel. The narrator's change in characterization on page 161 changes from pity for Liesel, to even more pity and sympathy for Max.

Response to Mitchell

Mitchell, I really like your connection to modernism on page 161. Family is a very traditional concept and definitely suggest a break in tradition for one to have no other immediate family. I found another connection on the same page, however I did not think about the connection to modernism until now.

ISM's Modernism

on page 161, Death begins the chapter by stating that liesels life is easy except that her brother died in her arms and she lost her mother. liesel does not have any immediate family, and this contributes to the idea of modernism. modernism is defined as having "a concious break with traditional forms such as family", and liesel expresses this concept through her loss of all family members.

ISM's Modernism

On page 197, Rosa Hubberman comes into a room screaming. she is obviously the dominant figure in her household, while normally the father would be. this directly ties in with modernism as it is defined as having "a concious break with traditional forms". in this situation, the traditional form would be that the male should be dominant, and Rosa demonstrates a concious break from this.

ISM's: modernism

page 284. liesel and Rudy are going to steal something in this chapter. this directly parallels the definition of modernism. modernism is defined as promoting a sense of "revolt/rebellion". Liesel and Rudy are both rebelling in this situation and contribute to the idea of modernism.

Connection: structural patterns

On page 303, viktor throws liesel's book into the river. Rudy immediately dives in after the book to retrieve it after the narrator stresses that the river is icy cold. Death has just said that rudy has had months of failure and that this was his one "win" or moment of glory. in this situation, the river is a symbol for renewal. Rudy is being "baptized" by the water that is present.

Connection: Foster(Is That A Symbol)

on pg.170, chapter "The Struggler, Concluded" there is scene in where Max, the jew,first arrives from his dangerous journey on the front porch of leisels family, and in his hands he holds a key, this is where foster comes into play. The key is very symbolic, it sybolizes freedom/enslavement, but in Max's case its freedom from hunger, capture, and the hate of the world. The Arguement "Everyone Deserves Freedom" is clearly supported, when Max began his journey to the house. He travelled miles, on the edge of being captured and the constant tension of not knowing when your going to get cought. In a way he fought for his freedom, and his weapon a key of freedom.