'It is 1939. Nazi Germany. The country is holding its breath. Death has never been busier, and will become busier still. Liesel Meminger and her younger brother are being taken by their mother to live with a foster family outside Munich. Liesel's father was taken away on the breath of a single, unfamiliar word - Kommunist - and Liesel sees the fear of a similar fate in her mother's eyes. On the journey, Death visits the young boy, and notices Liesel. It will be the first of many near encounters. By her brother's graveside, Liesel's life is changed when she picks up a single object, partially hidden in the snow. It is The Gravedigger's Handbook, left there by accident, and it is her first act of book thievery. So begins a love affair with books and words, as Liesel, with the help of her accordion-playing foster father, learns to read. Soon she is stealing books from Nazi book-burnings, the mayor's wife's library, wherever there are books to be found. But these are dangerous times. When Liesel's foster family hides a Jewish fist-fighter in their basement, Liesel's world is both opened up, and closed down.'
[Source: Libraries Australia. Sighted 30/10/08]
An adaptation of Marcus Zusak's novel.
This work is affiliated with the AustLit subset Asian-Australian Children's Literature and Publishing because it has Japanese, Chinese, Thai, Vietnamese and Korean translations.
The Book Thief is indexed as an adult book, but the affiliation applies because it has been reviewed as a young adult text, and has also won the Michael L. Printz Award for Excellence in Young Adult Literature.
'This unique book on neurocognitive interpretations of Australian literature covers a wide range of analyses by discussing Australian Literary Studies, Aboriginal literary texts, women writers, ethnic writing, bestsellers, neurodivergence fiction, emerging as well as high profile writers, literary hoaxes and controversies, book culture, LGBTIQA+ authors, to name a few. It eclectically brings together a wide gamut of cognitive concepts and literary genres at the intersection of Australian literary studies and cognitive literary studies in the first single-author volume of its kind. It takes Australian Literary Studies into the age of neuroawareness and provides new pathways in contemporary criticism.'
Source: Publisher's blurb.
'Liborum necesse est se faciat amatorem. Perhaps, as this Latin proverb suggests, it is necessary to fall in love with books, to turn them into lovers. But what happens when this passionate love affair spins out of control? In The Book Thief (2005), Markus Zusak's novel aimed equally at young adult and adult readers, the eponymous protagonist rarely engages with books because they afford stories of enchanting and enchaining interest. Rather, Liesel Meminger seems to hunt and enjoy books for quite different reasons than the delights of storytelling and pure entertainment. I first explore the laws of attraction which make books so beguiling to Liesel, before examining if this impulsive obsession of acquiring books has not become a blatant symptom of bibliomania, and more specifically of bibliokleptomania. After discussing the psychodynamical perception of what is often referred to as book madness, I shall demonstrate these printed works in Markus Zusak's novel are much more than mere storytelling as they fulfil specific functions, all of which challenge the normative way of seeing texts, literary and otherwise.'
'In this paper I argue that Markus Zusak's The Book Thief allows for the personal and collective exculpation of the common or ‘ordinary’ citizens of Germany who lived through the Third Reich. By drawing on the German historian Martin Broszat and his historiographical study of ‘everyday’ life under Nazi rule, I establish that the novel creates a number of contentious themes. First, it suggests that the Nazis were a group who resided on the periphery of German society, and that the rise of Hitler's Third Reich was unpopular among the general German population. Second, while Germans later became victims of Allied bombings and/or Russian invasion, the population was also victim to the nation's political situation. In arguing that German citizens were victims of the Nazis, The Book Thief separates a supposed ‘demonic’ social minority from the ‘everyday’ working class. Depicting the German lower classes as innocent bystanders or victims, the book allows its readers and, in particular, its German readers, to reflect upon this tumultuous historical period with some cultural and social moral fortitude intact. Furthermore, the paper suggests that this novel is just one example of a corpus of Australian texts that have, in recent years, reconfigured traditional literary representations of the Nazi regime and the Holocaust.'
'For the third consecutive year, the local young adult title The Book Thief has snaffled the No 1 spot in the Dymocks Top 101 survey, an annual list of readers’ favourite books' (Rosemary Neill).