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The Monday Morning Memo

Some books are forgettable.
The Book Thief is not.

In it, Markus Zusak gives us a look at 1942 Germany through the eyes of a 9 year-old girl. The book's quirky narrator, Death, will occasionally slip his own odd comments into the story. These observations always begin with the color of the sky during the moment he is about to describe. Here, Death describes Auschwitz:

“For me the sky was the colour of Jews.
When the bodies had finished scouring for gaps in the door, their souls rose up. Their fingernails had scratched at the wood and in some cases were nailed into it by the sheer force of desperation, and their spirits came towards me, up into my arms. We climbed out of those shower facilities, onto the roof and up, into eternity's certain breadth.”(p272)

Did I say the narrator was quirky?
Here, Death talks about 1942:

“Forget the scythe, God damn it, I needed a broom or a mop. And I needed a holiday.” (p329)

But for all his strangeness, Death doesn't make the book darkly comic; he makes it profoundly tender. Commenting on the countless voices in pain that call out for him to come:

“At times I wish I could say something like 'Don't you see I've already got enough on my plate?' But I never do. I complain internally as I go about my work and some years, the souls and bodies don't add up, they multiply.”  (p330)

The primary voice of the book is Liesel, a reasonably happy 9 year-old unaware of what's happening all around her. Though Death comments only from time to time, he is never far from the page and you feel him always close at hand.

Oddly, you are never afraid.

Markus Zusak is a young writer destined for greatness.
I much look forward to his next work.

– Roy H. Williams

 

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Random Quote:

“Laurence Arne-Sayles began with the idea that the Ancients had a different way of relating to the world, that they experienced it as something that interacted with them. When they observed the world, the world observed them back. If, for example, they traveled in a boat on a river, then the river was in some way aware of carrying them on its back and had in fact agreed to it. When they looked up to the stars, the constellations were not simply patterns, enabling them to organise what they saw, they were vehicles of meaning, a never-ending flow of information. The world was constantly speaking to ancient man.”

“All of this was more or less within the bounds of conventional philosophical history, but where Arne-Sayles diverged from his peers was in his insistence that this dialogue between the Ancients and the world was not simply something that happened in their heads; it was something that happened in the actual world. The way the Ancients perceived the world was the way the world truly was. This gave them extraordinary influence and power. Reality was not only capable of taking part in a dialogue – intelligible and articulate –  it was also persuadable. Nature was willing to bend to men’s desires, to lend them its attributes. Seas could be parted, men could be turned into birds and fly away, or into foxes and hide in dark woods, castles could be made out of clouds.”

“Eventually, the Ancients ceased to speak and listen to the World. When this happened the World did not simply fall silent, it changed. Those aspects of the world that had been in constant communication with men – whether you called them energies, powers, spirits, angels, or demons – no longer had a place or a reason to stay and so they departed. There was in Arne-Sayles’s view, an actual, real disenchantment.”

- – Susanna Clarke, Piranesi, p. 147-148. It seems to me that Anthony Doerr is the only world builder who constructs alternate realities in a manner that is similar to Susanna Clarke. – Roy H. Williams

The Wizard Trilogy

The Wizard Trilogy

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