The Book Thief Character analysis

Liesel Meminger. A German girl whose mother has given her up to the foster parent system. She can’t figure out why her mother would do such a thing, but remembers rough incidents from her childhood that suggest her father was a Communist. On the way to her foster parents’ home, she loses her brother. The memory of his death and loss acts as a basis for her nightmares and, ultimately, the bond between Hans and herself. Her relationship with Hans was formed almost as soon as they met; Hans was the only one that was able to coax her to get out of the car... “quietly.” (p.28) Liesel knew instantly that “she would have no trouble calling him Papa.” (p.36) Liesel’s relationship with Rosa is initially defined by the derogatory names Rosa calls her. Liesel soon learns that this language is just a hard shell that protects the soft heart within.

Liesel continued. WWII is happening in the background of Liesel’s story; she still lives a normal life in spite of this. Liesel has a certain goodness about her which draws people to her. E.g. Rudy, Hans, Ilsa Hermann, Max. Despite this, Liesel also roams the neighbourhood with Rudy Steiner and causes much havoc. E.g. Stealing books and food. –Note that it’s not thrill that drives her, but necessity. She recognizes the similarities between herself and Max even before he consciously meets her, as she studies him during his three day slumber when first arriving. She notes that “in the act of watching, was already noticing the similarities between this stranger and herself. They both arrived in a state of agitation on Himmel Street. They both nightmared.” Important note: Max’s presence in the Hubermann house ended Liesel’s childhood naivety.(p.231)

Hans Hubermann A house-painter by trade. Has trouble finding work because he was once kind to a Jewish family when the German law forbade that. (p.196) This suggests an unconditional fairness about his character, putting what’s right before his own good. He is true to his word; when a soldier volunteers Hans to remain in camp during WWI, the rest of the squad is killed. Hans believes that the soldier saved his life and promises that if the man’s wife and son ever need his help, he would provide it. This is how Max becomes connected with Hans. Hans’ ultimate mistake is when he gives in to his pity for the starving Jews being marched through Molching and offers him some bread. A hero in his own way.

Rosa Hubermann Described as “The Woman with the Iron Fist.” (p.37) Rough by nature and has a vulgar tongue. She often refers to Liesel as ‘saumensch’, although the term becomes one of endearment, rather than of malice. Despite the vulgarity, Rosa is a soft-hearted woman deep down. She takes Liesel and Max into her home, even though she does not know where her next meal will come from. Has her moments of compassion. E.g. Momentarily comforts Liesel after she spends the laundry money on posting letters to her mother. (p.107), accepts Max into her home despite that posing an obvious danger to her life. Rosa does not know how to show emotion. Her tyrannical nature and independence disappears with Max’s arrival. (p227)

Max Vandenburg Erik Vandenburg, Hans’ military buddy saved Hans in WWI. As a result, Hans offers the soldier’s wife his help in anything she might ever need. Over 20 years later, Max turns up on Hans’ front door step and seeks his help. He hides in the Hubermann’s basement where he spends most of his time reading Mein Kampf. Max’s friendship with Liesel is one of a kind. He recognizes a calm goodness about her and is drawn to her immediately. She describes him as having ‘hair like feathers’, a title that he thinks about often. Consider that not many beautiful words were directed at him as a Jew living in that time and place. This is one reason why Liesel earns his trust immediately. ‘Max and Liesel were held together by the quiet gathering of words.’ (p.268) It is on her birthday when she recognizes how alone he is. He decides to give her a gift, The Standover Man.

Max Vandenburg Max and Liesel have the fundamental basics in common; p.238 and they talk about this often. They share their nightmares and eventually become inseparable. Liesel eventually becomes Max’s eyes when he asks her to describe the sky to him. ‘It was when Liesel came down however, that Max found himself most interested in life again ... Each time with a new weather report.’ (p.270) Max’s presence in Liesel’s life ends her childhood naivety that she notices in Rudy. She learns the art of secrecy through him. Max dreams of being in a boxing ring with the Fuhrer, his anger at Hitler fuelled by Mein Kampf. ‘The Boxer’ (p.270) depicts Max’s desire to defeat Hitler’s plan and also reflects his self-image. Note how he imagines himself dressed, as opposed to how Hitler is. His self-image suffers so much that he is reduced to think that the Hubermann’s cold, wet basement for accommodation is ‘Better than I deserve.’ (p.226)

Max Vandenburg continued The living conditions of the basement eventually reduce Max to a dangerously sickly state. Despite having lost hope and the willingness to live, topped with the guilt of endangering the lives of the Hubermann’s and Liesel, one thing keeps him going: Liesel. ‘Often I wish this would all be over, Liesel, but then, somehow you do something like walk down the basement steps with a snowman in your hands.’ (p.335). When he falls unconscious, Liesel pleads with him to wake up, brings him several gifts in hope they will wake him and reads to him several times a day. Hans ends Max’s stay when he foolishly hands out a piece of bread to a marching Jew and is caught by the guards. Hans is afraid he will be arrested and his house searched. (p.423)

Steiner Through the use of Alex Steiner's character, Death illustrates how persuasive Hitler's propaganda is. Even a good man like Alex Steiner considers the idea that he might be better off with less competition. He is worried about his family and wants to do what he can to ensure their safety. If that means going along with the Nazi Party, then that is what he will do, which is what many people living in Germany at the time decided to do. They decided to keep their families safe.

Relationships Hans and Liesel Hans's ability to remove Liesel from the car in such a quiet and gentle way foreshadows the close relationship Liesel and Hans will develop. Even this early in the story, they understand one another. (Part 1)

Rosa and Liesel Another word that takes on great import is Saumensch, a name that Rosa calls Liesel when she does something wrong or is bothersome, but over time, Liesel comes to recognize this as a gruff term of endearment. She takes comfort in this in much the same way she takes comfort in Hans's cigarettes and accordion music. In this chapter, (The Woman with an iron fist) the dynamic between Hans and Rosa Hubermann is explored. Rosa has difficulty expressing affection, so she chooses to do so by calling those she loves names like Saukerl and Saumensch, terms that Liesel later associates with love. Hans, on the other hand, is playful and soft-spoken, and through his accordion playing and late nights spent with Liesel does she come to know his love.

Rudy and Liesel Rudy and Liesel's close friendship begins in this chapter, (The kiss) as well as Rudy's long series of attempts to get Liesel to kiss him. Liesel begins to see more of how the Molching community has been affected by the Nazi Party, particularly by the destruction of Jewish homes and through the behavior of shopkeepers, like Frau Diller, who requires her customers to heil Hitler when they enter. Interestingly, Rudy's hero is Jesse Owens, the African-American track and field athlete who won four gold medals at the 1936 Summer Olympics in Berlin, Germany, after which Hitler refused to shake Owens's hand.