PART 2

READ PART 1 HERE: PART 1

Amirhosein Mahdavi

Professor Darzinejad

Research Methodology

30 January 2025

Literacy as a Lifeline: An Existential Reading of Markus Zusak’s The Book Thief

(Revised Edition, 2025)

Freedom of Will and Liesel’s Defiance

Viktor Frankl’s concept of "freedom of will," central to his Theory of Logos, asserts that humans always retain the ability to choose their attitude and actions, even in the face of external constraints or suffering. As Frankl explains, “Man is ultimately self-determining. What he becomes—within the limits of endowment and environment—he has made out of himself” (“Psychiatry Rehumanized”). This freedom enables individuals to take responsibility for their choices, shaping their identity and purpose. In Markus Zusak’s The Book Thief, Liesel Meminger exemplifies this freedom through her deliberate acts of book theft and her resistance to Nazi ideology, asserting her sovereignty and defiance against a regime that seeks to control every aspect of life.

Liesel’s first act of book theft is not an impulsive act of greed, nor a political rebellion, but a deeply personal response to grief. When she steals The Grave Digger’s Handbook at her brother’s gravesite, it marks a moment of profound loss and emotional fragmentation. In taking the book, Liesel begins to construct a symbolic link to her brother and mother — a way of preserving memory in the face of trauma. As Zusak writes:

On her first night with the Hubermanns, she had hidden her last link to him—The Grave Digger’s Handbook—under her mattress, and occasionally she would pull it out and hold it. Staring at the letters on the cover and touching the print inside, she had no idea what any of it was saying. The point is, it didn’t really matter what that book was about. It was what it meant that was more important. THE BOOK’S MEANING 1. The last time she saw her brother. 2. The last time she saw her mother. (“THE WOMAN WITH THE IRON FIST”)

Liesel’s second theft, The Shoulder Shrug, takes place in the aftermath of a Nazi book burning. As piles of literature burn in a public display of censorship, Liesel retrieves the book from the ashes, defying the oppressive regime’s attempts to erase dissenting ideas. This act illustrates her freedom of will, a concept Frankl emphasizes in his work: “Everything can be taken from a man but one thing: the last of the human freedoms—to choose one’s attitude in any given set of circumstances, to choose one’s own way” (“EXPERIENCES IN A CONCENTRATION CAMP”). Liesel’s choice to salvage the book not only reflects her rebellion against authoritarian control but also demonstrates her commitment to preserving the power of words in the face of destruction.

These small yet profound acts of resistance align with Frankl’s assertion that even under the most restrictive conditions, individuals can find meaning through their choices. Liesel’s defiance is not limited to her thefts; her relationships and actions further illustrate her pursuit of purpose. For instance, her bond with Max Vandenburg, the Jewish man hidden in her family’s basement, is forged through acts of storytelling and sharing words. By reading to Max and exchanging stories, Liesel creates a space of freedom and connection that defies the dehumanizing forces of Nazi ideology. Max, too, echoes the importance of this resistance through his quiet determination to survive. His creative acts, such as painting over the pages of Adolf Hitler’s manifesto, Mein Kampf, to craft his own stories, symbolize his defiance against the oppression that seeks to erase his existence. Through these shared moments of storytelling and resilience, Max and Liesel demonstrate how acts of imagination and connection can become powerful tools of resistance, asserting their humanity in the face of relentless inhumanity.

Liesel’s rebellion extends beyond her personal choices, as her actions often inspire or unite others in subtle but powerful ways. Her readings in the bomb shelters, for example, serve not only as acts of comfort but also as quiet resistance against the fear and oppression gripping her community. During these moments, Liesel chooses to rise above her circumstances, embodying Frankl’s belief that “Here lies the chance for a man either to make use of or to forgo the opportunities of attaining the moral values that a difficult situation may afford him” (“EXPERIENCES IN A CONCENTRATION CAMP”). Through her willful acts of defiance, Liesel demonstrates the capacity to transform hardship into purpose, a theme central to both Frankl’s philosophy and Zusak’s narrative.

Scholarly discussions of resistance in oppressive regimes further contextualize Liesel’s defiance. As James Dawes observes in Evil Men, even minor acts of resistance can shift the narrative, challenging the passive victim role and reclaiming individual autonomy. Liesel’s book thefts and her determination to read represent these micro-resistances, emphasizing her autonomy in a world that seeks to strip it away. Similarly, Rollo May, in his exploration of existential psychology, asserts, “Freedom is man’s capacity to take a hand in his own development. It is our capacity to mold ourselves” (Man’s Search for Himself, ch. 3). Liesel embodies this freedom through her choices, molding her identity and asserting her humanity despite the dehumanizing forces around her.

Ultimately, Liesel’s defiance is a testament to Frankl’s belief in the transformative power of choice. Her acts of book theft, storytelling, and connection with others demonstrate her freedom of will and her ability to find meaning amid chaos. By reclaiming agency over her circumstances, Liesel not only resists oppression but also creates a legacy of resilience, reinforcing the idea that even in the darkest times, individuals retain the capacity to choose their own way.

Reconciling Mortality Through Logos

One of the central existential dilemmas explored in The Book Thief is the inevitability of death and the search for meaning in its presence. Viktor Frankl’s Theory of Logos suggests that embracing mortality is an essential component of finding purpose in life. He writes, “at any time each of the moments of which life consists is dying, and that moment will never recur. And yet is not this transitoriness a reminder that challenges us to make the best possible use of each moment of our lives?” (“THE CASE FOR A TRAGIC OPTIMISM”). This idea is echoed throughout Markus Zusak’s novel, where Death, the omniscient and deeply reflective narrator, offers a unique perspective on human existence. Unlike traditional portrayals of Death as an emotionless or fearsome entity, Zusak’s Death is weary, observant, and paradoxically moved by human resilience. His reflections on mortality reinforce Frankl’s assertion that recognizing the impermanence of life compels individuals to seek meaning in their actions and relationships.

Death’s narration shapes the novel’s exploration of human impermanence, constantly reminding the reader of the fleeting nature of existence. From the outset, Death declares his unavoidable role: “I am haunted by humans” (Zusak, Epilogue). This paradoxical statement suggests that it is not humans who burden Death, but Death who is overwhelmed by the depth of human experience. He observes their suffering, their choices, and ultimately, their ability to persist despite loss. In doing so, Zusak aligns his narrative with Frankl’s idea that facing mortality directly can lead to a deeper appreciation of life.

Liesel Meminger, the protagonist, is constantly confronted with death, losing her brother, her foster parents, her best friend, and many others throughout the war. However, rather than succumbing to despair, she actively searches for meaning through literacy, relationships, and storytelling. Her determination to preserve the stories of those she has lost mirrors Frankl’s belief that meaning can be found through acts of creation. In a world shaped by destruction, Liesel’s words become an assertion of life’s significance.

Max Vandenburg, too, struggles with the presence of death but refuses to be defined by it. Hiding in the Hubermanns’ basement, he grapples with his uncertain fate but finds solace in his writings and artwork. In The Standover Man, he depicts his own journey, rewriting pages of Mein Kampf to tell his story. This act of artistic defiance is reminiscent of Frankl’s assertion that even in suffering, life remains full of meaning—if only one has the courage to recognize it. (“The Meaning of Suffering”). Both Liesel and Max demonstrate how, in the face of death, storytelling can become an act of resistance, a means of preserving identity, and a way to reconcile mortality with purpose.

Zusak’s depiction of Death as an introspective observer rather than a menacing force aligns with existentialist notions of accepting mortality rather than avoiding it. Scholars have explored how literature frequently engages with death to emphasize life’s meaning. As Rollo May argues in The Meaning of Anxiety, “Life becomes more vital, more meaningful when we confront the possibility of our own death… existence takes on vitality and immediacy” (ch. 1). This is evident in The Book Thief, where characters make choices with the knowledge that time is limited, leading them to embrace acts of love, kindness, and compassion. Through its narration, Death constantly reminds readers that its inevitability does not diminish the value of life, but rather enhances it. In accepting death as part of existence, Zusak’s characters demonstrate the possibility of living meaningfully even amid pervasive suffering.

Ultimately, The Book Thief presents mortality not as an end but as a catalyst for meaning. Frankl’s logotherapy insists that suffering and death do not strip life of purpose but rather challenge individuals to discover it. Zusak’s Death, despite witnessing countless tragedies, does not render human life meaningless. Instead, he reveals its profound beauty, reinforcing Frankl’s assertion that “life has a meaning up to the last moment, and it retains this meaning literally to the end” (“The Meaning of Suffering”). Through Liesel’s journey, Max’s perseverance, and Death’s narration, the novel ultimately affirms that mortality is not something to be feared but something to be understood, embraced, and transformed into a source of meaning.

Resolution, Conclusion, and Broader Implications

The exploration of The Book Thief through Viktor Frankl’s Theory of Logos reveals how meaning, freedom of will, and resilience shape the novel’s central themes. Frankl’s belief that human beings can endure suffering when they discover purpose finds a powerful literary counterpart in Liesel Meminger’s journey. From her early book thefts to her acts of storytelling and defiance, Liesel embodies Frankl’s assertion that life is never made unbearable by circumstances, but only by lack of meaning and purpose (“EXPERIENCES IN A CONCENTRATION CAMP”). Throughout the novel, she seeks meaning in literacy, relationships, and acts of quiet resistance, proving that even in a world marred by war and loss, individuals can assert their agency through the choices they make. Zusak’s narrative, guided by Death’s omniscient and reflective voice, amplifies this theme, reminding readers that mortality itself does not strip life of meaning but instead enhances its significance.

The novel’s central characters—Liesel, Max, and even Death—each grapple with existential struggles that align with Frankl’s philosophy. Liesel, in particular, transforms suffering into purpose through literacy and storytelling. Whether reading in bomb shelters to soothe frightened neighbors or writing her own story to preserve the memory of those she has lost, Liesel demonstrates the power of narrative as a tool for meaning-making. Max, too, finds purpose in storytelling, rewriting Hitler’s Mein Kampf into his own personal tale of survival. His resilience reflects Frankl’s belief that meaning can be derived from creative acts. Death, as the narrator, serves as an observer of human endurance, ultimately concluding that despite the pain and destruction he witnesses, he remains haunted by humans.

Beyond its application to The Book Thief, Frankl’s Theory of Logos provides valuable insight into broader literary and psychological contexts. Literature has long explored the theme of finding meaning in suffering, from Fyodor Dostoevsky’s Crime and Punishment to Albert Camus’ The Plague. Liesel’s story fits within this literary tradition, demonstrating that narratives of resilience are not only reflective of individual journeys but also of collective human experiences. Rollo May, in his work The Courage to Create, asserts that “Creativity is the process of bringing something new into being. It requires passion and commitment, and brings to our awareness what was previously hidden” (ch. 2). Liesel’s final act of writing The Book Thief reflects this process—she immortalizes her experiences, ensuring that those she loved are not forgotten.

Ultimately, The Book Thief and Frankl’s Theory of Logos converge on a single truth: that life, even in its most tragic moments, offers opportunities for meaning. Liesel’s story is not just one of loss but one of transformation—of turning pain into purpose and memory into legacy. Through Liesel’s resilience, Max’s survival, and Death’s reflections, Zusak’s novel affirms that meaning is not something passively received but something actively forged. In the end, both Frankl’s theory and The Book Thief leave the reader with a profound realization: even in the face of suffering, life remains worth living when one has a story to tell.

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