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The Book Thief is a historical fiction novel by the Australian author Markus Zusak, set in Nazi Germany during World War II. The book begins with a prologue narrated by Death, who introduces himself and the story's main elements. The story follows a young girl named Liesel Meminger, living with foster parents in Nazi Germany during World War II. Liesel steals her first book after the death of her brother. Recognizing the power of writing and sharing literature, Liesel starts to steal even more books.
This literature review examines ten of the most influential articles on The Book Thief, highlighting the primary theories applied in existing research. By doing so, it aims to draw attention to the limited scope through which this work has often been analyzed, in order to pave the way for introducing a fresh perspective based on Viktor Frankl's Theory of Logos.
Narratology is one of the most widely applied critical frameworks in the analysis of The Book Thief. For instance, in her thesis, Analyzing the Cynical Perspective of Death in The Book Thief (2024), Dorothy E. Hollar examines the distinctive portrayal of Death as the novel's narrator, with a focus on the character's ironic and often cynical voice. Drawing on existentialist theory, particularly the works of Jean-Paul Sartre and Albert Camus, Hollar argues that this portrayal challenges traditional conceptions of Death by attributing to it empathy and a reflective perspective on human suffering and resilience. She contends that the narrative technique creates a distance from which readers can observe the impact of war and loss without becoming overwhelmed by sentimentality, thus deepening the novel's thematic exploration of mortality and meaning. Hollar’s analysis sheds light on how Zusak’s narrative approach enables readers to engage with dark themes while prompting reflection on life’s fragile beauty, a perspective that underscores The Book Thief’s unique approach to existential questions.
Similarly, Débora Almeida de Oliveira examines the portrayal of Death, though she adopts a different approach by focusing on its uncanny and dual nature as both familiar and alien. In Haunted by Humans: The Uncanny Narrator in Markus Zusak’s The Book Thief (2017), de Oliveira applies concepts from Psychology and Narratology, drawing on the theories of figures like Sigmund Freud, Carl Jung, and Gérard Genette to analyze the novel’s unusual narrator, Death. De Oliveira examines how Zusak’s choice of Death as the narrator evokes Freud’s concept of the uncanny by making Death both familiar and strange, creating a sense of tension that unsettles readers. This duality, Oliveira argues, intensifies readers' engagement with themes of mortality and human suffering. Through a narratological lens, she explores how Death’s perspective blurs the line between observer and participant, allowing a psychological depth that compels readers to confront their own fears and curiosities about life and death. Oliveira’s interdisciplinary approach highlights how The Book Thief transcends conventional narrative techniques, inviting readers into a space where existential themes are reflected through the lens of an uncanny narrator.
Building on her earlier work, Débora Almeida de Oliveira collaborated with Sandra Sirangelo Maggio to co-author “The Deadly Perception of the Witness: Focalization in Markus Zusak’s The Book Thief” (2017). In this study, they analyze the novel’s narrative structure through a narratological lens, with a particular focus on the concept of focalization. Drawing on the theories of Gérard Genette, Mieke Bal, and Shlomith Rimmon-Kenan, the authors explore how Zusak’s choice of Death as the focalizing narrator shapes the story’s emotional and thematic depth. They argue that Death’s unique perspective as both a witness and participant in human suffering allows readers to experience the story from a detached yet deeply reflective viewpoint, heightening the impact of trauma and resilience depicted in Nazi Germany. This narratological approach highlights the dual role of Death as both observer and narrator, emphasizing how focalization in The Book Thief deepens readers' engagement with the moral and existential questions posed by the novel.
The narratological approach evident in the previously discussed works is also present in Sarah K. Johnson's paper, Pain, Death, and Nazis: The Surprisingly Beautiful Function Death Plays as Narrator in Markus Zusak's The Book Thief (2015), although it’s worth mentioning that this paper precedes other research previously discussed in terms of publication date. Employing a narratological approach, Johnson examines how Death influences and shapes the experiences of each character. Johnson explores the nuanced role of Death as the narrator, arguing that it provides a unique perspective on the themes of pain, loss, and resilience within the context of Nazi Germany. Johnson contends that Death’s reflective and compassionate voice allows readers to engage with the brutality of the Holocaust in a way that is both emotionally resonant and aesthetically profound. She suggests that, through Death’s narration, Zusak transforms the concept of mortality into something not only inevitable but also oddly beautiful, inviting readers to see the humanity that persists even amidst profound suffering. Johnson’s analysis highlights how the novel uses Death to offer a perspective that transcends horror, blending the tragic with the tender in a way that deepens readers' emotional and philosophical engagement with the story.
Moreover, Alysa Mapes extends her analysis to the film adaptation of the novel, offering a narratological and psychological examination of Death’s role as the narrator. In her paper, “The Book Thief: Through the Eyes of Death” (2016) Mapes explores how the film portrays Death’s unique perspective, shaping the audience’s understanding of suffering, morality, and humanity. Drawing on theories from narrative studies and psychology, she argues that Death’s detached yet compassionate viewpoint provides a lens through which viewers can witness the horrors of Nazi Germany while maintaining a sense of empathy and hope. By presenting Death as an observer burdened by the weight of human suffering, the adaptation continues Zusak’s challenge to conventional depictions of mortality, evoking themes of existential reflection. Mapes highlights how this unconventional narration enriches the film’s exploration of life’s fragility and resilience, inviting viewers to consider how witnessing trauma can inspire a deeper appreciation for human connection and endurance.
The previously discussed articles primarily employed narratology as their critical framework; however, there are also prominent historical analyses of the work. One such example is Exploring Historical Young Adult Fiction: A Study of the Representation of Historical Elements in the Novel and Film Adaptation of The Book Thief (2022) by Ingrid Dahl Tysnes, in which she conducts a Historical Reading of both Markus Zusak’s novel and its film adaptation. Tysnes examines how historical elements, particularly those depicting Nazi Germany and World War II, are represented to a young adult audience. Her analysis highlights how the work balances historical accuracy with comprehensible storytelling, aiming to educate younger readers on complex themes of oppression, resistance, and survival. Tysnes argues that this historical framing not only immerses readers in the era's context but also enhances the impact of the novel's central themes, such as the resilience of the human spirit in times of intense adversity. Through this Historical Reading, Tysnes emphasizes the importance of historical context in understanding the depth of The Book Thief’s narrative.
Unlike the narratological and historical analyses discussed earlier, comparative studies on The Book Thief are relatively rare. One notable exception is Jenna Kortenhoeven’s The Stories Already Written: An Intertextual Analysis of The Book Thief and Belonging (2023), which examines the intertextual connections between Markus Zusak’s novel and Nora Krug’s graphic memoir. Kortenhoeven explores how both works engage with themes of memory, identity, and historical responsibility by drawing on shared motifs and narrative strategies. Employing intertextuality as her critical framework, she highlights how these texts use storytelling and visual elements to navigate the complexities of grappling with a traumatic past, particularly in the context of Nazi Germany. By juxtaposing Zusak’s fictional narrative with Krug’s deeply personal memoir, Kortenhoeven reveals how both authors address the weight of history and the enduring impact of inherited trauma. Her analysis underscores the power of intertextual dialogue in deepening our understanding of individual and collective memory within historical contexts.
In addition to the previously discussed critical frameworks, The Book Thief has also been analyzed through the lenses of Literacy Studies and Trauma Studies. For instance, in her work “Reading as a Means of Healing Trauma in Markus Zusak’s The Book Thief” (2024), Angel Kushmi explores how literacy and storytelling serve as crucial pathways for healing trauma in the lives of the novel’s characters. Kushmi argues that The Book Thief illustrates how reading and storytelling enable characters to confront and process their experiences of loss and suffering, drawing on concepts from Dominic LaCapra’s Writing History, Writing Trauma, Cathy Caruth’s Trauma as a Wound, Judith Herman’s The Role of Memory and Narrative in the Healing Process, and Tedeschi and Calhoun’s Posttraumatic Growth. Through Liesel’s journey, Kushmi highlights how engagement with books and stories fosters resilience, enabling characters to move beyond mere survival and find comfort in the face of trauma. This interdisciplinary approach underscores the novel’s portrayal of literacy as an intellectual activity and a transformative emotional tool for recovery and self-empowerment.
Another article that employs Literacy Studies as its critical framework is Eun Chong (Grace) Lee’s Literacy in The Book Thief: Complicated Matters of People, Witnessing, Death (2015). Lee examines how reading and writing become acts of resistance, survival, and connection amid the horrors of Nazi Germany. Lee argues that literacy is not merely a tool for communication but a means of bearing witness to suffering and preserving humanity in the face of dehumanization. By analyzing characters like Liesel, who finds solace and strength in books, Lee highlights how literacy empowers characters to take control of their lives and confront their mortality. This study emphasizes the power of literacy as a transformative force, suggesting that, within the novel, reading and storytelling are vital to preserving individual and collective spirit, especially in times of crisis.
Furthermore, Marta García Tizón incorporates Narrative Therapy Theories alongside Literacy and Trauma Studies in her research paper, The Restoring Power of Narrative in Markus Zusak’s The Book Thief (2021). Tizón explores the therapeutic potential of storytelling within the novel, applying narrative therapy theories and psychological insights into trauma. She argues that the act of storytelling serves as a healing mechanism for the characters, particularly Liesel, as they navigate the traumas of war and loss. Drawing on narrative theory and trauma studies, Tizón examines how narrative allows characters to process their experiences, find resilience, and reclaim agency in an oppressive environment. Through this lens, she suggests that The Book Thief portrays storytelling as a vital means of preserving humanity and fostering recovery. Tizón’s work emphasizes that narrative can serve as both a mirror of suffering and a tool for restoration, offering readers an understanding of how storytelling sustains hope in times of despair.
While many of the previously discussed studies incorporate psychological theories to varying degrees, psychology has not been employed as the primary critical lens for a deep exploration of the behaviors, motivations, and psychological states of each character. This gap in psychological analysis has left many aspects of the work unexplored, presenting opportunities for further investigation.
To be continued…
