Liesel Symbolism In Death

Markus Zusak utilizes Death as the omniscient narrator of the novel because Death is an unbiased character that all readers can relate to and to showcase that “even death has a heart” by personifying Death to make him appear less evil (Zusak 242). Zusak gives the reader a more approachable idea of Death, in this novel Death intentionally searches for the beauty that lay within humanity. Death symbolizes something that all humans are afraid of, yet are forced to face. In order for Liesel’s story to make sense to the reader, Death needs to be the omniscient narrator to inform the reader of the events that are happening throughout World War II, the time period that Liesel is telling her story. Since the story occurs when there is an increase

in “the production of bodies and their escaping souls,” it only makes sense to have Death narrate the novel to tie the all the events together (Zusak 308).
Death usually has neutral feeling towards his victims and his job. He states that nobody “could ever replace” him, “which has prompted him to make a conscious, deliberate decision - to make distractions,” colors, allowing him vacation from his gruesome job (Zusak 5). Although he is generally neutral, he still expressed empathy towards certain souls. Death was careful with souls of children, carrying them “in his arms” opposed to “carrying them in his fingers, like suitcases, or throwing them over” his shoulder like he did with adults (Zusak 336). Death also had sympathy towards souls like Rudy’s who “stepped on” Death’s heart and made him cry, and souls similar to Hans Hubermann who “sat up and met” him. Death treated victims of the Holocaust with extra care, picking “up each soul” “as if it were newly born,” and “even kissing a few weary, poisoned cheeks,” (Zusak 350).
Death attempts to resist Liesel, to focus on collecting the millions of lost souls from World War II. He knows that he does not have the luxury to pay attention to the young girl. Death is attracted to Liesel because she is a “perpetual survivor- an expert at being left behind,” because she witnesses several deaths of those around her(Zusak 5). He has a deep curiosity and disgust for “the survivors” because they are left behind, struggling to face reality with confusion, “punctured hearts,” and “beaten lungs” (Zusak 5). In Liesel’s case, Death visited her three times, the first was her brother’s death, the second the American pilot who died in front of her, and lastly, the bombing of Himmel Street that killed everyone that she loved. Each time that Death gets the chance to visit her, he pays close attention to Liesel’s thoughts and acts of courage. Death fails at resisting Liesel because her devotion to her friends and family keeps Death interested and impressed with her story. Liesel’s obsession with words and books, and the events that are inspired by her obsession, also forces a deep curiosity within Death.
Ugliness and beauty is showcased within each of the characters in the novel.

Liesel’s beauty is expressed through her vulnerability and courage in her life. Throughout her life, she loses a majority of the people she loves at a young age, she is cursed with nightmares that leave her “swimming in her bed, screaming, and drowning” in the late hours of the night (Zusak 36). Her courage is seen in her willingness to endure life throughout tragedies and in her bold act of reading to her neighbors to comfort them during a time of crisis. Liesel’s loyalty and love for her friends and family are an act of true beauty that causes readers to love her. Liesel’s ugliness is found in the stealing of books from Frau Hermann and her temper that caused her to “come close” to killing Ludwig Schmeikl (Zusak 79). Rosa Hubermann’s ugliness is far more apparent than Liesel’s, Rosa’s use of vulgarity and “ability to aggravate anyone she ever met,” are just a few examples (Zusak 35). Rosa’s beauty is portrayed in her willingness to risk everything to foster a Jew, in her long nights sitting “with her husband’s accordion tied to her chest” in hopes for him to come home, and in her efforts to feed and protect those she loved (Zusak 429). Hans kindness, patience, and love toward Liesel are his acts of beauty. The ugliness within Hans are seen through his impulsiveness and inability to think through his actions, such as feeding the Jew bread, making promises he cannot keep, and by putting

his whole family at risk by fostering a Jew. Max’s flaw was leaving his family behind to die as he escaped to safety and putting the Hubermann’s in danger so he could live. Max’s bravery and drive to never give up are his strengths. His beauty is also witnessed through his relationship with Liesel. Rudy’s naiveté, innocent love for Liesel, and his strong character are his beautiful aspects. His sense of pride and confidence often caused Rudy to get in trouble with authority. Inviting Liesel to read her books was an act of beauty on Mrs. Hermann’s part. The loss of her sons to war reveals Mrs. Hermann’s silent suffrage that connects her and Liesel together. Her bitterness toward others is her unattractive quality.
Death is haunted by humans because of their ability to be “so ugly,” yet “so glorious” at the same time (Zusak 550).

Death witnesses all the terrors of humankind, from Stalingrad in Russia where Joseph Stalin conducted the “murder of his own people,” (Zusak 309) to the Holocaust where the sky was painted “the color of Jews,” due to the millions of Jews who were murdered (Zusak 349). In 1942, Death’s job was focused on Stalingrad, the Holocaust, and the blood “soaked bodies of” Normandy’s beaches (Zusak 308). At the same time that these events are occurring, Death notices both elements in Liesel’s story. He sees the beauty in humans through Rudy’s innocent love for Liesel, Hans and Liesel’s late night conversations, the Hubermann’s “gamble on” hiding a Jew (Zusak 215), and the deep friendship between Liesel and Max. Death is tormented by his inability to predict the actions of humankind, and is therefore haunted by the living as they are haunted by

death.