I'm still mulling over exactly how I feel about this book. It's very, very rare for a book to ever make progress from my "partially read" shelf to my "read" shelf. I'm still a little shocked that I actually read this book. I meant to just make another college try at reading it, so that I could reshelve it without guilt. Instead, I found myself 50 pages in, than 100, than 300.

I think part of the reason that I hadn't gotten very far in this book before is that I picked it up knowing nearly nothing about it. Being a big fan of [b:How to Buy a Love of Reading|5975766|How to Buy a Love of Reading|Tanya Egan Gibson|http://photo.goodreads.com/books/1267911725s/5975766.jpg|6149015] and [b:Special Topics in Calamity Physics|3483|Special Topics in Calamity Physics|Marisha Pessl|http://photo.goodreads.com/books/1309200115s/3483.jpg|910619], I anticipated it to be another meta-book. I was extremely disappointed to open it and realize that it was a holocaust book.

You see, I spent much of my childhood haunted by the specter of the holocaust. My maternal grandparents are concentration camp survivors, and it felt like it was the only thing that my grandparents ever talked about. Every day in Hebrew school and day camp and overnight camp seemed to be Holocaust day. I think every fiction book my mother has ever read, and certainly every book she has sent to me unsolicited has been about the Holocaust. I think I've read nearly every Holocaust book every written, and the only one to date that I've liked has been [b:A Thread of Grace|16047|A Thread of Grace|Mary Doria Russell|http://photo.goodreads.com/books/1166697257s/16047.jpg|882031] To say I am burned out on the Holocaust is a major understatement. And, more importantly, I was extremely skeptical that there is anything new to say about the Holocaust that hasn't been said already.

But once I actually got into The Book Thief, it was gripping. Liesel was so vulnerable in the beginning, Hans was so warm and, I figured, at least it's about communists, not Jews. And then I got into Hans teaching Liesel to read and the beauty of those stark, midnight scenes, illuminated only by paternal love and the desire to read was so beautiful written, and the choice of the Gravedigger's Handbook both poignant and hilarious.

Ultimately, what kept me reading was the characters. There's not a single character in the book who is forgetful. And far from being caricatures, all of the characters are well-rounding, with flaws and virtues and react appropriately to situations and change. Perhaps my favorites are the damaged, uncertain mayor's wife and the coarse, prickly, but loving Rosa.

The imagery of words is heavy-handed, and often it feels like Zusak is screaming "I'm using imagery here! Look at me!" That being said, the animation of words as a concept is fascinating, and a powerful thread linking the book together. Words fly out of people's mouths, fall heavily and a thousand other movements.

Much has been written about death as a narrator, but to me, it felt like a minor part of the novel. It certainly was not overdone: death barely made an appearance in the first 300 pages. By the time he did, it added a nice foreshadowing and helped contextualize the activity within a very small community within the broader setting of world war II.