In the prologue of TBT Death seems to be a very different character than in the following chapters. Before Death was very mysterious and stated his omniscience as more factual than as an opinion. When Death talked about and described his job he almost alienated himself. Although he never actually kills anyone he seems to take the responsibility for people’s death. Even though we know that Death isn't human, it seems hard not to relate to him especially when he has human feelings, like guilt. "The survivors. They're the ones i can't stand to look at, although on many occasion I still fail" (5). Because Death is foreign but we can still understand his views at the same time, he becomes a very appealing narrator to listen too. This soon changes when Death looses his edge to his story telling.
Once Death becomes attached to Leisel, I almost forget he is narrating. Instead I become overtaken with a Holocaust story about a girl with almost a predictable narrator. Death talks as though he's speaking for Leisel. One of the biggest reasons why TBT was so captivating at first, was because Death was extremely unique. After he decided to form his own views and not state as many facts clearly, I became disappointed. If Death has different senses like "the sound of the smell" (4) then I want to hear about it as he tells the tale of Leisel Memminger.
While I realize the allure and appeal of reading about Death, I understand the intentions of Zusak to have a narrator that is not quite tangible to readers. The story being told in the novel is that of Leisel Memminger and how she affects and is affected by Death, as opposed to a novel outlining a concept we as humans cannot understand. You state "I become overtaken with a Holocaust story about a girl with almost a predictable narrator". Clearly, Zusak intends for this type of reaction; there are two parallels running in TBT; Death's story and Leisel's story. If Death is always the most captivating part of the story, than there is an unbalance. Leisel's story has to take focus and be introduced. Also, I am unclear on what you are trying to point out when you claim "he almost alienated himself". Regardless of how Zusak tries to portray him, Death will be alienated from both Leisel and the readers of the novel; we do not understand Death on a personal or conceptual level, and neither does Leisel. In essence, because of the two stories and sides that need to be told in TBT, Death at some point has to remove himself from center stage and allow the story of Leisel to take the light.
ReplyDeletei actually like to think of death as a constant of sorts. the one thing that changes in death is his focus on himself to that of the story, this change in focus is not only necessary but logical. In all the stories where he talks about himself, he is a part of the event. Since this can't just be a book of people dying, death must therefore step back from events. But he never removes himself from the story entirely, we're hit with reminders that we have death with us. The bold face print, and reminders "now for a change of scenery"(138). we all know that it's one of his stories, that he's telling it, and he's gonna meet Liesel at the end.
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