Research Methodology (Ravesh Tahghigh)
A Study on Viktor Frankl's Theory of Logos in The Book Thief, a Novel by Markus Zusak
Amirhosein Mahdavi
Professor Darzinejad
2025/1/30
Preliminary Sections
Cover Page
Table of Contents
Introduction
Abstract
Plot Summary of The Book Thief
Research Framework
Literature Review
Statement of the Problem
Research Questions
Methodology
Critical Analysis
I. The Role of Meaning in Viktor Frankl’s Theory of Logos
II. Liesel Meminger’s Will to Meaning Through Literacy
III. Freedom of Will and Liesel’s Defiance
IV. The Transformative Power of Storytelling in The Book Thief
V. Reconciling Mortality Through Logos
VI. Resolution, Conclusion, and Broader Implications
Works Cited
Abstract
This research explores The Book Thief (2016 Anniversary Edition) by Markus Zusak through the lens of Viktor Frankl’s Theory of Logos, as articulated in Man’s Search for Meaning (2006 Edition, Beacon Press). Frankl posits that human beings can endure suffering when they discover meaning through acts of creation, love, and resilience. This study examines how Liesel Meminger, the novel’s protagonist, embodies Frankl’s existential principles through her relationship with literacy and storytelling. By analyzing Liesel’s will to meaning, her exercise of freedom in acts of book theft, and the transformative power of storytelling, this research argues that her defiance against suffering and her ability to reconcile with mortality are expressions of Frankl’s logotherapy.
Structured in six sections, the paper first introduces Frankl’s concept of meaning as a means of overcoming suffering, and then applies it to Liesel’s personal and moral development. Special attention is given to her acts of reading and writing as means of self-assertion and survival. The study also explores how Death, as the novel’s omniscient narrator, reinforces existential themes, particularly the inevitability of mortality and the human capacity for resilience. Furthermore, this research contextualizes The Book Thief within broader literary and psychological discussions, drawing on existentialist thinkers such as Søren Kierkegaard, Friedrich Nietzsche, Jean-Paul Sartre, and Rollo May to highlight the novel’s philosophical depth.
Ultimately, this study demonstrates that The Book Thief is more than a historical narrative; it is a profound meditation on meaning-making in the face of loss. This research contributes to the fields of literary criticism, existential psychology, and trauma studies, offering new insights into how literature serves as a vessel for meaning, resistance, and survival.
Keywords: The Book Thief, Viktor Frankl, Theory of Logos, existentialism, meaning, freedom of will, storytelling, purpose, mortality, resilience
Plot Summary of The Book Thief
Markus Zusak’s The Book Thief is set in Nazi Germany and narrated by Death, a character who reflects on humanity with both detachment and empathy. Death introduces Liesel Meminger, the story’s protagonist, as she is taken to live with foster parents, Hans and Rosa Hubermann, on Himmel Street in Molching. Liesel’s journey begins with the loss of her brother, Werner, during the train ride to Molching, an event that haunts her throughout the novel (Zusak, 20). At her brother’s gravesite, she steals her first book, The Grave Digger’s Handbook, though she cannot yet read. This act marks the start of her complex relationship with books and the written word.
Hans Hubermann, a gentle and compassionate man, becomes Liesel’s moral anchor and teaches her to read using The Grave Digger’s Handbook. Rosa, though gruff and short-tempered, shows her love in her own pragmatic way. Liesel befriends Rudy Steiner, her adventurous and fiercely loyal neighbor, whose unrequited love for Liesel adds a layer of innocence and heartbreak to the narrative. Rudy’s repeated attempts to get Liesel to kiss him, which she always refuses, symbolize their enduring friendship amid the chaos of war (Zusak, 55).
As Liesel learns to read, her fascination with books deepens, and she begins stealing them. Her first deliberate theft occurs at a Nazi book burning when she snatches The Shoulder Shrug, an act of quiet rebellion against the regime. Hans warns her of the dangers of her actions but supports her growing love for literature, recognizing its power to comfort and empower her during difficult times (Zusak, 122). Liesel’s reading becomes a source of solace and connection, especially as the horrors of Nazi Germany intensify.
A pivotal moment in the story is the arrival of Max Vandenburg, a Jewish man seeking refuge with the Hubermanns. Hans, honoring a promise to Max’s father, hides him in their basement. Max and Liesel form a deep bond, united by their shared nightmares and love for words. Max creates a book for Liesel, The Standover Man, illustrating his gratitude and the power of storytelling to forge human connections even in dire circumstances (Zusak, 223).
As the war escalates, the lives of the characters become increasingly precarious. During the air raids on Molching, the residents were forced into bomb shelters, where Liesel read aloud to comfort and calm her neighbors. Her readings transform fear into unity, demonstrating the profound impact of literature in providing hope and resilience during times of despair (Zusak, 381). Meanwhile, Rudy faces pressures from the Hitler Youth, and Hans endures punishment for a small act of defiance—giving bread to a Jewish prisoner during a forced march.
Liesel’s book thefts continue, driven not only by her thirst for knowledge but also as acts of resistance against Nazi censorship. She begins stealing books from the mayor’s library, where she discovers a new world of stories that expand her understanding of humanity. These thefts are not merely for personal gain but represent her rebellion against the oppressive regime that seeks to silence voices and ideas (Zusak, 329).
Tragedy strikes when Himmel Street is bombed, killing Hans, Rosa, Rudy, and nearly everyone Liesel loves. Liesel survives because she had been writing her story in the basement during the raid. When Death retrieves her notebook, The Book Thief, he is moved by her resilience and the beauty of her words, describing it as “one of the small legions of stories that I truly care about” (Zusak, 528).
The novel concludes with an older Liesel living in Australia, reflecting on her past and the people who shaped her life. Death, who carries her story, offers the final reflection: “I am haunted by humans” (Zusak, 550). Through Liesel’s journey, The Book Thief explores themes of loss, survival, and the transformative power of words, setting the stage for a deeper analysis of how individuals find meaning in even the darkest of times.
Literature Review
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.
Statement of the Problem
While The Book Thief has been extensively analyzed through narratological and historical lenses, limited attention has been given to the psychological dimensions of the characters and their existential struggles, particularly in the context of Viktor Frankl’s Theory of Logos, which posits that the primary human motivation is to find meaning in life through the fulfillment of life's tasks and challenges (Frankl, Man's Search for Meaning, 1946, p. 78). This research seeks to explore how the protagonist, Liesel Meminger, uses literacy as a coping mechanism for her suffering, ultimately choosing reading and storytelling as a purpose and meaning in her life. Frankl’s theory highlights key concepts such as the freedom of will, the will to meaning, and the transformative power of suffering, all of which provide a framework for understanding how individuals navigate their existential crises. By examining Liesel’s journey, this study demonstrates how her engagement with reading and storytelling not only serves as an assertion of agency but also exemplifies the interplay between personal choice, resilience, and the search for meaning. By applying Frankl’s Theory of Logos, this study aims to reveal how these subcategories inform the psychological and existential depth of characters, offering insights into the broader potential of meaning in overcoming life’s adversities.
Research Questions
- How does Viktor Frankl’s Theory of Logos apply to Liesel Meminger’s character in The Book Thief, particularly in understanding how her will toward literacy and reading shapes the meaning of her life?
- How does Liesel Meminger’s pursuit of literacy and reading as sources of meaning reflect the principles of Viktor Frankl’s Theory of Logos, including the will to meaning and the transformation of suffering into purpose?
- How does Liesel Meminger’s engagement with literacy and storytelling, interpreted through Viktor Frankl’s Theory of Logos, illustrate the interplay between freedom of will and the search for meaning?
Methodology
Existentialism, the philosophical foundation of this research, emerged as a response to the disorientation of modernity, grappling with themes of freedom, responsibility, and the quest for meaning in a seemingly indifferent universe. Pioneering thinkers like Søren Kierkegaard emphasized the centrality of individual choice and subjective experience, asserting that truth is not merely an objective reality but something deeply personal (Concluding Unscientific Postscript, 1846). Friedrich Nietzsche’s declaration of the “death of God” and his exploration of life-affirming values in works such as Thus Spoke Zarathustra (1883) laid a critical foundation for existentialist thought. In the 20th century, Jean-Paul Sartre’s Being and Nothingness (1943) and Martin Heidegger’s Being and Time (1927) provided nuanced perspectives, emphasizing humanity’s responsibility to create meaning in an inherently meaningless world. Sartre’s assertion that humans are "condemned to be free" encapsulates the existentialist belief in radical freedom and the necessity of choice, while Heidegger explored the finitude of existence and the importance of confronting life’s ultimate concerns.
Viktor Emil Frankl (1905–1997), an Austrian neurologist, psychiatrist, and Holocaust survivor, is a pivotal figure in existential psychology. Born in Vienna, Frankl showed early interest in medicine, particularly in psychiatry, focusing on the prevention of depression and suicide. His life took a harrowing turn during World War II when he and his family were deported to Nazi concentration camps (Encyclopedia Britannica, "Viktor Frankl"). Frankl’s experiences in Auschwitz and other camps profoundly shaped his philosophy, as he observed how some prisoners maintained a sense of purpose despite the unimaginable suffering. These observations culminated in his seminal work, Man’s Search for Meaning (1946), a profound exploration of human resilience and the pursuit of meaning. According to Frankl, “Life is never made unbearable by circumstances, but only by lack of meaning and purpose” (Man’s Search for Meaning, p. 77).
Frankl’s Theory of Logos, central to his logotherapy framework, is grounded in the existentialist tradition but distinguishes itself through its emphasis on the therapeutic potential of meaning. Logos, derived from the Greek term for "word" or "reason," signifies the fundamental human drive to discover purpose. Frankl argued that individuals can find meaning through three pathways: creating a work or deed, experiencing something or someone (particularly through love), and adopting an attitude of courage in the face of unavoidable suffering. He posited that meaning is not imposed externally but must be discovered individually in response to life’s unique challenges. “In some ways suffering ceases to be suffering at the moment it finds a meaning, such as the meaning of a sacrifice” (Man’s Search for Meaning, p. 113).
While existentialist thinkers like Sartre emphasized radical freedom, Frankl extended the conversation to explore how freedom intertwines with responsibility and purpose. His experiences in the camps illuminated his belief that even in the most dehumanizing conditions, individuals retain the ability to choose their attitudes and find meaning. This notion aligns with Nietzsche’s proclamation: “He who has a why to live for can bear almost any how.” Frankl extended this idea by asserting that meaning is often discovered in moments of suffering, transforming adversity into an opportunity for growth (Man’s Search for Meaning, p. 76).
The intellectual and historical context of Frankl’s work highlights the widespread existential vacuum of post-war Europe. This vacuum, characterized by a pervasive sense of purposelessness, resonated deeply with the disillusioned societies of the mid-20th century. Frankl’s contributions bridged existentialist philosophy and psychotherapy, providing a framework for addressing the psychological consequences of this vacuum. In the broader tradition of existential thought, thinkers like Rollo May and Irvin D. Yalom further demonstrated how existentialist principles could be applied in therapeutic settings (May, Existence and Psychotherapy).
This research employs logotherapy’s three core principles—freedom of will, the will to meaning, and meaning in suffering—as its primary analytical framework. These principles are particularly useful for examining how individuals navigate existential crises and construct meaning through their choices, actions, and relationships. For example, Frankl’s emphasis on creative values underscores how engagement with meaningful activities or relationships can transform suffering into an opportunity for personal growth. The study situates this analysis within the broader tradition of existentialism, exploring how philosophical insights on human freedom, responsibility, and meaning inform the psychological dimensions of resilience.
By integrating existentialism and logotherapy, this research aims to offer a nuanced understanding of how the pursuit of meaning enables individuals to endure suffering and assert their agency. Frankl’s ideas, grounded in his lived experiences and rigorous scholarship, provide a timeless framework for analyzing human behavior and resilience. This study seeks to contribute to the ongoing discourse on the relevance of existentialist philosophy in contemporary contexts, emphasizing the transformative potential of meaning-making in the face of life’s challenges.
The Role of Meaning in Viktor Frankl’s Theory of Logos
Viktor Frankl’s Theory of Logos, central to his logotherapy framework, emphasizes the pursuit of meaning as the fundamental human drive. Unlike Freud’s pleasure principle or Adler’s will to power, Frankl argues that life’s meaning lies in fulfilling its unique demands, even in the face of suffering. As he states, “Man's main concern is not to gain pleasure or to avoid pain but rather to see a meaning in his life” (Man’s Search for Meaning, p. 104). This perspective redefines human resilience, suggesting that individuals can transcend adversity when they find purpose. Frankl’s experiences in Nazi concentration camps profoundly shaped this belief, as he observed that those who could locate meaning, even in suffering, were more likely to endure the unimaginable horrors of their circumstances (Man’s Search for Meaning, p. 111).
Frankl’s theory identifies three pathways to meaning: creating a work or doing a deed, experiencing something or someone (such as love), and adopting a courageous attitude toward unavoidable suffering. This final aspect is particularly significant, as he contends, “Suffering ceases to be suffering at the moment it finds a meaning, such as the meaning of a sacrifice” (Man’s Search for Meaning, p. 113). This concept aligns seamlessly with Markus Zusak’s The Book Thief, where Liesel Meminger discovers meaning through her connection to books, storytelling, and relationships. Her engagement with these activities helps her navigate profound personal losses and the broader existential challenges of living in Nazi Germany.
In The Book Thief, the narrator, Death, often reflects on the resilience of human beings in the face of adversity. Death’s remark, “I am haunted by humans” (Zusak, p. 550), conveys his deep fascination with humanity’s ability to endure unimaginable suffering while still seeking connection, love, and meaning. This statement encapsulates a central theme of the novel: that even amidst the horrors of war and oppression, individuals like Liesel Meminger demonstrate remarkable strength by finding purpose through relationships, storytelling, and small acts of defiance. Liesel’s love for books and her determination to share stories with others exemplify this search for meaning. Her reading sessions in the bomb shelter, where she provides solace to frightened neighbors, illustrate how meaning can emerge from acts of connection and service (The Book Thief, p. 381).
Frankl’s assertion that “Life is never made unbearable by circumstances, but only by lack of meaning and purpose” (Man’s Search for Meaning, p. 77) resonates deeply with Liesel’s journey. Despite losing her family, enduring the oppressive Nazi regime, and facing the deaths of those she loves, Liesel continually seeks meaning through her relationships and storytelling. These pursuits not only offer her solace but also empower her to endure and transform her suffering into resilience.
Both Frankl’s theory and Zusak’s narrative underscore the transformative potential of meaning. For Frankl, the ability to confront suffering with purpose enables individuals to rise above despair. Similarly, Liesel’s connection to literacy becomes a lifeline, helping her endure the suffering of a world shaped by loss and injustice. This interplay between meaning and suffering highlights the relevance of Frankl’s ideas in understanding resilience within literary narratives.
Liesel Meminger’s Will to Meaning Through Literacy
In Viktor Frankl’s Theory of Logos, the “will to meaning” emerges as the central human motivation, enabling individuals to endure suffering by discovering purpose. Frankl contends that meaning can be found in acts of creation, connection, and courage in the face of hardship. For Liesel Meminger, the protagonist of Markus Zusak’s The Book Thief, this will to meaning is deeply intertwined with her relationship to literacy and storytelling. Through her acts of reading and sharing stories, Liesel finds solace, builds relationships, and constructs a personal sense of purpose amid the chaos of Nazi Germany. As Frankl states, “Man's main concern is not to gain pleasure or to avoid pain but rather to see a meaning in his life” (Man’s Search for Meaning, p. 104). Liesel’s pursuit of literacy embodies this principle, as it provides her with a lifeline for survival and growth in a world marked by profound loss and injustice.
Liesel’s journey toward literacy begins with The Grave Digger’s Handbook, a book she steals at her brother’s gravesite. This initial theft symbolizes her subconscious attempt to reclaim control in a moment of trauma, as the book becomes a tangible reminder of her lost family. Hans Hubermann, her foster father, nurtures this connection to literacy by teaching her to read, transforming the basement of their home into a space of learning and healing. Their sessions are infused with patience and love, providing Liesel with a safe refuge. As Zusak writes, “To her, the words were like a warm, silky ribbon... They gave her the ability to function in a world that had almost abandoned her” (The Book Thief, p. 68). This moment underscores how literacy, for Liesel, becomes more than an academic skill—it becomes a mechanism for processing grief and asserting her will to meaning.
One of the pivotal ways Liesel uses literacy to cope with adversity is through her book thefts. Her second stolen book, The Shoulder Shrug, is taken from the ashes of a Nazi book burning, where piles of literature labeled dangerous or deceptive by the regime were set on fire. Amid this act of censorship and destruction, Liesel retrieves the book. This act represents both rebellion against the oppressive regime and a deliberate attempt to claim knowledge and meaning in a world intent on erasing them. Frankl’s theory highlights the transformative power of purpose, asserting that “Even when it is not fully attained, we become better for striving toward meaning” (Man’s Search for Meaning, p. 143). Similarly, Liesel’s thefts reflect her defiance and her unwavering belief in the power of stories to preserve humanity.
Liesel’s relationship with Max Vandenburg, the Jewish man hiding in her family’s basement, further illustrates her will to meaning through literacy. Max, like Liesel, finds solace in words. He creates The Standover Man, a gift that chronicles his journey and expresses his gratitude to Liesel. This handmade book not only deepens their bond but also demonstrates the shared power of storytelling in overcoming isolation and fear. As Max observes, “Words are life. In their simplest form, they hold everything” (The Book Thief, p. 223). This sentiment echoes Frankl’s belief in the creative value of meaning, where acts of creation and connection can sustain individuals through their darkest moments.
A particularly poignant example of Liesel’s will to meaning is seen during the air raids on Molching. As bombs fall, Liesel reads aloud to her neighbors in the bomb shelter, using stories to soothe their collective fear. This act exemplifies the communal dimension of Frankl’s theory, which suggests that meaning can arise from relationships and shared experiences. In this moment, Liesel transforms her personal pursuit of literacy into an act of service, creating a sense of unity amidst the chaos. Death, the narrator, reflects on this, noting, “The words she read brought relief in uncertain times, reminding them that not everything was lost” (The Book Thief, p. 381).
Frankl’s idea that suffering can be endured when it is connected to a greater purpose resonates throughout Liesel’s journey. Her final act of writing her story, The Book Thief, solidifies her will to meaning. This act of creation allows her to process her trauma, honor those she has lost, and leave a legacy of resilience. As Frankl asserts, “Life ultimately means taking the responsibility to find the right answer to its problems and to fulfill the tasks which it constantly sets for each individual” (Man’s Search for Meaning, p. 101). Liesel’s writing embodies this responsibility, transforming her suffering into a testament to the enduring power of hope and human connection.
Liesel’s pursuit of literacy aligns seamlessly with the principles of Viktor Frankl’s Theory of Logos. Through her engagement with books and storytelling, she not only copes with personal and societal adversities but also asserts her will to meaning in a world of loss. Her story highlights how the act of seeking meaning can transform suffering into growth, offering insights into the resilience of the human spirit.
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” (Man’s Search for Meaning, p. 131). 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 acts of book theft are not impulsive acts of greed but deliberate assertions of autonomy and rebellion. Her first theft, The Grave Digger’s Handbook, occurs at her brother’s gravesite, a moment of profound personal loss. By taking the book, Liesel begins to reclaim agency over her grief, transforming a symbol of death into a tool for self-discovery. As Zusak notes, “It was her first act of book thievery, and for her, it was a form of recovery” (The Book Thief, p. 38). This small act of defiance marks the beginning of Liesel’s journey toward meaning, where literacy becomes a way to navigate her suffering.
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” (Man’s Search for Meaning, p. 86). 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.” (Man’s Search for Meaning, p. 64). 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 notes in Evil Men, acts of resistance, no matter how small, “challenge the perception of the powerless victim and reassert the autonomy of the individual” (Dawes, p. 59). 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, p. 102). 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.
The Transformative Power of Storytelling in The Book Thief
In Markus Zusak’s The Book Thief, storytelling emerges as a powerful tool for healing and resilience, providing characters with the means to cope with loss and navigate the profound challenges of life in Nazi Germany. Through Viktor Frankl’s framework of meaning, storytelling functions as an act of creation and connection, helping individuals confront adversity with courage and purpose. In the novel, storytelling serves as this creative act, becoming a lifeline for characters such as Liesel Meminger and Max Vandenburg as they strive to preserve their humanity amidst chaos.
Liesel’s journey as a storyteller begins with her discovery of books and their ability to preserve memory and create connection. Her first encounters with words, as Hans Hubermann teaches her to read, are transformative: “The words had touched her like never before, as if they were alive” (The Book Thief, p. 68). This early connection develops into a profound love for storytelling, enabling Liesel to build emotional bridges with those around her. For instance, during the air raids, she reads aloud in the bomb shelter, calming her neighbors and providing a sense of unity in the face of shared fear. Death, the novel’s narrator, reflects on these moments, observing that her stories “brought relief in uncertain times” (The Book Thief, p. 381). Storytelling, in this context, becomes an act of communal resilience, offering solace from the horrors of war.
The bond between Liesel and Max Vandenburg further illustrates the transformative power of storytelling. Max, a Jewish man hiding in the Hubermanns’ basement, creates stories as a way to assert his identity and resist the erasure imposed by the Nazi regime. One such story, The Standover Man, is both a gift to Liesel and a reflection of Max’s gratitude for her friendship. He uses the pages of Adolf Hitler’s Mein Kampf to craft a deeply personal narrative, literally and symbolically overwriting the propaganda of oppression with a story of human connection. This act of storytelling allows Max to reclaim his agency, transforming a tool of dehumanization into one of self-expression and hope.
Frankl’s concept of finding meaning through creativity aligns closely with these moments in the novel. He writes, “Man is able to live and even to die for the sake of his ideals and values” (Man’s Search for Meaning, p. 105). For both Liesel and Max, storytelling becomes a way to affirm their values and their humanity. In the case of Liesel, her final act of writing her own story, The Book Thief, demonstrates how storytelling enables her to process her trauma and preserve the memory of those she has lost. Through her writing, she transforms her suffering into a testament of resilience, much as Frankl describes in his reflections on finding purpose in adversity.
Storytelling in The Book Thief also underscores the communal and intergenerational transmission of meaning. Liesel’s stories connect her to others, bridging the gap between her individual struggles and the shared experiences of those around her. As Rollo May observes in The Courage to Create, “Art and creativity serve as bridges that allow us to transcend isolation, fostering a shared sense of purpose” (May, p. 86). This idea is evident when Liesel reads aloud in the bomb shelter, where her words become a source of solace and hope for the frightened residents of Molching. These moments exemplify how storytelling serves as a collective act of healing, reinforcing bonds within the community.
Beyond its role in individual healing, storytelling in Zusak’s novel becomes a means of resistance against the oppressive forces of the Nazi regime. By preserving stories and sharing them with others, characters like Liesel and Max challenge the regime’s attempt to erase dissenting voices and ideas. This defiance aligns with James Dawes’ assertion in Evil Men that “Narratives preserve the dignity of memory, transforming moments of suffering into acts of testimony and defiance” (Dawes, p. 112). Through storytelling, Liesel not only resists oppression but also honors the lives and experiences of those who endure alongside her.
Ultimately, the transformative power of storytelling in The Book Thief lies in its ability to foster resilience, connection, and hope. For Liesel and Max, stories are more than mere distractions—they are lifelines that enable them to endure and find meaning in an unjust world. As Frankl writes, “When we are no longer able to change a situation, we are challenged to change ourselves” (Man’s Search for Meaning, p. 112). Through their stories, Liesel and Max not only adapt to their circumstances but also transcend them, demonstrating the profound impact of words in shaping both individual and collective resilience.
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, “Man’s mortality is part of his destiny; it is this very finiteness of existence which makes each single moment so precious” (Man’s Search for Meaning, p. 121). 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” (The Book Thief, p. 550). 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. As Frankl notes, “The transitoriness of our existence in no way makes it meaningless. But it does constitute our responsibility” (Man’s Search for Meaning, p. 110).
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 and remembrance. 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. (Man’s Search for Meaning, p. 135). 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, “The awareness of death is the key to living life with a sense of urgency and purpose” (May, p. 87). 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. Death himself acknowledges this paradox, stating, “It’s the story of one of those perpetual survivors—an expert at being left behind” (The Book Thief, p. 16), underscoring the tension between loss and endurance.
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.” (Man’s Search for Meaning, p. 102). 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” (Man’s Search for Meaning, p. 77). 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” (May, p. 102). 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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