Without Fear of Infamy, I Answer You.
A LAST NOTE FROM YOUR NARRATOR
I am haunted by humans.
When Death utters those words unto Liesel Meminger's soul, he did so, not as a replacement or a respite, but as the truth. The only true one he knew. The Reaper of Souls though he may be, he, just as humanity, has been witness to, of not part of, suffering. He has seen our race fall down to the depths of Dante's inferno and rise above. Then, through all of this, why must be himself, the Spectre of Spectres, fear, or rather, remember us, the colours that we are?
We are an ironic species, us. We act antithetical to that which we wish to do. We suffer for happiness, we fight for peace, just as we give to gain. We are as Machiavellian as chronologically feasible, that when The Book Thief asks Death thus of her book, which was nonetheless, mankind as a metaphor, "Could you understand it?", he falters, for that is perhaps the one thing he - let alone all of humanity - will never be truly capable of – understanding itself. We may someday conquer the stars, but never ourselves. We're enigmas, every one of us, for To Understand is To Define, and as Oscar Wilde wrote, To Define is To Limit, and doubtlessly the human race is aught but predictable, and naught but limitless.
We cannot know us. For we love, and in that, we are love.
When Death says he is haunted by us, he does mean it. He has seen us at our best, and our worst. He has seen us give bread to starved prisoners on an empty stomach. He has seen us bomb the cities of those of our own, purely for power, and lay waste to Heaven. He has seen is shelter the accursed, and cry over our dead. He has seen us accuse our parents of cowardice, treachery and infamy. But most of all, he marvels at our capability and occasional indifference at dying and killing alike – for an idea. For words. Because it is not what we are born as that shapes us, but what we endure, for words can and do bring us together, just as well as they can break us apart.
Death is one who knows that the worst form of disability is in fact, Hatred, for there is no greater loss a soul knows than that of Love.
They say, "Nobody truly Dies", for their legacies live long and prosper long after they are gone. We can be all that we are, so long as we know and remember the people we were, for we are but amalgamations of the people we choose. And finally, when all is were, for we no longer are, those who love us will remember us, and perhaps, miss us. When English and German soldiers celebrated Christmas and played football together, they sung to the tune of Auld Lang Syne, "We're here because we're here", it doesn't mean that our existences are for a reason we know naught about, if not purely for the fact that we exist. It means, that for as long as we are alive in the hearts of men and women, we will Be, for that is what we all are in the end, what Death loves us for – a Story. And a Story never really dies so as long as it is told, does it?
We remain alive unto Death itself after we ourselves aren't.
"There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate."
T. S Eliot could not have summed up the human race more beautifully when he wrote thus in his masterpiece, The Love Song of J. Alfred Prufrock. We create and destroy ourselves alike, and all indeed, to question why we are, and simultaneously stand by that which we believed in to affirm the same. And yet, amidst the chaos, we see order, and in that, hope. Men like Vincent van Gogh and Frederic Chopin, who have seen and known life at it's lowest, created such art that their pain and sorrow was turned into joyous hope, for they poured out their souls into that which they made, which inevitably rendered them gutwrenchingly beautiful. Bigger on the Inside, if you will. It only made sense, for they knew, that words and stories, though with neither a tangible beginning nor end, did exist, and in that, were loved and loved alike. The fact that what they poured out into their art could be resurrected, purely by trying to understand it for what it is, is nothing short of wondrous. We are that which can dream out loud.
Omnis Cellula E Cellula, after all.
Death is haunted by us, not for us being ironic in in existence alone, but truly, for us being ideas ourselves. We are such a beauteous species that we harbour upon the one Singularity that any life form, disregarding all barriers, can show unto its fellow consciousness, and that is Love. Death doesn't believe us to be ghosts. He believes us to be stories, and ideas, and only so, that our existences outlast us and culminate just as the final words of Liesel's book:
I have hated the words and
I have loved them,
and I hope I have made them right.
PS. Death believed, and does, that so long as there is life after death, there remains love, and that makes us immortal. Consciousness is not subjective to it's shell. And Love isn't something that we understand, because we cannot. It defines Everything. One could be infinitely brilliant at something, but upon failing to love it, would inevitably detest it. To Do and to Be, takes Love. And it isn't something that ends with death. It, unlike mundane finality, is forever, beyond the realms of Time. It passes, from the first running race in the mud, to the charcoal in the ears, to the book from the river, to the stolen apples, to the asking for a kiss though being indefinitely scared of it for he loved her too hard, to the acknowledgement that he Is no longer and neither will be, again, to the kissing of the dusty, bomb-hit lips, to the thinking of the boy with the hair the colour of lemons forever, just before she ceased to be – and moves on, beyond earthly existence, for there is no finality to Love.
Indeed, to be a Story needs love, too. And Death himself, was one who felt an undefinable sadness to come and take Rudy Steiner away – for he knew, that his story could have been so much more – that he could have had more numbers than he did, for the boy with the bread deserved them, and he had Liesel, lollies and Love to live for.
You see? Even Death has a heart.
The Truth, of what Death loves us most for, and what it is within us that haunts him, is that amidst all adversity, beyond and against all rationale, we Hope.
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
– Dylan Thomas
Godspeed.
5 notes
·
View notes
The Book Thief
One of the recent books I had the fortune of reading was the Book Thief. Written by Markus Zusak, a historical fiction, suitable for any age. First most, the narration has my heart. I am not a huge fan of first person point of views but the wonderful storyteller here, Death, changed that for me. What a character, absolutely enigmatic and charming. How he insists that this story can be cheerful, even affable but not nice. Haunted by humans, yet still fails to de-attach himself from them. After doing this job since the beginning of mankind, an awfully long period of time, he still manages to get affected by the tragedies that humans inflict on each other. Hunger, war, famines, love. Now that is very humane of Death. I will not refrain from saying the truth but he is most definitely my favourite character in the book. His commentary, his remarks, the dialogues and callbacks along the lines of, ‘I know what’s going to happen, and so do you’ have been exhilarating and chill worthy for me. As a figure with no feelings of remorse or guilt, the emotions he acknowledged he felt, be it while collecting souls, or while pondering about the fate of people or him confessing how he doesn’t understand the duality of humans. Absolutely brilliant! A part of me saw glimpses of Sherlock in him, the book and Cumberbatch’s Sherlock, but for the most part of the book, I kept him as stereotypical as ever and an avid dementor fashion enthusiastic guy in my mind. The theme of the book in my opinion is him. How he is present everywhere, especially in the set time. He is not dangerous, nor wishes you harm. All he is doing is his duty, which is, as natural to him as he is to us. Death is not a punishment but rather a relief.
Being set in the N a z i Germany era, the historical fiction this novel possess is truly a delightful sorrow. Destiny and a young girl, Liesel Memminger, with a mother and brother. Neither of them with her for long. (I am sorry). The timeline if I am not wrong, correctly aligns with the real-life events and the mentions of the camps and tortures are true to the bone. Liesel Memminger, fascinated by novels and books since when she couldn’t even read a single thing. A girl truly just filled with passion and burning desire, enough to steal books from frosted graveyard to sizzling bonfire to the comforts of a mayor’s wife’s library. Liesel accesses the true powers of words. Or at least begins the journey to it. It is her reading that calms the neighbourhood taking shelter in the basement from the fireworks in the sky. It is her reading and writing which saves her life.
The Hubermanns…oh dear me! As I started the book, I was under the impression it was going to be a typical foster home that treats the foster kid poorly. Which then contributes to the child’s trauma and makes its life worse and the book longer. But how wrong I was! I was expecting Hans to act extremely abusive and shady with Liesel. That’s the initial impression I got from him. But I was bound to love his character, what a father figure. Former WWI soldier, the best accordion player, and a painter with the biggest heart. A man of his word truly, despite having conflicting thoughts in his mind. To stand with his country and son or with the man who he owes his life to? I wouldn't say he was flawed or had many bad traits but the ideals and morals he stood up for, what he bled and broke for, were truly remarkable. This man has my utmost love and respect. My mind sort of fan cast-ed David Thewlis as Hans and I am very happy that is did. Wonderful character designs, I must say.
Oh, Rosa Hubermann, I expected her to be an evil stepmom who constantly abuses her daughter and is only after money. I mean, yes, we do get the impression of her being a sharp tonged mother with a bad temper,for a long time but like Death says Rosa is a good woman for a crisis. How she gathers herself and protects everyone who was near her. She won’t let anyone sleep hungry, and she won’t let Liesel grow up too fast, whom she abuses, quite a lot of times…but that is just her love language. Just as Hans's love language for Liesel is to spend time with her when she needs it. Be it waking up in the middle of the night to soothe her, to change her soiled bedsheets or to teach her how to read and provide her with a book any chance he got, despite the financial situation. And for Rosa, his love language was to irritate her with his accordion playing and more. I was absolutely broken at those moments when the same Rosa who used to shout and curse at Hans for playing the accordion instead of finding jobs, used to hug the very thing she despised, for she missed the man she so dearly loved. Hats off to Markus Zusak to have created such multi-dimensional people in this story. So realistic. Very much along the philosophy of everyone has both good and bad sides. Soft and hard insides.
Which reminds me of Rudy Steiner. Damn him. Liesel’s neighbour, from her arch enemy to her best friend. God, I truly felt like a teenager reading those moments with him and Liesel. The first encounters, Jessie Owens incidents, the funny banters, the thieving, the standing up for each other and the asks for a kiss. Oh! How Death used to mock us with the words like how Rudy will finally get his kiss, but it would be too late for him. Death’s way of teasing the reader about what they wish would just happen and how it wouldn’t, the way they want to, by disclosing just enough details to keep them turning and tossing in the bed. I really hated and loved this style.
Love, heals, be it from the hands of Hans and Rosa or from Liesel’s. Concept of family and relations have been one of the key points I found being highlighted. Be it the relationship of Hubermanns and Liesel, or with Steiners or with Max Vandenburg, the Jew in the basement who writes two books for Liesel which helps Liesel understand people, friendships and devlopes her skills as a reader and writer, and who indirectly saves Liesel’s life through this way.
And I loved this book. I found happiness and joy while reading the saddest of the scenes, set in such a depressing phase of Human History. And with this, I was able to pick out the sadness and grief in the happiest of moments. This is what life is all about. Love, relations, problems, conflicts, joy and grief. How Death is not as fearsome as it is passed on. How a false propaganda and elitist views and ideals can cause havoc and vast genocides. How fun and laughter gets us through the hardest of times. And how we as humans, have the lifespan of a mayfly in comparison to the wonderful universe which surrounds us. Yet still, human life and relations we make along the way are as important as ever.
30 notes
·
View notes