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World Without Secrets: Business, Crime and Privacy in the Age of Ubiquitous Computing by Richard Hunter (Wiley, $27.95, 304 pages, ISBN 0471218162) delivers a first-rate explanation of the impact of technology on the public, government, business and communities. Hunter, who is vice president and director of security research for GartnerG2, a division of the world’s largest technology research firm, writes expertly and urgently about the panoply of internet-related problems each of these diverse groups will face in the years ahead. “There’s way too much information about everything out there now, and it’s going to get a lot worse,” Hunter argues. Because technologies arrive at different times, their impacts are cumulative. We don’t see the true effects of a technology’s use until long after that technology has invaded our everyday world. Looking forward, Hunter describes a world in which loss of privacy, technological terrorism and the heist of artistic rights are a foregone conclusion. This is an important book which sheds thought-provoking light on the slippery slope we are descending when it comes to Internet technology.

World Without Secrets: Business, Crime and Privacy in the Age of Ubiquitous Computing by Richard Hunter (Wiley, $27.95, 304 pages, ISBN 0471218162) delivers a first-rate explanation of the impact of technology on the public, government, business and communities. Hunter, who is vice president and…
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In American Skin: Pop Culture, Big Business and the End of White America, former Wall Street Journal columnist Leon E. Wynter (Crown, $25, 288 pages, ISBN 0609604899) makes a cogent case that consumer culture has radically changed the terms of racial discussion in America. Our identity is now transracial, based more on our spending habits than on our skin color. Part cultural history, part business history, American Skin outlines the major cultural events that have shaped American life and with great historiographic skill traces the changes in marketing that followed those events.

From the famous Mean Joe Green Coca-Cola commercial to the introduction of Revlon’s Colorstyle line, Wynter argues that advertising has subtly changed the way we view ourselves as Americans. The melting pot “into which generations of European American identities are said to have dissolved, is bubbling again,” Wynter writes, and the flame firing that brew is big business. This is a fascinating book with a hopeful message about the interaction of democracy and the marketplace.

In American Skin: Pop Culture, Big Business and the End of White America, former Wall Street Journal columnist Leon E. Wynter (Crown, $25, 288 pages, ISBN 0609604899) makes a cogent case that consumer culture has radically changed the terms of racial discussion in America. Our…
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August is traditionally a slow month. Summer is ending and it seems the whole world tries to relax before the back-to-school, back-to-work clamor begins. In France, the whole country retreats to the beach with a book and a bottle of wine. In America, we traditionally barbecue and lounge in pool or patio. The living, as the song says, is easy.

While bodies rejuvenate, this is a good time to restart the mental engines. Summer reading offers the chance to analyze and savor ideas without interruption, to challenge your thinking and refresh your mental nimbleness. Each of the business books we recommend here offers a refreshing and challenging theory or looks at an old problem from a new, provocative perspective.

Change is good John Kotter’s Leading Change, released in 1996, resonated strongly with managers and went on to become the best-selling book ever published by Harvard Business School Press. In that ground-breaking work, Kotter explained why efforts for change within organizations frequently end in failure. A new follow-up, The Heart of Change: Real-Life Stories of How People Change Their Organizations (Harvard, $20, 224 pages, ISBN 1578512549), co-authored by Dan Cohen, should give hope to cynical managers. The authors argue that large-scale change is possible if the right path is followed, and they outline a clear strategy for negotiating that path.

At the core of the strategy is a simple formula see, feel, change that can help organizations make successful changes. The people in a business must see a problem, preferably in dramatic, eye-catching fashion; they must feel the urgency of solving the problem; and they must change the behavior that caused the problem in the first place. The conclusions in The Heart of Change were based on interviews with 400 people from more than 100 organizations, and the real-world examples cited liberally throughout the book make this a highly readable and practical choice for any businessperson who wants to stir up change and make it stick.

 

August is traditionally a slow month. Summer is ending and it seems the whole world tries to relax before the back-to-school, back-to-work clamor begins. In France, the whole country retreats to the beach with a book and a bottle of wine. In America, we…

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Hoping to repeat last year's Tour de France win, Lance Armstrong is currently in France training for the three-week, 2,300-mile bike ride around the circumference of France. He recently answered questions for BookPage.

BookPage: You have proven you can win races. You have proven you can beat cancer. What is left for you to prove?

Lance Armstrong: First of all, I didn't "beat cancer, I survived it. Nobody beats cancer. It's a very tough, very humbling disease and it doesn't discriminate. You can do everything your doctor tells you, eat all the right foods, and still die from it, while the guy who smokes and doesn't listen to his doctor is somehow spared. I was very, very lucky. As far as what's left for me to prove, there are plenty of things. I'd like to prove I can win the Tour de France again, and be a consistent champion. But I'm just as interested in the more open ended questions. I'd like to prove I can make a real difference with my cancer foundation. And I'd like to prove I'm a good husband and father.

Do you still feel part of the cancer community? Is it more important for you to get on with your life and your racing or to offer encouragement to other cancer patients?

Once you are a part of the cancer community you never leave. It's not a matter of getting on with my life cancer is part of my life and always will be. Why would I walk away from the most important thing that ever happened to me? I really believe that whatever my life is today, I owe to cancer. There's no question in my mind that I wouldn't have won the Tour without the cancer experience, because it made me a tougher and more patient cyclist. I think I'm a better person overall because of it, more thoughtful, more compassionate, more responsible.

When you were diagnosed with cancer, you sold your expensive car and felt a need to simplify your life. Do you still feel that need?

Well, obviously not, since I have a new Porsche on order. The reason I sold my old one was because I didn't have any health insurance, and I thought it would take every dime to pay the medical bills. Since my recovery, I've let myself have some expensive things again. I love acceleration, in any form. The Porsche is just a matter of pure, decadent, self-indulgence.

Do you think your experience with cancer contributed to a closer than usual bond with your own son, Luke?

I just think cancer taught me not to take fatherhood for granted. I really feel like he's a miracle baby. For a while there I wasn't sure I would be able to have a child, because the cancer treatments had left me sterile. We had to use the in-vitro method. So it's hard not to feel he's a real gift. My wife, Kristin, calls us her "two miracle boys.

Since you did not have a father figure in your own life, who are your role models for being a father?

Growing up, I saw more examples of what not to do. For instance, I won't hit my son. How old are kids when they start screwing up, eight? Ten? Old enough to have a conversation. When he messes up, I'm going sit him down and talk about it. As far as good examples, I have a wonderful father-in-law. Also, I have some dear friends who are great examples, for instance my friend and longtime coach, Jim Ochowicz, who taught me a lot about how to win races. But the best example of parenting I ever had was my mother. She was enough.

What traditional elements of fatherhood do you want to instill in your own family? For example is father's day a holiday you want to stress or downplay?

I'm not sure how traditional Luke's early childhood is going to be. For one thing, we travel a lot, so he has to be portable. We take him everywhere. We spend half the year in Austin and half the year in France, and when we're in France I'm away a lot racing, which is hard. The big challenge for me right now is how to spend as much time with him as possible and still train and race. I've already changed in some ways in order to be a traditional father. For the first time in my life, I've turned off the phones. The main thing I want is to be there for him.

Hoping to repeat last year's Tour de France win, Lance Armstrong is currently in France training for the three-week, 2,300-mile bike ride around the circumference of France. He recently answered questions for BookPage.

BookPage: You have proven you can win races. You have…

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You may not know of many Certified Public Accountants who’ve become best-selling authors, but James Dashner traded in his days of crunching numbers to chase his dream of writing full-time, and he doesn’t seem to be looking back. Dashner’s debut Maze Runner series has sold more than 2.4 million copies, and with a film adaptation slated for 2014, the “Dashner Army” of superfans is sure to keep growing.

Now Dashner is bringing YA readers a new world to explore in The Eye of Minds, the first novel in his cyber-punk influenced Mortality Doctrine series. A self-proclaimed geek, Dashner offers a convincing look at the future of video games, where the lines between what’s virtual and what’s real are blurred, and the results can be terrifying.

The Eye of Minds follows Michael, a gamer who spends most of his time on the VirtNet—a cutting-edge virtual reality gaming experience where anything is possible, and everything feels real. During his waking hours, Michael is usually playing (or planning his next game). And in a state known as "the Sleep," his mind is free to roam the VirtNet while his body stays inert. The game is threatened when a cyber terrorist known as Kaine starts destroying the virtual world and torturing players online—leaving their physical bodies brain-dead, or worse. Virtual Network Security agents need help tracking down this rogue player, and Michael and his two best friends have just the right hacking skills for the job.

A gripping page-turner, Dashner’s latest is sure to please existing fans and newcomers alike. We caught up with the author to get his tips on which elements of the VirtNet are most likely to keep readers up all night.

TOP 5 SCARIEST THINGS ABOUT THE VIRTNET

By James Dashner

5. Your Aura (avatar, likeness, etc.) inside the Sleep is probably much better looking than your real self. You may get used to it, making the mirror in your real bathroom a very unhappy place.

4. There's always the chance that you'll meet someone inside the VirtNet, fall in love, arrange a meeting in the real world, then realize it's your Uncle Frank incognito.

3. Roller coasters have been known to induce heart attacks, motion sickness, and is apparently unsafe for those bearing an unborn child. The VirtNet is a roller coaster times a billion.

2. If the Sleep is indistinguishable from the real world, how can you ever again truly know what is real and what is not? It's like the dream within a dream within a dream from the movie Inception.

1. No one at the office will get any work done. Ever again.

 

You may not know of many Certified Public Accountants who’ve become best-selling authors, but James Dashner traded in his days of crunching numbers to chase his dream of writing full-time, and he doesn’t seem to be looking back. Dashner’s debut Maze Runner series has sold…

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Arthur Schlesinger Jr. played a unique role in American life. The author of many acclaimed works of American history and biography (his accolades included two Pulitzer Prizes, two National Book Awards, the Francis Parkman Prize and the Frederic Bancroft Prize), he also enthusiastically embraced the role of friend and confidant to significant movers and shakers on the national political scene. He was a speechwriter and adviser to presidential candidate Adlai Stevenson, and is probably best known for his position as a special assistant to President John F. Kennedy.

Schlesinger was also a prolific letter writer whose wide range of correspondents included fellow intellectuals, literary figures, government officials, Hollywood celebrities and fellow citizens who agreed or disagreed with his views on history or current events. His sons, Andrew and Stephen, have gone through this treasure trove of about 35,000 letters, most of them never before seen by the public, to compile The Letters of Arthur Schlesinger, Jr. As editors of this new collection, the brothers selected letters “that best articulate his essential beliefs and reflected the movement of the times,” and which highlight that the “abiding theme of his correspondence over a 60-year period is his preoccupation with liberalism and its prospects.”

During a recent book tour stop in Nashville, Andrew and Stephen Schlesinger answered questions from BookPage about the mammoth task of compiling their father’s letters—and what readers can learn from them.

BookPage: Although your father regarded liberalism as a “fighting faith,” in these elegantly written letters there is a tone of respect and candor, reasonableness and civility, even with those with whom he strongly disagreed. Would you speak about the tone of the letters?
Stephen Schlesinger
: It’s remarkable. He wrote to Adlai Stevenson suggesting that he should have a more appropriate way of addressing public forums, keeping his thoughts short and clear. He does this to a lot of people he admired. He’s very frank with them, like the remarks he made to John F. Kennedy about Profiles in Courage. Kennedy wanted him to be “ruthless” in his criticism.
BookPage: And he was.
Andrew Schlesinger
: He was a college professor accustomed to working with graduate students, and Kennedy appreciated that.
Stephen: It was remarkable that he could have been so frank in [a] letter he wrote to Stevenson before his second nomination in 1956, [but] Stevenson kept him on.
Andrew: His arguments were reasonable. They made sense. For many people he was the liberal conscience.
Stephen: A lot of the candidates wanted his approval. Whether it was Lyndon Johnson or Bill Clinton, they’re all there trying to get support from him—whether it be verbal or a letter—something that would give them validation with the liberal constituency at large.

BookPage: The letters demonstrate your father’s marvelous gift for friendship with such a wide range of people. Would you give us some insight into this quality?
Andrew: A lot of the people he met during World War II are the same characters who reappear years later. They have authority, which people develop over time. Sometimes he has great difficulties with these friendships.
Stephen: One of the great calamities of this country was the Vietnam War. Three of the people he had considered close personal friends—Hubert Humphrey, Joseph Alsop (columnist), and Henry Kissinger, who had been his colleague at Harvard—he broke with all of them. He was unvarnished in his criticism of all of them and his letters show that. He felt so profoundly about this. In a strange sort of way, I think he thought he was doing them a favor. He writes these letters in each case to continue the argument, to be more persuasive about our involvement in this terrible war, to have an impact on their thinking. And, of course, all of them are committed to the war, so they brush him off. But, I felt that the letters were very eloquent and straightforward—rather persuasive from the standpoint of practicality. As Andy said, he had this passion throughout his life all related to this liberal theme. He was willing to take on his friends. He was willing to be, in a sense, a lightning rod for criticism because he firmly thought this was right. He’s very consistent.
Andrew: He’s a great American patriot. He thought it was his job to protect America, to push this liberal agenda of affirmative government.
Stephen: He was attracted to talent . . . people in their younger years who were going to amount to something when they were older. They continued to pop up in his life.

BookPage: Geoffrey C. Ward has written of this collection of letters, “No one who wants to understand how it was to live through the second half of the 20th century in America should miss it.”
Stephen
: I think it’s fair to say this book is a mini-history of the liberal movement over 60 years. It’s a reflection of the many challenges the liberal community faced in all these difficult decades.

BookPage: The collection is so well annotated, so good at identifying personalities and events.
Andrew
: We published the (Arthur Schlesinger, Jr.) Journals several years ago and we didn’t get the chance to annotate. We had three months to prepare for publication. So this was a great opportunity to identify all those people. Now you can read Journals as a companion volume to the letters.

BookPage: How was your father able to be as productive as he was, as a brilliant writer and renowned historian, among other things, and remain such a prolific letter writer? You mention letters as his “paramount means of communication.” But there are only so many hours in each day. Was he very well organized and where did letter writing rank in his priorities?
Stephen
: He did have very good secretaries. But, you’re right. And he was not only doing that [the letters], he was doing 17 books. He was doing eight or 10 letters a week. He was a movie reviewer, believe it or not. He was teaching, a full-time faculty position, dealing with students [and] out on lecture tours. He was writing speeches for politicians. He was a great socializing person. He hosted dinner parties. He had animal energy, that’s what he had.
Andrew: He would work night and day. If he was at home, after dinner he would go to his typewriter or later, his word processor. He would get up early in the morning. He was a very hard worker. He was well organized up until the end.
Stephen: What hampered him at the end was that he had Parkinson’s disease.

BookPage: I was impressed that your father never talks down to people who are not public figures—whether the subject is why does he wear bow ties or [if he] is asked to draw a sketch of himself.
Stephen
: We carefully wanted to make sure that we included letters to people who were not public figures—fans, critics, people who had a grudge—just to show he treated people with equal respect.

Andrew: He felt that if someone took the time to write him a letter, he should respond.

BookPage: Your father was different from Henry Adams—quite a different person, different era and issues—but as I was reading your father’s letters, I was reminded of Henry Adams’ letters. Your father mentioned Adams many times in the essays in his book, The Cycles of American History. I felt that your father’s letters had some of the qualities of Adams’s letters and that they would endure.
Andrew
: My father would be glad to hear that. Henry Adams was one of his great American heroes.
Stephen: My father even wrote a play based on the Adams novel, Democracy. The dynamo image that Adams talked about [in The Education of Henry Adams] was recurrent in what he talked about—the speeding up of life because of technology was something that very much caught his eye.

BookPage: I was impressed by his letter to the president of Little, Brown—his own publisher. He came back from Europe after World War II and urged his publisher (of his Pulitzer Prize-winning The Age of Jackson) to publish George Orwell’s Animal Farm. But because a key editor, who turned out to be a faithful follower of the Communist Party, opposed, Little, Brown does not publish the book. Your father is outraged at this decision. The book is picked up by another company and is published to great acclaim.
Stephen
: My father wrote a piece for Life magazine in 1946 about the Communist Party. He became a leader in the Americans for Democratic Action, a leading anti-communist group, along with John Kenneth Galbraith, Eleanor Roosevelt and other luminaries. But he was one of the key leaders, and he took a lot of fire from both the right and the left because of what he was doing.
Andrew: Rebecca West on the right and Lillian Hellman on the left. Remember—in 1945 the Communists were trying to penetrate other organizations. He helped to found the ADA to confront the popular front that made liberals look bad in America.
Stephen: He wrote the book The Vital Center, [where he attacked] left-wing totalitarianism and fascism on the right: communism on the one side and fascism on the other. Even as he opposed the Communist Party, he didn’t feel that it should be outlawed. He was also persistent about writing letters to Harvard University about not banning speakers because he felt that violated free speech on campus.

BookPage: You knew your father and his work very well. Were there any surprises for you as you worked with his letters?
Stephen
: I didn’t know that Groucho Marx had sent him a letter. [It praised a Schlesinger book he had read.]
Andrew: And Sammy Davis Jr. The four or five pages he wrote to Kennedy about Profiles in Courage . . . for me, it was the totality of the letters, his dedication to the promotion of liberalism. There was the letter that our father wrote to Jacqueline Kennedy after the assassination.
Stephen: There was the letter he wrote to John Kenneth Galbraith, his best friend, late in Galbraith’s life. There is a lot of humor in the letters as well as serious commentary.

BookPage: In a letter your father writes, “Through the years, [Reinhold] Niebuhr more than anyone else I have known has served as the model of a really great man.”
Andrew
: He was not a religious man. But he saw a line between what Niebuhr preached and what Kennedy did. You have got to act. Everybody has to stand up against evil.
Stephen: Until he met Niebuhr, I don’t think he really understood the nature of sin in terms of human nature.

BookPage: Your father was good at proposing political strategy. Did he ever consider running for office himself?
Stephen
: Not that we know of. He was an activist. He was an historian. He had written books about [Andrew] Jackson and FDR, he had worked for Adlai Stevenson, so when the Kennedy years came, he had some ideas about political strategy. He loved politics. He defined his life every four years by the cycle of democratic conventions. From 1948 on, he was at almost every democratic convention.

Arthur Schlesinger Jr. played a unique role in American life. The author of many acclaimed works of American history and biography (his accolades included two Pulitzer Prizes, two National Book Awards, the Francis Parkman Prize and the Frederic Bancroft Prize), he also enthusiastically embraced the role of friend and confidant to significant movers and shakers on the national political scene. He was a speechwriter and adviser to presidential candidate Adlai Stevenson, and is probably best known for his position as a special assistant to President John F. Kennedy.

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Sherman Alexie may be one of the most acclaimed writers of his generation. The author of such novels as Reservation Blues and Indian Killer is also a poet and a screenwriter (Smoke Signals, The Business of Fancydancing). Alexie is a literary force to be reckoned with, but he watches "American Idol" like the rest of us. Award-winning authors need downtime, too.

Even while channel-surfing on the couch, his young son beside him, Alexie is doing more than meets the eye. During an early-morning phone call to his home in Seattle, Alexie says, "We've lost old ceremonies and we're casting about looking for new ones. And we don't know yet if they're going to work or not." Ceremonies like watching "American Idol"? Alexie, a fan of pop culture, says yes.

"There's a hell of a lot of people watching this with me right now, and I thought, well, that's a ceremony, and we can't diminish the importance of that. We still have all those ceremonies, that shared stuff, the rituals, it's just that we don't learn anything through [them], nobody learns anything by watching American Idol,' nobody is challenged. Our ceremonies now don't require us to be conscious. That's what they're supposed to do."

MAKING CONNECTIONS
Alexie's latest collection of short stories, Ten Little Indians, tells the stories of people in search of the rituals and ceremonies that lend life meaning. They are characters longing for authentic connections with others; they are everyday people, Native Americans, trying to navigate their way through the modern world. Ten Little Indians holds within its pages many journeys, at once ordinary and epic. As Alexie says of his characters, "Everybody's on a religious quest, everybody's a pilgrim."

There is Corliss in "The Search Engine," a student on the trail of an elusive poet, trying to discover her own identity. There is Jackson in "What You Pawn I Will Redeem," a homeless Indian who must raise $1,000 in 24 hours to buy back his grandmother's powwow regalia stolen years earlier. The image we are left with at the end of this story is so stirring and powerful it lingers like an aftershock.

In "What Ever Happened to Frank Snake Church?," the final story in the collection, a once well-known basketball player honors his father's death by obsessively throwing himself back into a sport he sacrificed long ago. Witnessing him work through his grief is, at times, a painful thing to see, but Alexie doesn't go in for tidy resolutions or anything that smacks of sentimentality. "I wanted all these stories to be love stories and not happy endings, sanitized love stories, but the real mess. . . . Love is shaky, and magical, and terrifying," says Alexie.

Though, at this early hour, Alexie is soft-spoken, his tone bears a trace of the raw, bold voice behind his writing. In what is sure to be one of the more controversial stories in the collection, "Can I Get a Witness?," an act of terrorism brings two strangers into an even stranger alliance. Here Alexie, an outspoken peace activist, demonstrates once again that he has the courage to speak his truth, to question long-held beliefs and the status quo. Of this he says, "It's our job. We're artists. We're supposed to be loud and poetic and crass and inappropriate."

Alexie's writing, though provocative, is also funny. "It's the way I look at the world, with humor, and it's not necessarily on purpose. My family is very funny, and in fact if you put my brothers and sisters and [me] together, you find I'm the least funny one," Alexie says. "It certainly is a family way of looking at the world, and my tribe in a sense too; there's a lot of humor. In the Northwest especially, the joke is that if you have a gathering of Native Americans from all over the country, you know where the Northwest Indians are because they're the loud laughing ones."

"I didn't know I was going to be a funny writer," Alexie says. "I just started writing and people laughed. And at first I was sort of offended. I expected, like many young people, that writing was supposed to be so serious that if people were laughing it couldn't be serious. But I've learned that humor can be very serious. You know if you have people laughing, you can talk about very difficult subjects. I use it as an aesthetic I suppose I should say anesthetic and also to be profane and blasphemous. There's nothing I like more than laughing at other people's idea of the sacred."

KEEPING THE CULTURE ALIVE
In Ten Little Indians, as in his other works, Alexie also explores questions of identity, both personal and cultural. Corliss, a latent poet in "The Search Engine" says, "no matter what I write, a bunch of other Indians will hate it because it isn't Indian enough, and a bunch of white people will only like it because it's Indian." Asked if Alexie shares these sentiments, he says that at times he does feel "trapped by other people's ideas of who I am and who I'm supposed to be . . . there are so many ideas about Indians, none of which we created. It's a special situation being colonized people where the colonizers always get to define us and that still happens."

Asked about Native American culture being relegated to museums, Alexie says, "I love museums, but for me the greatest part of all this is I'm a completely active member of the culture. Forgive the immodesty, but I think it's much more important for an Indian like me to be in The New Yorker magazine than it is for me or an Indian to be in a museum [so that] we join the culture rather than become a separate part of it. It's great to talk about traditions and to see them represented and to get a sense of history, but I think it's more important to change the possibilities of what an Indian is and can be right now.

"We're not separate, we're not removed, we're an integral and living part of the culture." Sherman Alexie, master of many mediums and a gifted storyteller, is living proof of that fact.

 

Katherine H. Wyrick, a former editor of BookPage, lives in Little Rock, Arkansas.

Sherman Alexie may be one of the most acclaimed writers of his generation. The author of such novels as Reservation Blues and Indian Killer is also a poet and a screenwriter (Smoke Signals, The Business of Fancydancing). Alexie is a literary force to be reckoned…

Interview by

In the hands of Australian writer Markus Zusak, Death is a surprisingly enjoyable omniscient narrator. Sure, Death does his job, and unapologetically so: "I can be amiable. Agreeable. Affable. . . . Just don't ask me to be nice. Nice has nothing to do with me."

In Zusak's latest young adult novel, The Book Thief, Death doesn't gleefully gather up the newly dead. Rather, he's resigned to the fact that he can never take a vacation, and he learns to cope with pained leftover humans by acutely observing and eloquently describing the colors that saturate the sky when he carries away a soul.

Zusak, author of four previous teen novels (including 2006 Printz Honor Book I Am the Messenger), put aside his house-cleaning chores to talk with BookPage from his home in Sydney. He says of The Book Thief, "When I first started writing, Death was a lot more macabre; he was enjoying himself too much. Nine months later, I thought of the last line [of the book] and decided that was the way to do it. It would be ironic: we're so scared of death, but what if it was the other way around as well?" Thus, Death infuses his storytelling with equal parts wit and compassion, and a keen interest in young Liesel Meminger: he is fascinated when she steals a copy of The Grave Digger's Handbook from her brother's gravesite. She carries that book with her to her new foster home, and it is the first in a series of thefts and literary explorations. As Liesel's world becomes ever more strange and frightening, books steady her and stealing (from a Nazi book-burning, from the mayor's wife's library) empowers her, even as her friends are recruited for Hitler Youth and her family hides a Jewish man, Max, in their basement. Her books are her secret, and even Hitler's footmen cannot take away the stories she so eagerly absorbs.

The author's parents grew up in WWII Europe and throughout his childhood told and retold stories of these years. "Two stories really affected me," he explains. "My mother talked about Munich being bombed. Everything was red, and the sky was on fire. The other was about seeing Jewish people being marched to Dachau. A boy ran out to give a man piece of bread, and a soldier whipped both the man and the boy. I thought I'd write a 100-page novella around those incidents, but the research started building until I had a whole other mass of things."

The Book Thief grew to 500-plus pages, but Zusak's unusual, compelling tale renders page count irrelevant. Comedy takes turns with suspense and sadness, and even as the family's security is steadily eroded, they create music and art. The text is dotted with bold-faced pronouncements from Death that offer reassurance or inspire contemplation, but the book does not fall prey to sentimentality. Harrowing events are allowed to be so, and interludes of joy are all the more powerful because of the characters' need for even mere filaments of hope. Zusak says the book is " five percent truth, and 95 percent made up," with some characters loosely based on those who populated his parents' stories. He never went to Germany as a child, he says, "but I knew scenes almost word for word, and wrote them as I pictured them growing up. Last year, I went to Germany to check everything. I did interviews and researched until I couldn't stand it anymore. Research doesn't come naturally to me in the end, I'm dying to write the story."

In fact, a pivotal vignette within The Book Thief, about Liesel and Max, energized Zusak even after he'd reread the book countless times during the three years it took to write it. "When I was sick and tired of the entire thing, that one story within the others made me think the book was worth publishing." After all, he points out, " It's the little stories that define us, our existence. And Death is trying to find stories that indicate we're worth it. We are our stories."

 

Linda Castellitto writes from Raleigh, North Carolina.

In the hands of Australian writer Markus Zusak, Death is a surprisingly enjoyable omniscient narrator. Sure, Death does his job, and unapologetically so: "I can be amiable. Agreeable. Affable. . . . Just don't ask me to be nice. Nice has nothing to do…

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