a b Zeitlin, Froma (15 November 2003). "New Soundings in Holocaust Literature". In Postone, Moishe; Santner, Eric L. (eds.). Catastrophe and meaning: the Holocaust and the twentieth century. ISBN 9780226676104. It is not easy, after eighteen years, to go into the city for the first time, go shopping, deal with I always had the feeling that no one understood me anyway, that no one knew who I was and what made me do this or that. And you know, when no one understands you, no one can call you to account. Not even the court could call me to account. But the dead can. They understand. They don't even have to have been there, but if they do, they understand even better. Here in prison they were with me a lot. They came every night, whether I wanted them to or not. Before the trial I could still chase them away when they wanted to come. [18] Schlink's tone is sparse; he writes with an "icy clarity that simultaneously reveals and conceals," as Ruth Franklin puts it, [3] a style exemplified by the bluntness of chapter openings at key turns in the plot, such as the first sentence of chapter seven: "The next night I fell in love with her." [4] His "clear and unadorned language enhances the authenticity of the text," according to S. Lillian Kremer, and the short chapters and streamlined plot recall detective novels and increase the realism. [5] Schlink's main theme is how his generation, and indeed all generations after the Third Reich, have struggled to come to terms with the crimes of the Nazis: "the past which brands us and with which we must live." [6] For his cohorts, there was the unique position of being blameless and the sense of duty to call to account their parents' generation:

As the book continued and the images of eyes became more obvious, talk moved on to how the discs changed and what they might represent. Wroe writes that the book had sold 75,000 copies in the U.S. by 2002. Ruth Franklin (2010) writes that the figure is two million; see p. 201. Peter Hayes, Donald G. Schilling, Jeffry M. Diefendorf (1998). Lessons and Legacies: Teaching the Holocaust in a changing world, p.27: "It is worth noting that this misdating, designed to associate the killing of Jews with the war, was not only broadcast on German radio and printed with the wrong date in German newspapers of the time; it was also repeated in print in" Now draw attention to the use of dashes in this character description (slide 2). There are three examples where dashes are used in pairs as parentheses – what effect does it have when this extra information is added?

What is The Viewer?

It took me multiple reading to enjoy this as much as I do now and, ultimately, fully interpret what I think the story is sharing with us. As always with both Gary Crew AND Shaun Tan, I need a bit of warming up to appreciate them so this took an evening of close reading to glean some understanding.

As part of the class, the students attend the trial on a weekly basis. At the court, when the defendants’ names are called, Michael discovers that Hanna is one of the former Nazi guards on trial. However, despite the pain that Hanna’s departure once gave him, he “felt nothing” at learning this news. During her preliminary hearing, Hanna reveals that she rejected a promotion at her factory job shortly before signing up as a prison guard, making it appear to the jury that she had voluntarily, if not enthusiastically, joined the SS. Hanna’s lawyer does not do much to help her salvage this first bad impression, and Hanna is kept under detention for having ignored summonses. Unlike his classmates, who attend only weekly, Michael attends the trial every day, always watching Hanna. As Michael becomes exposed to more horrors for a prolonged period of time, he begins to feel numb and is emotionally distant, not unlike the survivors and even perpetrators of the Holocaust who are exposed to evil on a regular basis. Ominous words and violent imagery fuel this dystopia, which is equal parts science fiction and life-as-we-know-it. Crew and Tan (previously teamed for The Memorial Uhl, Heidemarie; Golsan, Richard J. (2006-09-20). Lebow, Richard Ned; Kansteiner, Wulf; Fogu, Claudio (eds.). The Politics of Memory in Postwar Europe. doi: 10.1515/9780822388333. hdl: 1811/30027. ISBN 9780822388333. S2CID 156505244. Gary Crew has been awarded the Children’s Book Council of Australia Book of the year four times: twice for Book of the Year for Young Adult Older Readers (Strange Objects in 1991 and Angel’s Gate in 1993) and twice for Picture Book of the Year with First Light in 1993 (illustrated by Peter Gouldthorpe) and The Watertower (illustrated by Steven Woolman) in 1994. Gary’s illustrated book, Memorial (with Shaun Tan) was awarded the Children’s Book Council of Australia Honour Book in 2000 and short listed for the Queensland Premier’s Awards. He has also won the Wilderness Society Award, the Whitley Award and the Aurealis Award for Speculative Fiction.I could have reviewed this as a children's book. With an age recommendation of middle primary; an art style of detailed drawn; theme of inquisitiveness and history; the setting of a child space. But to me, this is a book this a book that is as valuable for adults. This is true to the style of both Gary Crew and Shaun Tan. Both of them create works that can be read by all. Where more details are seen as the reader gets older. If a teacher wanted to use it in a lesson with older students there is potential for a thought exercise about whether they would do what Tristan did. And the cost of inquisitiveness. Crew and Tan have worked together since The Viewer, publishing Memorial in 1999. As a law clerk, Michael marries his girlfriend Gertrud when she gets pregnant. Over the course of their marriage, Michael never tells her about Hanna but often compares Gertrud to Hanna in his mind. The marriage lasts only five years, and Michael’s guilt over making his daughter Julia suffer through their divorce pushes him to become more open about Hanna in his relationships. However, he doesn’t appear satisfied with the women’s reactions to his past with Hanna and he eventually stops talking about her. I wanted simultaneously to understand Hanna's crime and to condemn it. But it was too terrible for that. When I tried to understand it, I had the feeling I was failing to condemn it as it must be condemned. When I condemned it as it must be condemned, there was no room for understanding. But even as I wanted to understand Hanna, failing to understand her meant betraying her all over again. I could not resolve this. I wanted to pose myself both tasks—understanding and condemnation. But it was impossible to do both. [8]

BBC World Book Club. Podcast of Bernhard Schlink talking about The Reader, January 1, 2011, accessed January 20, 2011.Milata, Paul. Zwischen Hitler, Stalin und Antonescu: Rumäniendeutsche in der Waffen-SS. Böhlau. Cologne 2007. didn't fight at all. If she threatened, I instantly and unconditionally surrendered. I took all the Roth, Jeffrey I. "Reading and Misreading The Reader", Law and Literature, summer 2004, vol. 16, No. 2, pp. 163–177. Icecream specializes in smart, no-frills software, and Icecream Ebook Reader is no exception. It supports EPUB, MOBI, PDF and FB2 ebook formats, and once you’ve imported your books they’re arranged in a neat bookshelf with a choice of viewing options. One particularly handy feature is the ability to archive and export your ebooks; ideal if you use more than one PC and don’t want the hassle of importing your books twice. There’s no cloud syncing though.