中文名: 偷书贼英文有声书
英文名: The Book Thief
资源格式: MP3
发行时间: 2006年
地区: 英国
语言: 英语
简介:
★ 获颁美国图书馆协会举办之Pintz奖
★ 荣获2006年Book Sense儿童文学类年度选书
★ 荣获2006年邦诺书店（Barnes&Noble）「发现新人奖」（好书就是好书……大胆创新之作，可比《风之影》）
★ 2006年亚马逊网络书店年度选书（青少年类编辑选书）
★ 入围美国文坛奥斯卡『鹅毛笔奖』（Quill）2006年最佳青少年/成人小说
★ 获颁Kathleen Mitchell青年作家奖（奖励30岁以下优秀作家）
★ 获颁「全国犹太图书协会」小说奖。
★ 获颁「犹太图书馆小说奖」
★ 与Secret River一书（木马2008年出版）同时入选「澳洲书商年度选书」。
★ 澳洲图书产业奖，「年度选书」及「文学小说」入围。
★ 迄今已经售出英国、德国、意大利、法国、西班牙、巴西、韩国、日本、丹麦、荷兰、台湾、以色列、塞尔维亚、芬兰、挪威等国版权
内容简介
《偷书贼》是本相当推荐一看的小说，故事讲述的是9岁小女孩莉赛尔和弟弟在战乱中被迫送到寄养家庭，但弟弟不幸死在旅途中，莉赛尔在弟弟冷清的丧礼后偷了一本掘墓工人的手册，为的是要纪念自己永远失去的家庭。寄养家庭位在慕尼黑凋蔽贫困的区域，大人彼此仇恨咒骂，老师狠毒无情，战火时时威胁人命。莉赛尔每晚抱着掘墓工人手册入睡，恶梦不断。养父为了让她安眠，于是为她朗诵手册内容，并开始教她识字。
学会认字进而开始读书的莉赛尔，尽管生活艰苦，吃不饱穿不暖，却发现了一项比食物更让她难以抗拒的东西——书，她忍不住开始偷书，用偷来的书继续学习认字。从此莉赛尔进入了文字的奇妙世界，让她熬过了现实的苦难，也不可思议地帮助了周围同样承受苦难的人：读书给躲在养父家地下室的犹太人听，在空袭时为躲入防空洞中的街坊邻居朗读故事，安慰了每颗惶惶不安的心，潜移默化改变了原本粗鄙的性情。
对照着战场上万人之间的争夺残杀，莉赛尔藉由阅读与文字所散发的力量，让死神惊讶地睁大了眼睛，一面收取战场上的灵魂，一面思索人性的深奥：为什么人类一面展现残酷的杀戮，一面又有发自内心的关爱呢？多年以后，死神前去迎接莉赛尔的灵魂。死神坐在喧嚣的大马路旁，忍不住感叹道：“人哪！人性萦绕我的心头不去！人性怎能同时间如此光明，又如此邪恶！”
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作者简介
马克斯·苏萨克1975年出生于悉尼，30岁时已成为当代澳大利亚文学界获奖最多、著作最丰、读者群最广的作家。迄今已出版：《输家》（The Urlderdog）、《与鲁本·乌尔夫战斗》（The Figtlting RLJberl Wolfe，美国图书馆协会青少年类最佳图书）、《得到那女孩》（Gettinlg the Girl）、《报信者》（I Am theMessenger，澳大利亚儿童图书协会年度最佳图书奖）。
《偷书贼》的故事源自他幼年时父母讲述的情节，第二次世界大战时他的父母曾经亲眼目睹盟军轰炸汉堡之后的惨状，也看过纳粹押解犹太人前往死亡集中营的悲剧。苏萨克说，父母讲述的情景他一直记在心里，他知道自己总有一天会把这些故事写成书。
伴随着《偷书人》的出版，他被澳大利亚和美国的评论家称之为“文学现象”。
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媒体推荐
“偷书贼”的书名相当奇特，令人充满好奇，在未阅读书中内容前，你我对“偷书贼”这家伙的幻想，从行侠仗义的义“贼”至狡猾奸邪的恶“贼”，或许勾勒了许多轮廓和形象，是怎样的偷书贼？书又有什么好偷呢？但看完此书便会发现，原来“偷书贼”是位有个性、可爱又趣味的小女生，整部故事的剧情，也环绕在主角偷书贼“莉赛尔”身上。虽说主角是偷书贼莉赛尔，也是全程以第三人称叙述故事的死神，偷书贼自身的故事或许只是二战中的缩影，但透过第三人立场的死神，无奈又多愁善感的表达，更添加了故事中的战争无情、人性丑陋、矛盾世界的冲击，整部故事的架构铺陈，更加强而有力。
主角莉赛尔于故事开始，便接连失去了挚爱的亲人，一本于弟弟葬礼中所拾获（偷捡？）的书，更是影响了莉赛尔的一生，也开启了偷书贼的故事。莉赛尔弟弟的死，造成莉赛尔心中无法逝去的阴影，只能靠着拾获的书本，保留对挚亲最后仅有的回忆，即便第一本“偷”的书《掘墓工人完全手册》，莉赛尔全然不识字，更不懂书中所言何物，但莉赛尔因此开始学习识字，文字也自始成了莉赛尔心灵上的救赎，比食物更重要的精神食粮。
如同作者于书中所描述，很多事情都是彼此关连的，牵一发而动全身。莉赛尔对文字的渴望，影响了周遭的友情、亲情、爱情，也让她透过文字改变了许多人：要好的朋友鲁迪，陪着莉赛尔一起共患难、偷书，培养了坚贞不移的友情；遭逢德军迫害的犹太人麦克连，莉赛尔的阅读唤起麦克连的灵魂，而麦克连也以文字回报莉赛尔，让莉赛尔体认自己阅读的力量与感动；遭逢战争空袭，躲藏于地下室中的镇民，莉赛尔的阅读安抚了大家惊慌不安的忐忑心情；故事最后，敌军自天空洒下无情的雨滴，镇上居民均无一幸免时，文字却救了莉赛尔一命，成了空炸肆虐后如地狱的天堂街上，唯一的生还者。文字、偷书贼、死神，三者紧紧环扣着整部故事的架构；好友鲁迪最、爸爸汉斯、犹太人麦克连，莉赛尔生命中重要的三个男人。
《偷书贼》故事的背景在二次大战，希特勒统治下的德国，迫害犹太人事件甚嚣的时期，作者透过各种比喻的描述手法，以“颜色”、“天空”、“云朵”、“文字”等生活周遭的事物，衬托当时战争的残酷、人性的流露。作者叙述故事的手法，前后连贯呼应，有时会先点出故事片段的后果，让读者提前知道部分情节的结局，以难过的心情慢慢翻至难以接受的页面，复杂的心情和书页共同停滞于凝结的时间上。我很喜欢作者用“颜色”贯穿整部故事剧情，故事一开始和书本的扉页一样净白，待主角进入故事、书本颜色、天空色彩更迭、爸爸汉斯眼睛的银色光泽、手风琴上的黑白琴键、战争的起落、成万人死去的样貌、遍地血流成河的鲜红、莉赛尔老年死时的午后蓝…在书中看到了成千万的奇想色彩，每个色彩都有象徵的意义。
另外一位书中主角“死神”，其实才是关键、重要的角色，作者并没有把这位死神描绘成面目狰狞、十足冷血的无情收魂者，反而是位多愁善感、有着浪漫因子，每天履行无奈公事的艺术家死神。故事一开始，死神在自我介绍时，便道出了故事的分轴、生死的无奈与矛盾：『我逼近你的那一刻，天下万物呈现出什麽样的色彩？天空出现哪种讯息？我自己最喜欢巧克力色的天空，很深、很深的巧克力色，人家说这种颜色不适合我。不过，我还想尽量欣赏我见到的每一种色彩，光谱中所有的颜色，十亿个左右的口味，各不相同，还有一片天空可以慢慢舔，慢慢吃。颜色抒解了我的压力，放鬆我的心情』。故事中的战争残酷、生离死别，透过死神丰富的感情，以第三者的角度描绘，让我更加不舍剧中的每一事物。
死神最后于莉赛尔空袭获救后，在溷乱当中捡得莉赛尔所写的《偷书贼》黑色本子，在莉赛尔年老死后与死神相遇时，死神将存藏多年的《偷书贼》还给莉赛尔，莉赛尔的《偷书贼》原来早已有了阅读者，甚至惊讶有人懂她的故事。建议读者翻阅至结局后，不妨再翻回一开始的序幕重新阅读，会更加清楚死神在故事中所扮演的角色，以及其浪漫性格对剧情的影响。
1939年的德国，9岁的小女孩莉赛尔和弟弟被迫送往慕尼黑远郊的寄养家庭。6岁的弟弟不幸死在了路途中。在冷清的葬礼后，莉赛尔意外得到她的第一本书《掘墓人手册》。
这将是14本给她带来无限安慰的书之一。她是个孤苦的孩子，父亲被打上了共产主义者的烙印，被纳粹带走了；母亲随后也失踪了。在弹奏手风琴的养父的帮助下，她学会了阅读。尽管生活艰苦，她却发现了一个比食物更难以抗拒的东西——书。她忍不住开始偷书。莉赛尔，这个被死神称为“偷书贼”的可怜女孩，在战乱的德国努力地生存着，并不可思议地帮助了周围同样承受苦难的人。
《偷书贼》是个讲述书是如何振奋灵魂的令人难忘的故事。
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编辑推荐
能让人决定重生的，只有书。这个故事能够改变你的生命。——《纽约时报》《偷书贼》是2006亚马逊网络书店年度选书，荣登《纽约时报》青少年文学排行榜第一名，稳居台湾诚品书店、金石堂网络书店畅销书榜首，足以和《安妮日记》并列经典。
“偷书贼”的书名相当奇特，令人充满好奇，在未阅读书中内容前，你我对“偷书贼”这家伙的幻想，从行侠仗义的义“贼”至狡猾奸邪的恶“贼”，或许勾勒了许多轮廓和形象，是怎样的偷书贼？书又有什么好偷呢？但看完此书便会发现，原来“偷书贼”是位有个性、可爱又趣味的小女生，整部故事的剧情，也环绕在主角偷书贼“莉赛尔”身上。虽说主角是偷书贼莉赛尔，也是全程以第三人称叙述故事的死神，偷书贼自身的故事或许只是二战中的缩影，但透过第三人立场的死神，无奈又多愁善感的表达，更添加了故事中的战争无情、人性丑陋、矛盾世界的冲击，整部故事的架构铺陈，更加强而有力。
主角莉赛尔于故事开始，便接连失去了挚爱的亲人，一本于弟弟葬礼中所拾获（偷捡？）的书，更是影响了莉赛尔的一生，也开启了偷书贼的故事。莉赛尔弟弟的死，造成莉赛尔心中无法逝去的阴影，只能靠着拾获的书本，保留对挚亲最后仅有的回忆，即便第一本“偷”的书《掘墓工人完全手册》，莉赛尔全然不识字，更不懂书中所言何物，但莉赛尔因此开始学习识字，文字也自始成了莉赛尔心灵上的救赎，比食物更重要的精神食粮。
如同作者于书中所描述，很多事情都是彼此关连的，牵一发而动全身。莉赛尔对文字的渴望，影响了周遭的友情、亲情、爱情，也让她透过文字改变了许多人：要好的朋友鲁迪，陪着莉赛尔一起共患难、偷书，培养了坚贞不移的友情；遭逢德军迫害的犹太人麦克连，莉赛尔的阅读唤起麦克连的灵魂，而麦克连也以文字回报莉赛尔，让莉赛尔体认自己阅读的力量与感动；遭逢战争空袭，躲藏于地下室中的镇民，莉赛尔的阅读安抚了大家惊慌不安的忐忑心情；故事最后，敌军自天空洒下无情的雨滴，镇上居民均无一幸免时，文字却救了莉赛尔一命，成了空炸肆虐后如地狱的天堂街上，唯一的生还者。文字、偷书贼、死神，三者紧紧环扣着整部故事的架构；好友鲁迪最、爸爸汉斯、犹太人麦克连，莉赛尔生命中重要的三个男人。
《偷书贼》故事的背景在二次大战，希特勒统治下的德国，迫害犹太人事件甚嚣的时期，作者透过各种比喻的描述手法，以“颜色”、“天空”、“云朵”、“文字”等生活周遭的事物，衬托当时战争的残酷、人性的流露。作者叙述故事的手法，前后连贯呼应，有时会先点出故事片段的后果，让读者提前知道部分情节的结局，以难过的心情慢慢翻至难以接受的页面，复杂的心情和书页共同停滞于凝结的时间上。我很喜欢作者用“颜色”贯穿整部故事剧情，故事一开始和书本的扉页一样净白，待主角进入故事、书本颜色、天空色彩更迭、爸爸汉斯眼睛的银色光泽、手风琴上的黑白琴键、战争的起落、成万人死去的样貌、遍地血流成河的鲜红、莉赛尔老年死时的午后蓝…在书中看到了成千万的奇想色彩，每个色彩都有象徵的意义。
另外一位书中主角“死神”，其实才是关键、重要的角色，作者并没有把这位死神描绘成面目狰狞、十足冷血的无情收魂者，反而是位多愁善感、有着浪漫因子，每天履行无奈公事的艺术家死神。故事一开始，死神在自我介绍时，便道出了故事的分轴、生死的无奈与矛盾：『我逼近你的那一刻，天下万物呈现出什麽样的色彩？天空出现哪种讯息？我自己最喜欢巧克力色的天空，很深、很深的巧克力色，人家说这种颜色不适合我。不过，我还想尽量欣赏我见到的每一种色彩，光谱中所有的颜色，十亿个左右的口味，各不相同，还有一片天空可以慢慢舔，慢慢吃。颜色抒解了我的压力，放鬆我的心情』。故事中的战争残酷、生离死别，透过死神丰富的感情，以第三者的角度描绘，让我更加不舍剧中的每一事物。
死神最后于莉赛尔空袭获救后，在溷乱当中捡得莉赛尔所写的《偷书贼》黑色本子，在莉赛尔年老死后与死神相遇时，死神将存藏多年的《偷书贼》还给莉赛尔，莉赛尔的《偷书贼》原来早已有了阅读者，甚至惊讶有人懂她的故事。建议读者翻阅至结局后，不妨再翻回一开始的序幕重新阅读，会更加清楚死神在故事中所扮演的角色，以及其浪漫性格对剧情的影响。
《偷书贼》故事情节不会过于紧凑，适合慢慢品嚐细读，感受作者字里行间的文字魅力。同《追风筝的孩子》一样，《偷书贼》也是描写战争背景、人性刻画、感人至深的故事，但相较于《追风筝的孩子》故事中人性的残酷，《偷书贼》显的稍温馨、适中些，阅读的幻想色彩也多了好几万千，故事架构与描述方式也颇有新意，渗入了些许的黑色幽默。
It’s just a small story really, about among other things: a girl, some words, an accordionist, some fanatical Germans, a Jewish fist-fighter, and quite a lot of thievery. . . .
Set during World War II in Germany, Markus Zusak’s groundbreaking new novel is the story of Liesel Meminger, a foster girl living outside of Munich. Liesel scratches out a meager existence for herself by stealing when she encounters something she can’t resist–books. With the help of her accordion-playing foster father, she learns to read and shares her stolen books with her neighbors during bombing raids as well as with the Jewish man hidden in her basement before he is marched to Dachau.
This is an unforgettable story about the ability of books to feed the soul.
Grade 9 Up–Zusak has created a work that deserves the attention of sophisticated teen and adult readers. Death himself narrates the World War II-era story of Liesel Meminger from the time she is taken, at age nine, to live in Molching, Germany, with a foster family in a working-class neighborhood of tough kids, acid-tongued mothers, and loving fathers who earn their living by the work of their hands. The child arrives having just stolen her first book–although she has not yet learned how to read–and her foster father uses it, The Gravediggers Handbook, to lull her to sleep when shes roused by regular nightmares about her younger brothers death. Across the ensuing years of the late 1930s and into the 1940s, Liesel collects more stolen books as well as a peculiar set of friends: the boy Rudy, the Jewish refugee Max, the mayors reclusive wife (who has a whole library from which she allows Liesel to steal), and especially her foster parents. Zusak not only creates a mesmerizing and original story but also writes with poetic syntax, causing readers to deliberate over phrases and lines, even as the action impels them forward. Death is not a sentimental storyteller, but he does attend to an array of satisfying details, giving Liesels story all the nuances of chance, folly, and fulfilled expectation that it deserves. An extraordinary narrative.
–Francisca Goldsmith, Berkeley Public Library, CA
Zusak, author of I Am the Messenger,took a risk with his second book by making Death an omniscient narrator—and it largely paid off. Originally published in Australia and marketed for ages 12 and up, The Book Thief will appeal both to sophisticated teens and adults with its engaging characters and heartbreaking story. The Philadelphia Inquirer compared the book's power to that of a graphic novel, with its "bold blocks of action." If Zusak's postmodern insertions (Death's commentary, for example) didn't please everyone, the only serious criticism came from Janet Maslin, who faulted the book's "Vonnegut whimsy" and Lemony Snicket-like manipulation. Yet even she admitted that The Book Thief "will be widely read and admired because it tells a story in which books become treasures." And, as we all know, "there's no arguing with a sentiment like that."
Death, it turns out, is not proud.
The narrator of The Book Thief is many things -- sardonic, wry, darkly humorous, compassionate -- but not especially proud. As author Marcus Zusak channels him, Death -- who doesn't carry a scythe but gets a kick out of the idea -- is as afraid of humans as humans are of him.
Knopf is blitz-marketing this 550-page book set in Nazi Germany as a young-adult novel, though it was published in the author's native Australia for grown-ups. (Zusak, 30, has written several books for kids, including the award-winning I Am the Messenger.) The book's length, subject matter and approach might give early teen readers pause, but those who can get beyond the rather confusing first pages will find an absorbing and searing narrative.
Death meets the book thief, a 9-year-old girl named Liesel Meminger, when he comes to take her little brother, and she becomes an enduring force in his life, despite his efforts to resist her. "I traveled the globe . . . handing souls to the conveyor belt of eternity," Death writes. "I warned myself that I should keep a good distance from the burial of Liesel Meminger's brother. I did not heed my advice." As Death lingers at the burial, he watches the girl, who can't yet read, steal a gravedigger's instruction manual. Thus Liesel is touched first by Death, then by words, as if she knows she'll need their comfort during the hardships ahead.
And there are plenty to come. Liesel's father has already been carted off for being a communist and soon her mother disappears, too, leaving her in the care of foster parents: the accordion-playing, silver-eyed Hans Hubermann and his wife, Rosa, who has a face like "creased-up cardboard." Liesel's new family lives on the unfortunately named Himmel (Heaven) Street, in a small town on the outskirts of Munich populated by vivid characters: from the blond-haired boy who relates to Jesse Owens to the mayor's wife who hides from despair in her library. They are, for the most part, foul-spoken but good-hearted folks, some of whom have the strength to stand up to the Nazis in small but telling ways.
Stolen books form the spine of the story. Though Liesel's foster father realizes the subject matter isn't ideal, he uses "The Grave Digger's Handbook" to teach her to read. "If I die anytime soon, you make sure they bury me right," he tells her, and she solemnly agrees. Reading opens new worlds to her; soon she is looking for other material for distraction. She rescues a book from a pile being burned by the Nazis, then begins stealing more books from the mayor's wife. After a Jewish fist-fighter hides behind a copy of Mein Kampf as he makes his way to the relative safety of the Hubermanns' basement, he then literally whitewashes the pages to create his own book for Liesel, which sustains her through her darkest times. Other books come in handy as diversions during bombing raids or hedges against grief. And it is the book she is writing herself that, ultimately, will save Liesel's life.
Death recounts all this mostly dispassionately -- you can tell he almost hates to be involved. His language is spare but evocative, and he's fond of emphasizing points with bold type and centered pronouncements, just to make sure you get them (how almost endearing that is, that Death feels a need to emphasize anything). "A NICE THOUGHT," Death will suddenly announce, or "A KEY WORD." He's also full of deft descriptions: "Pimples were gathered in peer groups on his face."
Death, like Liesel, has a way with words. And he recognizes them not only for the good they can do, but for the evil as well. What would Hitler have been, after all, without words? As this book reminds us, what would any of us be?
Reviewed by Elizabeth Chang
This powerful Holocaust story is for mature, sophisticated teens and adults. Set in Nazi Germany, narrated by Death, it is 9-year-old Liesel Meminger's story. Death watches as she steals the first of 14 books at her brother's funeral, sensing they will feed her soul even before she knows how to read. Allan Corduner gives Death a strong personality with a dispassionate voice that will grip the listener; by turns sardonic, compassionate, with a dark humor, he takes no pride in being part of man's deadly cruelty to man. Corduner gives Death a voice we rarely imagine for him, as fearful of humans as we are of him, and an unwillingly participant in man's cruel, deadly events. N.E.M.
Gr. 10-12. Death is the narrator of this lengthy, powerful story of a town in Nazi Germany. He is a kindly, caring Death, overwhelmed by the souls he has to collect from people in the gas chambers, from soldiers on the battlefields, and from civilians killed in bombings. Death focuses on a young orphan, Liesl; her loving foster parents; the Jewish fugitive they are hiding; and a wild but gentle teen neighbor, Rudy, who defies the Hitler Youth and convinces Liesl to steal for fun. After Liesl learns to read, she steals books from everywhere. When she reads a book in the bomb shelter, even a Nazi woman is enthralled. Then the book thief writes her own story. There's too much commentary at the outset, and too much switching from past to present time, but as in Zusak's enthralling I Am the Messenger (2004), the astonishing characters, drawn without sentimentality, will grab readers. More than the overt message about the power of words, it's Liesl's confrontation with horrifying cruelty and her discovery of kindness in unexpected places that tell the heartbreaking truth.
Hazel Rochman
