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All the Light We Cannot See: A Novel Paperback – April 4, 2017
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Winner of the Pulitzer Prize and National Book Award finalist, the beloved instant New York Times bestseller and New York Times Book Review Top 10 Book about a blind French girl and a German boy whose paths collide in occupied France as both try to survive the devastation of World War II.
Marie-Laure lives with her father in Paris near the Museum of Natural History where he works as the master of its thousands of locks. When she is six, Marie-Laure goes blind and her father builds a perfect miniature of their neighborhood so she can memorize it by touch and navigate her way home. When she is twelve, the Nazis occupy Paris, and father and daughter flee to the walled citadel of Saint-Malo, where Marie-Laure’s reclusive great uncle lives in a tall house by the sea. With them they carry what might be the museum’s most valuable and dangerous jewel.
In a mining town in Germany, the orphan Werner grows up with his younger sister, enchanted by a crude radio they find. Werner becomes an expert at building and fixing these crucial new instruments, a talent that wins him a place at a brutal academy for Hitler Youth, then a special assignment to track the Resistance. More and more aware of the human cost of his intelligence, Werner travels through the heart of the war and, finally, into Saint-Malo, where his story and Marie-Laure’s converge.
Doerr’s “stunning sense of physical detail and gorgeous metaphors” (San Francisco Chronicle) are dazzling. Deftly interweaving the lives of Marie-Laure and Werner, he illuminates the ways, against all odds, people try to be good to one another. Ten years in the writing, All the Light We Cannot See is a magnificent, deeply moving novel from a writer “whose sentences never fail to thrill” (Los Angeles Times).
- Print length544 pages
- LanguageEnglish
- PublisherScribner
- Publication dateApril 4, 2017
- Dimensions5.25 x 1.3 x 8 inches
- ISBN-101501173219
- ISBN-13978-1501173219
- Lexile measure880L
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From the Publisher
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| Cloud Cuckoo Land | The Shell Collector | About Grace | Memory Wall | Four Seasons in Rome | |
| More books from the Pulitzer Prize-winning Novelist | “If you’re looking for a superb novel, look no further.” –The Washington Post | "The Shell Collector is breathtaking.... Perilously beautiful." –Boston Globe | Doerr's first novel: "One of those novels that works its way into your very dreams." –Newsday | "Doerr writes about the big questions, the imponderables, the major metaphysical dreads, and he does it fearlessly" –The New York Times Book Review | A "dazzling" (Azar Nafisi, author of Reading Lolita in Tehran) memoir about art and adventures in Rome |
Editorial Reviews
Review
“Hauntingly beautiful.” -- Janet Maslin ― The New York Times
“History intertwines with irresistible fiction—secret radio broadcasts, a cursed diamond, a soldier’s deepest doubts—into a richly compelling, bittersweet package.” -- Mary Pols ― People (3 1/2 stars)
“Anthony Doerr again takes language beyond mortal limits.” -- Elissa Schappell ― Vanity Fair
“The whole enthralls.” ― Good Housekeeping
“Enthrallingly told, beautifully written…Every piece of back story reveals information that charges the emerging narrative with significance, until at last the puzzle-box of the plot slides open to reveal the treasure hidden inside.” -- Amanda Vaill ― Washington Post
“Stupendous…A beautiful, daring, heartbreaking, oddly joyous novel.” -- David Laskin ― The Seattle Times
“Stunning and ultimately uplifting… Doerr’s not-to-be-missed tale is a testament to the buoyancy of our dreams, carrying us into the light through the darkest nights.” ― Entertainment Weekly
“Doerr has packed each of his scenes with such refractory material that All the Light We Cannot See reflects a dazzling array of themes….Startlingly fresh.” -- John Freeman ― The Boston Globe
“Gorgeous… moves with the pace of a thriller… Doerr imagines the unseen grace, the unseen light that, occasionally, surprisingly, breaks to the surface even in the worst of times.” -- Dan Cryer ― San Francisco Chronicle
“Incandescent… a luminous work of strife and transcendence… with characters as noble as they are enthralling” -- Hamilton Cain ― O, the Oprah magazine
“Perfectly captured…Doerr writes sentences that are clear-eyed, taut, sweetly lyrical.” -- Josh Cook ― Minneapolis Star Tribune
“A beautiful, expansive tale…Ambitious and majestic.” -- Steph Cha ― Los Angeles Times
“This tough-to-put-down book proves its worth page after lyrical page…Each and every person in this finely spun assemblage is distinct and true.” -- Sharon Peters ― USA Today
“Doerr is an exquisite stylist; his talents are on full display.” -- Alan Cheuse ― NPR
“Vivid…[All the Light We Cannot See] brims with scrupulous reverence for all forms of life. The invisible light of the title shines long after the last page.” -- Tricia Springstubb ― Cleveland Plain Dealer
“Intricate… A meditation on fate, free will, and the way that, in wartime, small choices can have vast consequences.” ― New Yorker
“Doerr deftly guides All the Light We Cannot See toward the day Werner’s and Marie-Laure lives intersect during the bombing of Saint-Malo in what may be his best work to date.” -- Yvonne Zipp ― Christian Science Monitor
“To open a book by Anthony Doerr is to open a door on humanity…His sentences shimmer…His paragraphs are luminous with bright, sparkling beauty.” -- Martha Anne Toll ― Washington Independent Review of Books
“Endlessly bold and equally delicate…An intricate miracle of invention, narrative verve, and deep research lightly held, but above all a miracle of humanity….Anthony Doerr’s novel celebrates—and also accomplishes—what only the finest art can: the power to create, reveal, and augment experience in all its horror and wonder, heartbreak and rapture.” ― Shelf Awareness
“Magnificent.” -- Carmen Callil ― The Guardian (UK)
“Intricately structured…All the Light We Cannot See is a work of art and of preservation.” -- Jane Ciabattari ― BBC
“A revelation.” -- Michael Magras ― BookReporter.com
“Anthony Doerr writes beautifully… A tour de force.” -- Elizabeth Reed ― Deseret Morning News
“A novel to live in, learn from, and feel bereft over when the last page is turned, Doerr’s magnificently drawn story seems at once spacious and tightly composed. . . . Doerr masterfully and knowledgeably recreates the deprived civilian conditions of war-torn France and the strictly controlled lives of the military occupiers.” ― Booklist (starred review)
“Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.” ― Kirkus Reviews (starred review)
“If a book’s success can be measured by its ability to move readers and the number of memorable characters it has, Story Prize-winner Doerr’s novel triumphs on both counts. He convinces readers...that war—despite its desperation, cruelty, and harrowing moral choices—cannot negate the pleasures of the world.” ― Publishers Weekly (starred review)
“This novel has the physical and emotional heft of a masterpiece…[All the Light We Cannot See] presents two characters so interesting and sympathetic that readers will keep turning the pages hoping for an impossibly happy ending…Highly recommended for fans of Michael Ondaatje’s The English Patient.” -- Evelyn Beck ― Library Journal (starred review)
"What a delight! This novel has exquisite writing and a wonderfully suspenseful story. A book you'll tell your friends about..." -- Frances Itani, author of Deafening
“This jewel of a story is put together like a vintage timepiece, its many threads coming together so perfectly. Doerr’s writing and imagery are stunning. It’s been a while since a novel had me under its spell in this fashion. The story still lives on in my head.” -- Abraham Verghese, author of Cutting for Stone
“All the Light We Cannot See is a dazzling, epic work of fiction. Anthony Doerr writes beautifully about the mythic and the intimate, about snails on beaches and armies on the move, about fate and love and history and those breathless, unbearable moments when they all come crashing together.” -- Jess Walter, author of Beautiful Ruins
“Doerr sees the world as a scientist, but feels it as a poet. He knows about everything—radios, diamonds, mollusks, birds, flowers, locks, guns—but he also writes a line so beautiful, creates an image or scene so haunting, it makes you think forever differently about the big things—love, fear, cruelty, kindness, the countless facets of the human heart. Wildly suspenseful, structurally daring, rich in detail and soul, Doerr’s new novel is that novel, the one you savor, and ponder, and happily lose sleep over, then go around urging all your friends to read—now.” -- J.R. Moehringer, author of Sutton and The Tender Bar
“A tender exploration of this world's paradoxes; the beauty of the laws of nature and the terrible ends to which war subverts them; the frailty and the resilience of the human heart; the immutability of a moment and the healing power of time. The language is as expertly crafted as the master locksmith's models in the story, and the settings as intricately evoked. A compelling and uplifting novel.” -- M.L. Stedman, author of The Light Between Oceans
“The craftsmanship of Doerr’s book is rooted in his ability to inhabit the lives of Marie-Laure and Werner…[A] fine novel.” -- Steve Novak ― Pittsburgh Post-Gazette
“Beautifully written… Soulful and addictive.” -- Chris Stuckenschneider ― The Missourian
“Doerr conjures up a vibrating, crackling world…Intricately, beautifully crafted.” -- Rebecca Kelley ― Bustle.com
“There is so much in this book. It is difficult to convey the complexity, the detail, the beauty and the brutality of this simple story.” -- Carole O'Brien ― Aspen Daily News
“Sometimes a novel doesn’t merely transport. It immerses, engulfs, keeps you caught within its words until the very end, when you blink and remember there’s a world beyond the pages. All the Light We Cannot See is such a book… Vibrant, poignant, delicately exquisite. Despite the careful building of time and place (so vivid you fall between the pages), it’s not a story of history; it’s a story of people living history.” ― Historical Novel Society
About the Author
Product details
- Publisher : Scribner; Reprint edition (April 4, 2017)
- Language : English
- Paperback : 544 pages
- ISBN-10 : 1501173219
- ISBN-13 : 978-1501173219
- Lexile measure : 880L
- Item Weight : 1 pounds
- Dimensions : 5.25 x 1.3 x 8 inches
- Best Sellers Rank: #12 in Books (See Top 100 in Books)
- Customer Reviews:
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About the author

Anthony Doerr has won numerous prizes for his fiction, including the Pulitzer Prize and the Carnegie Medal. His novel, 'All the Light We Cannot See,' was a #1 New York Times Bestseller and his new novel, 'Cloud Cuckoo Land,' published in September of 2021, was a finalist for the National Book Award. Learn more at www.anthonydoerr.com.
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Anthony Doerr’s book is simply stunning. Dazzling is a good word for it. I have reviewed many other books and have sometimes said this or that writer writes fluidly and well. I have given five stars to quite a few writers. “All The Light We Cannot See” is a higher level of excellence that not many authors achieve. No wonder Anthony Doerr won the 2015 Pulitzer Prize for fiction with this book!
The chapters are short and beautifully written. I could say “beautifully and elegantly painted”; they remind me of a painting. This book is poetic, creative, imaginative and historically enlightening as well. Science and technology, it’s fascination and the power to help or harm, is explored along with the characters’ thoughts and feelings; we learn about their courage or lack of and why they make their individual decisions during the rise of Hitler and on into World War II. The descriptions are incredibly sensitive and vivid. Objects are palpable; I could see and feel them. The book pulled me in so much that I was part of each scene. The poignant images remained with me and made the characters come alive.
The author skillfully writes using a juxtaposition of events in the life of a blind French girl, Marie-Laure LeBlanc, and that of a German boy, Werner Pfennig. Towards the end of the book their lives meet.
Marie-Laure, the blind French girl, lives with her father in Paris. She became blind at 6 years old due to congenital cataracts. She has developed her other senses, namely, hearing, touch and smell to compensate for her loss of sight. In her imagination, she can see colors when she uses her other senses to explore her world. Her father carves wooden replicas of all the buildings in Paris for her to learn to find her way home by herself. He is a very devoted and loving father and teaches her independence but promises her he will always be there for her and will never leave her. He is the master locksmith at the Museum of Natural History. Marie-Laure, who is a curious and bright child, goes with him to work and studies paleontology, archeology, geology and other branches of science with Dr. Gefford, while her father works.
The boy, Werner, lives in an orphanage, “Children’s House” in Zollverein, Germany. The children in the orphanage are very close to starving. A good deal of the population is very poor and not getting enough to eat. When Hitler comes to power, the economy improves dramatically. People are getting more food (meat even) and new appliances. The German population is inundated with radio propaganda. Only state supported German radio channels are allowed. The German population is brainwashed. The people think Hitler is helping them climb out of poverty, build a better society and take pride in their Country again.
Yet the future looks bleak to Werner. Nazi officials tell the boys in the orphanage that they will all have to work in the coalmines when they turn 15 years of age. Werner’s father had died in the coal mines, and Werner is not happy with the prospect of being underground in the dark pit of the mines. After finding a broken radio in the city trash, Werner gets it working. His fascination with radios and his skill in fixing them gives him a chance to escape the coal mines and go to paramilitary school. He has a chance to pursue his interest in radio technology and contribute to the new Germany. He visualizes a glorious future.
In the attic at the orphanage, Werner and his sister Jutta had listened to foreign radio stations that were illegal under Nazi rule. A French radio station with science lectures fascinated them. How magical it was to hear a voice from afar, transmitted through the air! Jutta liked a program on magnets. Werner liked the program on light. “What do we call visible light? We call it color. But the electromagnetic spectrum runs to zero in one direction and infinity in the other, so really children, mathematically, all of light is invisible.” The radio was a symbol of freedom for them both, the freedom to learn and dream.
Before he leaves for school, however, Werner smashes the radio. He does not want anything to interfere with his chance for what he thinks will be a better life. Listening to foreign radio stations is illegal and dangerous. Jutta, a free spirit with a strong moral compass, feels betrayed. She thinks her brother is turning into a cold, brutal Nazi like Hans and Herribert, two older boys in the orphanage who have joined the brown-shirted Hitler Youth. She insists that the broadcasts from the foreign radio stations say the Germans are committing atrocities, just the opposite of what they hear on the state-owned German stations.
Werner gets caught up with his study of radios and blocks out the brutality around him at school. Despite his lack of courage to go against the dictates of his German superiors, the reader can see his conflict and the goodness in him that he wants to embrace. His friend, Frederick, a bird-lover and dreamer, is called the “weakest” by the field commander but shows his courage by refusing to participate in the brutal death of a prisoner. Frederick pays for it by being beaten so badly that he becomes no more than a living vegetable.
With the invasion of Paris in 1940, Marie-Laure and her father escape to Saint-Malo on the Brittany coast and find refuge with Marie-Laure’s great uncle, Etienne. Again her father observes and measures the buildings of this new city and carves a wooden replica of all 865 buildings. Unfortunately, his efforts cause suspicion, and he is arrested on his way back to Paris on an errand for the Museum of Natural History. He is convicted of “theft and conspiracy” and sent to a prison in Germany. Feeling abandoned but gathering her inner strength, Marie-Laure continues to live with her great uncle, Etienne, and his housekeeper Madame Manec. Madame Manec starts working for the French Resistance and Marie-Laure takes over some of her activities when the housekeeper becomes ill. Upon Madame Manec’s death from pneumonia, Etienne gets his courage up and joins the French Resistance.
Werner finds himself caught up in the brutality with no way to escape. His skill in detecting enemy radio transmissions results in many deaths, some of them innocent civilians. He is haunted by the deaths, especially that of one little girl in Vienna who reminded him of his sister, Jutta. Werner is sent to Saint-Malo to find the source of the radio transmissions of the French Resistance. He finds Marie-Laure’s broadcasts, but does not expose her. He recognizes the radio programs that had inspired him so much as a child. When he hears her voice saying that someone is in her house and is going to kill her, he vows to save her if he can reach her in time. Werner finds her and saves her life. The Americans are bombing the town, but during a lull, he helps her escape Saint-Malo.
Intertwined with the lives of our two main characters, Marie-Laure and Werner, fairytale and reality collide. The legend of the “Sea of Flames”, a 133 carat diamond said to be the intended gift of the Goddess of the Earth to the God of the Sea, parallels the calamities the characters experience in their lives. It was said that the person who had the diamond would live forever, but those he loved around him would die. If the stone were returned to the sea, the curse would be lifted.
Especially during the bombing of Saint-Malo, Marie-Laure and Werner both draw parallels to their own predicaments and Jules Verne’s “Twenty Thousand Leagues Under the Sea”. Trapped in the basement of the Hotel of Bees in Saint-Malo, Werner listens to Marie-Laure’s broadcasts of the science programs and music that had been recorded by her deceased grandfather. He thinks of Captain Nemo being trapped under the sea in the Nautilus. Werner and his fellow German soldier, Volkheimer, have run out of food and water and have very little air. “Who could possibly calculate the minimum time required for us to get out? Might we not be asphyxiated before the Nautilus could surface?” Are more monsters awaiting them when they do surface?
Marie-Laure is trapped in her uncle Etienne’s secret attic room where he had broadcast codes for the French Resistance. Down below is an intruder, the Nazi Sergeant Major von Rumpel. He is there to find the “Sea of Flames” diamond, which her father hid in the wooden house replica of her great uncle’s house. Instead of giving it to the Reich for Hitler’s dream museum in Linz, Austria, he wants to have the enchanted diamond to cure his cancerous tumor. He is dying, and he believes the diamond will save his life. Marie-Laure has not had food for two days and has had no water for one and a half days. She starts to think maybe this Nazi will spare her life if she gives him the diamond. Maybe the curse would end and her father would come back. Not trusting her safety, however, she has a knife handy. She thinks of Captain Nemo when he said to Ned Land, the Canadian harpooner, “But let me tell you that if we’re caught, I’m going to defend myself, even if I die doing it”.
There are many levels to this book and much to think about. The reader can get many insights into the human condition and why someone like Hitler could take over Germany and spread his sickness into so many other countries. The book is well researched and taught me a good deal about how it was to grow up in Germany when Hitler came to power. Additionally, I could understand more concretely how it was for the French when France was invaded by Hitler's armies. Good historical fiction brings all these events to life. Anthony Doerr brings a powerful humanism to the events in World War II. He made the characters come alive for me. This is a book to ponder, reread and treasure. The author brings an incredible immediacy to his writing that will draw you in and stay with you, perhaps, forever.
“To the bombardiers, the walled city on its granite headland, drawing ever closer, looks like an unholy tooth, something black and dangerous, a final abscess to be lanced away.”
“The appetite for oxygen is such that objects heavier than housecats are dragged into the flames.”
“His breath smells like crushed insects.”
“As though a weary tide stirs stones in the old woman’s lungs.”
The way he guides the reader’s vision of a place, destruction, appearance, made me wish I had a pinky size of his talent. I’m a reader who loves and underlines phrases and sentences that stand out. That I haven’t read before. Strands of words, like a string of pearls, fitted together to catapult me into another world. Who let me become friends or enemies with the characters. Some writers know how to bring me into their worlds where I get to exercise all senses and emotions.
There will be spoilers in this review, so if you plan on reading the book, don’t read this review. I do want to mention that I’m not a fan of some of the classics. A reader needs patience to trudge through pages of description. I’ve tried The Count of Monte Cristo by Alexandre Dumas and Anna Karenina by Leo Tolstoy. Maybe I’m just not that intelligent to appreciate and distinguish fine prose. Whatever the reason, this may give you an idea as to whether or not you want to continue reading.
That said I feel like Doerr’s novel falls into a classics category—full of description. I really wanted to love this book. It’s safe to say I wasn’t the audience he had in mind when writing it, and I'm in the minority of disliking it. As much as I adore his descriptions, I equally dislike his writing style. It’s as if he sacrificed characters for beautiful prose. The amount of descriptions, tangents, lists, and short chapters swallow up the characters. If I can’t connect with them, there’s no way I’m going to like the book. This book is roughly 530 pages long. It really should have been half its length.
Point of View
First, the book is told in third person omniscient, meaning the narrator knows all the thoughts and feelings of the characters. The narrator isn’t a character nor does the narration come from a character’s perspective. It’s some unknown person telling me all about the thoughts and feelings of the personas. I can’t recall reading a book with this POV, but I don’t like it. Eleven percent into the book, my frustration got the best of me. The POV and descriptions muddled my experience. There were passages where I couldn’t figure out if it was the character’s thoughts or feelings or the narrator’s.
“Block out giant Frank Volkheimer with his mammoth boots and cinder-block jaw. Block out the little aristocratic professor pacing in front of the hearth and the late hour and the dogs and the shelves brimming with interesting things. There is only this.” When reading this passage, it sounded as if Werner was talking to himself. But he couldn’t be since it’s in third person.
“The first policeman snaps flesh off his apple with his teeth. Are they looking at her?” Uh, she’s blind. The narrator is telling me what the police are doing, and then jumps into Marie-Laure’s head. At first, I thought Marie-Laure was describing the policeman and then wondering if they were looking at her. This wouldn’t work either, because if she doesn’t know if they’re looking at her, she wouldn’t know what the policeman is doing.
Prose
There were images in the book where I couldn’t picture it. Maybe I’m dense, but it just didn’t sound right. This might seem nitpicky, however Doerr is praised for his prose—prose that took ten-years to write. I’ll share a few examples with you.
“…and she thinks she can smell threads of dust cascading from the ceiling.” Two issues with this description, 1) how does one smell threads of dust? And 2) how does a girl who goes blind at the age of six ‘think’ she smells threads of dust?
“In the gloaming to the east, he can make out a gray line of traffic herded between the edges of the road.” Gloaming? I had to look that up, which means twilight, dusk. Okay, it’s not his fault my vocabulary is limited, but it made me think if gloam has more power than twilight. Gloam is something I can see in a poem. Why not just say, “The twilight in the east revealed a gray line of traffic herded between the edges of the road.”?
“The eggs taste like clouds. Like spun gold.” Huh? This is such a weird comparison. How do clouds taste, and if I’ve ever tasted them, they sure as heck wouldn’t taste like eggs. Or spun gold, which I would never eat unless someone wanted to steal it from me.
Lists
Doerr’s writing also consists of lists throughout the book. I call the separate words or phrases placed one after the other as lists. He’s a natural born list maker, which drove me nuts and came off as page fillers.
“Light, electricity, ether. Space, time, mass. Heinrich Hertz’s Principles of Mechanics. Heissmeyers famous schools. Code breaking, rocket propulsion, all the latest.”
“Marie-Laure wakes to church bells: two three four five.” He does this too much in the book that it lost its flair. “Wind: immediate, bright, sweet, briny, luminous.”
Along with the lists, Doerr also counts. “She wakes to Madame Manec’s blocky pumps climbing to the third floor the fourth the fifth.” No punctuation, and continues the counting. “Her heart beats two four six eight.” Counting doesn’t build intrigue, so why have it?
“Static static static static static. In his functioning ear, in the radio, in the air.” GAH!!!
Tangents
Then there are tangents. Many times the narrator tells us the characters are recalling memories when Doerr should have put more time into the moment. He’ll start a chapter about a character, the character starts thinking about the past, and then the chapter ends.
Characters
Doerr spent plenty of time giving me a visualization of the places, yet he fell short of showing me the characters. Also, the abundance of small chapters create long gaps between characters. For instance, Chapter 79 talks about Von Rumple’s diagnosis, and if I'm not mistaken, the next mention of him is Chapter 92.
To top it off, in regards to Marie-Laure, the narrator tells me “she thinks” or “she feels” instead of showing me what she thought, or what she felt, and sometimes it being impossible. When talking about Marie-Laure, the author should have applied the senses using his beautiful prose. She’s blind, so use her touch, smell, taste to understand where she is or how she came to an assumption. Instead, Doerr uses the narrator. Below are a few I’ve chosen:
“At the top, she stands; she has the sense of a long slope-walled space pressed beneath the gable of the roof.” How does she “sense” this without touch? The author describes so many things indepth and then just states how she senses it. She has needed her father to make a replica of the town, which she memorized over the years, yet she can “sense” this area.
“…but Marie-Laure is certain that when they stopped to greet a woman on the way here, Madame dropped off one envelope and picked up another.” The girl is blind. Did she hear the rustling of paper? A handshake? “…Marie-Laure heard the rustling of paper when they stopped to greet a woman on the way here, a slight snigger escaped their lips before they moved on.”
“Insects drone: wasps, hoverlies, a passing dragonfly—Etienne has taught Marie-Laure to distinguish each by its sound.” Etienne hasn’t been out of the house in about twenty-years and Marie only goes to certain places. How is it that he taught her how to distinguish between these sounds.
These additional descriptions are some issues I had with other characters.
“Your problem, Werner,” says Frederick, “is that you still believe you own your life.” This couldn’t be farther from the truth. Werner never acted as if he owned his life. Frederick did. Frederick continued to be himself. He stood up and refused to pour cold water on a prisoner. The women in town who transferred information to one another had more guts than Werner.
In the chapter, Diagnosis, the author throws in a little bit about the medical exam while the rest of the chapter is about finding jewels. Doerr has the characters reflect on other things instead of describing the moment.
There’s a passage where Werner sneaks away to see Frederick in the infirmary. He’s talking to a nurse, and then out of the blue comes, “Each time he blinks, he sees the men of his childhood, laid-off miners drifting through back alleys, men with hooks for fingers and vacuums for eyes; he sees Bastian standing over a smoking river, snow falling all around him.” Again, the author takes us into a reflection without really describing the moment. I also couldn’t make the connection between the conversation and his thoughts of the past.
The past thoughts with the short chapters and flip-flopping from one character to another, prevented me from having an emotional connection. I didn’t care about them except for Frederick. When Werner died, I didn’t feel sorry for him or cry, which shocked me since I cry just watching a Hallmark movie.
Due to all of these issues, I gave this book a 2 star rating.
The spiral construction of the plot reminded me of a symphony, with stories that initially seem disparate but then you start to recognize patterns and see how the parts fit together and long before the end you are marveling at the brilliance of how the author can have conceived of it all. And just as impactful was the exquisite, poetic language and how Doerr describes the most ordinary details of life in a way that makes you realize how beautiful those things you normally don't even notice are.
I think what made me cry when I finished it was something that happened near the end which I won't go into so as not to spoil it for anyone, the way characters in the story retain their decency and humanity in the midst of the horrors of war, and most of all the fact that it was over and I wouldn't be able to keep reading it any more.
Top reviews from other countries
War stories have a way into the heart that none others have. More than 8 decades and counting, World War II never ceases to be astonishing when it comes to writing stories about it, more when it becomes the center of human life. Having recently watched the documentary about the war, I was keen on picking up novels based on it and this one came highly recommended by my online readers’ group.
All The Light We Cannot See by Anthony Doerr is the story of the blind Marie-Laure, the self-doubting Werner Pfenning, and the scared old Etienne LeBlanc. Living in places miles away from each other, their lives intertwine in a manner that is beautifully ugly.
Open your eyes and see what you can with them before they close forever.
At the age of 6 years, Marie-Laure lost her eyesight, irreversibly. Living with her locksmith father in the city of Paris, she soon learns to navigate the city with the help of the proportionate city model that her father makes for her. Accompanying him to his workplace, the Natural History Museum, she gels up with the researchers and professors there, learning from them their art and work. In the time she is by herself, she reads novels in braille which her father gifts her on her birthdays.
Miles away, the young Werner and his little sister Jutta live in the Children’s House with many other children who have become orphans, listening to the radio broadcast of a science program for kids. Smart and inquisitive, Werner has a talent that makes him popular in his neighborhood, and soon he is being sent to the military school. There, he learns to hone his skills and use them when the time arrives.
In the seafront town of Saint-Malo, Etienne finds himself amidst the war again, this time not as a soldier but a shelterer of his nephew and his young pre-teen daughter who, one day come knocking at his door, all the way from Paris seeking refuge. 20 years and he couldn’t get over the Great War, and this second one has come to haunt him again.
Time flies (or rather crawls with all the horrors around) and the lives of these three people which collide in a manner no one could have imagined. Amidst the atrocities that the marauding armies commit, in Germany occupied France, these people try to survive, save and see another day.
How do you ever know for certain that you are doing the right thing?
Let me begin by saying this, war stories leave you with a heartache you never knew existed. Although it is a fictional tale set during the second world war, the emotions are as real as they could get. Beginning with the characters, there aren’t many characters, primarily the three, Marie-Laure, Werner, and Etienne, whose lives the story focuses on and the others come in and go. While Marie-Laure’s character was shown to grow beautifully, embracing her condition and adjusting to the new society post-occupation, Werner, on the other hand, remained the same throughout the years in the book, the same self confused boy and then, a young man. Even Etienne managed to break out of his reverie and embrace the situation as well as he could. Of the other characters which I thought were remarkable were Marie-Laure’s father, Frau Elena, Volkheimer, Madame, and Jutta. Others didn’t make much sense to me, especially the disillusioned Von Rumpel.
This is a slow read, extremely slow at the beginning, tedious to labor through, I really thought of giving it up for the sharp and short sentences that Doerr wrote, but hung on because it felt it will serve its purpose well. Things did improve when I reached halfway, but I still was frustrated every now and then flipping between years which were almost always left on cliffhangers. Doerr made it suspense at a snail’s pace with his fabricated subplot about a diamond and the curse it held. There was also a hint of realism, with the invasion, also came admiration. The shiny boots, the crisp uniforms, the greed to get more to survive better than the rest of their townsfolk and countrymen of occupied France, the Resistance, the normalcy that everyone tried to bring by going about their daily work, coming to terms with vanishings, and natural and violent deaths, and the hope of liberation.
The beauty of this book isn’t in its story or even the way it is told, it is in the details. The lives that get disrupted when war strikes the heart, the emotions of families when they leave the only place they’ve ever known, the dangers that lurk for them at every corner (both sides alike), the predators, the humans who became monsters, the aftermath, all of it is horrific. I had recently watched the documentary of this war, and I could relate to these scenes so much, yet I felt the detachment that one has when they read about things that have happened to others. This story pulled me into two different directions, one part of me wanted to go with Marie-Laure and comfort her for suffering without her father under the Nazi rule, the other wanted me to go and jerk Werner into his senses and let him know his humanity was worth more than everything that he did.
This is the story of an interrupted childhood, broken families, and shattered dreams. This book is so hauntingly beautiful, that you would wish it was true yet you don’t want it to be true. Recommended for everyone, one who reads and one who doesn’t, this book is what the war truly did.
Reviewed in India on September 29, 2020
War stories have a way into the heart that none others have. More than 8 decades and counting, World War II never ceases to be astonishing when it comes to writing stories about it, more when it becomes the center of human life. Having recently watched the documentary about the war, I was keen on picking up novels based on it and this one came highly recommended by my online readers’ group.
All The Light We Cannot See by Anthony Doerr is the story of the blind Marie-Laure, the self-doubting Werner Pfenning, and the scared old Etienne LeBlanc. Living in places miles away from each other, their lives intertwine in a manner that is beautifully ugly.
Open your eyes and see what you can with them before they close forever.
At the age of 6 years, Marie-Laure lost her eyesight, irreversibly. Living with her locksmith father in the city of Paris, she soon learns to navigate the city with the help of the proportionate city model that her father makes for her. Accompanying him to his workplace, the Natural History Museum, she gels up with the researchers and professors there, learning from them their art and work. In the time she is by herself, she reads novels in braille which her father gifts her on her birthdays.
Miles away, the young Werner and his little sister Jutta live in the Children’s House with many other children who have become orphans, listening to the radio broadcast of a science program for kids. Smart and inquisitive, Werner has a talent that makes him popular in his neighborhood, and soon he is being sent to the military school. There, he learns to hone his skills and use them when the time arrives.
In the seafront town of Saint-Malo, Etienne finds himself amidst the war again, this time not as a soldier but a shelterer of his nephew and his young pre-teen daughter who, one day come knocking at his door, all the way from Paris seeking refuge. 20 years and he couldn’t get over the Great War, and this second one has come to haunt him again.
Time flies (or rather crawls with all the horrors around) and the lives of these three people which collide in a manner no one could have imagined. Amidst the atrocities that the marauding armies commit, in Germany occupied France, these people try to survive, save and see another day.
How do you ever know for certain that you are doing the right thing?
Let me begin by saying this, war stories leave you with a heartache you never knew existed. Although it is a fictional tale set during the second world war, the emotions are as real as they could get. Beginning with the characters, there aren’t many characters, primarily the three, Marie-Laure, Werner, and Etienne, whose lives the story focuses on and the others come in and go. While Marie-Laure’s character was shown to grow beautifully, embracing her condition and adjusting to the new society post-occupation, Werner, on the other hand, remained the same throughout the years in the book, the same self confused boy and then, a young man. Even Etienne managed to break out of his reverie and embrace the situation as well as he could. Of the other characters which I thought were remarkable were Marie-Laure’s father, Frau Elena, Volkheimer, Madame, and Jutta. Others didn’t make much sense to me, especially the disillusioned Von Rumpel.
This is a slow read, extremely slow at the beginning, tedious to labor through, I really thought of giving it up for the sharp and short sentences that Doerr wrote, but hung on because it felt it will serve its purpose well. Things did improve when I reached halfway, but I still was frustrated every now and then flipping between years which were almost always left on cliffhangers. Doerr made it suspense at a snail’s pace with his fabricated subplot about a diamond and the curse it held. There was also a hint of realism, with the invasion, also came admiration. The shiny boots, the crisp uniforms, the greed to get more to survive better than the rest of their townsfolk and countrymen of occupied France, the Resistance, the normalcy that everyone tried to bring by going about their daily work, coming to terms with vanishings, and natural and violent deaths, and the hope of liberation.
The beauty of this book isn’t in its story or even the way it is told, it is in the details. The lives that get disrupted when war strikes the heart, the emotions of families when they leave the only place they’ve ever known, the dangers that lurk for them at every corner (both sides alike), the predators, the humans who became monsters, the aftermath, all of it is horrific. I had recently watched the documentary of this war, and I could relate to these scenes so much, yet I felt the detachment that one has when they read about things that have happened to others. This story pulled me into two different directions, one part of me wanted to go with Marie-Laure and comfort her for suffering without her father under the Nazi rule, the other wanted me to go and jerk Werner into his senses and let him know his humanity was worth more than everything that he did.
This is the story of an interrupted childhood, broken families, and shattered dreams. This book is so hauntingly beautiful, that you would wish it was true yet you don’t want it to be true. Recommended for everyone, one who reads and one who doesn’t, this book is what the war truly did.
I’m a sucker for beautiful writing and this is a very beautifully written novel. Doerr always has full imaginative command of his detail and, even if occasionally he feeds too much protein into his sentences, is thus able to evoke his images searingly and poignantly. The novel is a visual delight which is an especially brilliant achievement when you consider he’s often writing about blindness. Doerr’s poetic sentence writing often transfigures the familiar, allowing us to see the natural world afresh. His prose strips us of our own blindness to the beauty in the commonplace. The natural world pervades this novel like a kind of scripture. The goodies are aligned to the natural world; the baddies see it as little more than resources for furthering ambition. This being one of the many fairy tale motifs the novel dramatises. Because it can be read as a fairy tale. There’s a magical stone in the custodianship of Marie Laure’s father, a kind of Wizard (Etienne’s brother who transmits stories over the radio which Werner and his sister listen to as children) and a very clear unwavering distinction between the good guys and the baddies with few grey areas. The innocents are pure. The corrupted are beyond help.
All the Light tells the story of Marie Laure who is blind (To shut your eyes is to guess nothing of blindness. Beneath your world of skies and faces and buildings exists a rawer and older world, a place where surface planes disintegrate and sounds ribbon in shoals through the air) and lives in Paris with her father (an idealised character in keeping with the fairy tale subtext of this novel), a locksmith and keeper of the keys at the Muséum National d'Histoire Naturelle. There, hidden in its vaults for the past 200 years, is an accursed gem, a greyish-blue sea diamond with a red hue at its centre: the Sea of Flame. When war comes Marie Laure and her father will become guardians of this stone. The other central character is Werner. Werner and his sister Jutta are orphans in the German mining town of Zollverein, near Essen in the Ruhr valley, heartland of the Nazi war industry. Werner has a gift of mending things and is especially attracted to radios. At night he and Jutta listen to an enigmatic French man telling stories for children over the radio – “a voice on the radio offering a loom on which to spin his dreams.”
As straightforward storytelling this novel is ravishing. I liked the short chapters and the flashing back and forwards in time. It reminded me of David Mitchell in its disregard for the perimeters between literary and commercial fiction. Doerr, like Mitchell, romps back and forth between the two camps with great poise and ease.
I’m not quite sure what Dave Eggers means when he says Doerr “sets a new standard for what storytelling can do” because there’s nothing groundbreaking about this novel. Like I said it’s straightforward brilliant storytelling. On one occasion Doerr uses a cheap trick, introducing a new POV to crank up tension (an informer who lives near Marie Laure) and then discarding the POV for the rest of the novel but on the whole the artistry of this novel was spellbinding. One of the novel’s themes is guardianship, executed especially well with Werner’s protective but ultimately impotent feelings towards the dreamy Frederick at the bullyboy Nazi college, but shown as a constant facet of the novel’s every relationship. Everyone is guarding some precinct, some stone or calling of the heart. How, above all else, we are all guardians of our own flame which, in the novel, is often seen as our relation to how we use our time and best dramatised through Marie Laure’s great-uncle, the shellshocked Etienne who after WW1 became agoraphobic and never leaves his house until circumstances force him out. This idea is also expressed by Werner – “He thinks of the old broken miners he’d see in Zollverein, sitting in chairs or on crates, not moving for hours, waiting to die. To men like that, time was a surfeit, a barrel they watched slowly drain. When really, he thinks, it’s a glowing puddle you carry in your hands; you should spend all your energy protecting it. Fighting for it. Working so hard not to spill one single drop.”
Transmitters/transmission is another constant theme. The diamond transmits a curse, coal transmits energy, light transmits codes and of course the radio transmits a channel through which Marie Laure and Werner first connect and establish their elective affinity. Doerr creates a world we’re all blind to, a world pulsing with invisible transmitting circuitry. So what began as a clever stroke of emotional manipulation – the positing of a blind girl at the heart of the novel – becomes a tour de force of thematic choreography.
Map-making is another theme. Etienne’s broadcasts create a map that unites Werner and Marie Laure. Marie’s father builds her a miniature scaled model of her Paris neighbourhood and then, when they move, a miniature model of Saint-Malo in order that she may feel her way through a perfect replica of her surroundings. Werner is mapping out enemy transmitters during the war. Once again Doerr is exploring the invisible grid that maps out our lives, the light we cannot see.
The bitchiness of Carmen Callil’s review in the Guardian was astonishing. Rarely do fellow writers publically ridicule each other in public. Just the opposite. There seems to be a you-pat-my-back-and-I’ll-pat-yours attitude to reviewing so you have to wonder why her review seemed so personally malicious. Often the reviews seemed to have this novel down as a brilliant page-turner but not great literature. I’ve been wondering about this. I adored reading this novel and then perhaps, a day after finishing it, felt maybe I had been somehow tricked into liking it better than it deserves. Does Doerr lack a little subtlety in his emotional manipulation of the reader? If you write a novel about a blind girl with an adoring ideal father and an orphan boy who protects his younger sister you’re obviously going to almost immediately command a great deal of sympathy for your characters. These are the innocents of fairy stories. Also the stalker von Rompel who Doerr makes no attempt to portray as anything but pantomime villain. But all these motifs belong to the fairy story aspect of this novel and within that context are managed well I think. It’s also been said Doerr doesn’t deal with Nazism very convincingly. Is that a valid criticism? The English patient is a WW2 novel and it could be said that doesn’t deal with Nazism very well either. Doesn’t prevent it from being a brilliant thought-provoking novel.
“Impossibly, the static coalesces into music. Volkheimer's eyes open as wide as they can. Straining the blackness for every stray photon. A single piano runs up scales. Then back down. He listens to the notes and the silences between them, and then finds himself leading horses through a forest at dawn, trudging through snow behind his great-grandfather, who walks with a saw draped over his huge shoulders, the snow squeaking beneath boots and hooves, all the trees above them whispering and creaking. They reach the edge of a frozen pond, where a pine grows as tall as a cathedral. His great-grandfather goes to his knees like a penitent, fits the saw into a groove in the bark, and begins to cut.”
It’s 1934. Marie-Laurie Le Blanc lives in Paris and is six years old when she loses her eyesight and for the first time learns about the priceless “Sea of Flames”- an accursed gemstone with a brilliant blue color and a touch of red at it’s center which lays hidden for the past 200 years in the vaults of the National Museum of Natural History, where Marie’s father, Daniel Le Blanc works as the principle locksmith. Marie shares a very tender and solicitous relationship with her father. Her father builds her a small and an artistic model of the city in which they live, gets her books in Braille, makes her solve ingenious puzzles and tries his best to make Marie-Laurie capable of living life on her own. Her father, with strong dedication and utmost determination, tries to make sure that nothing stops his little chérie from pursuing her dreams and flying high.
Werner Pfennig is an eight year old German albino boy who lives with his sister Jutta at an orphanage in Zollverein, Germany. Since his very childhood, Werner has been extremely inquisitive and agog about things going on around him. He shows great enthusiasm and love for radios, transmitters, electronics and mathematics which eventually leads him to acquire schooling in the National Political Institutes of Education. Though he’s thrilled to escape the sentence of working in the mines and dying young like his father, and is delighted to be able to study in the open and tinker with the radios, Werner gradually finds himself all caught up and cornered in the brutality and malevolence of the premier school of Hitler’s Youth.
In 1940 as the German hostility advances and Marie and her father, who has been entrusted with the “Sea of Flames”, escape Paris and take shelter in Saint Malo where Marie’s great uncle, Etienne Le Blanc resides, their lives take an unexpected and unsolicited turn and Marie-Laurie some years down the line bumps into the eighteen year old, field expert, Werner Pfennig.
What happens next? Will Werner and Marie be able to survive the devastation of the global war? Can they succeed against all odds? Or shall they give into their wretched fate? Shall the “Sea of Flames” cast it’s spell?
It will take me one whole day if I get to start talking about this book in particular. There are so many entangled feelings and emotions harboring in me rn that it becomes hard to express myself, really. My heart aches, I am totally bewitched and it’s gonna take me a while before I start reading another book! I simply loved everything about this book. The chapters are short, hardly 2-3 pages long and it makes sure that no reader develops a sense of apathy while proceeding. I loved how Doerr gave a clear insight into the world of Marie-Laurie and Werner Pfennig. I could literally get blind, for a moment, like Marie and feel the things just as she did! Nazi Germany, it’s hostility, malevolence, the lives of the innocents lost, love and power, everything allured me to such an extent that it left me in a complete state of melancholia and tears. This book is certainly not a conventional war story. There’s so much more to it! The radiant beauty of the prose and the intricate details of the things going around, add up to the fine quality of the novel. It was like I am experiencing the haunting era of the WWII. I guess that’s the power of writing. Isn’t it?
It took me 5 days to complete the book and 3 days to be done with the review. I literally restrained myself from writing too much and giving out the spoilers. When you a love a book so much, then it gets really hard to express your feelings about it! You fall out of the correct words and actually fail to explain how you feel about it!! And that’s what is happening with me rn lol.
I am sure this novel would indeed be a piece of luck for anyone with a long plane journey or a beach holiday ahead. This is a complete page-turner, certainly unputdownable and an entirely absorbing piece of work! I can’t thank the author much for giving me this priceless experience! You guys won’t believe how desperately I want you people to read it! Recommending this novel to all the book lovers out there and even if you aren’t comfortable with the genre, then trust me it wasn’t my genre too until I read this one! I’m sure this particular narrative shall not disappoint you in any way!
Reviewed in India on August 30, 2020
It’s 1934. Marie-Laurie Le Blanc lives in Paris and is six years old when she loses her eyesight and for the first time learns about the priceless “Sea of Flames”- an accursed gemstone with a brilliant blue color and a touch of red at it’s center which lays hidden for the past 200 years in the vaults of the National Museum of Natural History, where Marie’s father, Daniel Le Blanc works as the principle locksmith. Marie shares a very tender and solicitous relationship with her father. Her father builds her a small and an artistic model of the city in which they live, gets her books in Braille, makes her solve ingenious puzzles and tries his best to make Marie-Laurie capable of living life on her own. Her father, with strong dedication and utmost determination, tries to make sure that nothing stops his little chérie from pursuing her dreams and flying high.
Werner Pfennig is an eight year old German albino boy who lives with his sister Jutta at an orphanage in Zollverein, Germany. Since his very childhood, Werner has been extremely inquisitive and agog about things going on around him. He shows great enthusiasm and love for radios, transmitters, electronics and mathematics which eventually leads him to acquire schooling in the National Political Institutes of Education. Though he’s thrilled to escape the sentence of working in the mines and dying young like his father, and is delighted to be able to study in the open and tinker with the radios, Werner gradually finds himself all caught up and cornered in the brutality and malevolence of the premier school of Hitler’s Youth.
In 1940 as the German hostility advances and Marie and her father, who has been entrusted with the “Sea of Flames”, escape Paris and take shelter in Saint Malo where Marie’s great uncle, Etienne Le Blanc resides, their lives take an unexpected and unsolicited turn and Marie-Laurie some years down the line bumps into the eighteen year old, field expert, Werner Pfennig.
What happens next? Will Werner and Marie be able to survive the devastation of the global war? Can they succeed against all odds? Or shall they give into their wretched fate? Shall the “Sea of Flames” cast it’s spell?
It will take me one whole day if I get to start talking about this book in particular. There are so many entangled feelings and emotions harboring in me rn that it becomes hard to express myself, really. My heart aches, I am totally bewitched and it’s gonna take me a while before I start reading another book! I simply loved everything about this book. The chapters are short, hardly 2-3 pages long and it makes sure that no reader develops a sense of apathy while proceeding. I loved how Doerr gave a clear insight into the world of Marie-Laurie and Werner Pfennig. I could literally get blind, for a moment, like Marie and feel the things just as she did! Nazi Germany, it’s hostility, malevolence, the lives of the innocents lost, love and power, everything allured me to such an extent that it left me in a complete state of melancholia and tears. This book is certainly not a conventional war story. There’s so much more to it! The radiant beauty of the prose and the intricate details of the things going around, add up to the fine quality of the novel. It was like I am experiencing the haunting era of the WWII. I guess that’s the power of writing. Isn’t it?
It took me 5 days to complete the book and 3 days to be done with the review. I literally restrained myself from writing too much and giving out the spoilers. When you a love a book so much, then it gets really hard to express your feelings about it! You fall out of the correct words and actually fail to explain how you feel about it!! And that’s what is happening with me rn lol.
I am sure this novel would indeed be a piece of luck for anyone with a long plane journey or a beach holiday ahead. This is a complete page-turner, certainly unputdownable and an entirely absorbing piece of work! I can’t thank the author much for giving me this priceless experience! You guys won’t believe how desperately I want you people to read it! Recommending this novel to all the book lovers out there and even if you aren’t comfortable with the genre, then trust me it wasn’t my genre too until I read this one! I’m sure this particular narrative shall not disappoint you in any way!
Marie-Laure, born in 1928 in Paris, became blind at the age of six. Her mother had died in childbirth; her loving father, Daniel, teaches her to “see”, using her fingers, training her memory. He is a locksmith employed at the Museum of Natural History, and his hobby is making small models, for example of the streets of their neighbourhood in Paris, which his daughter, using her fingers, can learn to navigate. She absorbs information about the world, also from Braille books, which fascinate her. The author is brilliant as describing what it is like to make some sense of the world when you are blind.
Locked securely away in the Museum of Natural History is a valuable diamond, called the Sea of Flames, to which is attached a legend that anyone who owns it will not die, but that disasters will strike his family or friends. People half believe the story.
When the war starts, the contents of the Museum are packed up and sent out of Paris; and then, in 1940, she and her father join the stream of civilians moving south. Her father has taken the diamond with him. And eventually they finish up in German-occupied St Malo, in Brittany, in the house of the father’s uncle, Étienne, a strange man, disturbed by memories of the First World War, and house-bound for many years. He knows all about radios, and has been broadcasting scientific educational programmes. Daniel makes a model of St Malo for his daughter. Inside it, he hides the diamond. In 1941 he receives a telegram summoning him back to Paris. He leaves Marie-Laure in the care of his uncle and the uncle’s housekeeper. He has been denounced for measuring buildings oin St Malo, and, on the way to Paris, he is arrested and deported to Germany. When he does not return, Marie-Laure is bewildered and devastated.
Very reluctantly, Étienne is drawn into the Resistance, which sends him code numbers. He then transmits them to the Allies.
Von Rumpel, a gemologist in the German military, whose job it was to record confiscated jewels, has heard of the diamond and is determined to track it down. He has a special personal interest in it since he is suffering from cancer. Somehow, (rather improbably), in 1944, he tracks the diamond down to St Malo and is sure that it is concealed in the model of Étienne’s house, if he can only find that model. He arrives in St Malo in August, two months after D-Day, while the town in after heavy Allied bombardment from the air and from the sea. He cannot find the model of the house because Marie-Laure keeps it on her person and is hiding behind a false wall.
Werner, born in 1927, lives in an orphanage at Zollverein, a mining town near Essen. His father had been killed in the mines. His hobby is making and repairing radio sets and inventing gadgets. From Étienne’s broadcasts, and then from books, he absorbs scientific information which fascinates him. (There is a lot about physics, geology and natural history in the book – Doerr writes columns about scientific books for the Boston Globe.) Werner’s skill as a radio repairer gets him noticed by a high-up in the Nazi party, who saves him from going down the pit when he would reach 16, and instead gets the 14 year-old sent to a school of engineering in Saxony, where the boys are also given a brutal military training. A sadistic commandant devises ways of weeding out the weakest of the boys. He has them hunted down by the others, who are ordered to savage them. Most do it with zest. Repeatedly the commandant has them victimize a gentle friend of Werner’s, finally with terrible results. Werner is appalled, but helpless.
But he is a great success as a student: he contributes to finding a way to track down the location of radio transmitters. Then, in 1942, still only sixteen, he is sent into the army which has need of his skills. Initially he is sent to the Eastern Front, where his group neutralize many Russian transmitters. But this scarcely affects the German retreat, and Werner finds himself in Vienna. There he receives a summons to St Malo: the Germans guess that a transmitter there is sending out messages, and Werner is the man to locate the site of the transmitter. So he, too, ends up in St Malo. He picks up the transmission – and recognizes the voice of Étienne from the broadcasts he had listened to as a child. He locates the house, and sees Marie-Laure emerge from it.
So there they are, Werner, Marie-Laure and von Rumpel in the midst of the apocalyptic bombardment. Each of them, for one reason or another, is desperate, hungry, thirsty and dirty.
I have perhaps already given away rather more of the book than some readers would like – but if I described the dénouement, I would indeed be guilty of spoilers. Suffice it to say that Werner and Marie-Laure meet, and not as enemies. But they spent less than a day together. There is no happy ending for the two of them.
And what exactly happened to the little model house and the diamond? It scarcely becomes clearer in the penultimate part of the book, set in 1974, thirty years after the siege of St Malo. As for the last part, set in 2014, I can’t see the point of that at all.
At 544 pages, the book has its longueurs, especially in the febrile thoughts and memories of Marie-Laure, Werner and von Rumpel. I think there are some loose ends; but on the whole it was a good read.





































