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Ilsa Hermann is first introduced on pages 121-122, Part 2: Book of Fire when Liesel steals a book from the bonfire. When she almost gets away with it, she realizes that the mayor’s wife—Ilsa, a new character—saw everything.
Later, in Part 2: The Town Walker, because of wartime restrictions, one of Rosa’s clients can no longer afford to hire her, which enrages Rosa. Liesel is more pitiful-looking and more difficult to fire, so Rosa decides to start making her deliver the laundry going forward. For Liesel, however, there may be some preconceived notions and fear about Ilsa, one of Rosa’s clients. Additionally, the majority of Molching residents think Frau Hermann is insane. She has fluffy hair and spends the day lounging around in her pajamas.
When Liesel finally meets her on page 132, Part 3: The Mayor’s Library, the woman is silent, compared to a “corpse.” She seems very detached, in part to her clothes and lack of speech but also because of her unfocused eyes and uncaring attitude.
After a couple of visits, when Liesel believes that Ilsa never witnessed her crime, Ilsa reveals that she had, but not in the form of punishment. Liesel instead receives one of the finest gifts she has ever received when Frau Hermann introduces her to an immense library, possibly so they can read together in their shared interest, on pages 133-136, Part 3: The Mayor’s Library. Ilsa also begins to show a bit more expression by speaking and even smiling, contradictory to her previous demeanor. By introducing Liesel to the library, Frau Ilsa Hermann becomes more vulnerable around Liesel and begins to show care for someone else.
Throughout the following few chapters, Ilsa and Liesel begin forming a tighter bond through Liesel’s frequent visits to the library. Ilsa, clearly opening up to Liesel, begins smiling more and even speaking. In the following chapters, we also learn the cause of Ilsa’s detachment: she has depression because her son died in World War I. The mute, damaged woman, who constantly wears only a bathrobe, stares through the window at “something missing.” But as time goes on, we can see Ilsa take more care of Liesel, living in the present instead of in the past.
We see a culmination of Ilsa’s appreciation of their time together when Ilsa offers Liesel one of the library’s books. While the process may be slow, it is evident that it is there. Compared to the beginning, when Ilsa was struggling with detachment from the loss of her son, now she is to the point of caring enough about another person (Liesel) to offer her a gift of appreciation, symbolizing the growing trust and gratitude towards her. This event demonstrates that Frau Ilsa Hermann is genuinely opening up and becoming more vulnerable with other people—moving on despite her trauma.
Unfortunately, though, Ilsa reaches an obstacle when she must fire Liesel’s mom due to the war. Ilsa hands Liesel a letter for Rosa in Part 5: The Gambler. Even though Ilsa apologizes to her and says she’s welcome to return whenever she likes to read, she still feels hurt and misled. Liesel is led outside by Ilsa, who then closes the door. However, Liesel comes back and explodes at Ilsa, hitting her straight with her trauma about her long-lasting grief over her lost son. Ilsa is hurt and likely disappointed. The author hints that she might close up again after facing retaliation for her first attempt to merge herself back into society and others’ lives. Liesel said it best on pages 251-253 in the quote: “She was battered and beaten up, and not from smiling this time. Liesel could see it on her face. Blood leaked from her nose and licked at her lips. Her eyes had blackened. Cuts had opened up and a series of wounds were rising to the surface of her skin. All from the words. From Liesel’s words.”
While it may seem like Liesel’s words would push Ilsa back into her shell, we can see that she has grown when she constantly forgives Liesel and does not give up on opening up to others. When Liesel even begins to steal books from her library, Ilsa keeps the window open so Liesel can enter and steal whatever books she wants. Frau Hermann, including biscuits and a dictionary, left other gifts. She informs Liesel that she is also free to approach the front door.
The conflict between Liesel and Ilsa begins to mend in Part 7: The Trilogy. After Liesel steals another book from the library, she finds a letter addressed to her from Ilsa. In the letter, Ilsa apologizes for firing Rosa. It is evident that Liesel’s presence at the library had brought comfort and joy to Frau Hermann, who is still lonely for her deceased son. The letter represents the healing relationship between Liesel and Ilsa and how Ilsa is beginning to show sensitivity and concern to her relationships with others. It indicates that Ilsa has grown after being around Liesel to the point where she stays in her improved state even when Liesel is angry.
After Liesel writes back, Ilsa shows up at Liesel’s house to thank her for the letter and enjoy tea together as a symbol of their healed friendship (Part 10: Ilsa Hermann’s Little Black Book). We finally see Ilsa leave the house, wearing a beautiful dress instead of her bathrobe. The dress represents Ilsa’s character development, leaving behind her cold, distant, and dull bathrobe for a bright, colorful, and expressive dress. We see Frau Ilsa Hermann give a gift to Liesel again, symbolizing her gratefulness for the girl. The writing book that Ilsa gave to Liesel (which Liesel titled “The Book Thief”) will save Liesel’s life in two different ways. She will remain in the basement during the bombing literally, but symbolically, it gives her a way to express herself through the method she loves most, and it gives her a cause to live and a strategy to deal with her pain and help others as well as herself. While Frau Ilsa Hermann used to be inspired by Liesel mostly, now Ilsa is inspiring and supporting others. In the beginning, Frau Ilsa Hermann could not even speak, and now she is cracking jokes and speaking freely, expressing her long-lost illuminated personality. It was a long and challenging journey, but Ilsa has been changed for the better—learning that trauma should not dictate her life and she should not punish herself over what she could not control.
The last we see of Ilsa is in the epilogue. After Himmel street is destroyed, with Liesel being the only survivor, Liesel goes to live with the mayor and Frau Hermann. A final soothing buddy and the personification of her library, Ilsa reappears. The story sets Ilsa up as the person who will help Liesel through her most challenging time, just as Liesel had for her, returning the favor.

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Immediately, when the smile shrank from her lips, she could feel something else. Or more to the point, someone else. There was no mistaking the watched feeling. It was all over her, and it was confirmed when she dared to face the shadows over at the town hall. To the side of the collection of silhouettes, another one stood, a few meters removed, and Liesel realized two things.
A FEW SMALL PIECES OF RECOGNITION
1. The shadow’s identity and
2. The fact that it had seen everything
The shadow’s hands were in its coat pockets.
It had fluffy hair.
If it had a face, the expression on it would have been one of injury.
- Pages 121-122, Part 2: Book of Fire

Background About Quote: Liesel walks over and examines the ashes of the bonfire, which officials are shoveling away. At the bottom of the pile are three books that survived the blaze. The shovelers move away and Liesel rushes in. She grabs a blue book from the ashes. Someone yells and Liesel fears she has been discovered, but it is only the mayor coming to burn whatever survived.
Liesel slips the book under her uniform and it starts to warm her chest. Then she realizes that the mayor's wife saw everything, and she curses to herself. Hans and Liesel finally leave, and the book, which is called The Shoulder Shrug, burns against her skin.

Themes: Words and Language, Books, Stealing and Giving

Character Development: Not much character development has been shared. All we know is that Ilsa Hermann's face resembles a wound (likely hinting that she has trauma), that she has fluffy hair, and that she had witnessed Liesel steal the book from the bonfire. This leads us to ask more questions: just who is Frau Ilsa Hermann? And what will she do with the information about Liesel's stealing?

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"And Frau Hermann, the mayor’s wife, standing fluffy-haired and shivery in her enormous, cold-aired doorway. Always silent. Always alone. No words, not once."
- Page 93-94, Part 2: The Town Walker

Background About Quote: Because of wartime restrictions, one of Rosa's clients can no longer afford to hire her, which enrages Rosa. Liesel is more pitiful-looking and more difficult to fire, so she decides to start making her deliver the laundry going forward. Rosa explains the rigorous guidelines for the pick-up and delivery to her (while seeming extremely saumensch-like). Liesel grows to appreciate her employment and begins to take note of the peculiarities of the clients. For Liesel, however, there may be some preconceived notions and fear about Frau Ilsa Hermann, the mayor's wife as when Liesel stole her second book from the bonfire of Hitler's birthday, Frau Ilsa Hermann was the only one who witnessed it.

Theme: Death

Character Development:
Frau Ilsa Hermann reappears as an enigmatic, silent figure; she is positioned to take on a more significant role down the road. This is truly the first time we are introduced to Ilsa, as the last time she was seen, we only knew of someone present at the bonfire who witnessed Liesel steal her first book without being told who. For now, all we know is that she might have some trauma or issues that have caused her lack of speech and icy personality. Still, we have yet to see Frau Ilsa Hermann in the story, as what we know is only from the perspective of Rosa's remarks about the woman.

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"Money was handed out to her and then, nothing. The mayor’s wife, who never spoke, simply stood in her bathrobe, her soft fluffy hair tied back into a short tail. A draft made itself known. Something like the imagined breath of a corpse. Still there were no words...the woman wore an expression not of reproach, but utter distance."
- Page 132, Part 3: The Mayor’s Library

Background About Quote: Liesel is concerned about delivering the laundry to the mayor's wife and worried about the consequences of her theft. She initially acts as though no one is in the mayor's residence, but Rosa forces her to return. Rudy follows Liesel, perplexed by her reluctance. Afraid of what will happen, she finally knocks, but Frau Ilsa Hermann quickly answers and silently pays her as if nothing had changed. Liesel is relieved and believes Frau Ilsa Hermann may not have caught her stealing after all (though Death assures the reader this is not the case).

Theme: Death, Stealing and Giving

Character Development: Frau Ilsa Hermann is still a mysterious person. If anything, the first meeting between the mayor's wife and Liesel only gives readers more questions: Did she see Lisel steal? If so, why is Ilsa acting as if she didn't? Why isn't she speaking? Why does she seem so distant? Still, we know that there is definitely something going on with Frau Ilsa Hermann, who never speaks and only wears a bathrobe.

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Frau Ilsa Hermann Shows Liesel the Secret Library

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Frau Ilsa Hermann Shows Liesel the Secret Library

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"The mayor’s wife opened the door and she was not holding the bag, like she normally would. Instead, she stepped aside and motioned with her chalky hand and wrist for the girl to enter … The woman said her first word to her then. She reached out, cold-fingered, and said, “Warte—wait.” When she was sure the girl had steadied, she turned and walked hastily back inside …
When she came and stood with an impossibly frail steadfastness, she was holding a tower of books against her stomach, from her navel to the beginnings of her breasts. She looked so vulnerable in the monstrous doorway. Long, light eyelashes and just the slightest twinge of expression. A suggestion. Come and see, it said … The mayor’s wife was not deterred. She only looked briefly behind and continued on, to a chestnut-colored door. Now her face asked a question. Are you ready? ... She could feel the eyes of the woman traveling her body, and when she looked at her, they had rested on her face. ...
The two words stood among acres and acres of vacant, wooden-floored land. The books were miles away. The woman nodded. Yes, you can. To her left, she saw the woman again, standing by a large desk, still holding the small tower against her torso. She stood with a delighted crookedness. A smile appeared to have paralyzed her lips … Instead, she returned to the lady behind her, whose smile gave the appearance now of a bruise and whose arms were hanging slenderly at each side. Like girls’ arms … She waited in the hallway for a few minutes, but the woman didn’t come, and when Liesel returned to the entrance of the room, she saw her sitting at the desk, staring blankly at one of the books. She chose not to disturb her.”
- Pages 133-136, Part 3: The Mayor’s Library

Background about Quote: Following the time Liesel leaves without Rudy, Frau Ilsa Hermann makes her wait. Liesel is instantly horrified when the mayor's wife comes with a stack of books, but she can't help but follow her inside the home. She follows Frau Ilsa Hermann into a sizable library. Liesel is in awe of how beautiful it is to see so many books at once. Frau Ilsa Hermann nods in response to her request to enter while remaining silent. Liesel joyfully caresses each book, sensing its enchantment through the spines. Despite realizing that the window is wide open and allowing the frigid air in, she doesn't close it. Frau Ilsa Hermann gives her a smile.

Themes: Words and Language, Words

Character Development: The secret library is a significant turning point for the whole book and, of course, Ilsa. When Frau Ilsa Hermann introduces Liesel to the secret library in the mayor's house, it demonstrates a bit of character development. In the first meeting with Liesel about Rosa's laundry service, the mayor's wife was detached from society for what, we still don't know. But now, Ilsa begins to show a bit more expression by speaking and even smiling, contradictory to her previous demeanor. By introducing Liesel to the library, Frau Ilsa Hermann becomes more vulnerable around Liesel and begins to show care for someone else. This event also confirms that she witnessed Lisel stealing the book at the bonfire. Still, instead of getting angry and putting Liesel in a problematic situation, Frau Ilsa notes Liesel's passion for books. She introduces her to an immense library, possibly so they can read together in their shared interest. Liesel is one of the first people Ilsa reaches out to, with her motive being to learn a secret about the girl and wanting to assist her in her flourishing passion.

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"“I forgot,” Liesel said. She lifted the bag and addressed the mayor’s wife. Despite the forced labor of breath, she fed the words through the gap in the doorway—between the mayor and the frame— to the woman. Such was her effort to breathe that the words escaped only a few at a time. “I forgot . . . I mean, I just . . . wanted,” she said, “to . . . thank you.”
The mayor’s wife bruised herself again. Coming forward to stand beside her husband, she nodded very faintly, waited, and closed the door."
- Page 137, Part 3: The Mayor’s Library

Background About the Quote: After taking the laundry and leaving, Liesel regrets not saying goodbye to Frau Hermann and feels impolite. The mayor answers the door when she comes back, which terrifies Liesel; but, when Frau Hermann appears behind him, Liesel thanks her. Liesel turns around and walks away.

Themes: Books, Stealing and Giving

Character Development: While this quote does not say much about Frau Ilsa Hermann, it says that she "bruised herself again," meaning that she smiled again. Really, it demonstrates that the mayor's wife is beginning to warm up to Liesel and leave her detached state of mind. It also adds a bit to how we picture Ilsa—her actions are always faint. Also, since Ilsa was not talking, it leads readers to question: does Frau Hermann not speak to even her husband? If so, why is Liesel so special? Perhaps Liesel reminds Ilsa of her younger self or someone she lost before.

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Liesel and Frau Ilsa Hermann Have a Routine

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Liesel and Frau Ilsa Hermann Have a Routine

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"The mayor’s wife, having let the girl in for the fourth time, was sitting at the desk, simply watching the books. On the second visit, she had given permission for Liesel to pull one out and go through it, which led to another and another, until up to half a dozen books were stuck to her, either clutched beneath her arm or among the pile that was climbing higher in her remaining hand.
On this occasion, as Liesel stood in the cool surrounds of the room, her stomach growled, but no reaction was forthcoming from the mute, damaged woman. She was in her bathrobe again, and although she observed the girl several times, it was never for very long. She usually paid more attention to what was next to her, to something missing. "
- Page 144, Part 3: The Attributes of Summer

Background About Quote: Liesel and Hans begin reading the book The Shoulder Shrug, whose main character is a Jew. Liesel visits the mayor's library once more. Rudy tries to accompany her, but she refuses, and they exchange insults (which Death says is a sign of their love). Frau Hermann waits impassively by the chilly window while Liesel is free to read whatever she likes while sitting on the floor in the mayor's library.

Themes: Words and Language, Books

Character Development: Ilsa and Liesel have started having a routine and a constant relationship. Ilsa allows Liesel in whenever Lisel is free. However, we don't see a lot about character development in this passage, but more about the background of the mysterious character Frau Ilsa Hermann. The mute, damaged woman, who constantly wears only a bathrobe, stares through the window at "something missing." This implies that Frau Ilsa Hermann lost something or someone, causing her to be as detached as she is.

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Who is Johann Hermann to Frau Ilsa Hermann?

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Who is Johann Hermann to Frau Ilsa Hermann?

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"What she did remember was that one of the picture books retained a name written clumsily on the inside cover:
THE NAME OF A BOY
Johann Hermann
Liesel bit down on her lip, but she could not resist it for long. From the floor, she turned and looked up at the bathrobed woman and made an inquiry. “Johann Hermann,” she said. “Who is that?”
The woman looked beside her, somewhere next to the girl’s knees. Liesel apologized. “I’m sorry. I shouldn’t be asking such things. . . .” She let the sentence die its own death.
The woman’s face did not alter, yet somehow she managed to speak. “He is nothing now in this world,” she explained. “He was my...” ... “Apart from everything else,” she said, “he froze to death.” For a moment, she played with her hands, and she said it again. “He froze to death, I’m sure of it.” ... The point is, Ilsa Hermann had decided to make suffering her triumph. When it refused to let go of her, she succumbed to it. She embraced it.
She could have shot herself, scratched herself, or indulged in other forms of self-mutilation, but she chose what she probably felt was the weakest option—to at least endure the discomfort of the weather."
- Pages 145 and 146, Part 3: The Attributes of Summer

Background About Quote: As summer goes on, it gets warmer at the library, making it more pleasant to read there. Liesel discovers the name Johann Hermann of a boy in one of the books one day. He was her son, who perished in World War I, says Frau Hermann when she finally speaks. Death reveals that Ilsa Hermann has forced herself to suffer ever since her son passed away, which is why she always leaves the window open. Liesel clumsily apologizes for her loss before departing and feeling sorry for Ilsa. However, because she is falling in love with the power of words, Liesel can't help but go back to the library.

Themes: Words and Language, Books

Character Development: Throughout the following few chapters, Ilsa and Liesel begin forming a tighter bond through Liesel’s frequent visits to the library. Ilsa, clearly opening up to Liesel, begins smiling more and even speaking. In the text, we also learn the cause of Ilsa’s detachment: she has depression because her son died in World War I. The mute, damaged woman, who constantly wears only a bathrobe, stares through the window at “something missing.” Since then, Ilsa has punished herself by enduring the cold, becoming isolated, and eliminating relationships. Of course, this raises some more questions: Why is Ilsa helping Liesel? Is it because Liesel reminds her of her son? Or does Liesel remind her of herself? Still, after this passage and event in the book, we can better understand why Ilsa does some of the things she does and where she might be coming from.

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When Liesel placed the book back into position, the woman’s chair stubbed the floor and she made her way over. It was always like this at the end. The gentle rings of sorrowful wrinkles swelled a moment as she reached across and retrieved the book.
She offered it to the girl.
- Page 245, Part 5: The Gambler (A Seven-Sided Die)

Background About Quote: Later, Liesel imagines telling Ilsa Hermann that there is a Jew in her basement when she is in the mayor's library. Again, Ilsa offers Liesel The Whistler, but she declines. She looks through trash cans on the walk home for newspapers that may have Max's empty crosswords. While Max completes the crosswords, Liesel reads while sitting in the basement. Even though they don't talk much, their shared love of words makes them feel closer.

Themes: Words and Language, Books

Character Development: While the process may be slow, it is evident that it is there. Compared to the beginning, when Ilsa was struggling with detachment from the loss of her son, now she is to the point of caring enough about another person (Liesel) to offer her a gift of appreciation, symbolizing the growing trust and gratitude towards her. This event demonstrates that Frau Ilsa Hermann is genuinely opening up and becoming more vulnerable with other people—moving on despite her trauma. The book also shows that she is becoming thoughtful because she takes note of Liesel's passions and subsequently supports her in her passion by giving her access to the secret library and, now, giving her books.

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The mayor’s wife showed no signs of abnormality (or, let’s be frank, no additional signs) until it was time to leave. This time, when she offered Liesel The Whistler, she insisted on the girl taking it. “Please.” She almost begged. The book was held out in a tight, measured fist. “Take it. Please, take it.” …As she was about to ask for the washing, the mayor’s wife gave her a final look of bathrobed sorrow. She reached into the chest of drawers and withdrew an envelope. Her voice, lumpy from lack of use, coughed out the words. “I’m sorry. It’s for your mama.” … Ilsa Hermann was dying now herself—to get rid of her. Liesel could see it somewhere in the way she hugged the robe a little tighter. The clumsiness of sorrow still kept her at close proximity, but clearly, she wanted this to be over. “Tell your mama,” she spoke again. Her voice was adjusting now, as one sentence turned into two. “That we’re sorry.” She started shepherding the girl toward the door. …“If you ever want to come just to read,” the woman lied (or at least the girl, in her shocked, saddened state, perceived it as a lie), “you’re very welcome.”
- Page 259 - 260, Part 5: The Gambler (A Seven-Sided Die)

Background About Quote: They have been rolling a seven-sided die, which is revealed by death, and the last side is unfortunate. When Germany invades the Soviet Union in June 1941, Liesel and Max read in the papers that the mayor has warned the populace to brace themselves for difficult times. Liesel is finally persuaded to take The Whistler by Ilsa Hermann when she returns to the mayor's library the next time. After Ilsa hands her a letter for Rosa, Liesel understands their previous client has canceled. Even though Ilsa apologizes to her and says she's welcome to return whenever she likes to read, she still feels hurt and misled. Liesel is led outside by Ilsa, who then closes the door.

Themes: Books

Character Development: Frau Hermann was Rosa's last client, thus her cancellation was disastrous for Liesel's family financially. Frau Ilsa Hermann understood this, and although the matter was out of her reach, she felt ashamed to give the letter to Liesel. If anything, this demonstrates that Ilsa does care about Lisel and that she has become more aware of the impact her actions have, an improvement from her previous distant, unaware state. However, this becomes a barrier in her relationship with Liesel because Liesel takes this personally, even though Ilsa has no control over the situation.

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“So you give me the book,” the girl said, “for pity—to make yourself feel better. . . .” The fact that she’d also been offered the book prior to that day mattered little. …Evidently, the mayor’s wife was shocked when she saw her again. Her fluffy hair was slightly wet and her wrinkles widened when she noticed the obvious fury on Liesel’s usually pallid face. She opened her mouth, but nothing came out, which was handy, really, for it was Liesel who possessed the talking.
“You think,” she said, “you can buy me off with this book?” Her voice, though shaken, hooked at the woman’s throat. The glittering anger was thick and unnerving, but she toiled through it. She worked herself up even further, to the point where she needed to wipe the tears from her eyes. “You give me this Saumensch of a book and think it’ll make everything good when I go and tell my mama that we’ve just lost our last one? While you sit here in your mansion?”
The mayor’s wife’s arms.
They hung.
Her face slipped.
Liesel, however, did not buckle. She sprayed her words directly into the woman’s eyes.
“You and your husband. Sitting up here.” …“It’s about time,” she informed her, “that you do your own stinking washing anyway. It’s about time you faced the fact that your son is dead. He got killed! He got strangled and cut up more than twenty years ago! Or did he freeze to death? Either way, he’s dead! He’s dead and it’s pathetic that you sit here shivering in your own house to suffer for it. You think you’re the only one?”...
“This book,” she went on. She shoved the boy down the steps, making him fall. “I don’t want it.” The words were quieter now, but still just as hot. She threw The Whistler at the woman’s slippered feet, hearing the clack of it as it landed on the cement. “I don’t want your miserable book. . . .”...
After a miscarriaged pause, the mayor’s wife edged forward and picked up the book. She was battered and beaten up, and not from smiling this time. Liesel could see it on her face. Blood leaked from her nose and licked at her lips. Her eyes had blackened. Cuts had opened up and a series of wounds were rising to the surface of her skin. All from the words. From Liesel’s words.
Book in hand, and straightening from a crouch to a standing hunch, Ilsa Hermann began the process again of saying sorry, but the sentence did not make it out.
Slap me, Liesel thought. Come on, slap me. Ilsa Hermann didn’t slap her. She merely retreated backward, into the ugly air of her beautiful house, and Liesel, once again, was left alone, clutching at the steps.
- Pages 251-253, Part 5: The Gambler (A Seven-Sided Die)

Background About Quote: Liesel reads the letter while sitting on the mayor's stairs and becomes furious with both the mayor and his wife. She turns around and knocks on the mayor's door before beginning to walk home. When Ilsa responds, Liesel shouts at her and disparagingly brings up the mayor's wealth and Ilsa's deceased son. She sees her own deceased sibling close to her in her mind. When Liesel knocks The Whistler to the ground, she notices the damage her words have done to Ilsa's face. As Liesel turns to leave, Ilsa slowly steps back. She crumples the letter and throws it at the door.

Themes: Death, Words and Language, Books

Character Development: Liesel now uses the words she has learned to hurt Frau Hermann in retaliation for what she perceives to be her betrayal. As Liesel rejects Ilsa's compassion even in the guise of a book, the Whistler takes on significance as an object in this scene. Ironically, Liesel notices Werner's appearance as she makes fun of Ilsa for never moving on after her son's passing. Ilsa, throughout this time, seems to become even more distant than before. She just stands there, allowing Leisel to dig into her wealth and her trauma over the passing of her son. Perhaps she even agrees with what Liesel has said because instead of standing up for herself, she silently goes back into the house. It seems as if Ilsa is back to square one. Ilsa only has two ways to go: she could go back into her shell or stay in her improved state and not allow the deteriorating relationship with Liesel to affect her in such a negative way.

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For all you know, the mayor’s wife is now completely reformed after you yelled and screamed at her. Maybe she’s straightened herself out, picked herself up. Maybe she’ll never let herself shiver in that house again and the window will be shut forever. . . . You stupid Saumensch!... She compelled herself to remember, to see visions of the mayor and his wife. She watched her gathered friendship with Ilsa Hermann and made sure to see it kicked in the shins and left by the wayside. It worked. She detested them….
She was home, among the mayor’s books of every color and description, with their silver and gold lettering. She could smell the pages. She could almost taste the words as they stacked up around her. Her feet took her to the right-hand wall. She knew the one she wanted—the exact position—but when she made it to The Whistler’s usual place on the shelf, it was not there. A slight gap was in its place….There was a giant length of a moment then, the eternity of split-second decision. Her eyes scanned the room and she could see The Whistler, sitting patiently on the mayor’s desk.
- Pages 285, 287-289, Part 5: The Whistler and the Shoes

Background About Quote: Liesel decides to enter the window after their fifth visit to Frau Hermann's house because it is open. Despite Liesel's covert desire for The Whistler, Rudy believes they are attempting to steal food. It is more satisfying to steal it than to have Frau Hermann give it to her out of compassion. Rudy receives Liesel's shoes as she makes the decision to enter on her own. Rudy nags Liesel to obtain food, but she hardly pays attention.

Themes: Books, Stealing and Giving

Character Development: This quote does not have Frau Hermann present. However, it does say what might have been the aftermath of Liesel's explosion at the woman. It tells us that the explosion could have worked in two ways: it encouraged Frau Ilsa Hermann to do better in becoming a more functional person, or it completely discouraged her, pushing her even more in the state she was in. It leads us to wonder how Ilsa has processed Liesel's words. Also, it seems a little suspicious that the book was on the mayor's table while the library window was open as Liesel was stealing from the mayor's library—what could this possibly mean? Perhaps Ilsa is allowing Liesel to come to steal from her just because she wants her to be around and to mend their broken relationship.

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Liesel Steals From Frau Ilsa Hermann Again

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Liesel Steals From Frau Ilsa Hermann Again

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They rode for perhaps fifteen minutes, and still, the mayor’s wife was downstairs, a little too close for comfort.
How dare she occupy the kitchen with such vigilance!...At the bridge, Rudy summed up the afternoon’s proceedings. “Those people are either completely crazy,” he said, “or they just like their fresh air.”
A SMALL SUGGESTION
Or maybe there was a woman on
Grande Strasse who now kept her
library window open for another
reason—but that’s just me being
cynical, or hopeful. Or both.
- Page 326-327 and 328, Part 6: Fresh Air, an Old Nightmare, and what to do with a Jewish Corpse

Background About Quote: Rudy and Liesel are one day by the Amper River when Liesel decides she wants to rob the mayor's residence of yet another book. While they wait for Ilsa Hermann to emerge from the kitchen, they repeatedly circle the block on their bikes. Liesel is adamant about getting a book, but Rudy eventually chooses to give up (he is just interested in stealing food). She scales the window and grabs The Dream Carrier, a book whose title reminds her of both her own and Max's nightmares. Death suggests that Ilsa intentionally left the window open in the hopes that Liesel would return as Liesel and Rudy leave on their motorcycles.

Themes: Words and Language, Books, Stealing and Giving

Character Development: Death's suggestions always turn out to be correct. Therefore, we can easily conclude that Frau Ilsa Hermann intentionally kept her window open. Why? Clearly, she had a connection with Liesel, and Liesel had begun helping her become more present, actually living her life, and more caring. She likely kept the window open because, even though Liesel was extremely rude to her, Ilsa still cared about her. Even though it meant allowing Liesel to steal books, all Ilsa wanted to do was see her again.

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She placed her feet on the ground and turned to face the mayor’s house and the library window, and she saw. Certainly, she should have known this might happen, but she could not hide the shock that loitered inside when she witnessed the mayor’s wife, standing behind the glass. She was transparent, but she was there. Her fluffy hair was as it always was, and her wounded eyes and mouth and expression held themselves up, for viewing. Very slowly, she lifted her hand to the book thief on the street. A motionless wave.
In her state of shock, Liesel said nothing, to Rudy or herself. She only steadied herself and raised her hand to acknowledge the mayor’s wife, in the window.
- Page 326, Part 7: The Trilogy

Background About Quote: A week later, Rudy takes Liesel back up to Grande Strasse (the mayor's street), when they notice that the library window has a book propped up. Liesel senses it's a trap or a test, and she can't help but accept it. The Complete Duden Dictionary and Thesaurus is the book she takes, and after doing so, she and Rudy take off on their bikes. However, Liesel can't help but turn her head back and notice Ilsa Hermann standing in the window. Liesel reciprocates Ilsa's wave.

Themes: Words and Language, Books, Stealing and Giving

Character Development: This quote demonstrates how Ilsa Hermann has not fallen apart because of Liesel's harsh words from before. She is becoming the bigger person with the wave symbolizing that she has forgiven Liesel for what she said. She still looks very delicate and ghostly, but at least we see that while she might be frail in appearance and physical state, she is still strong with her mind and morals (especially regarding forgiveness). Since Liesel waves back, we can predict that their connection and friendship are going to be healed soon, so both of them can grow from the argument (for Ilsa, to move on from her son's death and, for Lisel, not to use her words in such a hurtful way).

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THE LETTER
Dear Liesel,
I know you find me pathetic and loathsome (look that word up if you don’t know it), but I must tell you that I am not so stupid as to not see your footprints in the library. When I noticed the first book missing, I thought I had simply misplaced it, but then I saw the outlines of some feet on the floor in certain patches of the light.
It made me smile.
I was glad that you took what was rightfully yours. I then made the mistake of thinking that would be the end of it. When you came back, I should have been angry, but I wasn’t. I could hear you the last time, but I decided to leave you alone. You only ever take one book, and it will take a thousand visits till all of them are gone. My only hope is that one day you will knock on the front door and enter the library in the more civilized manner.
Again, I am sorry we could no longer keep your foster mother employed.
Lastly, I hope you find this dictionary and thesaurus useful as you read your stolen books.
Yours sincerely,
Ilsa Hermann
- Page 369, Part 7: The Trilogy

Background About Quote: When Liesel and Rudy stop at the bridge, they open the book to find a message from Ilsa addressed to Liesel. It states that Ilsa is free to carry on despite knowing that Liesel has been stealing her books; Ilsa just wishes Liesel would one day enter the house through the front door. She needs the dictionary to read the books she's been stealing.

Themes: Words and Language, Books, Stealing and Giving

Character Development: It is evident that Liesel's presence at the library had brought comfort and joy to Frau Hermann, who is obviously still lonely for her deceased son. Even if it means taking a few books in the process, she wants Liesel to come back. The letter represents the healing relationship between Liesel and Ilsa and how Ilsa is beginning to open up and show sensitivity and concern. Hopefully, this letter will help Liesel forgive Frau Ilsa Hermann. Still, the letter indicates that Ilsa has grown after being around Liesel to the point where she stays in her improved state, even when Liesel is angry. While sending the letter, Ilsa also gives Liesel a dictionary, which symbolizes her appreciation.

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Frau Ilsa Hermann and Liesel's Mending Relationship

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Frau Ilsa Hermann and Liesel's Mending Relationship

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This time, there were cookies.
But they were stale....
There was no note, but it didn’t take Liesel long to realize that Ilsa Hermann had been at it again, and she certainly wasn’t taking the chance that the cookies might not be for her. ...Liesel moved toward the far shelf, behind the desk. She found some paper and a pen in the top drawer and
wrote Thank you, leaving the note on top....At the window, just as she was about to make her way out, the library door creaked apart.
Her knee was up and her book-stealing hand was poised against the window frame. When she faced the noise, she found the mayor’s wife in a brand-new bathrobe and slippers. On the breast pocket of the robe sat an embroidered swastika. Propaganda even reached the bathroom.
They watched each other....She was just about to leave when a realization struck her.
The cookies.
They’d been there for weeks.
That meant that if the mayor himself used the library, he must have seen them. He must have asked why they were there. Or—and as soon as Liesel felt this thought, it filled her with a strange optimism—perhaps it wasn’t the mayor’s library at all; it was hers. Ilsa Hermann’s.
She didn’t know why it was so important, but she enjoyed the fact that the roomful of books belonged to the woman. It was she who introduced her to the library in the first place and gave her the initial, even literal, window of opportunity. This way was better. It all seemed to fit.
Just as she began to move again, she propped everything and asked, “This is your room, isn’t it?”
The mayor’s wife tightened. “I used to read in here, with my son. But then . . .”
Liesel’s hand touched the air behind her. She saw a mother reading on the floor with a young boy pointing at the pictures and the words. Then she saw a war at the window. “I know.”...
There was an itch to leave then, but also a peculiar obligation to stay. She moved to speak, but the available
words were too many and too fast. There were several attempts to snatch at them, but it was the mayor’s wife
who took the initiative.
She saw Rudy’s face in the window, or more to the point, his candlelit hair. “I think you’d better go,” she said.
“He’s waiting for you.”
- Pages 459-462

Background About Quote: Returning to the mayor's home to steal a book, Liesel and Rudy discover that Frau Hermann has placed cookies on the desk this time. As Liesel climbs out the window carrying the items and a book titled The Last Human Stranger, Ilsa Hermann arrives, dressed in a bathrobe with a swastika on it. Liesel instantly understands that Ilsa, not the mayor, must be the rightful owner of the library. Ilsa responds that she used to read there with her kid when she inquires. According to her, Liesel has been using the room the most recently. Rudy and Liesel split the cookies before Liesel leaves. After that, they are unsure of what to do with the plate.

Themes: Words and Language, Books, Stealing and Giving

Character Development: Frau Ilsa Hermann and Liesel finally have a conversation after Liesel is caught taking the cookies that had been waiting for her for a week. The weeks have become stale, but they were a gift Ilsa left for Liesel for when Liesel would come by to steal. In the scene, we learn that the library does not belong to the mayor but, in fact, to Ilsa herself. She shared some memories with Liesel about the library's history when she spent time with her son, revealing that this library was a personal safe space for her. In this revelation, we also learn how much Frau Ilsa Hermann had opened up to Liesel by sharing this special place with her. Besides the newfound vulnerability coming from Ilsa, we can also see the healing relationship between Frau Ilsa Hermann and Liesel, hopefully making way for more character development as Ilsa grows from her friendship with Liesel and more wholesome, happy moments.

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Dear Mrs. Hermann,
As you can see, I have been in your library again and I have ruined one of your books. I was just so angry
and afraid and I wanted to kill the words. I have stolen from you and now I’ve wrecked your property. I’m
sorry. To punish myself, I think I will stop coming here. Or is it punishment at all? I love this place and hate
it, because it is full of words.
You have been a friend to me even though I hurt you, even though I have been insu ferable (a word I looked
up in your dictionary), and I think I will leave you alone now. I’m sorry for everything.
Thank you again.
Liesel Meminger...
THREE DAYS LATER
The woman has knocked at number
thirty-three and waits for a reply.
It was strange for Liesel to see her without the bathrobe. The summer dress was yellow with red trim. There was a pocket with a small flower on it. No swastikas. Black shoes. Never before had she noticed Ilsa Hermann’s shins. She had porcelain legs.
“Frau Hermann, I’m sorry—for what I did the last time in the library.”
The woman quieted her. She reached into her bag and pulled out a small black book. Inside was not a story, but lined paper. “I thought if you’re not going to read any more of my books, you might like to write one instead. Your letter, it was . . .” She handed the book to Liesel with both hands. “You can certainly write. You write well.” The book was heavy, the cover matted like The Shoulder Shrug. “And please,” Ilsa Hermann advised her, “don’t punish yourself, like you said you would. Don’t be like me, Liesel.”
The girl opened the book and touched the paper. “Danke schön, Frau Hermann. I can make you some coffee, if you like. Would you come in? I’m home alone. My mama’s next door, with Frau Holtzapfel.”
“Shall we use the door or the window?”
Liesel suspected it was the broadest smile Ilsa Hermann had allowed herself in years. “I think we’ll use the door. It’s easier.”
- Pages 522-523, Part 10: Ilsa Hermann's Little Black Book

Background About Quote: Following her outburst, Liesel feels bad and apologizes to Frau Hermann in a letter, stating that she "intended to kill the words" and that she won't be returning. After saying goodbye to the library by touching each book's title, Liesel exits. Ilsa Hermann arrives at the Hubermanns' door three days later. She compliments Liesel on her writing skills and hands her a tiny black notebook. Liesel could try writing her own book, suggests Ilsa, rather than punishing herself the way she did. She is welcomed inside by Liesel, where they both enjoy coffee.

Themes: Death, Stealing and Giving, Words and Language, Books, Color, Beauty, and Ugliness

Character Development: We see so much character development for Frau Ilsa Hermann in this quote. In the second part of the quote, we see Frau Ilsa Hermann’s response to Liesel’s letter when she finally leaves the house, wearing a beautiful dress instead of her bathrobe. In that, the dress represents Ilsa’s character development, bursting out of her cold, distant, and dull bathrobe into bright, colorful, and expressive clothing. We see Frau Ilsa Hermann give a gift to Liesel again, symbolizing her gratefulness for the girl. In the beginning, Frau Ilsa Hermann could not even speak, and now she is cracking jokes and speaking freely, expressing her long-lost illuminated personality. It was a long and challenging journey, but Ilsa has been changed for the better—learning that trauma should not dictate her life and she should not punish herself over what she could not control.

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As it turned out, Ilsa Hermann not only gave Liesel Meminger a book that day. She also gave her a reason to
spend time in the basement—her favorite place, first with Papa, then Max. She gave her a reason to write her
own words, to see that words had also brought her to life.
“Don’t punish yourself,” she heard her say again, but there would be punishment and pain, and there would be
happiness, too. That was writing.
- Pages 524-525, Part 10: Ilsa Hermann's Little Black Book

Background About Quote: Death reveals that Ilsa gave Liesel more than just a book; she also gave her a cause to recognize the positive uses of words. Just like in life, there will be both delight and sadness in words and writing. Liesel begins to compose her own life tale that evening in the basement. The Book Thief: A Short Story by Liesel Meminger is the name of the work.

Themes: Death, Stealing and Giving, Color, Beauty, and Ugliness

Character Development: The writing book that Ilsa gave to Liesel (which Liesel titled “The Book Thief”) will save Liesel’s life in two different ways. She will remain in the basement during the bombing literally, but symbolically, it gives her a way to express herself through the method she loves most, and it gives her a cause to live and a strategy to deal with her pain and help others as well as herself. While Frau Ilsa Hermann used to be inspired by Liesel mostly, now Ilsa is encouraging and supporting others. This is the last we will really see of Frau Ilsa Hermann, and it has been a long and challenging journey, but she has been changed for the better—learning that trauma should not dictate your life and you should not punish yourself over what you cannot control.

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Ilsa Hermann offered to carry the case, but Liesel held it firmly in her hand as they walked down the police station steps. A few blocks down Munich Street, there was a clear line separating the bombed from the fortunate.
The mayor drove.
Ilsa sat with her in the back.
The girl let her hold her hand on top of the accordion case, which sat between them.
It would have been easy to say nothing, but Liesel had the opposite reaction to her devastation. She sat in the exquisite spare room of the mayor’s house and spoke and spoke—to herself—well into the night.
- Pages 545-546, Epilogue: Wood in the Afternoon

Background About Quote: The narrative picks up right after Molching was bombed. Hans's accordion is used to support Liesel as she is escorted to the police because she was the only survivor of Himmel Street. Three hours later, the mayor puts her in a car with Frau Hermann, and Liesel sits in the back. Liesel eats little and chats to herself a lot while at the mayor's home. She won't take a wash before the funerals since the bombing ash still ties her to the deaths. After saying another farewell to her best friend, she later walks into the Amper River where Rudy had saved her book.

Themes: Death, Words and Language, Books, Color, Beauty, and Ugliness

Character Development: Liesel's refusal to take a bath and subsequent entry into the river indicates that she, like many other characters, feels a duty to those who have passed away. She will honor and remember her loved ones who have passed away, but she must heed Ilsa's counsel and "not punish herself." A final soothing buddy and the personification of her own library, Ilsa reappears. The story sets Ilsa up as the person who will help Liesel through her most challenging time, just as Liesel had for her, returning the favor.