Questions for The Reader

1. At what point does the significance of the book's title become clear to you? Who is "The
Reader"? Are there others in the story with an equally compelling claim to this role?

2. When does the difference in social class between Hanna and Michael become most clear and
painful? Why does Hanna feel uncomfortable staying overnight in Michael's house? Is Hanna
angry about her lack of education?

3. Why is the sense of smell so important in this story? What is it about Hanna that so strongly
provokes the boy's desire? If Hanna represents "an invitation to forget the world in the recesses
of the body" [p. 16], why is she the only woman Michael seems able to love?

4. One reviewer has pointed out that "learning that the love of your life used to be a concentration
camp guard is not part of the American baby-boomer experience."* Is The Reader's central
theme--love and betrayal between generations--particular to Germany, given the uniqueness of
German history? Is there anything roughly parallel to it in the American experience?

5. In a novel so suffused with guilt, how is Michael guilty? Does his narrative serve as a way of
putting himself on trial? What verdict does he reach? Is he asking readers to examine the
evidence he presents and to condemn him or exonerate him? Or has he already condemned
himself?

6. When Michael consults his father about Hanna's trial, does his father give him good advice?
Why does Michael not act upon this advice? Is the father deserving of the son's scorn and
disappointment? Is Michael's love for Hanna meant, in part, to be an allegory for his
generation's implication in their parents' guilt?

7. Do you agree with Michael's judgment that Hanna was sympathetic with the prisoners she
chose to read to her, and that she wanted their final month of life to be bearable? Or do you see
Hanna in a darker light: do the testimonies about her cruelty and sadism ring true?

8. Asked to explain why she didn't let the women out of the burning church, Hanna remembers
being urgently concerned with the need to keep order. What is missing in her reasoning
process? Are you surprised at her responses to the judge's attempt to prompt her into offering
self-defense as an excuse?

9. Why does Hanna twice ask the judge, "what would you have done?" Is the judge sympathetic
toward Hanna? What is she trying to communicate in the moment when she turns and looks
directly at him?

10. Why does Michael visit the concentration camp at Struthof? What is he seeking? What does he
find instead?

11. Michael comments that Enlightenment law (the foundation of the American legal system as well
as the German one) was "based on the belief that a good order is intrinsic to the world" [p. 181].
How does his experience with Hanna's trial influence Michael's view of history and of law?

12. What do you think of Michael's decision to send Hanna the tapes? He notices that the books he
has chosen to read aloud "testify to a great and fundamental confidence in bourgeois culture"
 [p. 185]. Does the story of Hanna belie this faith? Would familiarity with the literature she later
reads have made any difference in her willingness to collaborate in Hitler's regime?

13. One might argue that Hanna didn't willfully collaborate with Hitler's genocide and that her
decisions were driven only by a desire to hide her secret. Does this view exonerate Hanna in any
way? Are there any mitigating circumstances in her case? How would you have argued for her, if
you were a lawyer working in her defense?

14. Do you agree with the judgment of the concentration camp survivor to whom Michael delivers
Hanna's money at the end of the novel? Why does she accept the tea tin, but not the money?
Who knew Hanna better--Michael or this woman? Has Michael been deluded by his love? Is he
another of Hanna's victims?

15. Why does Hanna do what she does at the end of the novel? Does her admission that the dead
"came every night, whether I wanted them or not" [pp. 198-99] imply that she suffered for her
crimes? Is complicity in the crimes of the Holocaust an unforgivable sin?

16. How does this novel leave you feeling and thinking? Is it hopeful or ultimately despairing? If you
have read other Holocaust literature, how does The Reader compare? *Suzanna Ruta, The New
York Times Book Review, July 27, 1997: 8

17. Hanna's secret is a crucial element for plot development in The Reader. Note the situations in
which it determines the course of her life.

18. Not only the ability to read, but also what one reads is important. What kinds of things does
Hanna have read to her? Late in the novel (p. 185) Michael realizes that the novels he chose to
read on tape are classics of bourgeois culture, and his own writing. Throughout the book, what
evidence is there that great literature does (or does not) affect one's values or behavior? Did the
readings affect Hanna's life? Michael's? Michael's father's? If literature is a metaphor for
German culture ("the land of poets and thinkers"), what does Schlink imply about its ability to
shape people's perceptions and values, or to influence the choices they make?

19. The exploitative love relationship between Hanna and Michael is another central element in the
plot. If we take it as a metaphor for how the guilt of the "parents" (postwar role models who did
who-knows-what under Nazism) corrupts the generation of the children, in what way(s) does it
deform the "children" (read: Michael) and then boomerang back on the "parents" (read:
Hanna)? At what point do the "children" (does Michael) incur guilt for not helping the "parents"
deal with their guilt?

20. How did Michael's father behave during the Nazi era? What Nazi-era group might he stand for?
What does he advise Michael to do at Hanna's trial? Can we read that advice as a metaphor for
that group's postwar behavior? What does Michael do with his father's advice? Why?

21. What Nazi-era group does Hanna represent? Make two lists: one of evidence that Hanna felt
compassion for the prisoners she selected, the other of evidence that she was sadistic. Can we
know for sure which it was?
22. At two points Hanna asks the judge what he would have done in her situation. What were those
situations? What options were open to her? What do you think the judge would have done?
You? Do you think Hanna's choice was typically German? Why or why not? What would Michael
have done? Does it change anything to know that in real life, author Bernhard Schlink is a judge?

23. The concentration camp survivor at the end has a condemnatory assessment of Hanna. Do you
think she is right? Does Michael? Why didn't he ever think of that? What is the symbolism of the
tin, the money, and teaching Jews to read?

24. Was Hanna a victim? Of whom? Was Michael a victim? Of whom? Can there be victims with no
perpetrators? Can people victimize themselves? Can someone be guilty without committing a
crime?