Analysis of 'All The Light We Cannot See' as a Historical Fiction Novel

In historical fiction, authors utilize the genre to give readers insight into a member of a past society, allowing for a connection between them and this past society. However, Anthony Doerr, author of All the Light We Cannot See, employs this genre differently by allowing the reader insight into not only one member of a past society but two. By presenting the reader with opposing narratives of two coinciding lives riddled in war, Doerr allows the reader to articulate their own opinions on the endeavors that are presented before them, rather than having their opinions chosen for them. In All the Light We Cannot See, Anthony Doerr redefines the definition of a hero and villain by creating a story of two innocent children on opposing sides of World War II. To do this, Doerr creates a realistic novel by using characterization and character interaction, the theme of the tragedy of war, and the symbolic nature of the radio to commemorate the memories of World War II before they transform into history, which overall aids in writing a successful historical fiction novel.

In the genre of historical fiction, most of the time Germany is portrayed as the evil assailant of the war. By ignoring the true character of Germany and characterizing them as an evil tyrannical monster, most historical fiction author’s poorly depict Germany. This type of writing is described by Kevin Vanzant when he describes, “Author’s scope can appear quite limited and even dishonest if they seem to be claiming a measure of objectivity that for many is no longer possible”. However, in All the Light We Cannot See, Doerr alters these standards by producing sympathy within the reader through one of the main characters, Werner. In the novel, Doeer characterizes Werner when he writes, “He is undersized and his ears stick and he speaks with a high, sweet voice; the whiteness of his hair stops people in their tracks Snowy, milky, chalky” (Doerr 24). This depiction shows how in the novel the two main characters are portrayed through their similar experience in the loss of their youthful innocence due to the war, yet their status as enemies in the war clearly separates them. By having two protagonists on opposite sides of the war, Doerr skews the definition of hero and villain; furthermore, leaving it ambiguous so that the readers can articulate their own opinions. Doerr’s authentic telling of the past displays certain moral and mental developments within the novel that both protagonists face, like Werner’s disloyalty to the fascists, which altogether proposes a more complicated portrait of heroes and villains.

Towards the end of the novel, it is clear to see the struggles the victims of the war will face, like the reconstruction of Saint-Malo, however, the reader most likely overlooks the trauma and the guilt that the assailants of the war will have to face too. This can be seen primarily in Jutta’s Post-World War II life, where she struggles living with her identity as a German. However, Jutta was not the only one that experiences the immense guilt that comes with having the identity of a German as proved by Gilad Margalit when he states, “As knowledge of the Nazi crime spread, and as understanding of the depth of guilt increased, so did the difficulty of acknowledging it”. Jutta was not the only one that experiences guilt for the German’s anti-Semitic actions, because the whole of Germany felt this too. However, Doerr’s closing portrayal of Jutta’s guilt-ridden conscious is different from many historical fiction novels that focus mainly on the winners of the war. Numerous historical fiction novels focus heavily on the actions of the Germans during the war, painting them as an evil society fueled by hatred. Instead, Doerr decides to also include in his novel the portrayal of the defeated Germans after the war. By doing this Doerr is able to paint a realistic image of the tragedies of war by including every facet of the war. Karl Brandt depicts these tragedies when he expresses,

“Anything that could possibly serve as a tool of war was taken completely out of commission. Complete destruction of this important infrastructure would effectively prevent Germany from rebuilding its military, economy, government, administration, and civilian life.”

Germany did not just have to reconstruct its physical aspects, but also moral and social reconstruction after it experiences the tyranny under the Nazi regime, and even today the results of the second world war have an impact on multiple aspects of Germany. Overall, Brandt’s depiction highlights the reader’s unawareness that the results of the war have an impact on even the contemporary, ultimately proving the sheer power of history.

In literature, authors place symbols within a novel to educate the readers on their purpose in writing a novel. In Doerr’s case, he uses the symbol of radios as a tool in his writing, just like the radio was used as a tool in the war, to help the readers retain the past. At the beginning of the novel, the radio is used as Werner’s figurative escape as he is trapped in the orphanage, destined to the mines. However, as the story progresses the benefits of the radio begin to diminish as the radio began to be utilized to disperse fascist propaganda. The emission of propaganda is explained by Anothony Doerr in an interview when he explains, “the internet is being used to transmit myths in much the same way radio was used in the 1930s and 1940s” (Doerr 93). However, towards the end of the novel, the radios are not only used for bad in that they were also used to aid in the French rebellion, which would eventually be the source of Marie’s survival. In an interview, Doerr describes his purpose in putting such an importance on the symbolism of the radio within the novel when he says, “Even the houses usually possess a [radio]. And it is the accretion of such details that makes the novel seem so, intricate, beautiful and, on some level, magical” (Doerr 91). Overall, Doerr places the symbol of radios within the novel to educate the readers on how the radio is monumental in the war efforts. Conveying how the symbolic nature of the radio contributes in producing an effective, realistic historical fiction by gripping the readers into the story so that they are able to retain and understand the past.

Overall, in All the Light We Cannot See, Anthony Doerr intricately constructs a historical fiction novel that presents an accurate depiction of what life was like during the war by employing characterization, the theme of the tragedy of war, and symbolism. Doerr uses unique characterization that skews the definition of hero and villain to show the reader that war favors no one. Furthermore, Doerr revolves his writing on the theme of the tragedy of war to paint an accurate depiction of the war, where even the effects of the war even impact the contemporary. Lastly, symbolism is used as a tool, tailored into the novel, to aid the readers in retaining and recognizing the past. In summary, historical fiction solidifies history through text, allowing the reader to be transferred into the past where they can truly get a glimpse into history.