One meets there, great part of the poetry of history: The construction of the reading, based on a complicity grada between father and son and the wire of the life of Liesel starts to be disentangled. The practical one adhered was of reading in the room, the bed, full dawn. Little light and silence, broken only for the voice of Hans deciphering the words of that stolen book. A diversion, ‘ ‘ extended for the calm of noite’ ‘. The book, ‘ ‘ a gust of vento’ ‘. 60 and Liesel felt the joy to know, which words liveed inside of that black layer with letters silverplated. Here we can cite that ‘ ‘ the reading is always one practical flesh-color in gestures, spaces, hbitos’ ‘ (CHERTIER, 1998), therefore the necessity to have an agreement of as to practise the reading, in the direction of that the recognition of that subject happens.
Let us remember that, although to be place of alfabetizar, the reading is not one practical pertaining to school, a person can learn to read without having IDO to the school. Liesel learned to read outside of the school and had contact with books, before frequenting it. It is more or less thus with good part of the people. What it lacks, effectively, is the Hans figure. It read for Liesel and after some time, he started to help it na written, in the house bilge. After each nightmare the lessons midnight happened. in a certain thursday close to the three of the afternoon, Hans and Liesel had started practical other of reading: ‘ ‘ Book, sandpaper of wall and lpis’ ‘. 63 When the time was good they went to the Amper to the afternoon. When the time was bad, was the bilge.