Each reading, as well as each writing, can be, simultaneously, translation and recriao. Who reads, as well as who it writes, it is simultaneously and necessarily translating, searching meanings, appealing the significant ones, in search of the sounds and directions, rhythms and forms, colors and vibrations (LAJOLO, Marisa? ZILBERMAN? Regina, 2001, P. 11). Perhaps therefore, Liesel writes its proper history, because unconsciously or magically already the wise person. writes with ink, reaproveitadas leves of a book that would not serve it a speech of which it would not use to advantage.
Necessary that ' ' if it feels the taste bitter taste of perguntas' ' (ZUSAK, 2007: p. 338) better still, when such investigations are fruit of our proper options? or it lacks of them. One also becomes necessary to know that nor all reading is candy reply. To the times? or many times? it is number looser, ' ' it is group of involved workers in the production of livros' ' (LAJOLO, Marisa? ZILBERMAN? Regina: 2001, P. 26). Perhaps, we could display small Liesel reader, who everything? almost? it has price. It knows that the book covered long way until finding it na war of that idiot. Many other idiots had existed: In England, for example, the queen Tudor Maria, in 1557, granted, for intermediary of letter-patent, exclusiveness of impression to the members of the Stationers? Company, that, as Roger E.
Schechhter, ' ' they depended on the favor of the English Crown for its existence, in way that only published materials that did not offend the authorities reais' ' (…) (LAJOLO, Marisa? ZILBERMAN? Regina, 2001, P. 26) Until you to arrive to read Liesel girl, there in this another terrible world, already much book would have been burnt. Others had been written in the intention of if eternalizing rules. Some it had been, others not, but who said that only the canonic ones are good literature? Until you, small Liesel to know ' ' to read that horroroso book of the sepultures, eyes fechados' ' (ZUSAK, 2007, p.52): In the France of century XVII the writers did not have financial independence, having to appeal to the clientelismo or the patronage.