The Boy in the Striped Pyjamas (Chapters 11-15 Analysis)

Why might the author have included a flashback to the dinner with The Fury rather than telling this story in order? Select any and all options that apply.

• Since The Fury was the main focus of that particular chapter, the author might have waited to introduce The Fury so that our main character, Bruno, could be introduced and developed first.

• The flashback interrupts Bruno's conversation with Shmuel right when Bruno asked him why there were so many people on Shmuel's side of the fence and what they were doing over there. The flashback allows the reader to meet the person responsible for putting the Jewish people on that side of the fence and to see what kind of person he really is.

• Before allowing Shmuel to answer Bruno's questions about the people on the other side of the fence, the author interjects with this flashback in order to build suspense and keep the reader guessing about who those people were and what they were doing there.

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Why would the author have Shmuel say "You're on the wrong side of the fence" to Bruno? (p. 132) Select two options.

• It is an ironic statement since Bruno is on the "right" side of the fence for survival.

• Bruno is on the "wrong" side of the fence morally and ethically since he is on the side with all the Nazi soldiers.

• Bruno is on the "wrong" side of the fence because he doesn't have anyone to play with.

• Bruno is on the "wrong" side of the fence because he isn't building character and a strong work ethic through physical labor.

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CCSS.RL.6.1

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CCSS.W.6.9A

What effect does the fragmented conversation between Mother and Father (right after dinner with the Fury) have on the reader and/or what purpose does it serve? Select two options.

"'...to leave Berlin. And for such a place...' Mother was saying.

'...no choice, at least not if we want to continue...' said Father.

'...as if it's the most natural thing in the world and it's not, it's just not...' said Mother.

'...what would happen is I would be taken away and treated like a...' said Father.

'...expect them to grow up in a place like...' said Mother.

'...and that's an end to the matter. I don't want to hear another word on the subject...' said Father." (p. 124)

• The fragmented conversation is indicative of how much a nine-year-old would be able to glean (collect or gather) from a conversation between adults while still providing the reader enough information to infer what the conversation was about.

• By omitting (leaving out) key parts of the conversation, the author leaves out critical information, thus making the reader just as confused and oblivious as Bruno regarding what goes on around him.

• The fragmented conversation highlights Bruno's poor hearing and, therefore, causes the reader to feel sympathetic towards Bruno.

• The fragmented conversation informs the reader of Mother's concerns regarding raising children on that side of the fence and also alludes to the consequences Father would face had he refused to move to Out-With.

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CCSS.RL.6.1

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The Fury sits down at the head of the table when he comes to dinner in Bruno's father's home. What symbolism does the author wish to convey with this seemingly simple action?

• The author wished to convey the fact that many Germans looked to The Fury as they would a father figure, someone who promised to protect and take care of them. By taking a seat at the head of the table, The Fury assumes the position of the nation’s patriarch.

• The author suggests that The Fury was oblivious of social norms and most likely didn’t realize that he had sat at the head of the table.

• The author wishes to convey the fact that The Fury was shorter than Father and most likely had to sit in a booster seat at the head of the table in order to be able to see everyone.

• The author suggests that The Fury's choice of seat symbolizes his secret love for Father’s wife. By taking a seat at the head of the table, he is no longer just whispering alone in rooms with Mother; now he is sending Father a blatant message.

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CCSS.RL.6.4

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Why doesn't Bruno tell Lieutenant Kotler that he gave Shmuel the chicken?

• Bruno is afraid of what Lieutenant Kotler might do to him since he knows how much Kotler loves chicken.

• Bruno lacks the courage to tell the truth for fear of what Kotler might do to him, especially given the fact that Kotler had previously shot a dog just for barking and beaten Pavel quite ruthlessly just for spilling wine.

• Bruno is still angry with Shmuel for saying that there are no good soldiers even though Bruno's father is a soldier, so he gets Shmuel in trouble on purpose.

• Bruno is a pathological liar and can't help himself. When he gets into stressful situation that might result in dire consequences for himself, Bruno lies through his teeth.

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CCSS.RL.6.1

CCSS.W.6.9A

What do Bruno's interactions with Pavel, Shmuel, and Maria--as well as with his continued lack of understanding in spite of these interactions--suggest about Bruno?

• These interactions, as well as his continued lack of understanding, suggest that Bruno's upper-class upbringing has kept him completely sheltered from experiences that lower-class citizens have had to endure. Bruno’s naïveté is not limited to what is happening around him during the war, but he is also ignorant of what life is like for people of lower social standing.

• These interactions, as well as his continued lack of understanding, suggest that Bruno lacks the intelligence needed to understand the experiences of the lower class.

• These interactions, as well as his continued lack of understanding, suggest that Bruno's upper-class upbringing have instilled a prejudice in him towards people of a lower social class.

• These interactions, as well as his continued lack of understanding, suggest that Bruno has a secret desire to abandon his upper-class lifestyle and join the lower social class since the characters of a lower social class than Bruno have been quite nice to him throughout the story.

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The Fury sits down at the head of the table when he comes to dinner in Bruno's father's home. What does this action reveal about The Fury as a character within this novel?

• This action reveals that The Fury was oblivious (unaware) of social norms (expectations) and most likely didn’t realize that he had sat at the head of the table.

• This action reveals that this character is extremely arrogant and self-important (has an exaggerated sense of his own value or importance).

• This action reveals that this character is extremely courteous (polite) and concerned about social norms (expectations).

• This action reveals that The Fury is a fun-loving character who enjoys playing practical jokes on his hosts.

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CCSS.RL.6.1

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CCSS.W.6.9A

Select the sentence that best explains the significance of the first physical contact between the boys.

• The handshake demonstrates Shmuel's acceptance of Bruno as he teaches him the cool, new handshake all the Jewish prisoners give to one another.

• The physical contact is significant since it is the first time the boys are able to truly break through the barrier(s) between them, both physically and metaphorically speaking. It is also symbolic of their friendship growing stronger after this first major test.

• The physical contact demonstrates Shmuel's desire to escape to Bruno's side. It also shows how lonely and isolated Shmuel must be in order to lift up the fence and shake Bruno's hand in spite of his better judgment.

• The handshake is significant because it is representative of Shmuel and Bruno growing up together and becoming young men.

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CCSS.RL.6.1

CCSS.W.6.9A

Shmuel is very quick to forgive Bruno after his betrayal. What does this suggest about Shmuel?

• This suggests that Shmuel is an easy-going, extroverted individual who makes and keeps friends easily.

• This implies that Shmuel is a kind, forgiving person who truly values his friendship with Bruno and completely understands Bruno's intense fear of Kotler.

• This demonstrates Shmuel's intelligence and unfortunate knowledge of the way the world works.

• This shows how depressed and lonely Shmuel is.

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Select the two pieces of textual evidence that best indicate the mental and emotional impact life at the camp had on the prisoners.

• "'You don't know what it's like here,' said Shmuel eventually in a low voice..." (p. 140)

• "Very slowly [Kotler] turned his head back to look at Shmuel, who wasn't crying anymore, merely staring at the floor and looking as if he was trying to convince his soul not to live inside his tiny body anymore, but to slip away and sail to the door and rise up into the sky, gliding through the clouds until it was very far away." (p. 173)

• "'I don't feel anything anymore,' said Shmuel." (p. 175)

• "Bruno hadn't been looking at Shmuel as he said all that, but when he looked again he noticed that his friend had grown even more pale than usual." (p. 141)

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