All The Light We Cannot See
Creatures, geology, and technological advances such as radio waves are portrayed as fascinating marvels in the novel. Marie-Laure is fascinated by marine creatures such as the blind snail while Werner has a passion and gift for science and radio technology. The title refers to the infinite electromagnetic spectrum that includes light; according to Steph Cha, the invisibility of most of the electromagnetic spectrum is a common motif throughout the book, and imparts "texture and rhythm as well as a thematic tension, between the insignificant and miraculous natures of mankind and all the immeasurable components that make up our lives". When the story reaches the early 21st century, a character imagines the abundance of electromagnetic waves flowing from cell phones and computers.
All the light we cannot see
Marie-Laure is raised by a loving father. When she goes blind, he patiently carves out a three-dimensional map of Paris to help her learn to navigate the streets. He then takes her out to learn to travel the real city. He saves to buy her books in Braille. He is kindhearted and devoted to her. Uncle Etienne and Madame Manec take over his role when he is taken prisoner. Although they cannot replace him, they love her unconditionally.
Ultimately, the novel became a project of humanism. I longed to tell a war story that felt new, and to do that I needed the reader to invest as completely in Werner (the German orphan boy) as she does in Marie-Laure (the blind French heroine). In the war stories I read growing up, French resistance heroes were dashing, sinewy types who constructed machine guns from paper clips. And German soldiers were evil blond torturers, marching in coal scuttle helmets alongside barbed wire. I wondered if things might have been more nuanced than that. Could I tell a story about how a promising boy got sucked into the Hitler Youth and made bad decisions that led to terrible, unforgivable consequences, yet still render him an empathetic character? And could I braid his story with the narrative of a disabled girl who in so many ways was more capable than the adults around her? My attempt in this novel is to suggest the humanity of both Werner and Marie-Laure, to propose more complicated portraits of heroes and villains; to hint at, as World War II fades from the memories of its last survivors and becomes history, all the light we cannot see.
What greater kindness can we offer a broken world than to guide it to Jesus? As ambassadors of the Kingdom of light, we are entrusted with caring for believers that they may be comforted and unbelievers that they may be saved.
Kindness looks different from the rest of the world. Those who do not know Christ may be blind to the beauty of the gospel, but our choice to demonstrate unmerited kindness may be the very thing God uses to pull them into the light. Your decision to speak up for the forgotten, dwell with the outcast, or sit silently with the sufferer may cast the first rays of gospel warmth into a life clouded by shadows of death.
My prayer for us as believers is for us to cherish kindness as we ought. Doing so will enable us to more earnestly treasure God and, by the power of the Holy Spirit, help fellow broken humans awaken to all the light they cannot see.
Loberti was born with a severe form of the rare genetic eye condition achromatopsia. As a result, she is completely blind in some environments and has minimal, variable residual vision in others. She is color blind and particularly sensitive to light.
I recently read and devoured "All the Light We Cannot See." It has staid with me in such a deep way. I couldn''t find any one who had read it and thought of finding an on-line discussion group when by miracle I found yours. However, I cannot figure out how or where to type in my answers. Any suggestions?
Poetry captures that which lies beyond words. It expresses the rhythms and silences of music reaching areas of experience that exist outside the restrictions of simple prose. In terms of the treatment of poetry in the pages of the IJP and the IRP since their inception, we encounter a commanding story of the history of psychoanalysis itself. In the life of these two journals, we trace a massive shift from "victimisation of literature by psychoanalytic interpreters", as Wilfred Bion described it, to genuine enlightenment. That is, the pages of the journals confirm the rather bleak oversimplifications of many of the early articles, by contrast to the more contemporary psychoanalytic insights into the nature of creativity and the centrality of meaning in psychic and artistic life. The move is towards the aesthetic: towards the relationship between form and content and towards the poetic becoming a vital dimension of understanding the unconscious itself.
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