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The Boy in the Striped Pyjamas Essay Topics & Writing Assignments

The Boy in the Striped Pyjamas by John Boyne

Essay Topic 1

Describe the setting of Berlin in Nazi Germany in the late 1930s and early 1940s. Against whom were the Germans fighting in World War II? When did the Third Reich begin? How is the setting described in Chapter One: "Bruno Makes a Discovery"?

Essay Topic 2

Analyze and discuss the narrative style established in the beginning of the novel. Is the story told from a first, second, or third-person perspective? Why do you think the author chooses this narrative style? Is the narrator’s perspective omniscient or limited?

Essay Topic 3

Describe and analyze the character of Bruno as the protagonist in the novel. How old is Bruno? What are Bruno’s favorite things about living in Berlin? How does Bruno feel about his sister? How does Bruno evolve as a character by the end of the story?

Essay Topic 4

Discuss the history of the Auschwitz concentration camp...

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The Boy in the Striped Pajamas

Welcome to the LitCharts study guide on John Boyne's The Boy in the Striped Pajamas . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Striped Pajamas: Introduction

Striped pajamas: plot summary, striped pajamas: detailed summary & analysis, striped pajamas: themes, striped pajamas: quotes, striped pajamas: characters, striped pajamas: symbols, striped pajamas: theme wheel, brief biography of john boyne.

Historical Context of The Boy in the Striped Pajamas

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Full Title: The Boy in the Striped Pajamas
When Written: April, 2004
Where Written: Dublin, Ireland
When Published: 2006
Literary Period: Contemporary Young Adult
Genre: Young Adult Fiction, Historical Fiction
Setting: Berlin, Germany and Auschwitz, Poland
Climax: When Bruno, who seeks to understand the world on the other side of the fence in which his friend Shmuel lives, changes into a pair of the “striped pajamas” and climbs under the fence.
Antagonist: Bruno’s Father
Point of View: Third person omniscient, mostly from the perspective of Bruno, a nine-year-old boy.

Extra Credit for The Boy in the Striped Pajamas

Quick work. Boyne wrote the first draft of The Boy in the Striped Pajamas in two and a half days, hardly sleeping until he finished.

Film. The novel became a movie in 2008 under the same name, directed by Mark Herman.

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Boy in the Striped Pajamas (Boyne)

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The Boy in the Striped Pajamas John Boyne, 2006 Random House Children's 215 pp. ISBN-13: 9780385751537 Summary Berlin, 1942: When Bruno returns home from school one day, he discovers that his belongings are being packed in crates. His father has received a promotion and the family must move from their home to a new house far far away, where there is no one to play with and nothing to do. A tall fence running alongside stretches as far as the eye can see and cuts him off from the strange people he can see in the distance. But Bruno longs to be an explorer and decides that there must be more to this desolate new place than meets the eye. While exploring his new environment, he meets another boy whose life and circumstances are very different to his own, and their meeting results in a friendship that has devastating consequences. ( From the publisher .)

Author Bio • Birth—April 30, 1971 • Where—Dublin, Ireland • Education—Trinity College • Awards—Curtis Brown Award; Irish Book Awards: People's Choice of the Year • Currently—Dublin, Ireland John Boyne is a full-time writer living in Dublin, Ireland. He was writer-in-residence at the University of East Anglia in Creative Writing and spent many years working as a bookseller. This is his first book for young readers. The author lives in Dublin, Ireland ( From the publisher .) More His own words : I stated writing at a very young age, not long after I first started reading and discovered the joys of getting lost in someone else’s world. When I was a child, I wrote hundreds of stories and bound them up together like books, writing my name on the spine and putting them on the bookshelves in my bedroom. I don’t have any of those stories any more. but I wish I did. Maybe I could still get some ideas from them. At the age of 10, I was in hospital for a week for an operation and my mother gave me a copy of The Magician’s Nephew by C. S. Lewis to read. By the time I was recovered I’d read all seven of the Narnia books and fell in love with the idea of adventure stories, particularly ones that included children like me who were in peril and had to use their wits and ingenuity to get out of trouble. The next book I remember that had a big effect on me was The Silver Sword by Ian Serailler. This tale of four children fleeing Poland during World War II was perhaps the most important book of my childhood, combining my love of heroic adventure stories with my growing interest in history. It forced me to think about what children my own age had gone through during the war and question whether I would have been as brave and strong as they were. Twenty years later it influenced my writing of The Boy in the Striped Pajamas as I tried to tell a story about this terrible time in human history with as much integrity and compassion as Serailler had. When I was a young teenager, I discovered Charles Dickens and his novels have had the greatest effect on me as both a reader and writer. I particularly loved the orphan novels– David Copperfield , Oliver T wist, Nicholas Nickleby —books that began with a young boy left alone in the world, with no one or nothing to rely on other than his own resourcefulness. Because so many of Dickens’ novels were originally serialised in magazines, Dickens had a tremendous talent for finishing each chapter with a cliff-hanger, forcing me to leave the light on just a little longer to find out what happened next...and next...and next. My life has always been filled with books and I never wanted to be anything but a writer. One of the great thrills over the last year of my life since publishing The Boy in the Striped Pajamas in the U.K. has been visiting schools and classrooms, talking to young children about the issues raised in the novel, but also discussing reading and writing in general. To my delight there’s a lot of young writers out there with great imaginations and stories to tell. I’ll be looking forward to their own books 20 years from now. ( From the publisher .)

Book Reviews ( Audio version .) Through the eyes of an innocent nine-year-old boy named Bruno, listeners become complicit bystanders, observing some of the horrors of the Holocaust. Maloney's soft-toned narration and chipper, believably childlike characterization of Bruno dramatically bring home the fable-like qualities of Boyne's moving text. Bruno's limited comprehension of all going on around him begs listeners, presumably with more knowledge than the protagonist, to glean the fuller story between the lines. When his father, an officer for "the Fury," as Bruno refers to him, is transferred from Berlin to a new post in Poland called "Out-With," Bruno and his family try to adjust. From his new bedroom window Bruno can see a fenced-in camp where all the inhabitants wear striped pajamas. He learns more about this intriguing place when he befriends a boy inside the camp named Shmuel (who happens to share Bruno's birthday). Their friendship progresses dangerously and brings Boyne's tale to a shocking end that is sure to be a discussion starter. (Ages 12 and up). Publishers Weekly Bruno's life changes drastically in 1942. After the "fury" comes to dinner, Bruno and his family move from their Berlin home to "Out with," where Bruno's father becomes the Commandant. Sheltered from the world through his family's wealth and privilege, Bruno has no understanding of the view from his new bedroom window, which looks at a huge fence topped with barbed wire, confining boys and men of all ages dressed in grey striped pajamas. One day on a walking exploration, Bruno meets Shmuel, who is sitting on the other side of the fence, and these two lonely boys start a friendship. Everyday for a year, they meet at the same spot along the fence, and somehow, Bruno still does not understand. Bruno's inability to comprehend the situation is the inadequacy of this book. Even though Bruno is very intelligent and inquisitive, he does not see that Shmuel is not having fun on the other side of the fence. If the reader can somehow excuse the boy's void of empathy, it is nearly impossible to believe that the Commandant father never tries to explain the people in the striped pajamas, never tells his truth. Would such a high Nazi official not start his son's indoctrination early? The other characters are finely drawn and add to the fullness of the book, but Bruno's voice, whispering and hesitant, keeps one reading and wondering about the German children in 1942 and their many stories. That speculation on the part of the reader alone makes the book very worthwhile. VOYA The publisher doesn't want reviewers to reveal too much of the plot so readers can bring a fresh eye to the reading experience and its unfolding horrors. (However, the title should be a big clue.) That leaves little else to say except perhaps that this is the story of a sheltered, privileged nine-year-old boy gradually becoming aware of an overwhelming evil. It begins somewhat like a fairy tale, a dark one, with an otherworldly feel, a dystopia. Bruno comes home one day to find his large, beautiful home in an uproar. Mother is unhappy. Father is locked in his office. Servants scurry about. The mansion is to be abandoned for life in the hinterlands. The world is suddenly bleak but rules of good behavior must still be followed. Once relocated, Bruno is forbidden to explore, but does so anyway, as boys will, to his cost. Told entirely from the point of view of a nine-year-old (although the book jacket copy insists this is not a book for nine-year-olds), the author maintains the atmosphere of incomprehension turning to some kind of knowledge, even though Bruno holds on to a portion of innocence until the end. In spite of the book jacket's claim, the novel certainly is not for readers much beyond the age of fourteen. Discussions of the evil inherent in the story are far from graphic and readers would need a surrounding context to understand what Bruno never fully does. The novel is quite moving and is a good introduction to the subject for any young reader, told from a different point of view from that usually chosen. —Exceptional book, recommended for junior high school students. Myrna Marler - KLIATT ( Gr 9 & up. ) John Boyne's novel is a harrowing Holocaust story with an excruciating ending. It is told through the eyes of nine-year-old Bruno, whose family moves from Berlin after his father gets a promotion to Commandant. When the family arrives at their new home, Bruno is disheartened. The new place, which the boy calls "Out-With," is desolate, with a large "camp" on the other side of a big fence, behind which all of the people, except the soldiers, wear gray-striped pajamas. After starting classes with a tutor, who advocates history over art, Bruno explores his new surroundings and meets Shmuel who is living in the fenced-in area. Bruno never quite grasps why his new friend is behind the fence, but he knows that he should keep quiet about their visits. Only mature listeners with knowledge of World War II and Hitler's "final solution" will be able to interpret what the author unveils slowly (there is no mention of a war going on or the ability to get news from the radio or newspapers). Still, the novel will certainly augment the study of this period in history. There is the added bonus of an interview with the author and his editor at the end of the recording. With the eager urgency and excitement of the young protagonist, Michael Maloney reads with a British accent, using various voices for the many characters. Sometimes he drops the ends of words, which can be distracting. Haunting music between chapters adds to the suspense. A unique addition to Holocaust literature. — Jo-Ann Carhart, East Islip Public Library, NY Library Journal After Hitler appoints Bruno's father commandant of Auschwitz, Bruno (nine) is unhappy with his new surroundings compared to the luxury of his home in Berlin. The literal-minded Bruno, with amazingly little political and social awareness, never gains comprehension of the prisoners (all in "striped pajamas") or the malignant nature of the death camp. He overcomes loneliness and isolation only when he discovers another boy, Shmuel, on the other side of the camp's fence. For months, the two meet, becoming secret best friends even though they can never play together. Although Bruno's family corrects him, he childishly calls the camp "Out-With" and the Fuhrer "Fury." As a literary device, it could be said to be credibly rooted in Bruno's consistent, guileless characterization, though it's difficult to believe in reality. The tragic story's point of view is unique: the corrosive effect of brutality on Nazi family life as seen through the eyes of a naif. Some will believe that the fable form, in which the illogical may serve the objective of moral instruction, succeeds in Boyle's narrative; others will believe it was the wrong choice. Certain to provoke controversy and difficult to see as a book for children, who could easily miss the painful point. ( Fiction. 12-14 .) Kirkus Reviews

Discussion Questions 1. Discuss the relationship between Bruno and Gretel. Why does Bruno seem younger than nine? In a traditional fable, characters are usually one-sided. How might Bruno and Gretel be considered one-dimensional?

2. At age 12, Gretel is the proper age for membership in the League of Young Girls, a branch of Hitler's Youth Organization. Why do you think she is not a member, especially since her father is a high-ranking officer in Hitler's army?

3. What is it about the house at Out-With that makes Bruno feel "cold and unsafe"? How is this feeling perpetuated as he encounters people like Pavel, Maria, Lt. Kotler, and Shmuel?

4. Describe his reaction when he first sees the people in the striped pajamas. What does Gretel mean when she says, "Something about the way [Bruno] was watching made her feel suddenly nervous"? (p. 28) How does this statement foreshadow Bruno's ultimate demise?

5. Bruno asks his father about the people outside their house at Auschwitz.His father answers, "They're not people at all Bruno." (p. 53) Discuss the horror of this attitude. How does his father's statement make Bruno more curious about Out-With?

6. Explain what Bruno's mother means when she says, "We don't have the luxury of thinking." (p. 13) Identify scenes from the novel that Bruno's mother isn't happy about their life at Out-With. Debate whether she is unhappy being away from Berlin, or whether she is angry about her husband's position. How does Bruno's grandmother react to her son's military role?

7. When Bruno and his family board the train for Auschwitz, he notices an over-crowded train headed in the same direction. How does he later make the connection between Shmuel and that train? How are both trains symbolic of each boy's final journey?

8. Bruno issues a protest about leaving Berlin. His father responds, "Do you think that I would have made such a success of my life if I hadn't learned when to argue and when to keep my mouth shut and follow orders?" (p. 49) What question might Bruno's father ask at the end of the novel?

9. A pun is most often seen as humorous. But, in this novel the narrator uses dark or solemn puns like Out-With and Fury to convey certain meanings. Bruno is simply mispronouncing the real words, but the author is clearly asking the reader to consider a double meaning to these words. Discuss the use of this wordplay as a literary device. What is the narrator trying to convey to the reader? How do these words further communicate the horror of the situation?

10. When Bruno dresses in the filthy striped pajamas, he remembers something his grandmother once said. "You wear the right outfit and you feel like the person you're pretending to be." (p, 205) How is this true for Bruno? What about his father? What does this statement contribute to the overall meaning of the story?

11. Discuss the moral or message of the novel. What new insights and understandings does John Boyne want the reader to gain from reading this story?

12. Discuss the differences in a fable, an allegory, and a proverb. How might this story fit into each genre? ( Questions issued by publisher .) top of page (summary)

The Boy in the Striped Pajamas

By john boyne, the boy in the striped pajamas essay questions.

The experiences of women during wartimes have historically differed from those of men. How does Boyne use the character of Mother to explore this issue?

Father's literal silencing of Mother in most of their arguments and conversations is representative of the figurative silencing of women's voices in many times of war. At first, Mother reacts passive-aggressively, for example by referring to Father as "some people." She copes with the situation at Out-With by having an affair with Lieutenant Kotler. Father finds out and removes the young soldier, which sends Mother into a depression. She takes many afternoon naps, Bruno observes, and drinks what she calls "medicinal sherries." When Bruno overhears Mother confronting Father in Chapter Seventeen, she speaks up for herself and demands to leave Out-With. She tells Father, "This is your assignment, not ours. You stay if you want to" (187). At a time when gender roles determined that a wife obey her husband, this distinction between his responsibilities and her own is a bold statement.

Boyne uses the tool of dramatic irony throughout the story. How does it manifest in the final chapters of the novel?

When the boys get rounded up and forced to march into the gas chamber with the group of Jews, Bruno is worried he won't be home in time for dinner and asks Shmuel if the marching usually goes on for long. Shmuel answers, "I never see the people after they've gone on a march. But I wouldn't imagine it does" (211). The reader knows that the reason he never sees the people is because they are being marched to their deaths in a gas chamber, but neither Shmuel nor Bruno is aware of this tragic information. As Bruno is marched along with the other prisoners, "he wanted to whisper to them that everything was all right, that Father was the Commandant, and if this was the kind of thing that he wanted the people to do then it must be all right" (210). Bruno is, of course, completely wrong: this is the sort of thing Father wants the Jews to do, but there is nothing "all right" about it. The very person in whom Bruno has faith is the one who is bringing about the deaths of so many, his own son included. The room they arrive in "felt completely airtight" (212), something that is comforting to Bruno because he has been feeling wet and cold outdoors during the march. In fact, the room is airtight because it is a gas chamber. The reader has all doubt removed when the door to the chamber is slammed shut and the people in it gasp loudly. Bruno assumes "it had something to do with keeping the rain out and stopping people from catching colds" (213). When the boys die, they are holding hands, and the narrator doesn't specify whether they ever realize what is happening.

Why might Boyne have chosen to use a limited third-person narrator in the telling of this tragic story?

The limited narrator presents a childlike perception; Bruno thinks about things concretely and tries to make sense of rules and then apply them to all situations. For example, Bruno understands that Father's office is "Out Of Bounds At All Times And No Exceptions," a phrase that he has presumably memorized after hearing it many times from his parents. The reader is encouraged to take on this child-like point of view through the use of capitalization and the misnaming of specific people and places. Bruno refers to his father's boss as "the Fury"; the reader must extrapolate that this is actually "the Furor," or Adolf Hitler. Because of the limits of the narrator, the reader is able to approach the horrors of the Holocaust as if he or she has no prior knowledge - much like Bruno. The reader is required to put together details Bruno notices in order to make sense of the larger issues at play.

How does Boyne bring the past into the present to create a sense of timelessness around the Holocaust?

The name "Out-With" is clearly a misunderstanding of the name "Auschwitz," but by refusing to name the concentration camp, Boyne avoids specificity to a certain extent. Bruno doesn't understand the derogatory term that Lieutenant Kotler calls Pavel and, later, Shmuel. By not specifically naming the word, Boyne suggests the universality of this interaction. Lieutenant Kotler could be any soldier during any war time, shouting a derogatory term to dehumanize a victim of any genocide. This provides the fable with a sense of timelessness, extending beyond the specific situation at Auschwitz. In the last chapters, Boyne issues a veiled call to action to the reader, who could be living during a time of war or genocide. The most obvious instance is in the ironic tone on the final page of the story, after a devastated Father has been taken away from Out-With: "Of course all this happened a long time ago and nothing like that could ever happen again. Not in this day and age" (216). Boyne means for the reader to consider just the opposite: there are genocides occurring in this day and age, all over the world, and the reader is likely employing various coping strategies to ignore or dismiss them.

Discuss how the character of Gretel demonstrates the Nazi's indoctrination of children.

When Gretel is first introduced in Chapter Three, she is clearly a child, though a few years older than Bruno. She spends most of her time arranging her dolls and has brought the entire collection from Berlin with her. Significantly, she is the one who tells Bruno that the name of their new home is "Out-With." When Bruno points out how young she is in front of Lieutenant Kotler, she responds by snapping at him, "'I'll be thirteen in a couple of weeks' time. A teenager. Just like you'" (74). Her words to Lieutenant Kotler foreshadow her mental shift as she grows out of childhood. Eventually, Gretel replaces her collection of dolls with maps of Europe given to her by Father, which she updates using the newspapers each day as she reads about developments in the war. Her transition out of childhood naivete is represented clearly in her correction of Bruno's usage of "Out-With" in place of "Auschwitz." It was she who first told him the name of the place, but now she corrects him. Her understanding of the situation is still simplistic and lacks understanding: she has accepted what her Father and Herr Liszt have taught her without much critical thinking.

One of the ways the Nazis defended their abhorrent actions against Jews was by arguing that the Aryan race was naturally "superior" to others. How does Boyne counter that claim?

Boyne introduces the theme of the natural world versus the unnaturalness of Auschwitz and the Holocaust in general. Instead of answering Bruno's question about whether she likes it at Out-With, Maria describes how much she loved the garden at the house in Berlin. Bruno takes this as an indirect answer to his question, since it is in such stark contrast to the atmosphere at Auschwitz. The theme of the Holocaust being unnatural arises again in Chapter Eleven, when Mother protests the move to Out-With by saying, "...as if it's the most natural thing in the world and it's not, it's just not..." (124). The Nazis used the argument that the Aryan race was "naturally" superior to all others, using the idea of natural dominance as justification in exterminating the Jewish population. But Boyne turns this assumption on its head, pointing out throughout the story just how unnatural the atmosphere and situation at Out-With really is.

What purpose does Father's transformation at the end of the story serve?

In the final pages of the story, Father realizes that Bruno has gone to the other side of the fence and must have been killed in a gas chamber. When the atrocities that he has been routinely committing against other people's children happen to his own child, he has a different perspective on the situation. Until that point, he has been convincing himself that the Jews are not real people. He assures Bruno that the Jews on the other side of the fence are "not people at all" - this is how he justifies to himself the systematic killing of them at Auschwitz (53). Maria's description of how kind Father has been to her serves as a commentary on the mental and emotional justification for Nazi soldiers generally, who might do kind deeds and appear to be wonderful people in other parts of their lives, yet also are responsible for the extermination of Jews.

How does Boyne use specific actions to represent the larger idea of complacency with regard to the Holocaust?

Bruno's betrayal of Shmuel in front of Lieutenant Kotler is representative of the many people who betrayed their Jewish neighbors and friends during the Holocaust in similar ways, simply by being complacent. By distancing himself from Shmuel because he is afraid of the consequences of associating with the boy, Bruno contributes to Shmuel's punishment for a crime he did not commit: stealing food. The way Bruno relates to his actions immediately following the event reflects a personal disconnect: "[he] wondered how a boy who thought he was a good person really could act in such a cowardly way toward a friend" (174). He feels ashamed of himself, but does not take action to right the wrong. When Shmuel finally returns to meet him at the fence, his face covered in bruises, Bruno apologizes. His words could have easily come from any of the Germans who fell in line with the Nazis and didn't speak up for the Jews during the Holocaust. Likewise, when Lieutenant Kotler attacks Pavel for accidentally spilling the wine, the narrator only states that "[what] happened then was both unexpected and extremely unpleasant. Lieutenant Kotler grew very angry with Pavel and no one - not Bruno, not Gretel, not Mother and not even Father - stepped in to stop him doing what he did next, even though none of them could watch" (148-49). This omission of detail makes the interaction representative of all acts of violence against Jews at the hands of Nazis; it also can be universalized to the oppressed group in any genocide throughout history. Bruno and his family represent the bystanders who were repulsed by did not act to stop the violence.

The fence between Bruno and Shmuel is a literal boundary, but it serves a figurative purpose as well. Discuss how the fence functions as a symbol of arbitrary boundaries between people.

The most obvious boundary in the story is the fence separating Bruno's side of Out-With from Shmuel's side; but Boyne calls into question the arbitrary boundaries that got each boy to his side of the fence: most importantly, that between Jews and "Opposites." The symbols of the Star of David and the Nazi Swastika, which are never named, come to represent the arbitrary boundary that allowed the Nazis to exterminate other human beings when the boys draw them in the dirt on either side of the fence. In Chapter Twelve, Shmuel describes how he came to have to wear his Star of David armband and draws the symbol in the dirt. Bruno points out that his Father wears one, too, and draws the Nazi symbol in the dirt on his side of the fence. The key difference between them is that Shmuel is Jewish and thus a member of the oppressed group in this genocide, while Bruno happens to be German and thus a member of the oppressive group. When Bruno tells Shmuel that Father also wears an armband, Shmuel observes, "[yes], but they're different, aren't they?" (127).

Boyne uses a third-person narrator to tell the story mostly from Bruno's perspective. At times, the perspective shifts to represent Shmuel's point of view. What is the purpose of this tactic?

Shmuel serves as a mirror character for Bruno; they were born on the same day, and Bruno declares, "[we're] like twins" (110). The use of Shmuel's point of view functions as a way to blur the boundary between the two boys. When Bruno has put on the pajamas and turns around to show Shmuel what he looks like, "[it] was almost (Shmuel thought) as if they were all exactly the same really" (204). Boyne puts the indication of Shmuel's point of view in parentheses in order to imply that while the thought is Shmuel's, it is also a commentary on the situation generally. Once Bruno puts on the pajamas he looks no different from Shmuel, but really, the distinction made between the Jews and the Germans is arbitrary and erroneous, since they are all human beings.

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The Boy in the Striped Pajamas Questions and Answers

The Question and Answer section for The Boy in the Striped Pajamas is a great resource to ask questions, find answers, and discuss the novel.

What are some examples of figurative language used in The Boy In The Striped Pajamas?

In "The Boy in the Striped Pajamas" by John Boyne, figurative language is used extensively to convey themes, emotions, and the perspectives of the characters, particularly that of the young protagonist, Bruno. Here are some examples:

How does Bruno feel when he looks at Pavel?

This depends in what part of the book you are referring to. Do you have a chapter for this?

How does Bruno feel about his sister?

Bruno sees his sister as a hopeless case..... not someone he would choose to play with. Gretel is, of course, older and unlikely to be interested in the same things as Bruno.

' I don't see what else there is to do other than that,' said Bruno...

Study Guide for The Boy in the Striped Pajamas

The Boy in the Striped Pajamas study guide contains a biography of John Boyne, quiz questions, major themes, characters, and a full summary and analysis.

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