Style and structure
Critics consider the writing style of All the Light We Cannot See to be lyrical.[16] The novel is told in the present tense,[17] with short chapters and sentences. According to The Guardian's Michelle Dean, this "gives the impression of simplicity".[4] Throughout the novel, Doerr "allows simple details to say much",[18] following the maxim of "show, don't tell".[19] Critics considered points of interest, such as battlefields and beaches, detailed.[20][21] In particular, the story from Marie-Laure's point of view uses sharp, sensory details of sound, touch, and smell.[22][18]
Marie-Laure's and Werner's stories are told in alternating chapters.[22] Each chapter is a few pages long, and offers a glimpse of each character and their circumstances.[8] The stories of the two characters parallel each other; Marie-Laure's story is about her experiences without sight while Werner's story is about his fascination with sound.[18] Much of the story takes place between 1934 and 1945, with a focus on the Battle of Saint-Malo in August 1944, where Marie-Laure's and Werner's stories converge.[23] Throughout the novel, the narrative depicts events in the Battle of Saint-Malo, with interspersed chapters that depict the preceding events.[24][25][22][1] The ending of the novel takes place in the 21st century.[25]
Morality and characters
A building that was destroyed by bombs during the Battle of Saint-Malo (pictured in 1944). All the Light We Cannot See portrays the destructive nature of war.All the Light We Cannot See deals with ethical themes, exploring questions about life without directly posing them.[19] Germany's attempt to acquire all of Europe leads to its downfall, as von Rumpel tries to retrieve the cursed Sea of Flames, highlighting the dangers of greed. Another theme is the nature of sacrifice; Daniel gives the Sea of Flames to Marie-Laure to keep her alive despite the curse leading to his arrest, and Werner is forced to risk his life for Germany.[18] The novel also deals with dichotomies such as choice versus fate and atrocity versus honor.[8] Doerr places emphasis on character decisions, including those related to self-protection and falsehoods.[15]
The characters in All the Light We Cannot See are often morally ambiguous rather than simplistic. According to The Lancet, Doerr's selected details prevent the reader from viewing Werner as merely an evil Nazi and Marie-Laure as merely a noble hero.[26] The characters, even those established as heroes, are flawed in some way.[20] Marie-Laure believes she is not as courageous as others see her and that her experience of blindness is routine for her.[26] The story portrays Werner tragically; he struggles to find free will and redemption. He is forced to enter a military school to escape an unpalatable fate in the mines, and the school eventually sends him to the army against his will. Despite his sympathetic portrayal, the narrative does not excuse his actions in the military and increasing tolerance of violence, though he ultimately finds redemption when he rescues Marie-Laure.[23][26][1]
All the Light We Cannot See also has anti-war themes.[8] Particularly, through the symbolism of the Sea of Flames and its legend, All the Light We Cannot See illustrates how pursuing human desires can lead to war and misery.[1] As stated by Dominic Green, the novel equates all violence in war as equal, even between the Nazi and the Allied forces.[27] All the Light We Cannot See also re-creates the deprived conditions of France during World War II and the strict lives of the occupying German soldiers.[28] It uses its characters to represent the typical people and their experiences during World War II.[1] Allan E. Crandall of Psychiatric Services notes subtext within the novel that indicates an "uneasy collective unconscious of both combatants and civilians."[29] Ultimately, it portrays the destructive nature of war and its stripping of free will, along with optimism and redemption during such circumstances through the characters of Werner and Marie-Laure.[1]
Fascination with science and nature
Doerr's works play on his fascination with science and the natural world, of which All the Light We Cannot See is an example.[7][8] Doerr wanted to write a novel in which long-distance communication would have been a miracle.[9] Christine Pivovar of the Kansas City Star stated, "Science and the natural world [in All the Light We Cannot See] take on the role of the supernatural in a traditional fairy tale."[22]
All the Light We Cannot See portrays creatures, gemology, and technological advances such as radio waves as fascinating marvels.[21] Marie-Laure is fascinated by marine creatures, while Werner has a passion and gift for science and radio technology.[25] The title refers to the infinite electromagnetic spectrum that includes light. According to 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".[23] When the story reaches the early 21st century, a character contemplates the abundance of electromagnetic waves flowing from cell phones and computers,[25] wondering if souls could be traveling between them.[30]
