About 7 h 15 min · at 30 minutes a day, about 15 days
Estimated from the page count of this edition. Dense books can take longer than the estimate.
About the book
In New York after September 11, nine-year-old Oskar Schell discovers a key among the belongings of his father, who died in the World Trade Center attacks. The envelope bears the word Black, prompting him to visit people with that surname across the five boroughs in search of what it opens. His quest unfolds alongside family letters reaching back to his grandparents’ lives in wartime Dresden.
Reader notes
Restless, precocious and sometimes funny, Oskar’s narration repeatedly returns to grief and fear. Photographs, unusual typography and alternating voices interrupt the search, so the literary novel reads as a fragmented family history as much as a mystery. Terrorism and wartime civilian deaths are serious, recurring subjects.
Collected’s assessment, not reader ratings. Complexity runs from 1 (least demanding) to 5 (most demanding).
Writing
How much attention the sentences and language require.
Ideas
How much interpretation or abstract reasoning the book asks of you.
Structure
How much you need to keep track of speakers, timelines and connections.
Background knowledge
Prior knowledge needed to follow the book, beyond what it explains.
Emotional intensity
Emotional pressure, from gentle (1) to intense (5). Separate from difficulty.
Themes
Family
Grief
Love
Memory
Mortality
Trauma
Content notes
Violence
Strong
Sexual content
Mild
Swearing
Mild
Substance use
None
Abuse
Mild
Self-harm or suicide
Mild
Standing and awards
Established
International Dublin Literary Award shortlist, 2007
Questions readers ask
Is it hard to read?
Somewhat. The conversational prose offers a way in, but alternating voices, family letters, photographs and unusual typography make the structure demanding. The narrative is fragmented and nonlinear, moving between Oskar’s search and his grandparents’ lives.
Is it more of a mystery or a family story?
Oskar’s search for what his father’s key opens gives the narrative a mystery, but character, relationships and grief are central. Letters reaching back to wartime Dresden make the search part of a fragmented family history.
How emotionally heavy is it?
Grief and fear recur throughout Oskar’s narration as he searches after his father’s death in the World Trade Center attacks. The tone is intimate and melancholic, though his restless, precocious voice also brings humor, playfulness and warmth.
What disturbing subjects does it include?
Strong violence includes terrorism and wartime civilian deaths, both serious, recurring subjects. Oskar’s father dies in the World Trade Center attacks, and the family letters reach back to his grandparents’ lives in wartime Dresden.
How long is it?
About 368 pages in the Mariner Books 2006 edition.
Which edition is shown here?
Mariner Books · 2006 · Paperback. ISBN 9780618711659.
How long does it take to read Extremely Loud and Incredibly Close?
About 7 hours 15 minutes at 50 pages an hour, based on the 368-page Mariner Books edition. Dense books can take longer.
About the author
Jonathan Safran Foer
Jonathan Safran Foer is an American novelist and nonfiction writer whose work moves between family history, public catastrophe, ethical argument, and experiments with the physical form of books. His debut, Everything Is Illuminated, grew from his Princeton thesis and established a method that mixes fractured narration, linguistic comedy, and invention to approach inherited trauma. In Extremely Loud & Incredibly Close, he again filters historical violence through an idiosyncratic voice, using visual writing and typographic devices to represent grief and the limits of ordinary narration. Foer’s concern with how stories shape memory and responsibility also extends beyond fiction. Eating Animals combines personal experience, reporting, research, and philosophical inquiry to examine industrial meat production and the moral implications of everyday consumption. Tree of Codes makes his formal interests literal, cutting words from Bruno Schulz’s The Street of Crocodiles so that absence, layering, and the material page generate a new narrative. Across these works, emotional directness sits beside conspicuous formal invention.