In historical fiction, authors use genre to provide readers with information about a member of a past society, allowing for a connection between them and this society passed. However, Anthony Doerr, author of All the Light We Cannot See, uses this genre differently allowing the reader to delve into not just one member of a past society, but two. By presenting the reader with opposing narratives of two coinciding war-riddled lives, Doerr allows the reader to articulate their own opinions on the endeavors presented to them, rather than having their opinions chosen for them. In All the Light We Cannot See, Anthony Doerr redefines the definition of hero and villain by creating the story of two innocent children on opposite sides of World War II. To do this, Doerr creates a realistic novel using character characterization and interaction, the theme of the tragedy of war, and the symbolic nature of radio to commemorate memories of World War II before they turn into history, which overall helps with writing. a successful historical fiction novel. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay In the historical fiction genre, most of the time Germany is depicted as the evil aggressor of the war. By ignoring Germany's true character and characterizing it as an evil, tyrannical monster, most historical fiction authors mischaracterize Germany. This type of writing is described by Kevin Vanzant when he states: “Authors' range can appear quite limited and even dishonest if they appear to claim a measure of objectivity that is no longer possible for many.” However, in All the Light We Cannot See, Doerr alters these standards by producing sympathy in the reader through one of the main characters, Werner. In the novel, Doeer characterizes Werner when he writes, “He is undersized, has sticky ears, and speaks in a high, sweet voice; the whiteness of her hair stops people in their tracks. Snowy, milky, chalky” (Doerr 24). This depiction shows how in the novel the two main characters are portrayed through their similar experience of losing their youthful innocence due to war, but their status as warring enemies clearly separates them. By having two protagonists on opposite sides of the war, Doerr distorts the definition of hero and villain; also, leaving it ambiguous so readers can express their own opinions. Doerr's authentic account of the past shows some moral and mental developments within the novel that both protagonists must face, such as Werner's disloyalty to the fascists, which overall presents a more complicated portrait of heroes and villains. Towards the end of the novel, it is clear to see the struggles that the victims of the war will face, such as the reconstruction of Saint-Malo, however, the reader most likely overlooks the trauma and guilt that the aggressors of the war will also face. This can be seen mainly in Jutta's post-World War II life, where she struggles with her identity as a German. However, Jutta was not the only one to experience the immense guilt that comes from having the identity of a German, as demonstrated by Gilad Margalit when he states: “With the spread of knowledge of Nazi crime and the increase of understanding the depth of guilt, as well as the difficulty of recognizing it". Jutta was not the only one who felt guilty for the anti-Semitic actions of the Germans, because all of Germany felt it too. However, Doerr's conclusive portrait of consciousness.