Do you find Oskar sympathetic or annoying? Or both?
Oskar "plays Yorick" (the long dead jester whose skull Hamlet holds in his hand!) in a school production. What is the significance of that role?
Jonathan Safran Foer has said that he writes about characters and their miscommunications: some characters think they're saying a lot but say nothing; others say nothing but end up saying a lot. Which characters fall into which category in Extremely Loud? What might Foer be saying about our ability to communicate deep-seated emotions?
Do you see this book as a work of realism (in which case the mother's role would matter) ... or as more of a fable? If the latter, what is Extremely Loud a fable of?
Do you find the illustrations, scribblings, over-written texts, etc. a meaningful, integral part of the work? Or do you find them distracting and gimmicky? Why are they there?
How do both main plot and subplot (Oskar's grandfather and the bombing of Dresden) interweave with one another?
(Source: http://www.litlovers.com)
What do you think is the significance of the novel's title?
Who was your favorite character? Why?
Were there any passages or scenes that you remember well or particularly liked?
Any comments about the way the book ended?
(Source: http://www.galesburglibrary.org)
Which Beatles reference makes the greatest impact in the novel? How would you explain their centrality in the Schell household?
How does Mr. A. R. Black's deafness contribute to the storyline?
Which of Oskar Schell's inventions would you most like to see implemented and how would it work?
Which of Oskar Schell's phobias seems the most debilitating and how?
What do Dresden, Hiroshima, and 9/11 share in common? How do they differ?
(Source: http://www.bookrags.com)