Analysis Of ' A Survivor 's Tale '

Vladek is depicted as a hero who shows countless acts of selflessness and generosity and a villain who is, “opinionated, tight-fisted, and self-involved”. (Brown 6) Art Spiegelman’s book Maus, tells the story of how Vladek and Anja Spiegelman survived the Holocaust. Spiegelman illustrates Vladek as a man who single-handily saved his family from starvation and Auschwitz in World War I. During Spiegelman’s interviews, we get an idea of Vladek’s darker side since the war ended. Mala to speak of her astonishment and disgust in Vladek’s character. Which leaves us to question how truthfully these stories are being told. In the end, Vladek’s unsuccessful heroism is a constant reminder of his failure; survival with Anja was always easier, after her death, Vladek pushes everyone away with his “guilt and manipulation” (Brown 7)

Postmemory affected Art throughout his life because of his father’s dramatic life experiences. Marianne Hirsch describes Postmemory with some hesitation because she thinks that it may imply that we are “beyond memory” and she doesn’t want people to think that’s what she means. Postmemory is different from regular memory because it is caused by generation gaps, like the gap between Art and Vladek. It is “a powerful and very particular form of memory precisely because its connection to its object or source is mediated, not through recollection but through an imaginative investment and creation...Postmemory characterizes the experience of those who grow up dominated by narratives that preceded their birth, whose own belated stories are evacuated by the stories of the previous generation shaped by traumatic events that can be neither understood nor recreated” (Hirsch, 1997: 22).

The tone in Maus is depression; this is shown when Vladek tells the story in his perspective and reveals what kind of events occurred during the Holocaust. This relates to survival because even though Vladek had a feeling of discouragement through his experiences, he still managed to survive. Vladek explains when he was captured as a war prisoner and what they gave them to eat. “The other prisoners get two meals a day. We Jews get only a crust of bread and a little soup.”(Spiegelman, 55) This shows how hard it was for the Jews and how hopeless Vladek’s story was. Another heartbreaking part of the story was when Vladek had to work hard and act as slaves to the

Many characters’ lives are enveloped by a mental issue and they are a representation for these issues. Art covers these multiple issues. The Holocaust affected millions of people and of these millions, Vladek, Anja, and Mala all were left with

Art and Vladek have not been able to connect as much as they would like because of their contentious relationship. When discussing their relationship to Pavel, Art’s avuncular therapist, Art says, “Mainly I remember arguing with him... and being told I couldn’t do anything as well as he could” (II: 44). When Art was young, he never had a chance to truly consociate with Vladek. Vladek was too affected by the Holocaust to become close with Art, and this engendered Art and Vladek’s distant relationship. Since Art has a distant paternal relationship, it forces him to be more independent when Art could have learned a great deal from Vladek. Since they are not close, they are both losing an important part of their life, and this will have a negative effect on both of them. It also is evident that neither worked towards becoming close, as they still misunderstand each other and argue often. During an argument, Vladek says, “Always you’re so lazy! Every job we should do as to do it the right way.” Then, Art replies, “Lazy?! Damn it, you’re driving me nuts!” (II: 21). They continuously have arguments that eradicate any attempt to create a better relationship. Their irreparable differences seem to drive these arguments. When Vladek and Art approach their differences with arguments, it creates a significant burden on their relationship. This burden has caused them to become distant. Since Art is distant with Vladek, he has and is neglecting a great deal of wisdom which can be crucial for him, especially since Vladek survived an enormous genocide of the Jews. Vladek can teach Art to become resourceful, adaptive, and most of all, grateful. These traits can help Art to become a better person in a time where there is no holocaust for Art or anyone else to

It is amazing how memories can be jogged by a single person, object, sound or scent. The people Anton has met and the places he revisits allow him to remember the events of his torturous past, which permit him to determine his future. Without memories people would not be able to be happy and reminisce on all the great moments

As said by Audrey Hepburn; “Living is like tearing through a museum, not until later do you really start absorbing what you saw, thinking about it, looking it up in a book, and remembering - because you can’t take it in all at once.” In Elie Wiesel’s memoir, Night, the Holocaust took place in an order of layers. As time passed, the extremity was increased each chapter he succumbed to. Elie expresses raw emotion in his memoir, Night, and leaves you in a complete, utter state of wonder and sadness. Not only this, but remembering and cherishing the importance of all the emotions from this time in history. In Elie Wiesel’s memoir, Night, the theme of remembering is present before the Holocaust and in today’s society.

While Vladek is telling his story about his experience in the Holocaust there can also be a great emotional effect on him as well. By Vladek telling his story it can also make his mental state worse than it already is by not recognizing what really happened during the Holocaust. If Vladek were to actually realize what happened and how he got through it is mental health could actually start to recover from most of the trauma it has gained. It is true that Vladek could possibly heal himself and hurt himself at the same time by sharing his stories from the Holocaust. It is also very true that by Vladek being traumatized it can cause him to be very depressed and denial and

Notes: Another survivor, Jill Leighton discloses information about her life trapped as a sex slave. Bruce, the charming stranger, prostituted Jill as his slave for three years. This personal narrative conveys explicit details of the ruthless abuse, as well as the horrid living conditions.

(pg. 39, The Perversion of Loss) He feels guilty about having been born after the Holocaust, and that his parents had to live through it, while his life has been easy. This strains Art and pushes him further away from his father, when he asks himself which of his parents he would save from a concentration camp he tends to pick his mother. This guilt is visible when Art is talking to his wife and tells her that he “somehow wishes he could have be in Auschwitz with his parents, so he could really know what they lived through.”

When one cannot deal with guilt within oneself, the feeling of guilt can be transferred to affect another. Art struggles throughout his life to understand why he never had a great relationship with his father. After trying to write with no luck, Art heads to his regular appointment with Pavel, another Holocaust survivor. Pavel suggests that maybe “(Vladek) took his guilt out on YOU, where it was safe… on the REAL survivor.” (7, p 44) Vladek felt guilty about surviving the Holocaust, but instead of accepting it,

Art’s choice to include a 2-page prologue before the beginning of the book proper helps to very clearly illustrate the relationship that Art and Vladek have had up until the beginning of the book. Art is abandoned by his friends, and his father attempts to comfort him, however this appears to Art, and therefore the reader, as more of a comparison between Vladek’s experiences during the holocaust and Art’s childhood suffering, especially with the mention of “no food for a week”, which Art has utilised to create a sense of emotional distance, of an incompatibility between the two.

But it is also this spiritual deterritorialization that follows Nabokov throughout his life that makes his account of his life seem more artistic and disconnected, even if there is a profound emotional impact on the reader in the end. While some moments in his life might evoke sympathy, like his retelling of his father’s death, or make readers to take a side, such as the incident with Nesbit during his time in Cambridge, Nabokov keeps the reader at a distance by concealing his feelings in rhetoric. An example of this is the “short biography” (173) of his father. Using vivid details to describe his father, one can feel the spiritual resonance the experience had on Nabokov. “And behind it all there was yet a very special emotional abyss that I was

Vladek manages to paint a rather picturesque painting of his time before the war, describing himself in a romantic light. He appeared to be a charming young man who people generally liked. “I had a lot of girls what I didn’t even know that

Vladek too appears to feel guilty about having survived the Holocaust. As Spiegelman’s guilt continues he visits a man named Pavel and the two discuss the guilt and what it means to be a Holocaust "survivor." Pavel suggests that Vladek himself actually felt a sense of guilt for having survived the Holocaust whilst so many of his friends and family did not. And maybe Vladek took this guilt out on Art the "real survivor" as Pavel calls him.