Masks In MAUS II By Art Spiegelman

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)

Art feels as though he is trapped behind a mask involuntarily at times although too. The mask he wears during the second version of Maus is representational to the feelings he has of being trapped beneath the success of the first volume, the death of his father, his self-consciousness, and the Holocaust as a whole(Speigelman 41-46). He is being held prisoner to these thoughts, and the mask is a constant symbolic reminder of them to him. The mouse mask is a way to show that after the effects of all these elements, he does not truly feel like himself. The mask is also a reminder to his character in the book, which is provokes the guilt of his success, the guilt he feels of the Holocaust, and the guilt he feels of ridiculing his father 's story.

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

Furthermore, Appelfeld also isolated himself to hide his true identity, however he was also isolated during the beginning of his new life as the result of a language barrier with his own people, which further resulted in suppressing the anger he felt towards his parents for straying away from the Jewish culture. The abandonment of Tzili’s family, mistreatment of other people she encountered, and the stillbirth of her baby are just a few points of sadness expressed within the story. These situations of sadness help express what it might have been like to live through such a horrific event as the Holocaust. This is done by paralleling these stories and using a fictitious work, Tzili, to accentuate key points in Appelfeld’s own true story of survival.

The holocaust was a tragic time which involved the killing of Jews to create a ‘pure race’ in Germany. Jacob Boas analyzes the stories of five young Jewish children through the book “We Are Witnesses,” who were forced through the hardships of war. Through the perspectives of David Rubinowicz, Yitzhak Rudashevski, Moshe Flinker, Éva Heyman, and Anne Frank, the struggles of the five children are clear as they try to hold on to their ideals while still fighting for their lives. “We Are Witnesses,” by Jacob Boas adopts repetition and diction through the eyes of David Rubinowicz, imagery using Yitzhak Rudashevski, repetition and imagery via Moshe Flinker, repetition with Éva Heyman, and repetition and syntax by Anne Frank to brandish how Jewish

Determined to find exactly what altered masks can do to an identity, an experiment involving 18 female college students and a clinical trainee was conducted. Gergen’s intentions were to “find the factors of an individual’s choice

When given the thought, one makes the comparison that masks are used to describe our

(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.”

In Art Spiegelman’s Maus: A Survivor’s Tale Volume One and Two, depicts the horrors of the Holocaust and the impacts that it had on the people affected. Spiegelman is able to do this so differently than the people before him, taking his father’s personal story and turning it into a graphic novel. This is a different and interesting way to depict this historic time adding that much more to the story. Spiegelman is able to pair the story with visuals to add to the telling of his father’s trauma in World War Two. This way Spiegelman is able to creatively depict history using different symbols to explain different aspects of the Holocaust, as well as explain the groups with the different animals he is using to depict them.

A powerful and provocative graphic novel, Maus, generates a Jewish individual’s life of grotesque and horror. With its ability of perception and interpretation, it tackles the main points of the ominous Holocaust and delivers a spooky aura to the absorbed audience. In comparison to Schindler’s List, the graphic novel shines brightly than the pale movie due to its realism and humor that is constantly present throughout the storyline. The novel has the ability to connect to the audience; thus, it gives an in-depth look and overall comprehension of the massacre that Spiegelman is trying to communicate. The graphic novel, Maus by Art Spiegelman, brings an honest account of the Holocaust to a wide audience because of its historical truth and intriguing viewpoints and characters that shows the effect and process of the genocide.

The books Maus I and Maus II, written by Art Spiegelman over a thirteen-year period from 1978-1991, are books that on the surface are written about the Holocaust. The books specifically relate to the author’s father’s experiences pre and post-war as well as his experiences in Auschwitz. The book also explores the author’s very complex relationship between himself and his father, and how the Holocaust further complicates this relationship. On a deeper level the book also dances around the idea of victims, perpetrators, and bystanders. The two books are presented in a very interesting way; they are shown in comic form, which provides the ability for Spiegelman to incorporate numerous ideas and complexities to his work.

The holocaust has effected more lives than anybody could imagine, the tragedy has not only affected those who were there or primarily affected but those of every generation to come after that. This illustrated by Art and Vladek’s inability to get along, Vladek’s personality quirks, Anja’s suicide, Art’s guilt, are all factors that contributed to the rocky family relationship the Spieglemans had, and are all due to the horrors of the holocaust. The horrors of which did not end when the Nazi’s were defeated in WW2, rather continuing to have an impact on further generations, in which all of their stories will never be

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,

Maus, first published as a complete work in 198X, is Art Spiegleman’s artistic work which captures his father’s experience during the Holocaust. Utilizing anthropomorphism, Maus portrays the Germans as cats and the Jewish community as mice. This cat and mouse game, which has become an overused cliché, takes on extremely dark undertones when the analogy is applied to the atrocities committed during the Holocaust. Speigleman’s use of the comic medium helps to increase the reader’s defamiliarization and sense of the uncanny by guiding the audience to look again and create a deeper perception of the material. Maus operates as a type of frame story and plays with the non-linear aspect of memory. It constantly flows from the past to the present,

When Art is retelling his father’s story, he tries to repress all his emotions so the true meaning of this father’s narrative is revealed, but sometimes his feelings overtake him. However, Art does not leave the deaths of all the innocent Jews on the page; he carries them with him, and they weigh him down in depression. And even though he