Night and Maus

The memories also play a dual role as they make the man hopeful yet they also scare him because he is afraid that through remembering things again and again he might taint his memories of the good times forever. “He thought each memory recalled must do some violence to its origins. As in a party game. Say the word and pass it on. So be sparing. What you alter in the remembering has yet a reality, known or not.” (McCarthy 51). The boy although carries on hoping even though all he has are memories of the polluted grey ashes that have always been falling from the sky, the ashes that he was born into. The child has no memories of a past world that held beauty and color and so he relies on his father’s accounts and stories of the past to imagine a world that was anything but the bleakness that he is so accustomed to. But the father, although mostly indulges to the child’s wishes, sometimes cannot bring himself to tell him made up stories of the past because as much as he wants to he cannot remember a lot of it and when he does remember it, it reminds of a world that is no more and that he does not know will ever come back into existence or not. “What would you like? But he stopped making things up because those things were not true either and the telling made him feel bad.” (McCarthy 22). Where at first the child believes the father’s accounts of heroes and stories of courage

What if you were a holocaust survivor and asked to describe your catastrophic experience? What part of the event would you begin with, the struggle, the death of innocent Jews, or the cruel witnessed? When survivors are questioned about their experience they shiver from head to toe, recalling what they have been through. Therefore, they use substitutes such as books and diaries to expose these catastrophic events internationally. Books such as Maus, A survivor’s tale by Art Spiegelman, and Anne Frank by Ann Kramer. Spiegelman presents Maus in a comical format; he integrated the significance of Holocaust while maintaining the comic frame structure format, whereas comic books are theoretically supposed to be entertaining. Also, Maus uses a

The manner by which Vladek changes throughout the book is reflective of several of the experiences of other Jewish Holocaust survivors. Even after the Holocaust, he, and countless other survivors were stuck in the same state of mind that they were on right before and during the Holocaust. They are unable to move past their experiences and they were trapped in the past. A main example of this is when Vladek called Art “Richieu” shortly before his death. This illustrates the fact that many

The Holocaust was a time of great suffering and inhumanity. The novel Night, which took place during this time, was written by Elie Wiesel and talks about his teen self-experiencing the concentration camps of Auschwitz. This is related to the movie The Boy in the Striped Pajamas which is the story of a young German boy named Bruno who befriends a Jewish boy in a concentration camp. The many similarities and differences between the movie The Boy in the Striped Pajamas and the novel Night include their many themes of “inhumanity” and “guilt and inaction”, and the two also share and differ in the loss of innocence of the characters and how they develop in each medium.

The books Maus I and Maus II are biographical comic books written and illustrated by Art Spiegelman. In these books Spiegelman tells his father’s story of survival through the horrors of the Holocaust. Spiegelman simultaneously presents an inner story of the conflict between him and his father, Vladek Spiegelman as both he and his father try to come to terms with the past, and work to have a normal life. This feelings of tension and conflict suffered by Vladek and Art in Maus I and II is caused by a transitional and rebounding feeling of survivor’s guilt caused by Vladek’s passing down of his own guilt, Art’s guilt of neglect, and Art’s attempts to come to terms with his own guilt of survival.

Art can only write what he was told and over the time experiencing Vladek's story; guilt, the primary focus Art portrays toward on both his father's life in the past and present and it is also present in Art’s life. As the second generation of the Holocaust survivors, Art is trying to understand his father and the more he get influenced on himself by his own on Vladek’s guilts which caused Art to questions all he knows about his father. We can see that when he says on (I.6.133), Art describes his father as a pragmatic person “He’s always been -uh- pragmatic,” and “I used to think the war made him that way,” which now Art realises that his father personalities wasn’t cause by the war but because they have always been him. Furthermore, Art’s

In Maus II: A Survivor’s Tale, Art demonstrates the idea that the holocaust affected strongly not only the survivors of the event, but the second generation survivors as well. He demonstrated this through the usage of childlike descriptions of the holocaust, the feelings experienced by himself, and fact that Art is being helped by a first generation survivor.

The Jewish Holocaust, similar to the case with occasions in which the human soul has been occupied with a battle for survival, created extraordinary works of writing (Smith, 2012). According to Smith, Elie Wiesel's Night and Primo Levi's Survival in Auschwitz are maybe the best known cases of this abstract convention. Art Spiegelman's MAUS, distributed in the 1980s, speaks to another sort of abstract oeuvre enlivened as well as in view of the Holocaust. Composed by a moment era Holocaust survivor, MAUS wires the narrative of the repulsive verifiable event with a Jewish American's battle to fashion his own particular comprehension of the merciless annihilation of his kin by the Nazi administration in the Second World War.

To some degree, every artist creates his or her own artistic life preserver, and in doing so resequences and conserves their own artistic DNA so that it may be transferred onto another generation. Vladimir Nabokov’s memoir Speak, Memory, is not only that preserver, but the tug boat that it holds onto, heavy and cramped with the memories and history that Nabokov retells his readers against the currents of time. Speak, Memory operates thematically, not chronologically. Nabokov returns anew to his early childhood and pulls in, as it were, the memories associated with certain themes. Then he turns, changes directions, and sets off again. One such theme that resonates throughout the novel is that of exile and deteterritorialization, both

“The Holocaust was the systematic, bureaucratic, state -sponsored persecution and murder of six million Jews by the Nazi regime and its collaborators.”( www.ushmm.org)When the Holocaust happened the Germans focused on Jews more than they focused on any other racial group. While several millions of people were killed , many survived the Holocaust to tell their story . Some like Elie Wiesel, wrote their story from personal experience.Others like Vladek Spiegelman told told their story with the help of relatives. In Elie Wiesel’s story , he talks about how his life was before and during the Holocaust. In Vladek's story , by his son, Art, Spiegelman, was told through a series of interviews and a graphic novel. The authors of Night and

This paper will take a look at Salvador Dali’s painting, The Persistence of Memory, painted in 1931. As the viewer can tell, this is a story of time and life. The memories start in the background where all is well and things are straight and calm. Moving on to the cliff, the observer possibly sees a well-behaved teenager. There is nothing horrible here that leads the spectator to gasp, and the viewer knows this person made it through that time in their life. Then the picture moves on to the age of about twenty, the memories are fond but in the distant past. The memories are protected by a white blanket so that they do not just fall into the background. Then something happened where the person had some

Josef Stalin said, “A single death is a tragedy; a million deaths is a statistic.” The holocaust isn’t seen as personally victimizing to anyone, except the ones who survived; no one remembers who died, people just remember a number. In Maus, Art Spiegelman personalizes the horrors of the holocaust by showing how his dad, Vladek Spiegelman, took more damage internally than externally as shown by his miserly behavior when it comes to junk, food, and money.

  Memories are works of fiction, selective representations of experiences actual or imagined. They provide a framework for creating meaning in one's own life as well as in the lives of others. In Toni Morrison's novel Beloved, memory is a dangerous and debilitating faculty of human consciousness. Sethe endures the tyranny of the self imposed prison of memory. She expresses an insatiable obsession with her memories, with the past. Sethe is compelled to explore and explain an overwhelming sense of yearning, longing, thirst for something beyond herself, her daughter, her Beloved. Though Beloved becomes a physical manifestation of these memories, her will is essentially defined by and tied to the

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.

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