Art Spiegelman Archives

Cover image of Maus II: A Survivor's Tale: Here My Troubles Begin" by Art Spiegelman

Maus II: A Survivor’s Tale: And Here My Troubles Began, Art Spiegelman. Pantheon Books (ISBN: 9780679729778), 1992.

Summary: Volume 2 of a graphic novel on surviving Auschwitz, the story of Art Spiegelman’s parents and his struggle to care for his father.

At the end of Maus I Vladek and Anja Spiegelman arrive at the gates of Auschwitz. Maus II tells the story of their survival. It came down to currying the favor of one’s captors. Vladek gets preference for teaching a Polish guard English. He works as a tinsmith and a shoemaker, and is able to smuggle food to Anja. It comes down to a game of calories in a regime of slow starvation. The weak or sick are “selected” and sent to the ovens.

Vladek sees the ovens, which are described and rendered. His detail tears them down for transport to Germany as the Russians approach. He describes the terrible conditions of the transports, stuffed into cars, left on sidings for starvation and typhus to take them. Vladek and Anja are separated, liberated, eventually reunited and they find their way to America. Art is born. As we learned in the first volume, Anja took her life in 1968, never free of the Holocaust nightmares.

Things have worsened for Vladek. At the beginning of the Maus II, Mala, Vladek’s second wife leaves him for Florida. Alone at his summer bungalow and in fragile health, he calls Art and Francoise for help. They come for a weekend and he tries to talk them into staying for the summer. They encounter the fussiness that drove Mala crazy. And his neighbors, who tried to help, expect the young couple to step in. Later, Vladek goes to Florida and he and Mala re-unite. Then his heart condition worsens and Art brings him back to New York, where he eventually dies.

But Vladek’s death isn’t the end of suffering. Because Vladek had inflicted his pain, the struggle against survivor’s guilt, on Art, Art could never live up to his expectations. Now a success, he feels bad to prove his father wrong. Through recounting the conversations with his psychiatrist, also a survivor, Spiegelman portrays the intergenerational trauma Holocaust families experienced.

Through the graphic format, we experience the prisoners struggle to survive. While their bodies weaken, they hope for liberation–that they will live just long enough. Meanwhile, friends go to the ovens. And the pall and the smell hangs over them. In the re-telling, we witness a father and son trying to make sense of their shared pain to each other. Through rendering this story, Spiegelman bears witness graphically to the horrors of the Holocaust, the resilient courage of the survivors, and their enduring pain and sadness.

[Maus I review]

Cover image of "Maus I: A Survivor's Tale: My Father Bleeds History" by Art Spiegelman.

Maus I: A Survivor’s Tale: My Father Bleeds History, Art Spiegelman. Pantheon Books (ISBN: 9780394747231), 1986.

Summary: Volume one of a graphic novel rendering the tightening control over Polish Jews, portrayed as mice, which ends at the gates of Auschwitz.

Art Spiegelman’s Maus is one of the pioneering works of graphic literature. It has been celebrated with a Pulitzer Prize (1992) and banned in at least one Tennessee school district as well as in Russia, and subject to a book burning in Poland. The Tennessee board banned its use in an eighth grade class for an image of Jews who were hung, an image of Vladek’s wife in a bathtub (no private parts are visible), and a few instances of profanity (probably far less than could be heard in an eighth grade locker room).

It is a story within a story. It is the true story of Anja and Vladek Spiegelman, Polish Jews subject to increasing anti-Semitism in a confined ghetto while friends and relatives are transported to Auschwitz. And it is the story of the author’s interviews with his father in the late 1970’s, re-telling the experience. In this graphic history, the Jews are portrayed as mice, and the Germans as cats and Gentile Poles as pigs.

Vladek Spiegelman was an enterprising young man who built a textile business with the help of his wife’s family. During an affair, he meets Anja, leaves the other woman and marries. They have a child. Then the Germans invade. Vladek loses his business. The noose begins to tighten. He has to register as a Jew. People are forced into a ghetto, into shared quarters with other families. Food becomes scarce, only available on the black market. The hanging portrays those buying food on the black market.

Then the transports begin. Germans separate the Jews into those who do essential work and others who are never heard from again. Jews make efforts to smuggle their children to safer places. Anja and Vladek do this with Richieu, their son. Later, an aunt poisons Richieu to prevent the Germans from taking him.

They realize that the Germans are trying to eliminate all Jews. Spiegelman describes the hiding places they use–rooms behind coal cellars, rooms behind false walls in attics. But one mistake can lead to arrest and capture. Anja, portrayed as nervous, wants to stay. But Vladek hears of smugglers who can get them out for a price. They leave but are betrayed and arrested. Volume I of Maus ends here.

During the interviews with his father, we learn Anja survived the camp, gave birth to Art, but was marked for life with what we would call PTSD. In a tense scene, Vladek comes across an earlier comic Art had drawn, Prisoner on the Hell Planet. In it, Art tells the story of Anja’s suicide in 1968. He spent three months in a mental hospital, which he portrays as a prison. His father destroyed diaries that would have helped Art in his research.

Part of the story is one of Art and his father groping toward reconciliation, understanding how the Holocaust had marked each of their lives. Spiegelman also vividly portrays his father’s memory. As the subtitle states, he bleeds history. It just comes out of him. And the story Spiegelman tells of one family’s struggle, tells the story of many others. He vividly shows the brutality of the Germans. He chronicles the increasingly desperate conditions, the ingenious ways Jews sought to elude capture, and the heart-breaking betrayals. And all the while, there is this spark, call it hope or delusion, that they will escape the worst.

The graphic history approach couples narrative and visual in a way that removes the Holocaust from the realm of the abstract. Holocaust survivors are dwindling in number. At one time, they visited school classrooms. Maus is another means by which a Holocaust survivor can visit a classroom. This is history we cannot forget. That does not stop people from trying, whether in Russia or Poland or Tennessee. Antisemitism is on the rise. We can repeat this terrible history. Spiegelman’s graphic history is one way to say “always remember” and ‘never again.” But will we?