Maus and Fun Home both use the medium of comics to tell very personal and delicate stories. Art Spiegelman uses Maus to tell the moving and emotional story of his father’s survival of the Holocaust; Alison Bechdel uses Fun Home to tell the story of her father’s death and the exploration of her identity. Although both texts are different in many ways, the both use the comic medium to portray an outsider experience. While Spiegelman uses the medium to construct an animal hierarchy and Bechdel uses the medium to combine multiple moments in her life into one story, both authors use pictorial detail to shed light on the outsider experience they are each trying to portray. In his graphic novel, Maus, Spiegelman makes his father’s exclusion from …show more content…
On Page 118, in the diner with her father, Bechdel sees a woman “who [is wearing] men’s clothes and [has a] men’s haircut” (118). On her journey of sexual exploration, this frame serves as something “from home” as Bechdel “recognize[s] [the woman] with a surge of joy” (118). Apart from the narrative boxes that communicate her watershed moment in text form, the immense detail provides a greater sense of authenticity to her story. With you Bechdel and her father sitting in a booth at the far side of a simple diner, Bechdel focuses on the masculine woman on the left side of the frame with her manly plaid button-down shirt and big, black belt. As Bechdel reveals to her father later on Page 221, she “want[s] to be a boy” during her childhood as she “dress[es] in boys’ clothes,” and her moment at the diner helps her explore her sexual identity …show more content…
The Holocaust, death, and sexual identity are three very deep and profound subjects, and the comic medium helps bring these topics to life. No longer is the comic the silly humor on the back of your newspaper. Before comics used to be a form of cheap, low-class art. Spiegelman and Bechdel show that comics are even more complex than the most sophisticated high-class art. The graphic novel is a powerful literary weapon that helps authors explain the complicated and subtle nuances that are crucial to the greater story. Images and text help challenge the reader to become more entwined with the story. Through his creation of the animals representing race and religion, Spiegelman uses the comic medium to make the racial discrimination more approachable to his audience. Helping the audience enter Vladek’s world shines light on his outsider status, showing what the comic genre is truly capable of. Same story with Bechdel and Fun Home. Bechdel uses the art of her drawings and words to bring the reader with her from her childhood to her adulthood; from her low points and chaos, to high points and acceptance of her true identity. In the end, both texts use the comic medium in their own unique ways to describe and bring an outsider experience to
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So many survivors have a story to tell, so many people have a point to make, and many just want to understand the horror that when on during the holocaust. Elie Wiesel’s Night and Art Spiegelman’s Maus share many similarities and differences throughout the book such as plotline, family relationships, and author’s purpose. The plotline of both Maus and Night share similarities and differences.
The graphic book Maus is written by Art Spiegelmen and is a powerful book filled with the themes of survival and racism. Maus is not just an overview of the causes and events leading up to the Holocaust, but is a true portrayal of a couple’s personal experience of trust and betrayal, separation and reunion, starvation and torture, and most importantly survival. One event that takes place in the book which definitely shows these themes is when the book eventually reaches the year 1943 and Vladek and his wife Anja are trying to survive during the holocaust when people are being sent to Aushwitz and Jewish searches take place. In Srodula, the Germans begin to round up Jews at random. To protect himself and his family, Vladek builds a shelter
Alison Bechdel’s “Fun Home: A Family Tragicomic” is an enthralling memoir about a young girl’s peculiar childhood, which involved her family’s funeral business, infatuating trips, family turmoil, solitude, and her befuddling relationship with her masterful artificer of a father; in which similarities ranged from obsessive compulsive disorders and literature to sexuality. The most profound being homosexuality. Bechdel utilized duo-specific, speech bubbles, as well as, subject-to-subject paneling to illustrate the complex father-daughter relationship where Alison and Bruce Bechdel perpetually attempted to compensate for each other’s eccentric gender behaviors. Initially, both Bechdals yearned for different genders, imposing expected behaviors upon the other.
Alison Bechdel’s graphic memoir, Fun Home, is more than a detailing of her early life. Rather, it is an exploration of her home life, her family relations, and of being queer in a heteronormative setting, which, in retrospect, is further complicated and sometimes overshadowed by her father’s own queerness. The use of queer time and space, concepts articulated by Judith Halberstam in A Queer Time and Place: Transgender Bodies, Subcultural Lives, are used to vastly different ends by Alison and her father. While Alison grows into a queer setting and allows it to take root in her life, Bruce Bechdel is gradually undone by the choices he makes in relation to his secret queerness. In Fun Home, queer time and space prove to be as constructive or destructive as their occupants make it, especially in relation to Alison and Bruce.
Art Spiegelman offers a very unique point of view in his two narratives, Maus I and Maus II. In these two books, Spiegelman takes us through the life of his father Vladek and his journey during World War II in Europe. Spiegleman also confronts how post-memory has effected him through the years, even when he was growing up. These two books reflect perfectly on a survivors story using symbolism and analogy.
Art Spiegelman’s mother and Vladek Spiegelman’s first wife was born on March 15, 1912 in Sosnowiec, Poland and raised in a wealthy Jewish family. Even though she was brought into a most fortunate home, she was quite weak and often got quite nervous. When Anja met Vladek and they began a relationship, the two faced hardships, which have reduced Anja to merely a weeping ball of sadness and fright. Before Anja, Vladek was involved in a relationship with a woman by the name of Lucia Greenberg, which he tried to severely break up with once he met Anja. Anja then received a letter from Lucia saying that Vladek is only with her for her wealth and such, making her quite angry and heartbroken.
In Maus, Art Spiegelman records his personal accounts of trying to delve into his father’s traumatic past. His father, Vladek, is a Jew from Poland who survived persecution during World War II. Art wants to create a graphic novel about what his father went through during the Holocaust, so he reconnects with Vladek in order to do so. Due to the horrifying things that the Jews went through he has trouble opening up completely about all the things that happened to him. But after Art gets together with his father many times, he is finally able to understand the past legacy of the Spiegelman family.
Because of this unique characteristic, the audience can connect with characters on a more personal level, witnessing the development of characters throughout the story, or rather, a coming of age. Backderf, having experienced this coming of age with the serial killer, knows Jeffrey Dahmer was more than a monster; he was a shy, disturbed young man whose thoughts coerced him into madness. As a result, Backderf conveys the timeline of Dahmer’s downfall through panels and subtle narration that allow the audience to feel sympathy for the demonized Dahmer. For example, Backderf utilizes a common comic strip technique known as a “splash page” with great regularity. These pages contain a single image that convey a dramatic emphasis on certain scenes.
In Maus, Art Spiegelman tasks himself with sharing the most accurate retelling of his father’s life story as well as that of him and his father. To achieve a most accurate depiction of his father as well as that of him and his father’s relationship throughout the novel, Spiegelman includes the character Mala, but why? While Mala does not seem essential in telling the history of Art’s father, Vladek, she gives insight to who he is in the present. Married to Vladek after the suicide of his first wife, Anja, but having known the him prior to the war and having survived the holocaust, Mala also serves to impress upon to readers of Maus that no matter how stereotypical Vladek’s traits are, the traits are unshared by others of similar religion and background. Further, as Vladek constantly compares her to his first wife, Anja, Mala provides the entry-point for the
In this essay I will touch on what intrigues me about Alison Bechdel’s creative and powerful art in Fun Home. Specifically this essay will look at a couple of pages that include her most interesting panels in the whole book. I compare the panels to others and discuss the feelings I have toward her choice of drawings and dialogue. By looking closely at and analyzing her artwork, I will show how Bechdel arouses curiosity with only two pages. First I will discuss a few panels on pages 220 and 221 that include Alison talking to her father after she has returned from college.
Art Spiegelman's graphic novel Maus is a story that clearly displays the appalling treatment of the Jew's during this time. To effectively show this, Speigelman uses a variety of powerful literary devices. These include the use of black, white and shading, the way people are depicted and font & text size. A good example of this is the inserted comic, Prisoner On the Hell Planet (pg.
Wiesel’s “Night” is a memoir in which Elie, the protagonist is recalling his concentration camp experiences, encompassing events from the end of 1941 to 1945. It is written in the perspective of a younger version of himself. Maus is a graphic novel by American visual artist Art Spiegelman, serialized from 1980 to 1991. It portrays Spiegelman conversing with his father about his encounters as a Polish Jew and Holocaust survivor. It is composed in first person, but switches between the perspective of Art and his father who he is interviewing.
More than 12,000 children under the age of 15 passed through the Terezin Concentration Camp, also known by its German name of Theresienstadt, between the years 1942 and 1944. Out of all the children, more than 90% lost their lives during the time of the Holocaust. Additionally, throughout this time, children would write poetry describing how they would like to be free and their faith in believing they would one day be free again and see the light of the sun. They would also write about the dreadful experiences they suffered through. To add on, the poet’s word choice helps to develop the narrator’s point of view.
Hands are a recurring motif that appear constantly throughout the progression of the graphic novel, Maus. The hands of Vladek Spiegleman him in his survival regarding the Holocaust: as difficulties approached him, he used his hands to bribe his way out of them; he even secures a road to freedom with his ability to write in different languages. Prior to the Holocaust, his hands were delicate since he hardly ever executed physical labour, however during the holocaust he was forced to use his hand to do tedious labour. That is why Vladek is constantly searching for work to do. No one is forcing his hands to work anymore-they’re independent, but he is always stuck in the holocaust and isn’t moving on.