Earlier in Maus II, we see Art have a hard time managing what he calls “survivor’s guilt”. He clearly admits a sense of guilt or sorrow for not having gone through the same tragedy that his father and other relatives had to go through. That idea comes into great contrast with Art’s actions during the last chapters of Maus II. In my opinion, somehow who actually feels such guilt, to the point that they must go to a psychiatrist like Art did, would spend as much time as possible trying to make it up to their father. Yet in Chapter 4, we repeatedly see Art acting selfishly, choosing to inconvenience his father over himself. For example, he refuses to move in with his father as in his opinion his father paying for an in house nurse is much better than inconveniencing his own life. Further, he changes the topic of conversation when Vladek asks him to install his windows, eventually saying that Vladek should “pay a bit more for heat for a few days longer” rather than inconvenience his son. Finally, rather than discuss issues that are actually relevant to Vladek’s life such as his deteriorating health or his relationship with Mala, Art prefers to discuss the events of the Holocaust so that he can finish his book. This battle between guilt and selfishness really caught my attention because it is hard to believe he feels so guilty, which it seemed he did during the psychiatrist scenes, when he comes back and acts so unconcerned towards his father.

In chapter five of Maus II, we see a profound change in the direction of the “emotions” the author is trying to illicit. Art Spiegelman adds an actual image of Vladek adorned in the striped garments that the holocaust is known for. Previously in the graphic novel all the Jews were depicted as similar looking mice, with barely any distinguishable features. The addition of this image gives the reader a much more intimate relationship to the graphic novel and to Vladek as an individual. This contrasts the previous relationship with an anonymous mass of people indistinguishable from one another. Throughout the graphic novel we have pictured the pain and suffering experienced by Vladek, but as a mouse. Now that we have seen an actual image we can associate the pain and suffering with a human face. This is because we can empathize more easily with a human than with a mouse.

January 28, 2014 READERS

How does the author use the concepts of “frames” in chapters 5 and 6 of Maus I?

One of the main characteristics of this graphic novel is the transitioning between the mid 1900’s and the present. Despite the mundane interactions and arguments between Artie, Vladek, and Mala over drain pipes, Vladek’s persistent frugality and heart problems, the book connects Vladek’s tragic past and ordinary present with smooth transitions. Art Spiegelman prepares the reader for a transition between periods of time by making his drawings less detailed when in the present and well detailed when we delve back into Vladek’s past, submerging the reader into the experience with textures and a closer feeling to the unfolding events. The effect of framing is not immediately noticeable in the last panel of the story when Art is seen walking home alone, saying, “Murderer”, but the size and the simplicity of the panel require further examination. Spiegelman purposefully designs this panel to be smaller than most of the other panels in order to leave the reader with a feeling that the plots are unresolved; and, thus Spiegelman keeps this panel very simple with nearly no details.

What is the significance of the chapter titles?

Chapter 5 and 6 both have interesting titles that explain much of the events that are occurring in both the present and past. Chapter 5’s title, “Mouse Holes” represents the “bunkers” Vladek, Anja, and the rest of the Jews have to keep hiding in while the Nazis try to send them to Auschwitz. Like mice, the Jews keep moving and rebuilding tiny hiding places. In the present or “outside frame,” Vladek feels as though he is trapped in a mouse hole with Mala because he thinks all she wants from him is his money.

The title for Chapter 6, “Mouse Trap”, could be taken to represent the various hiding places Vladek and Anja are forced to dwell in. However, most significantly, it represents the trap of fleeing to Hungary. Like an actual mouse trap contains cheese to lure mice in, Hungary offered the promise of safety that Vladek and Anja so desperately wanted. Just like the cheese, however, this promise of safety was only a ruse meant to distract Vladek and Anja from the danger that awaited them.

How do these chapters relate to chapter 4 of UC?

On page 98, the author adjusts the shape of the panels to explain the story in a certain way. In Understanding Comics chapter 4, McCloud discusses how sometimes the most important parts of a comic are the panels. Spiegelman adjusts the panel on page 98 to show multiple events at the same time. By making the panel this way, he shows action and reaction in a linear way. The reader can see that Vladek is putting away his nails, while Artie and Vladek are actually straining their relationship.