Maus I by Art Spiegelman5/27/2023 This in turn symbolizes the absence at the heart of all Holocaust narration, as ”for every survivor story that is spoken and heard, another remains unvoiced, forever lost.“ Sara Horowitz, ”Auto/biography and Fiction after Auschwitz: Probing the Boundaries of Second-Generation Aesthetics,“ in Breaking Crystal: History and Memory after Auschwitz, ed. At Memory’s Edge: After-Images of the Holocaust in Contemporary Art and Architecture (New York: Yale University Press, 2000), 31. Young has seen as a void at the heart of Maus’: Anja’s story. The angry accusations hurled at the mother by the son, and the corresponding silence in the other direction, serve to emphasize what James E. I am adopting what has already become widespread convention in writing about this text by referring to the protagonist as Artie to distinguish him from the author. Hamida Bosmajian, “The Orphaned Voice in Art Spiegelman’s Maus I and II,” Literature and Psychology 44 (1998): 7–8. Young, “The Holocaust as Vicarious Past: Art Spiegelman’s Maus and the Afterimages of History,” Critical Inquiry 24 (1998): 669. Hugh Frey and Benjamin Noys, “History in the Graphic Novel,” Rethinking History 6, no.
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