father-son relationships stories - Maus and Traplines. Analysis Of The Book ' Maus I And Maus ' Essay. - Stereotypes have a way of arranging items or things. Of speigelman son in father analysis an relationship maus art novel by a. purchase Spiegelman's parents marge piercy barbie doll poem analysis essays ap. A father-son relationship in Maus First of all, I must confess that I entirely agree with your analysis since the relation that Vladek and his son is.
Artie wants to make restitution for his parents but feels guilty because he can never make up for what they suffered.
The Lovesong of D. Blogging Students: A father-son relationship in Maus
But he is also angry at them because they offered him little emotionally: In any case, survivor parents often cannot connect with their children because of unresolved mourning, survivor guilt, or psychic numbing Epstein He is also angry because, despite his respect for their heroic survival and his pity for their suffering, he sees them as victims: And Artie, the mouse child of mice, feels like another weak victim himself, a depressed loser who suffered a nervous breakdown and was committed to the state mental hospital, a grown man who often behaves like a child and depends upon the support of his substitute father, the psychiatrist Pavel, himself a Holocaust survivor.
Was my commitment to the mental hospital the cause of her suicide? Was there a relation? I was more like a confidante than a son. Some of us are trying to sleep! How the hell could you do such a thing!! And thus ends the first volume of Maus. At the center of Maus is Vladek, a character of monumental contradictions.
He came from a large, poor family and became a successful businessman. Despite having left school at 14, he learned German and English. He is heroic in surviving the war and Auschwitz, which utilized all his skills and depended on tremendous courage. He is remarkably calm in recounting the horrors he witnessed and experienced during the war, and he is not filled with self-pity or hate.
After the Holocaust, he rebuilt his life and his family, first in Sweden and then in America. His strength and devotion kept his severely depressed wife alive for years when she was often ready to give up hope.
And he also shows love for Artie and generosity toward friends and relatives during and after the Holocaust. One feels sorry for Vladek for all his losses of position, family, and friends in the war and his further losses in his old age: Nevertheless, Vladek suffers from a character disorder which makes him an exasperating individual and a burden on those closest to him.
In his obsession for order, he laboriously counts pills and sorts nails. He is also pathologically stingy, a comical miser, picking up discarded wire in the street or taking paper towels from restrooms to save on napkins.
Jewish Fathers and Sons in Spiegelman's Maus and Roth's Patrimony
He has hundreds of thousands of dollars in the bank, and he lives like a pauper! It causes him physical pain to part with even a nickel! Always you must eat all what is on your plate. Although these traits — maintaining order, saving things, and obstinately refusing to give up — may have been survival traits during the Holocaust, after the war they drive his family crazy.
In addition to his anal character, Vladek is also domineering, critical, and manipulative. As he recounts how the Nazis ordered him to clean a stable, he stops and orders Artie to clean up his cigarette ashes.
The ironic counterpoint between past and present suggests that Vladek is as bossy as the Nazis. Vladek also criticizes Mala for being a poor housekeeper and cook, comparing her unfavorably to Anja. And he criticizes Artie, comparing him unfavorably to himself: He refuses to give Artie a copy of the safe deposit key, claiming he would lose it.
He calls his son lazy and even blames Artie when he himself knocks over a bottle of pills.
The effect is always to make Artie feel incompetent: He made me completely neurotic about fixing stuff. One reason I became an artist was that he thought it was impractical—just a waste of time. Vladek is so manipulative that he pretends that he has had a heart attack, just to insure that Artie will call back. In addition to these many flaws, despite having himself been the victim of anti-Semitism, Vladek is also racist.
He becomes very upset when Francoise picks up a black hitchhiker because he believes all blacks are thieves. Vladek lacks awareness of his failings and is oblivious to his effect on others LaCapra In fact, he is largely unconcerned with other people. What maintains our sympathy for Vladek and prevents us from seeing him as a monster, besides the dispassionate way he recounts his harrowing tale and our pity for a lonely, suffering old man, is the fact that a lot of the s story is presented as a sitcom starring a crotchety old immigrant Jewish father who speaks broken English with a Yiddish accent and his neurotic intellectual Jewish-American son Mordden 91; LaCapra As mentioned, Artie can be infantile in his anger and self-pity.
Although it is understandable that the old man might exasperate anyone, Artie can be adolescent and nasty in his frequent sarcasm toward Vladek: He is harsh toward both parents, on whom he blames all his problems LaCapra He can be as bossy as Vladek when he keeps forcing his father to return to the Holocaust story Vladek is reluctant to relate, and as concerned for order as Vladek, making him tell it chronological order Ewert In fact, however, they were my relationship with my father; I was doing them to have a relationship with my father.
His falling into sleep substitutes for his death scene. This is the final dialogue in the book, so Spiegelman seems to be allowing Vladek the last word. But Vladek does not have the last word in the book. Below the final two panels and intruding into them is a tombstone with the names and dates of Vladek and Anja. This is an ambiguous closure, giving Spiegelman the last word by suggesting his authorial control over everything, including his mother and father, but also suggesting that he lies dead as well Bosmajian Philip Roth too must deal with a difficult, aged, physically failing father in Patrimony.
Although surviving the Holocaust in Poland is scarcely comparable to surviving Newark, New Jersey, there are many similarities between Vladek Spiegelman and Herman Roth. They were of the same generation: Vladek lived toHerman from to Both came from large, poor families and had to leave school to work: Vladek dropped out at 14, Herman at about the same age after eighth grade.
Both were hardworking and tenacious, raised a family, and were successful businessmen. The father-son relationship Perhaps Art's most pronounced characteristic is his cynicism towards his father. At times, it even emerges as true anger. When he learns that his father has destroyed all of his mother's diaries, Art exclaims, "You murderer! How the hell could you do such a thing? One of the difficulties Art faces in establishing a relationship with his father is the grief and guilt over his mother's suicide.
Regardless of the obstacles that this father and son have to overcome, that they sit down and talk together is a promising sign.
The importance of oral history is cleary seen in this relationship. In Melus, Staub argues that without talking about the past, these two would, in fact, have no relationship: He continues his argument, focusing on Art's insistence to find his mother's diaries. In attempting to rediscover the lost diaries, Staub writes, Art is experiencing first hand the "unrecoverability" of the Holocaust experience Thus, there is an unmoveable road block in the way of Art's and Vladek's relationship.
The Cybrary of the Holocaust has a section solely devoted to the "Children of the Survivors.
His memoirs have been put together by his son, Joseph; and several excerpts are provided. The story is an interesting one to compare with MAUS to see how each of the son's deals with his father's past.Colin Grant: The son of a difficult father
The Cybrary describes the novel: