Maus Literary Criticism

1 May 31, 2024 Maus Literary Criticism “God damn you! you-you MURDERER!” yells Art to his father Vladek (Spiegelman 161). Most sons will never have a reason to call their own father a murderer. Yet, in the book Maus by Art Spiegelman, this outbreak is hardly a surprise. Throughout the entire book, Art and Vladek argue, their relationship forever tainted by the horrors of the Holocaust. Spiegelman’s depiction of his family’s troubled relationships shows how trauma can create deeply ingrained patterns of behaviour that can affect interactions and relationships long after the war ends. fi A signi cant portion of Vladek’s patterns and behaviours after the war has ended can be tied to traits he developed to survive the Holocaust. One of the most evident examples is his continued resourcefulness and hoarding tendencies, especially regarding money. During the Holocaust, much of how Vladek survived can be attributed to his utilization of his minimal resources. One such example can be seen in the concentration camps when he uses extra food and cigarettes to bribe the guards into bringing him and Anja closer together. This behaviour continues well into his life, as seen when he atfi tempts to return groceries he is unable to nish in exchange for new ones. Much of this behaviour can be explained by the fact that neurons become stronger, faster, and form more permanent connections with increased use (“Experiences”). Throughout the Holo- 2 caust, he was constantly rewarded for saving his resources, while simultaneously fearing running out of supplies. Having such strong incentives for this type of thinking may fi have formed such strong connections, it built lifelong habits that will continue to de ne his life for years to come. The immense trauma Vladek experienced conditions his brain to be on edge at all times. This constant exposure to stressful experiences is found to reduce the size of the amygdala, the part of the brain that connects memories and emotions. This results in fi the brain being signi cantly more sensitive towards small triggers, as it tries to navigate a world it thinks is dangerous (McAdam). One could see the effects of this when Vladek accidentally knocks over his pills. He suddenly changes from an upbeat mood talking about how ”we joked and called you ‘Heil Hitler!’”, to a confrontational angry mood, yelling “Look now what you made me do!” (Spiegelman 32). Throughout the book, many small moments like this reveal the tense relationship between Vladek and those close to him. Many of these strained relationships can be attributed to how the Holocaust has physically molded Vladek’s brain, creating these ingrained behaviours that will continue to have long-lasting effects far beyond his own life. The habits Vladek developed to survive the Holocaust now dictate his life, as what was once rewarded now becomes a nuisance to those close to him. These troubling dynamics can be seen in his relationship with his new wife Mala, who when talking about Vladek, exclaims, “He’s more attached to things than to people” (Spiegelman 95). Once again this can be tied to the events of his past, as the loss of everybody close to him during the Holocaust would make him afraid to form close personal attachments years later. Hargrove Hospital describes this type of behaviour as fearful-avoidant at- 3 tachment, and it shows up in people where loved ones become a source of trauma (Millán). Since Vladek went through immense trauma trying to protect and eventually losing his lover Anja, it makes sense that Vladek would prioritize material belongings over new connections that brought him so much pain in the past. The ingrained behaviours Vladek has developed will go on to have profound intergenerational effects on his son Art. Many studies on the intergeneration consequences fi of the Holocaust nd that there is “considerable evidence in support of the hypothesis that [Holocaust survivor offspring] is indirectly affected by the Holocaust experiences of their survivor parents.” This can include the offspring having “heightened vulnerability to stress, distress, and mental symptoms” (Dashorst). It is clear that second-generation Holocaust survivors are still greatly affected by the trauma experienced by their parents. This intergenerational trauma can be seen in the continued tensions between the Vladek and Art. Art has openly expressed his hatred towards helping his father during his childhood, a behaviour that has continued into his adult life as he attempts to distance himself from his father's life. This hatred of his father's interests pushed Art into professions he may have not considered before. In Art's own words he says, “One reason I became an artist was that he thought it was impractical - just a waste of time… it as an area where I wouldn’t have to compete with him” (Spiegelman 99). These troubling events from his childhood were impactful enough that they determined his future profession. Furthermore, Art clearly shows guilt towards his life, as evident in his talks with Pavel, as well as his old comic about the death of his mother. Even though the trauma experienced by Vladek was decades before, Art’s profession and guilt about past events demonstrates the powerful effect of intergenerational trauma. 4 In conclusion, Maus illustrates the long lasting effects of trauma on individuals and their relationships across generations. Vladek’s trauma fundamentally impacted his brain, creating lifelong behaviours shaped by his experiences in the Holocaust. These new patterns and habits have gone on to affect not just those who directly experienced it but also their descendants. In this way, the atrocities of the Holocaust have been indirectly passed on generation to generation, shaping identities and family dynamics long after the events have passed. Ultimately, Maus serves as a powerful example of the enduring legacy of trauma, and the deep rooted impact it has on all members of a family.