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Masking and Unmasking the Auschwitz: Art Spiegelman’s Maus
( Im¸ Kyeoung-kyu ) 동국대학교 영어권문화연구소 2010 영어권문화연구 Vol.3 No.1
This essay examines the two volumes of Art Spiegelman's Maus: A Survivor's Tale - My Father Bleeds History and And Here My Troubles Began ― comic strips documenting the uncanny history of the Holocaust by representing Jews as mice, Germans as cats, and Polish as pigs ― and tackles the troubling question about Speigelman's use of anthropomorphized animals and animal masks to illustrate his tale. In doing so, I focus on two correlated questions. What is political necessity of Spiegelman's decision to use animal images in representing ethnic groups? And how does Spiegelman, as a son of a survivor of the Holocaust and as an artist, negotiate his own identity under the shadow of overwhelming mice image in the post-Auschwitz era? In order to answer these questions, this essay understand Maus not only as a documentary that attempts to redeem an individual's unspeakable past, but also as a political text that attempts to talk back to a particular discursive formation. Spiegelman documents, through visual images, not only his father's testimony on the inarticulable horror of the Holocaust, but also its undiminished effect on his own life. The very act of his drawing comics and reporting is thus a political practice to represent, which entails an intervention: an intervention into the inability of official historiography to represent individual's deep trauma; an intervention into Nazi's racialization of Jews as vermin having caused unspeakable violence; and, ultimately, an intervention into our essentialist way of thinking of identity that underlies the Holocaust.
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