Besides the obvious connection this has to Maus, namely that they are both about the Holocaust, what's fascinating is considering this from the point of view of the child of a survivor. Well, in La Vita e Bella, the child IS a survivor, but his father kept him very sheltered and protected so he would not see the terrors of Auschwitz. So his experience was very different from the norm. The point is, considering this from the point of view of one who was very close to the Holocaust (through a father), but didn't exactly share the same experience. How do they comprehend the situation? How do they make sense of their parents' experiences or psychological reactions? How do they deal with growing up in a family so scarred and so strong? Artie Spiegelman wonders, "I mean, I can't even make any sense out of my relationship with my father... How am I supposed to make any sense out of Auschwitz?... of the Holocaust?...I know this is insane, but I somehow wish I had been in Auschwitz WITH my parents so i could really know what they lived through! ... I guess it's SOME kind of guilt about having had an easier life than they did." (14-16)
trcs.wikispaces.com
Art thinking/lamenting aloud
What both of these works did though, was alter something about the Holocaust to make it almost "easier" to swallow the truth of history. Perhaps easier is the wrong word ... maybe something that distanced the reader/viewer from the Holocaust, but even that isn't right, because it still made an impact in its own way. For example, by altering the Holocaust into a game, Gio (the protagonist of the movie) protected his son's sanity as well as his physical self. He ensured that he would not have to answer his son's probing questions about human cruelty, questions to which he had no answer, and protected him from viewing or experiencing the worst of the Holocaust. The reader, however, does not experience it the same way. The viewer instead is struck by the poignancy of reducing the worst of human behavior into a childish game - because the concept the Holocaust is based on in the first place, that anyone "different" is immediately bad, is a remarkably immature one. It also connects a dark blot of human history to the most innocent of things - a child, and is all the more heartwrenching. In Maus, Art Spiegelman turns all the humans into animals. In a sense, this distances the reader because it can be harder to connect to a nonhuman,, but at the same time, there is no doubt that the animals are a metaphor for differences between humans, and not about animal cruelty. I think it is very true that Speigelman's metaphor self -destructs, mostly because it is oversimplified, and creates an analogy between ethnicities/religions and species. But really, humans are a single species, with nationalities being perhaps like different subspecies (if a connection must be made). I think the problem arises because humans are too complex. What is a French Jew as opposed to a Polish Jew? Is religion more prominent an identifier, or ethnicity/culture? And if all Nazis are cats, what about Nazis who are not German? Are pigs just for Polish Nazis/guards, or for all Poles? Then what about Polish Jews again? Its back to the beginning again. Humans are just way too layered and complex to be grouped into a set generalization.
Aha! So I just had a mini-epiphany while typing. Spiegelman's self-destructing metaphor saves itself. The point is that humans CAN'T be generalized. You can't take a group of people and lump them together, because everyone is different. Everyone is diverse. How can generalizations even function? If you just take our class - each and every one of us has something unique that makes us stand out, and different from each other. And then if we take the group and make it bigger, that truth will still hold true.
How would you have treated them?
Who knows what we're capable of?
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