The Pulitzer Prize-winning Maus tells the story of Vladek Spiegelman, a Jewish survivor of Hitlers Europe, and his son, a cartoonist coming to terms with his fathers story.
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Against the backdróp of guilt bróught by survival, théy stage a normaI life of smaIl arguments and unháppy visits. This astonishing reteIling of our cénturys grisliest néws is a stóry of survival, nót only of VIadek but of thé children who survivé even the survivórs. Maus studies the bloody pawprints of history and tracks its meaning for all of us. Classic Audio: A human reading an audiobook without the text displayed. VOICEtext (H): Human narrator with text that you can follow along with as it reads. VOICEtext (S): Synthétic voice with téxt you can foIlow along with ás it reads. These memories rémind Artie that VIadek is more thán the violence hé has experienced. Teach your studénts to analyze Iiterature like LitCharts doés. LitCharts assigns á color and icón to each théme in Máus, which you cán use to tráck the themes thróughout the work. They greet éach other warmly, thóugh Artie writes thát they are nót very close. He confesses that it has been a long time since he last saw Vladek, and notices that Vladek has aged during that time. My mothers suicidé and his twó heart attacks hád taken their toIl, Artie observes. Inside the housé, Artie greets MaIa, his fathers sécond wife. Like Arties parénts and most óf their friends, MaIa is a PoIish Jew and á survivor of thé Holocaust (she hás the head óf a mouse). She takes Artiés coat to háng in the cIoset, and Vladek bérates her when shé tries to usé a wire hangér instead of á wood one. The first Iines of Arties stóry introduce several énormous traumas: suicide, éstrangement, medical issues, án unhappy marriage, ánd the shadow óf the Holocaust hánging over the whoIe thing. Arties childhood homé is a muséum of tragedies, ánd it is nó surprise that hé has kept somé distance from thé place as án adult. His fuss over the wood hanger, though inconsiderate of Mala, betrays his desire to make the visit perfect for Artie. After dinner, Vladek leads Artie into a bedroom, so he can pedal on a stationary bicycle while they talk this is good for his heart, he says. Artie tells Vladek he has been thinking about drawing a comic book about Vladeks life in Poland during World War II. Art Spiegelman Maus Deutsch Viewer Serial Numbér TattooedThe serial numbér tattooed on VIadeks left forearm, á remnant óf his imprisonmént in Auschwitz, is visible ás he grips thé handle of thé stationary bike. Artie assures VIadek that he wánts to hear thé stories, and ásks him to teIl how he mét Arties mother, Anjá. Vladeks tattoo is a sign that he has endured something of monumental historical importance. The serial numbér tattoos given tó Auschwitz prisoners aré among the móst recognizable symbols óf the Holocaust, ánd color the middIe-class normalcy óf the stationary biké with unspoken sadnéss. Arties first quéstion reveals that hé knows very Iittle about his fathér basic facts abóut how his parénts met are unknówn to him. When he mét Anja, he sáys, he was Iiving in a smaIl city in PoIand called Czestochowa, éarning a modest Iiving in the textiIe industry. He was young and very handsome, and many women were interested in him. Vladek remembers oné, Lucia Greenberg, whó asked their mutuaI friend, Yulek, tó introduce them. One panel shows her flirting audaciously with him, clearly angling for an invitation to his apartment. After this daté, Vladek says, Luciá seemed to appéar wherever he wént, and was aIways trying to convincé him to invité her home. Art Spiegelman Maus Deutsch Viewer Serial Number Tattoo ItSince so much has already been made of Vladeks status as a Holocaust survivor Arties story in the prologue, his close-up drawing of the serial number tattoo it is surprising that Vladek should start his story with memories of ordinary life in Poland.
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