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The Use of Deconstructed Memory, Structural/Systemic Racism/Antisemitism, and the Power of Language as a Tool of Dehumanization
In Maus, a graphic novel by Art Spiegelman, the story of Vladek Spiegelman, a Polish Jew who survived the Holocaust, is portrayed through the lens of memory, identity, and oppression. Using deconstructed memory, the effects of structural/systemic racism/antisemitism, and the power of language as a tool of dehumanization, Spiegelman weaves a complex narrative that explores the intricate relationship between these elements. This essay will analyze how these three factors are intertwined in the portrayal of Vladek’s experiences during the Holocaust, shedding light on the challenges of remembering and reconstructing identity in the face of oppression.
The deconstruction of memory is a prominent theme in Maus. Vladek’s memories are portrayed as fragmented and confused throughout the novel, reflecting the challenges of recalling the past accurately. The trauma of the Holocaust has deeply affected Vladek’s memory, leading to distortions, omissions, and inconsistencies in his retelling of events. Spiegelman employs visual cues, such as blurred or fading panels, to visually represent the unreliability of memory. For example, when Vladek recounts his experiences in Auschwitz to Artie, he struggles to remember names, dates, and details. He says, “I don’t remember exactly…too many things happened then” (Spiegelman 85). This quote illustrates how Vladek’s memories are unreliable and distorted, highlighting the deconstruction of memory.
Furthermore, mundane objects or events, such as a cigarette or a doorbell, indicating memory’s unpredictable and subjective nature, often trigger Vladek’s memories. That is evident when Vladek recalls his past with uncertainty, saying, “I think that it was like that, but I don’t remember exactly” (Spiegelman 98). The deconstruction of memory raises questions about the accuracy and reliability of personal recollections of traumatic events and the impact of trauma on one’s perception of reality. These instances of deconstructed memory in Maus highlight the challenges of reconstructing a coherent and accurate identity in the aftermath of trauma and oppression.
The effects of structural/systemic racism/antisemitism are pervasive in Maus, as the Nazi regime systematically targeted and dehumanized Jews during the Holocaust. The novel portrays how Vladek’s identity is systematically stripped from him by the structural and systemic racism/antisemitism of Nazi Germany. Spiegelman portrays how the institutionalized racism and antisemitism of Nazi Germany had far-reaching effects on every aspect of Jewish life, including Vladek’s experiences. The German government used laws to define Jewishness based on family lineage, genetics, and race, effectively dehumanizing and stripping Jews of their rights and identity. For instance, Vladek is forced to wear a yellow star on his clothing, marking him as a Jew and subjecting him to discrimination and persecution. The subjugation is evident when Vladek says, “The Germans give us a curfew. We must be home by 8 P.M. and cannot leave before 6 A.M., and we must wear the Jewish star” (Spiegelman 47). This quote exemplifies how the systemic racism/antisemitism of Nazi Germany stripped Vladek of his identity, reducing him to a label and a target for oppression.Antill argues that both Native Son and Maus illustrate the profound and detrimental effects of structural/systemic racism and antisemitism on marginalized populations. In Native Son, the protagonist Bigger Thomas, an African American man living in 1930s Chicago, is subjected to systemic racism that limits his opportunities and traps him in a cycle of poverty and violence. Antill states, “Wright powerfully depicts the harsh reality of racism that Bigger faces, where his opportunities are severely limited due to systemic discrimination, and he is forcedinto desperate measures to survive in a racially oppressive environment” (Antill, 12).Therefore, effects of structural/systemic racism/antisemitism on Vladek’s experiences during the Holocaust highlight the devastating impact of institutionalized oppression on individuals and communities.
The novel also depicts how the agents of the Nazi government use language as a tool of dehumanization. Soldiers, politicians, and Nazi leaders use derogatory language and systems of oppression to dehumanize and strip people of their individuality and humanity. For example, Jews are referred to as “vermin” and “rats” in Nazi propaganda, reducing them to subhuman creatures. It comes to light evident when Vladek recalls a conversation with a Nazi officer who refers to Jews as “the lice-ridden, stinking vermin” (Spiegelman 75). Additionally, the use of numbers to replace names and personhood, such as the identification numbers tattooed on prisoners in concentration camps, further dehumanizes and deconstructs their identity. It is illustrated when Vladek recounts his experiences in Auschwitz, saying, “They tattooed a number on my arm. I was no longer Vladek, but only 175113” (Spiegelman 109). These examples highlight how language is used as a powerful tool of dehumanization, reducing individuals to mere objects or labels and stripping them of their dignity and humanity.
Antill, asserting that the dominant groups in both novels utilize language to strip the marginalized populations of their humanity and perpetuate their oppression, articulates the same. In Native Son, the African American protagonist Bigger Thomas is constantly subjected to derogatory and dehumanizing language by white characters, reinforcing the societal belief that African Americans are inferior. Antill states, “Throughout the novel, Bigger is constantly referred to using racially derogatory terms such as ‘nigger’ and ‘boy,’ which not only strip him of his individuality but also dehumanize him, reducing him to a mere object or stereotype” (Antill,15).
Maus delves into the complex relationship between memory, identity, and oppression, exploring how the trauma of the Holocaust has shaped Vladek’s sense of self and his perception of the world around him. Vladek’s memories of the Holocaust are intertwined with his identity as a survivor, shaping his beliefs, behaviors, and interactions with others. For example, Vladek’s memories of the Holocaust affect his relationship with his son Art, as he struggles to open up about his past and share his experiences. This is evident when Vladek says, “Friends? Your friends… if you lock them together in a room with no food for a week… then you could see what it is, friends!” (Spiegelman 50), revealing the lasting impact of the Holocaust on his ability to trust and connect with others. Furthermore, Vladek’s memories and identity as a Holocaust survivor are also intertwined with his ongoing oppression as an elderly Jew in post-Holocaust America. He encounters discrimination, theft, and other forms of mistreatment, highlighting the continuing effects of oppression even after the end of the Holocaust. Spiegelman captures this complex relationship between memory, identity, and oppression when Vladek says, “I’m tired from this world… Here, I’m not so human” (Spiegelman 135), illustrating how the traumas of the past continue to shape Vladek’s present.
Kohli argues that Maus portrays how memory can be both a source of trauma and a means of coping. The protagonist, Vladek Spiegelman, a Holocaust survivor, struggles with the memories of his traumatic past and their impact on his present identity. Kohli notes, “Vladek’s memory is not only fallible but also painful, as it is rooted in the traumatic events of the Holocaust. His memories of Auschwitz are visceral and disturbing, often leaving him emotionally and mentally distressed” (Kohli, 2012).Furthermore, Maus illustrates how memory can shape one’s identity and how identity can be influenced by external factors such as oppression. The Jewish characters in Maus, including Vladek and his son Art, grapple with their Jewish identity and how it is shaped by their traumatic memories and experiences of oppression during the Holocaust. Kohli states, “Vladek’s identity as a Jew is inextricably tied to his memories of the Holocaust, and his traumatic memories have a lasting impact on his sense of self” (Kohli, 2012).
In Maus, Art Spiegelman masterfully weaves together the deconstruction of memory, the effects of structural/systemic racism/antisemitism, and the use of language as a tool of dehumanization to highlight the complex relationship between memory, identity, and oppression. Through Vladek’s experiences during the Holocaust, the novel sheds light on the challenges of remembering and reconstructing identity in the face of systemic oppression. Spiegelman’s portrayal of Vladek’s fragmented memories, the dehumanizing language used by the Nazis, and the stripping of Vladek’s identity through identification numbers all serve to emphasize the devastating impact of oppression on memory and identity. Maus ultimately underscores the importance of acknowledging the intertwined nature of memory, identity, and oppression in understanding the complexity of the Holocaust and its aftermath.
Works cited
Spiegelman, Art. Maus: A survivor’s tale. Pantheon Books, 1986.
Antill, Drew M. A comparative analysis on the portrayal of marginalized populations in Richard wright’s native son and art Spiegelman’s Maus. Diss. Ohio Dominican University, 2020.
Kohli, Puneet. “The memory and legacy of trauma in Art Spiegelman’s Maus.” Prandium: The Journal of Historical Studies at U of T Mississauga 1.1 (2012).
