Writing Techniques in Art Spiegelman's Maus and Kurt Vonnegut's Slaughterhouse Five
BAM! ZONK! POW! ZAP!
What images do these words bring to mind? For many people, they illicit scenes of Batman and his sidekick Robin, fighting their way through a legion of bad guys while arriving only seconds after their arch-villain has escaped. From these short, succinct, nonsense words, images of battles are painted over a much larger canvas; the delicate balance and constant struggle between good and evil is illustrated in black and white terms. Unlike comics or television, life does not fit within these binary opposites. In a war there are good guys, bad guys, and everything imaginable in-between. ZONK! POW! Did a bad guy get thrown into a pile of crates or did our hero get knocked out from behind? These simple words are not enough for us to distinguish the difference between good and bad or right and wrong. At the same time, no artist or writer or illustrator could ever hope to present a situation in its entirety. How would a sentence like, ‘the hero, who although he treats his wife in a derogatory manner, punched a bad guy to save a damsel in distress’ serve as a gauge of morals or justice? It is not the creator’s job to portray an entire event, but rather, to present the event in a way that the audience can understand and draw their own conclusions from.
In Maus, Art Spiegelman does not make any apologies about what he includes or leaves out from his story. Maus is not meant to be a story that encompasses World War II or the Holocaust, but rather, a story about the life of his father, Vladek Spiegelman:
I still want to draw the book about you…/The one I used to talk to you about…/About your life in Po...
... middle of paper ...
... but rather, that it was humanity itself which suffered.
It is interesting that we cannot definitively say that either Maus or Slaughterhouse Five was intended to be an anti-war book. For an author to have taken a side would have opened their book to more criticism and opposition than they already harbor. Instead, both Vonnegut and Spiegelman chose to mask their true meaning behind subtle hints and allusions. We cannot put either book into the black or white category of pro or anti-war. Even Vonnegut by his own admission states that, “all I would have to do would be to report what I had seen” (Vonnegut 2). Maus and Slaughterhouse Five are not about proving a point or pushing an agenda. Instead, they present the absolutes of good and evil in a simple and concise way so that we may be able to distinguish all of the many gradients that lie in-between.
War novels often depict a war hero facing off against an enemy, with a winner on the other side. However, Kurt Vonnegut’s novel Slaughterhouse Five takes an opposite approach to the telling of a war story. The narrator uses the protagonist, Billy Pilgrim, to display his own anti-war sentiment. Vonnegut’s style of writing as well as his characters help to portray the effect of war on individuals and society as a whole.
Kurt Vonnegut’s anti-war science fiction novel entitled, Slaughter House Five otherwise known as “The Children’s Crusade” or “A Duty Dance with Death,” is a classic example of Vonnegut’s eccentric and moving writing capabilities.Originally published in 1969, Slaughterhouse-Five pays tribute to Vonnegut’s experiences in World War Two, as an advanced scout in the 106th infantry division, a prisoner of war and witness to the firebombing of Dresden on February 13th, 1945 in which 135,000 people were killed, making it the greatest man-caused massacre of all times.This novel illustrates the cruelties and violence of war along with the potential for compassion in human nature and all that it encompasses.
Kurt Vonnegut’s background had an endless influence upon his writing. In his early years, Vonnegut was a private in the 106th infantry division in World War II. He and five scouts were caught behind enemy lines, and then captured. They were held POWs and were beaten on various occasions. In 1945, they witnessed the fire-bombing of Dresden, Germany. Kept during this time in a slaughterhouse, this is part of the inspiration for Slaughterhouse-five. After being released from the Slaughterhouse, Vonnegut called Dresden “utter destruction” and “carnage unfathomable”. This distressing time in his life led to one of the many themes of Slaughterhouse-five which is that nothing good can come from war and a massacre. This theme is expressed in the story when Billy Pilgrim says “Birds were talking. One bird said to Billy Pilgrim ’Poo-tee-weet?’” After the bombing, the POWs had to gather the bodies for a mass grave and then all the remains were set on fire. Vonnegut and the other prisoners were only there for a few more months, until they were rescued. The lasting effect this awful war caused Vonnegut had significant affect upon his writing; on return to the U.S., he was awarded a purple heart.
Slaughterhouse Five is not a book that should be glanced over and discarded away like a dirty rag. Slaughterhouse Five is a book that should be carefully analyzed and be seen as an inspiration to further improve the well-being of mankind. Vonnegut makes it clear that an easy way to improve mankind is to see war not as a place where legends are born, but rather, an event to be avoided. Intelligent readers and critics alike should recognize Vonnegut’s work and see to it that they make an effort to understand the complexities behind the human condition that lead us to war.
...Slaughterhouse Five, serves as much more than a just a Sci-Fi element in a war novel; it is a portal into the nonsensical and destructive nature of war meant to invite the reader to adopt an active stance against war. The realities of war have long been tainted by history, retailing the brutal events as a saviour’s tale full of honour, glory and patriotism. However, the truth sits far away from the textbooks and scholars. Those who have marched, fought and survived that blood thirsty, chaotic development can testify to its destructiveness. However, the absurdity and trauma causes scars that lay in deep ravines logic cannot reach. Therefore, Vonnegut resources to a parallel planet, as his only means of explaining the unexplainable, in hopes of unveiling war's folly and shake his readers into action so that Earth does not become a planet full of futile toilet plungers.
Slaughterhouse-Five, by Kurt Vonnegut, Jr., was written as a general statement against all wars. Vonnegut focuses on the shock and outrage over the havoc and destruction man is capable of wreaking in the name of what he labels a worthy cause, while learning to understand and accept these horrors and one's feelings about them. Through his character, Billy Pilgrim, he conveys not only these feelings and emotions, but also the message that we must exercise our free will to alter the unfortunate happenings that might occur in our lives.
In Kurt Vonnegut’s novel, Slaughterhouse-Five, World War II ended shortly after the bombing of Dresden in February 1945. Although the war ended on the Eastern front shortly after the bombing of Dresden, it would be months later before the Japanese finally surrendered, to officially end World War II. War is inevitable, however, through Vonnegut’s science fiction and Tralfamadorians philosophies, suggests that we must focus on the peaceful moments rather than the atrocities of war.
In Artie Spiegelman’s novel, Maus, the novel illuminates Artie’s father Vladek’s and his story about his experiences during the holocaust. Vladek’s story consists of the anti-semitic views and poor treatment towards Jews. He uses three ways to establish that the concept that genocide and bigotry is unethical. Artie Spiegelman used imagery, characterization and plot to develop the theme that bigotry and genocide is unacceptable.
In Maus I and Maus II, Art Spiegelman describes two interwoven “survivor” stories: how Vladek “survived” the Holocaust and how Art “survived” Vladek. At the beginning of Maus II, Chapter 2, readers learn that Art literally survived Vladek who “died of congestive heart failure on August 18, 1982” (II.41.1). Vladek’s passing leaves Art with no first-hand account of Vladek’s Holocaust “survivor” story. Thus, especially evident on page 69 of Maus II, Vladek’s death complicates the story by amplifying Art’s convoluted emotions regarding his father and forcing Art to imagine more of the story. Art Spiegelman showcases his struggle to talk about the Holocaust, which encompasses a variety of competing narratives: Vladek’s Holocaust story and Art’s
Vonnegut uses his own trauma and the opinion he has on killing, which was shaped by the war, to spread to his readers or listeners a message of pacifism and a plan of action in order to mankind from its destructive ways. “Throughout this first chapter there is a kind of pleading insistence, a desire to impress upon the reader the fact that the author has experienced the horrors and sincerely felt the grief” (O’Sullivan 125). Again, despite this discussing a chapter in his novel, Slaughterhouse-Five, it applies to the speech being discussed. Although the mentioning of the traumatic experiences in his speech are subtle and a listener must think deeply, it is still obvious that one must know of Vonnegut’s traumatic life in order to understand
The beginning of chapter two in Maus II starts off with a monologue by Art regarding the publishing of Maus I and creation of Maus II, short tidbits of conversations between him and various reporters, and a visit to his therapist, Pavel. While coming across as unrelated to the novel’s overall focus of the recording and recounting of Vladek’s experiences during the Holocaust, this section of the novel reveals Art’s intentions behind publishing Maus and how it personally connects to his own life. First of all, Art states, “I’ve gotten 4 serious offers to turn my book into a TV-special or movie. (I don’t wanna)” (Spiegelman 41). This shows that, from the very beginning, Art had no intentions of gaining considerable fame or fortune by publishing the project. In fact, he felt that he had a responsibility to provide readers with a true account of a survivor’s experiences during the Holocaust and nothing more. Specifically, this can be seen Art admits that, “I never thought of reducing it to a message. I mean, I wasn’t trying to convince anybody of anything” (Spiegelman 42), when asked what message he wanted Maus to convey to readers.
In conclusion, Slaughterhouse-Five is an anti-war novel because Vonnegut, the character, says it is in the first chapter, the terrible damage it left on Billy, and how it exposes war's horrifying practices. Knowing these elements, one might wonder why people still have wars. Although these anti-war novels cannot completely stop wars, they are important. The role that such novels play is one of raising awareness of war's actions and wrongdoings. Since the role of the novels is important, authors should continue to write them to keep people informed and educated about a problem of such a huge magnitude.
Art Spiegelman's Maus II is a book that tells more than the story of one family's struggle to live thought the Holocaust. It gives us a look into the psyche of a survivor's child and how the Holocaust affected him and many other generations of people who were never there at all. Maus II gives the reader a peek into the psyche of Art Spiegelman and the affects of having two parents that survived the Holocaust had on him. Spiegelman demonstrates the affects of being a survivor's child in many ways throughout the book. Examining some of these will give us a better understanding of what it was like to be a part of the Holocaust.
Art Spiegelman’s graphic novel Maus unfolds the story about his father Vladek Spiegleman, and his life during the WWII. Since Vladek and Art are both the narrators of the story, the story not only focuses on Vladek's survival, but also the writing process and the organization of the book itself. Through these two narrators, the book explores various themes such as identity, perspective, survival and guilt. More specifically, Maus suggests that surviving an atrocity results in survivor’s guilt, which wrecks one’s everyday life and their relationships with those around them. It accomplishes this through symbolism and through characterization of Vladek and Anja.
The books Maus I and Maus II, written by Art Spiegelman over a thirteen-year period from 1978-1991, are books that on the surface are written about the Holocaust. The books specifically relate to the author’s father’s experiences pre and post-war as well as his experiences in Auschwitz. The book also explores the author’s very complex relationship between himself and his father, and how the Holocaust further complicates this relationship. On a deeper level the book also dances around the idea of victims, perpetrators, and bystanders. The two books are presented in a very interesting way; they are shown in comic form, which provides the ability for Spiegelman to incorporate numerous ideas and complexities to his work.