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In the pages of MetaMaus, Art Spiegelman re-enters the Pulitzer prizewinning Maus, the modern classic that has altered how we see literature, comics, and the Holocaust ever since it was first published twenty-five years ago.The coda concludes the book's analysis of the way in which particular texts become apocalyptically legible or manifest. It does so by taking account of Spiegelman's self-reflexive meditation on the ethical relation between Maus' literary reception and the dead bodies of the Holocaust that haunt his text. The coda proceeds to compare the fate of two sets of numbers tattooed onto the arms of Anja and Vladek upon their internment in the concentration camp.

Her grief-stricken husband destroyed her written accounts of Auschwitz. Much of the story revolves around Spiegelman's troubled relationship with his father, and the absence of his mother, who committed suicide when she was 20. In the narrative past, Spiegelman depicts these experiences, from the years leading up to World WarВ II to his parents' liberation from the Nazi concentration camps. It is, as the New York Times Book Review has commented, a remarkable feat of documen- tary detail and novelistic.In the frame-tale timeline in the narrative present that begins in 1978 in New York City, Spiegelman talks with his father Vladek about his Holocaust experiences, gathering material for the Maus project he is preparing. In 1992, it became the first (and is still the only) graphic novel to win a Pulitzer Prize (the Special Award in Letters).the unspeakable through the diminutive.

A collected volume of the first six chapters that appeared in 1986 brought the book mainstream attention a second volume collected the remaining chapters in 1991. He serialized Maus from 1980 until 1991 as an insert in Raw, an avant-garde comics and graphics magazine published by Spiegelman and his wife, FranГ§oise Mouly, who also appears in Maus. The recorded interviews became the basis for the graphic novel, which Spiegelman began in 1978.

Vladek has remarried to a woman called Mala since the suicide of Art's mother Anja in 1968. His father responds in broken English, '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!' As an adult, Art visits his father, from whom he has become estranged. When he returns home, he finds his father Vladek, who asks him why he is upset, and Art proceeds to tell him that his friends left him behind. In Rego Park in 1958, a young Art Spiegelman is skating with his friends when he falls down and hurts himself, but his friends keep going. The story that Vladek tells unfolds in the narrative past, which begins in the mid-1930s and continues until the end of the Holocaust in 1945. In the frame tale of the narrative present, Spiegelman interviews his father Vladek in the Rego Park neighborhood of New York City in 1978вЂ“79.

After his release, he finds Germany has annexed Sosnowiec and he is dropped off on the other side of the border in the German protectorate. Vladek is captured at the front and forced to work as a prisoner of war. After they return, political and anti-Semitic tensions build until Vladek is drafted just before the Nazi invasion. Anja suffers a breakdown due to postpartum depression after giving birth to their first son Richieu, and the couple go to a sanitarium in Nazi-occupied Czechoslovakia for her to recover. Vladek begs Art not to include this in the book and Art reluctantly agrees. Vladek tells of his time in the Polish city of CzД™stochowa and how he came to marry into Anja's wealthy family in 1937 and move to Sosnowiec to become a manufacturer.

As more Jews are sent from the ghettos to Auschwitz, the aunt poisons herself, her children and Richieu to death to escape the Gestapo and not die in the gas chamber. The family splits upвЂ”Vladek and Anja send Richieu to Zawiercie to stay with an aunt for safety. In 1943, the Nazis move the Jews of the Sosnowiec Ghetto to Srodula and march them back to Sosnowiec to work. In 'Prisoner on the Hell Planet', Art is traumatized by his mother's suicide three months after his release from the mental hospital, and in the end depicts himself behind bars saying, 'You murdered me, Mommy, and left me here to take the rap!' Though it brings back painful memories, Vladek admits that dealing with the issue in such a way was for the best. Mala had tried to hide it, but Vladek finds and reads it. 'Prisoner on the Hell Planet' (1973), an early, expressionistic strip about Spiegelman's mother's suicide, reprinted in MausDuring one of Art's visits, he finds that a friend of Mala's has sent the couple one of the underground comix magazines Art contributed to.

Vladek disguises himself as an ethnic Pole and hunts for provisions. In Sosnowiec, Vladek and Anja move from one hiding place to the next, making occasional contact with other Jews in hiding. When the Germans depart, the group splits up and leaves the ghetto. Srodula is cleared of its Jews, except for a group Vladek hides with in another bunker. The remnants of Vladek and Anja's family are taken away. Vladek's bunker is discovered and he is placed into a 'ghetto inside the ghetto' surrounded by barbed wire.

Art is overcome with the unexpected attention the book receives and finds himself 'totally blocked'. The story jumps to 1986, after the first six chapters of Maus have appeared in a collected edition. Art is enraged and calls Vladek a 'murderer'. Vladek comes to admit that he burned them after she killed herself. Art asks after Anja's diaries, which Vladek tells him were her account of her Holocaust experiences and the only record of what happened to her after her separation from Vladek at Auschwitz and which Vladek says she had wanted Art to read.

The war ends, the camp survivors are freed and Vladek and Anja reunite. As the war progresses and the German front is pushed back, the prisoners are marched from Auschwitz in occupied Poland to Gross-Rosen within the Reich and then to Dachau, where the hardships only increase and Vladek catches typhus. Despite the danger, Anja and Vladek exchange occasional messages. Vladek tells of his hardship in the camps, of starvation and abuse, of his resourcefulness, of avoiding the selektionenвЂ”the process by which prisoners were selected for further labor or execution. Art replies with a quote from Samuel Beckett: 'Every word is like an unnecessary stain on silence and nothingness', but then realizes, 'on the other hand, he said it'. Pavel suggests that, as those who perished in the camps can never tell their stories, 'maybe it's better not to have any more stories'.

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Vladek Spiegelman Vladek (1906вЂ“1982) is a Polish Jew who survived the Holocaust, then moved to the U.S. At first, he displays little sympathy for his father's hardships, but shows more as the narrative unfolds. He has a strained relationship with his father, Vladek, by whom he feels dominated. He deals with his own traumas and those inherited from his parents by seeking psychiatric help, which continued after the book was completed. Art is presented as angry and full of self-pity. Primary characters Art Spiegelman Art (born 1948) is a cartoonist and intellectual.

Though she too is a survivor and speaks with Art throughout the book, Art makes no attempt to learn of her Holocaust experience. Vladek makes her feel that she can never live up to Anja. Mala Spiegelman Mala (1917вЂ“2007) is Vladek's second wife. He shows little insight into his own racist comments about others in comparison to his treatment during the Holocaust. He displays racist attitudes, as when FranГ§oise picks up an African American hitchhiker, who he fears will rob them.