September 11, 2001 was incredibly devastating nationally, as well as internationally but one can only imagine the intensity of horror the local New Yorkers were confronted with, resulting in a long-lasting trauma for most. One of those individuals who has spent most of his life in NY and was very present when the planes struck the towers is Art Spiegelman. Like most Americans, the events that day left him traumatized leading him to attempt to deal with 9/11 by portraying his emotions in the autobiographic post-traumatic comic book titled In the Shadow of No Towers. In an interview with The Progressive shortly after the release he stated "This book is fragment of diary. In making the book, I'm trying to work my way out."
This research paper will deal with his attempt to cope with personal and national Trauma and if depicting it in a comic can be justified as an appropriate medium. The issues when portraying Trauma as a comic and Spiegelman’s technique will be discussed. It will also provide a structural analysis and show themes and specific events concerning his 9/11 experience. It will also give an insight and an analysis of the many segments in which the U.S. Government’s actions following 9/11 are heavily criticized. Lastly the undeniable similarities as well as the differences between In the Shadow of No Towers and his most famous work Maus will be examined.
Table of Contents
1. Introduction
2. Difficulties when depicting Trauma in a Comic
3. Recurring Parts of his Trauma
4. Criticism of the U.S. Government
5. Comparison to Maus – A Survivor’s Tale
6. Conclusion
Objectives & Themes
This research paper examines how Art Spiegelman utilizes the medium of the comic to process personal and national trauma following the events of September 11, 2001. It analyzes the aesthetic and structural techniques employed in his work, In the Shadow of No Towers, to navigate the complexities of representing trauma, while also evaluating his political critique of the U.S. government's response and contrasting these elements with his earlier masterpiece, Maus.
- The justification and challenges of depicting national trauma through the comic medium.
- Structural analysis of non-linear narrative techniques as a reflection of post-traumatic confusion.
- Critique of U.S. government actions and political narratives in the post-9/11 era.
- Comparison of thematic and stylistic elements between In the Shadow of No Towers and Maus.
- The symbolic use of the animal metaphor and other graphic devices to convey personal identity loss.
Excerpt from the Book
2. Difficulties when depicting Trauma in a Comic
According to the Oxford Dictionaries "trauma" is defined as an "Emotional shock following a stressful event or a physical injury, which may lead to long-term neurosis". Due to trauma and the lack to grasp or cope with the event, the affected person shows a change in attitude and behavior such as becoming strongly introverted. The affected are frequently haunted by nightmares and flashbacks. Whereas personal trauma occurs after an event that effects a smaller group of people such as a family, national trauma can be detrimental and horrifying to a whole country and also affect its latter generations. National trauma mostly occurs in the form of wars, genocide or major natural disasters, however the terrorist attacks on September 11th 2001 changed the U.S. forever and are often described as the most national traumatizing event of the 21st Century.
The representation of events as traumatizing as the Holocaust or 9/11 in literature, film or imagery is a constant topic of discussion. These events have been described as "unrepresentable" and "imcomprehensible" resulting in the opinion of many that they should not be represented at all. Obviously, people looking at the events from an outside point of view will neither see the devastation the way, the attendees did nor undergo the same experiences and emotions they had and have to deal with. This also brings up questions about morals and values of the representers and the nature of humans feeling offended when a stranger speaks on their personal issues.
Summary of Chapters
1. Introduction: This chapter introduces Art Spiegelman's post-9/11 work and sets the research scope, focusing on the justification of comics as a medium for processing national trauma.
2. Difficulties when depicting Trauma in a Comic: This section explores the inherent challenges and moral questions involved in representing traumatic historical events, particularly through a medium often perceived as humorous or for children.
3. Recurring Parts of his Trauma: This chapter analyzes the structural layout of the comic and specific recurring motifs, such as the burning tower, that mirror the author's psychological state.
4. Criticism of the U.S. Government: This section investigates the political commentary in the book, focusing on Spiegelman's critique of the Bush administration and the use of satirical caricature.
5. Comparison to Maus – A Survivor’s Tale: This chapter contrasts the thematic and structural parallels and differences between Spiegelman's 9/11 work and his earlier Holocaust-focused novel.
6. Conclusion: The conclusion summarizes how Spiegelman successfully employs unique stylistic devices to portray trauma without belittling the historical gravity of the events.
Keywords
Art Spiegelman, 9/11, In the Shadow of No Towers, Trauma, Maus, Graphic Narrative, National Trauma, Political Satire, Bush Administration, Comics, Memory, Representation, Non-linear Narrative, Holocaust, Post-Traumatic Stress Disorder
Frequently Asked Questions
What is the central focus of this research paper?
The paper explores how Art Spiegelman uses the comic book medium to process and express the personal and national trauma resulting from the 9/11 terrorist attacks.
What are the primary themes discussed in the study?
Key themes include the difficulty of representing trauma, the impact of the 9/11 experience on the author's psyche, political criticism of the U.S. government, and the comparative analysis of Spiegelman's major graphic works.
What is the author's main research question?
The research investigates whether a comic is a justifiable and appropriate medium for depicting serious national trauma, and how the author utilizes specific stylistic techniques to achieve this.
What methodology is applied in this analysis?
The paper provides a structural analysis of the comic's narrative layout, a thematic examination of the author's experiences, and a comparative study between In the Shadow of No Towers and Maus.
What aspects of the main text are highlighted in the central chapters?
The main body covers the theoretical issues of trauma depiction, the recurring symbols of the author's experience, his satirical critique of the Bush administration, and a detailed stylistic comparison to his past work.
Which keywords best describe this research?
Key terms include Art Spiegelman, 9/11, National Trauma, Graphic Narrative, Political Satire, and Holocaust representation.
How does Spiegelman visually represent the confusion of his trauma?
He utilizes a non-linear reading structure, often resembling a chaotic collage, to mirror the confusion and psychological instability he experienced following the attacks.
What parallel does the author draw between the Holocaust and 9/11?
Spiegelman draws parallels regarding the "indescribable" nature of the experience, such as the smell of smoke and the feeling of being trapped in a city that is no longer safe.
How does the author view the U.S. government's role after 9/11?
Spiegelman is highly critical, portraying the government's actions as a threat to the American public and suggesting they profited from or exploited the tragedy for their own agendas.
- Quote paper
- Henry Quevedo (Author), 2015, "In the Shadow of No Towers". Coping with National Trauma through a Comic, Munich, GRIN Verlag, https://www.grin.com/document/425380
