Maus (Vol. 1 y 2)

His father pedals a stationary bicycle in the living room, a ghost in a windbreaker, the number on his arm a faint blue blur. He counts his pills with the same meticulous care he once used to count textiles, his heart a fragile clock he is constantly trying to mend. But when his son, Artie, asks him to speak of the past, another life emerges - one before the pills and the stationary bike, in a Poland vibrant with possibility. In those days, Vladek Spiegelman was a handsome, ambitious young man, charming his way into the heart of Anja Zylberberg, the intelligent, sensitive daughter of a wealthy factory owner. Theirs was a storybook beginning, a world of dances and cafés, of starting a business and a family.

The first shadows fall subtly. On a train trip back from a sanitarium where Anja is recovering from a deep depression after the birth of their first son, Richieu, they see the swastika for the first time, hanging starkly in the center of a town. Friends and neighbors whisper stories of what is happening across the border in Germany, tales of businesses seized and families disappearing. But these are distant horrors, things that happen to other people. Life, for a time, continues. Vladek builds a successful new factory, they settle into a comfortable life provided by Anja's family, and the anxieties of the world seem manageable, a storm on a far-off horizon.

Then the storm breaks. When the war begins, Vladek is called to the front lines as a Polish reservist. The fighting is brief and brutal. He kills a man he sees only as a tree in the distance, a faceless soldier running through the woods. Soon after, he is captured and becomes a prisoner of war. The conditions are freezing, the German guards cruel. The Jewish prisoners are given less food, thinner blankets, and forced to do the hardest labor. Yet even here, Vladek's will to survive asserts itself. He bathes in the icy river to stay clean, saves his meager bread, and prays. In a dream, a voice - his grandfather's - tells him he will be freed on the day of Parshas Truma, a specific date in the Jewish calendar.

Weeks later, on that very day, the Germans release him and other prisoners. But he is not returned to his home, which is now part of the Reich. Instead, he is dropped in the Polish Protectorate, a stranger in a strange land. Through cunning and a bit of luck, pretending to be a Pole to a train conductor, he sneaks across the guarded border and makes his way back to his family in Sosnowiec. He returns to a world transformed. His family's businesses are confiscated, their freedoms curtailed by curfews and rationing. A shadow economy of black market dealings emerges, and Vladek, ever the pragmatist, learns to navigate it, trading gold and cloth to secure food and a fragile sense of security for his family.

The walls of the world continue to shrink. All Jews are forced from their homes into a crowded ghetto in the old village of Srodula. Life becomes a grim series of registrations and selections. One day, four Jews are hanged in the street as an example, their bodies left swaying for a week. Vladek watches his father-in-law's parents, old and frail, taken away to a place no one can yet name but everyone fears. Faced with another roundup, Anja's sister Tosha makes a terrible choice. Rather than let the Germans take her children and little Richieu to the gas chambers, she gives them all poison. “My children won't go to their gas chambers!” she had vowed. “And I won't go either.”

Back in the present, the past is a constant, uninvited guest. Vladek bickers with his second wife, Mala, over money, saving scraps of string and complaining about wire hangers. He is a man who survived the unimaginable but cannot manage a peaceful day in his own home. Artie struggles to understand this man, so heroic in his stories and so infuriating in person. “I wish I got Mom's story while she was alive,” he tells his wife. “She was more sensitive.” He searches for the diaries Anja kept, notebooks that might hold the key to her side of the story, the part Vladek cannot or will not tell.

As the ghetto is liquidated, Vladek's foresight keeps him and Anja alive. He builds bunkers: a false wall in a coal bin, a crawlspace under a pile of shoes in an attic. They hide in silence as dogs and soldiers search for them, their survival dependent on a loose brick or a moment of German impatience. When the bunkers are no longer safe, they escape, becoming ghosts who move from one hiding place to another - a Polish woman's barn, a tiny, rat-infested cellar. They live on scraps of food bought with the last of their hidden jewelry, their existence a constant, terrifying whisper.

Hope arrives in the form of smugglers who promise safe passage to Hungary, a country that is still, for the moment, safe for Jews. Anja is terrified. “You're crazy! It's too dangerous!” she cries. But Vladek is insistent. “To die, it's easy,” he tells her, his voice firm. “But you have to struggle for life! Until the last moment, we must struggle together!” Trusting a letter that seems to confirm the route is safe, they hand over their last valuables. The smugglers lead them onto a train, and for a moment, as they pass through their old town, they feel a glimmer of freedom. Then the train stops. The Gestapo is waiting for them.

The journey ends at the gates of Auschwitz. Men are pushed to one side, women to the other. In the chaos and the shouting, Vladek sees Anja for the last time, a small figure being herded away. “And we couldn't know if ever we would see each other alive again,” he says, his voice trailing off. In the quiet of his father's house in Queens, years later, Artie asks again about Anja's diaries, the notebooks he so desperately needs. Vladek looks down. After Anja's suicide, he explains, he had a very bad day. “These papers had too many memories,” he says quietly. “So I burned them.” Artie stares at his father, the survivor, the storyteller, and can only manage one word: “Murderer.”