Spiegelman avoids reducing the subject to the level of conventional comics, and thus trivializing the Holocaust, by focusing on Artie's discovery of the past, perhaps even more significantly than on the past itself: "Spiegelman's Maus is only secondarily concerned with the Holocaust. Its primary concern is the imprint of that parental experience. . . on the children of survivors" (Cory 38).
Other works dealing with the children of survivors reveal several common factors: "a complex syndrome of guilt at not measuring up to the strength, skill, and courage of one's survivor-parents, . . . a theological and existential quest for a meaningful relationship to the religion of those parents, and an aesthetic quest for the icons and images a
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