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Night, however, is completely different from Maus and is an autobiography. Elie Wiesel talks about his encounters during the Holocaust, and how it transformed him as an individual. It doesn’t skip around forward and backward between the past and the present and does not even have the comical feel that Maus has. Elie writes his story in chronological order from when he and his family thought the Jews being removed was a legend to him looking in a mirror 3 years after the fact and seeing dead eyes and a fragile body. Whereas Maus shifts back and forth between Art’s perspective and Vladek’s. At whatever point the novel is in the present with Mala and Art, it is from Art’s perspective. However, the Holocaust stories were obviously from Vladek’s perspective. Also at whatever point the novel is in Vladek’s perspective, he describes, and Art draws it out, giving some understanding of what most likely occurred on each occasion.
In both Art and Vladek’s purposes of perspectives, they talk in the first individual, yet it is still in the third individual. Night, then again, is from the perspective of a 14-year-old Jew, Elie, who composed the book about himself without anyone else’s input. The book Maus is never completely serious, even when Vladek is relating a difficult issue, the drawings and the jokes he has with his child and wife give the circumstance a more of a happy tone than it would be if the novel just centered around Holocaust stories. Albeit everything Vladek and his friends and family experienced amid the Holocaust was intense, the novel is never dreary. This is demonstrated in the book when Vladek expressed, ‘They’ve removed four Jews for managing merchandise without coupons… The following day I strolled over to Modrzejowska Street and I saw them… They hanged there one entire week,’ to expressing, ‘Look-Even from my dead eye tears are coming out!'(Spiegelman 83-84) The seriousness of the Jews being hanged is helped by Art’s capacity to switch the focal point of the story back to his dad.
Even though Vladek is not kidding when he says even his dead eye is tearing up, his announcement comes up short on the reality of what he says prior regarding the hanging. Another case of the absence of seriousness of Vladek in regards to the Holocaust is prior in the novel when he educates Art concerning being a prisoner of war. Vladek says, ‘Another German took 4 or 5 of us to a stable. ‘See this chaos?? It should be perfectly spotless in 60 minutes. Comprehend!’ It was difficult to do in 60 minutes… What’s more, by one way or another we made the activity in just 90 minutes. Be that as it may, look what you do, Artie!'(Spiegelman 52) Vladek is looking at being compelled to clean a stable, yet he changes out of the past and advises the present-day Art to be increasingly mindful of what he is doing. This story may not be that terrible contrasted with a portion of alternate stories, however, its earnestness is helped by Vladek getting occupied by Art dropping cigarette fiery remains on the cover.
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