Depicting Trauma: Symbolism in Graphic Novels

Introduction

I must confess that I never read a graphic novel prior to this course. I think I’ve developed and expressed my opinion of graphic novels frequently over the course of the semester, and I think I would be remiss if I did not close with that comment now: I hate graphic novels. That being said, I can begin. I can honestly admit I understood nothing about graphic novels prior to this class. I discovered that the structure of graphic novels— the discursive duality of combining image and text— increases the ability to depict trauma by emphasizing formal discursive elements of illustration as well as panel separation, arrangement and juxtaposition in combination with cognitive processes of the theory of the mind and cognitive perceptual closure.

Theory of the Mind and Symbolism in Graphic Novels

The Theory of the Mind is the individuals cognitive ability to attribute mental states to oneself and others; that is, the individual recognizes his or her own consciousness. This is vital in understanding the meaning making of a graphic novel— the iconographic meaning and transformed mimesis of reality that exists as symbolic representation (McCloud) as demonstrated by the depiction of Spiegelman as a mouse rather than a man. This minimalist illustration of mice and cats emphasizes its symbolic meaning, which ultimately allows for greater identification as Scott McCloud explains in Understanding Comics, “participation is a powerful force in any medium.” The rendering of the graphic novel panels forced readers to immerse themselves more deeply within the diegesis of graphic novels (thusly invoking more empathy and allowing trauma to be represented in a distanced yet familiar way). In this way, Maus’ panels demonstrate a break in temporarily that is cognitively similar to traumas existing as a break in temporarily as Freud admits those who experience trauma are “driven to repeat the repressed matter as an experience in the present, instead of remembering it as something in the past.” This is demonstrated further by Maus’ illustrative style of depicting its characters as animals; constructing a metaphor to represent unfathomable and potentially unrepresentable moments of trauma.

Processing Trauma Through Visual Metaphors

This metaphor within the panels demonstrates a literalization of categorization in regards to trauma as Spiegelman quotes Hitler: “The Jews are undoubtably a race, but they are not human.” These animals represent a literalization of metaphor to suggest the inability to fully process trauma; it suggests a shift in values and meaning making. The visual metaphors of graphic novels directly correlates to the theory of the mind as it is difficult to recognize one’s own consciousness in the traumatic memory as trauma disrupts the individuals narrative memory—as demonstrated by the breaks between the panels of the graphic novel— which is emphasized by the visual metaphor of mice becoming men. This metaphor alludes to the Robert Burns poem, “To a Mouse” which observes, “Thou art blest, compar’d with me!/ The present only toucheth thee: / But Och! I backward cast my e’e” (Burns 43-45). This emphasizes how those who experience trauma are forced to repeat it as a moment in the present and essentially only process trauma by exchanging a passive role for an active one “by repeating the game” (Freud 54). It allows him to review his memories at a distance and become able to recognize his own consciousness. The structure of a graphic novel—the temporality of time demonstrated by the space between panels and the visual metaphor of the men as mice—allows for the processing of trauma.

Conclusion

Over the course of this semester, I learned the combining of image and text inherent to a graphic novel posses the ability to depict trauma through the elements of illustration (such as panel separation, arrangement and juxtaposition) combining with cognitive processes such as cognitive perceptual closure and the theory of the mind. Maus taught me this by revealing the temporality trauma through the visual metaphor of men as mice which allowed the narrator to don a mask of inhumanity to suggest is the way the memory of trauma ends, not with a bang but a whimper.