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on the Holocaust because Borowski is able to penetrateinto the minds of the participants and witnesses.* 2. 113 *Grossman, David. See Under: Love. New York: FarrarStraus Giroux, 1989. ISBN 0-374-25731-0.In 1959 a nine-year-old Israeli boy concludes,from the murmuring of his parents that the "Nazi beast"is living in their cellar. As a child he sets out to tameit; as an adult he attempts to come to terms with it bycreating mythic tales. This extraordinary, mythic novelabout the Holocaust by a gifted young Israeli novelistis rich in symbolism.* 2. 114 ~Heyen, William. Erika: Poems of the Holocaust. NewYork: The Vanguard Press, 1977, 1984. LC 83-14671.ISBN 0-8149-0875-6.Heyen is the son of a German who emigrated toAmerica in 1928 and the nephew of a Nazi flyer shotdown in the Soviet Union. He tries in these poems todiscover how deeply he is attached to his Germanheritage and how far he must repudiate it.~ 2. 115 *Heyen, William. The Swastika Poems. New York: TheVanguard Press, 1977. LC 76-39729. ISBN 0-8149-0780-6.Heyen continues to develop the aforementionedthemes and conflicts.~ 2. 116 *Chodziesner, Gertrud. DarkSoliloquy. Trans. and withan introduction by Henry A. Smith. New York:Seabury, 1975. LC 75-2239. ISBN 0-8164-9199-2.These lovely poems, sensitive yet powerful, werewritten during the Holocaust. The author, also knownas Gertrud Kolmar, died at Auschwitz. Her poetryportends and laments the impending doom. Yearsbefore the Holocaust took place, she described thelonely, helpless position of the Jew in a world deaf totheir cries for justice.* 2. 117 ~Sachs, Nelly. 0 the Chimneys. New York: Farrar,Strauss, 1967. LC 67-27518.Sachs, the Nobel laureate of 1966, turns to theBible, Jewish history, and Kabbalistic sources toprovide a background for her Holocaust poetry. Bornin Germany, she escaped to freedom in Sweden. Herpoetry is consumed by sadness and loneliness.~ 2. 118 *Spiegelman, Art. Maus: A Survivor 's Tale. New York:Pantheon, 1986. LC 86-42642. ISBN 0-394-74723-2.Spiegelman, a cartoonist, uses this medium in ahighly original fashion to tell the story of his father,Vladek, and his mother, Anja, both survivors ofAuschwitz. The Jews are mice, the Nazis are cats, thePoles are pigs, the French are frogs, and the Americansare dogs. The animal characters create a distancingeffect that allows the reader to follow the fable withoutbeing numbed by the inhuman horrors. In 1968 Anjacommitted suicide and the book ends with Artie callinghis father a murderer for having destroyed Anja'smemoirs without even reading them. It is very perceptiveon relationships between survivors and theirchildren.* 2. 119 *Spiegelman, Art. Maus Il: A Survivor 's Tale and HereMy Troubles Began. New York: Pantheon, 1991. ISBN0-679-40641-7.The first volume introduced readers to ValdekSpiegelman, a survivor of the Holocaust, and his son,a cartoonist trying. to come to terms with his father,his father's experiences, guilt, and other feelings. Thesequel moves from the barracks of Auschwitz to thebungalows of the Catskills. Spiegelman describesperceptively the traumas of survival against the backgroundof a son's tortured relationships with his father.Spiegelman avoids sentimentalizing his tale. He writeswith relentless honesty, sparing neither his father norhimself. He has found an original art form to add towhat we know of the Holocaust experience. He wona Pulitzer Prize in 1992.* 2. 120 *Wiesel, Elie. Dawn. Trans. from the French by FrancesFrenayer. New York: Hill and Wang, 1961. LC 61-8461.Wiesel is the best-known of all writers on theHolocaust. In this sequel to Night, a young survivor,now living in occupied Palestine, shifts from victimto executioner as he is ordered to kill a British hostage.Wiesel received the Nobel Peace Prize in 1986.~ 2. 121 ~Wiesel, Elie. Night. Trans. from the French by StellaRodeway. New York: Avon, 1969. LC 72-33106. Firstpublished in Yiddish in 1958.Night is undoubtedly one of the most powerfuland effective treatments of the Holocaust. As witnessto the Holocaust, Wiesel remains firmly within theJudaic tradition of criticizing God for inaction. Heemphasizes the centrality of memory.The Holocaust 41