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An intimate co-creation of three graphic novelists and four Holocaust survivors, But I Live consists of three illustrated stories based on the experiences of each survivor during and after the Holocaust. David Schaffer and his family survived in Romania due to their refusal to obey Nazi collaborators. In the Netherlands, brothers Nico and Rolf Kamp were separated from their parents and hidden by the Dutch resistance in thirteen different places. Through the story of Emmie Arbel, a child survivor of the Ravensbrück and Bergen-Belsen concentration camps, we see the lifelong trauma inflicted by the Holocaust. To complement these hauntingly beautiful and unforgettable visual stories, But I Live includes historical essays, an illustrated postscript from the artists, and personal words from each of the survivors. As we urgently approach the post-witness era without living survivors of the Holocaust, these illustrated stories act as a physical embodiment of memory and help to create a new archive for future readers. By turning these testimonies into graphic novels, But I Live aims to teach new generations about racism, antisemitism, human rights, and social justice.

Emmie Arbel überlebte als kleines Mädchen die Konzentrationslager Ravensbrück und Bergen-Belsen. David Schaffer entkam dem Genozid in Transnistrien, weil er sich nicht an die Regeln hielt. Die Brüder Nico und Rolf Kamp versteckten sich in den Niederlanden dreizehn Mal vor ihren Mördern. Zusammen mit den Überlebenden haben drei international bekannte Zeichner:innen deren Geschichten in Graphic Novels erzählt, die unvergesslich vor Augen führen, was der Holocaust für Kinder bedeutete – und nicht nur für sie. Nur wenige Zeitzeugen des Holocaust leben noch. Die meisten von ihnen haben Verfolgung und Massenmord als Kinder traumatisch erlebt. Dieses Buch will die Erinnerung an den Holocaust in der Zusammenarbeit von Überlebenden und Zeichner:innen auf ungewöhnliche Weise bewahren und weitergeben, gerade auch an eine junge Leserschaft, indem es eingespielte Sehgewohnheiten und Bilder vom Holocaust aufbricht. Ausgewiesene Zeithistoriker:innen erklären in knappen, instruktiven Nachworten den Kontext der Geschichten, die aber auch ohne solche Erläuterungen unmittelbar und auf ergreifende Weise ein unfassbares Geschehen lebendig werden lassen.

Beyond MAUS. The Legacy of Holocaust Comics collects 16 contributions that shed new light on the representation of the Holocaust. While MAUS by Art Spiegelman has changed the perspectives, other comics and series of drawings, some produced while the Holocaust happened, are often not recognised by a wider public. A plethora of works still waits to be discovered, like early caricatures and comics referring to the extermination of the Jews, graphic series by survivors or horror stories from 1950s comic books. The volume provides overviews about the depictions of Jews as animals, the representation of prisoner societies in comics as well as in depth studies about distorted traces of the Holocaust in Hergé's Tintin and in Spirou, the Holocaust in Mangas, and Holocaust comics in Poland and Israel, recent graphic novels and the use of these comics in schools. With contributions from different disciplines, the volume also grants new perspectives on comic scholarship.

This is a dramatic retelling of true events in the life of Francisco Boix, a Spanish press photographer and communist who fled to France at the beginning of World War II. But there, he found himself handed over by the French to the Nazis, who sent him to the notorious Mauthausen concentration camp, where he spent the war among thousands of other Spaniards and other prisoners. More than half of them would lose their lives there. Through an odd turn of events, Boix finds himself the confidant of an SS officer who is documenting prisoner deaths at the camp. Boix realizes that he has a chance to prove Nazi war crimes by stealing the negatives of these perverse photos—but only at the risk of his own life, that of a young Spanish boy he has sworn to protect, and, indeed, that of every prisoner in the camp.

“Themes of guilt, Jewish identity, and the complex relationships among daughters, mothers, and grandmothers... expanded upon with humor and honesty.” —School Library Journal A Kirkus Reviews Best Nonfiction Book of the Year and a New York Times Book Review Editors'Choice In this illustrated memoir, Amy Kurzweil weaves her own coming-of-age as a young Jewish artist into the narrative of her mother, a psychologist, as well as Bubbe, her grandmother, a World War II survivor who escaped from the Warsaw Ghetto by disguising herself as a gentile. Captivated by Bubbe's story, Amy turns to her sketchbooks, teaching herself to draw as a way to cope with what she discovers. Entwining the voices and histories of these three wise, hilarious, and very different women, Amy creates a portrait not only of what it means to be part of a family, but also of how each generation bears the imprint of the past. A retelling of the inherited Holocaust narrative now two generations removed, Flying Couch uses Bubbe's real testimony to investigate the legacy of trauma, the magic of family stories, and the meaning of home. “I read Flying Couch in one sitting, without moving, literally laughed and literally cried.” —Rachel Fershleiser, New York Times–bestselling co-editor of Not Quite What I Was Planning

In den letzten zehn Jahren erreichte der Comic als Medium zum Einsatz im Geschichtsunterricht eine verstärkte Relevanz in der Geschichtsdidaktik. Diese Entwicklung ist vor allem der Aufwertung dieser Literaturform und dem Erscheinen unterschiedlicher geschichtsrelevanter Comics geschuldet. Der Holocaust als historisches Ereignis ist ein komplexer Themenbereich, der bis heute für Kontroversen darüber sorgt, ob und wie er dargestellt werden darf. Art Spiegelmans Comic „Maus“, der inzwischen zum Kanon der Holocaust-Literatur zählt, erscheint dabei geradezu paradox, da versucht wird, ein solch ernsthaftes Thema in einer Tierfabel zu erzählen. Das vorliegende Buch beschäftigt sich mit der Frage, ob Art Spiegelmans „Maus“ ein geeignetes Medium darstellt, um den Holocaust im Geschichtsunterricht zu vermitteln. Zum Begriff Holocaust Education werden neben der Rezeption, Kontroversen um Tabus der Thematik sowie empirische Befunde aus dem Geschichtsunterricht aufgezeigt. Im zweiten Schritt folgt eine Darstellung zur Geschichte, zu den Formen und dem didaktischen Einsatz von Comics. Daran anschließend wird nach einer Kurzbeschreibung von „Maus“, dessen Nutzbarkeit im Unterricht dargelegt.