The artifice of human morality: book I, pg 6, 54-55, pg 98-100
The artifice of movement: starts book I, pg 12 continues through novel
The artifice of privacy: book I, pg 23
The artifice of Religion: book I, pg 54
The artifice of narrative time: book I, pg 67, pg 74, pg 77, pg 80, pg 82, pg 84, pg 110, pg 112 (not restricted to these pages but it is a good example of moving abruptly between past a present blurring the distinctions)
The artifice of representation: As you adapt to the use of animals Spiegelman alters between cartoon animals, cartoon people, and actual photographs: book I, pg 100, pg 41-47, book II introduction and pg 141, book II pg 16 (the process of writing): the right of representation: book I, pg 158-159
The artifice of historicity: book II pg 69 (analyze how quotes like this undermine or enhance the story), pg 68 (confusion between Art and his father over order of events), pg 54 (what Art had read in history vs. what his dad had experienced): focus on the power of the conclusion through the discussion of story telling and the birth and death date of Art on the final page: book II, pg 136
Auxiliary notes-
I found two W.H. Auden poems, which I think will contribute and enrich my discussion on artifice. In Auden’s poem “In Memory of W.B. Yeats,” he puts forth the idea that “poetry makes nothing happen”. This made me think that it is possible that the antithesis of this belief forces people to attempt to create “realistic” fiction because they believe it to be a more effective tool for teaching the audience. Auden may see nothing as a good thing in the era of Nazi propaganda. The second poem Auden writes on September 1, 1939, the beginning of World War II. The final two stanzas of this poem struck me as significant to my paper. He discusses the real and the unreal. Breaking down those things that we are certain of and affirming those things we are not.
