By Frank Miller
Frank Miller's run on Daredevil is remarkable for his advent of the ninja, murderer Elektra. Even after loss of life in his fingers, Daredevil's nightmares lead him to think that Elektra could be alive. Miller crafts a narrative of discovery as DD units out to discover Elektra.
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Additional info for Elektra Lives Again
I take this phrase from the title of Alvin K. Rosenfeld’s book on the literature of the Holocaust, A Double Dying: Reﬂections on Holocaust Literature (Bloomington: Indiana University Press, ). 25. In “Mad Youth,” Life (July ): , Spiegelman describes another snapshot in which the eleven-year-old Art and his mother sit on their back porch looking at an issue of Mad: “You can’t see my mother’s left forearm behind the magazine. She usually wears a broad gold bracelet—Vladek gives them to her as birthday and anniversary gifts—to cover the blue Auschwitz number tattooed above her wrist.
Holocaust. How are we to read the radical breaks in the representational continuity of Maus? How do Spiegelman’s family pictures mediate his narrative of loss? What alternate story—in the margins of the central narrative of Maus—is told by the family pictures? Breaking the Frame Taken together, the three photographs in Maus I and II reassemble a family violently fractured and destroyed by the Shoah: they include, at diﬀerent times, in diﬀerent places, and in diﬀerent guises, all the Spiegelmans—Art and his mother, Art’s brother Richieu, and the father, Vladek.
Barthes, Camera Lucida, . 30. Debórah Dwork, Children with a Star: Jewish Youth in Nazi Europe (New Haven, CT: Yale University Press, ), xxxiii. 31. Felman and Laub, Testimony, –. Art Spiegelman and AutobioGRAPHICal Re-Vision erin mc gl othlin Art Spiegelman’s newest autobioGRAPHICal text, Breakdowns: Portrait of the Artist as a Young @&*!