A stunning memoir of a mother and her daughter's survival in WWII and their subsequent lifelong struggle with faith
In this captivating and elegantly illustrated graphic memoir, Miriam Katin retells the story of her and her mother's escape on foot from the Nazi invasion of Budapest. With her father off fighting for the Hungarian army and the German troops quickly approaching, Katin and her mother are forced to flee to the countryside after faking their deaths. Leaving behind all of their belongings and loved ones, and
unable to tell anyone of their whereabouts, they disguise themselves as a Russian servant and illegitimate child, while literally staying a few steps ahead of the German soldiers.
We Are on Our Own is a woman's attempt to rebuild her earliest childhood trauma in order to come to an understanding of her lifelong questioning of faith. Katin's faith is shaken as she wonders how God could create and tolerate such a wretched world, a world of fear and hiding, bargaining and theft, betrayal and abuse. The complex and horrific experiences on the run are difficult for a child to understand, and as a child, Katin saw them with the simple longing, sadness, and
curiosity she felt when her dog ran away or a stranger made her mother cry. Katin's ensuing lifelong struggle with faith is depicted throughout the book in beautiful full-color sequences.
We Are on Our Own is the first full-length graphic novel by Katin, at the age of sixty-three.
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Born in Hungary during WWII, Miriam Katin immigrated to Israel in 1957 where she served in the Israeli Defense Forces as a graphic artist. She has lived in New York City since 1990, working as a background designer for MTV and Disney.
*Starred Review* The burgeoning popularity of graphic novels has opened the door to new voices with compelling stories and artistic skills to match; for example, 63-year-old animator Katin, whose remarkable debut this is. It is a memoir recounting how she and her mother faked their deaths and fled Budapest after the Nazis occupied the city. With forged papers obtained from a black marketer, they escaped to the countryside in the guise of a servant girl and her illegitimate child. Katin relates their harrowing lives there and her mother's desperate search for her missing husband after the war. Brief passages set decades later reveal how Katin's traumatic experiences left her without any religious faith to pass on to her own child. The events she reports are powerful in themselves, and her sensitive, softly expressive drawings and straightforward storytelling, both reminiscent of Raymond Briggs in Ethel & Ernest (1999), about an English couple during the same period, are likewise effective in conveying violent wartime battles, her mother's emotionally distressing choices, and rare quiet interludes. Moreover, Katin's understatement makes the story all the more chilling and heartbreaking. This impressive book belongs in all serious graphic novel collections and is also a natural for Jewish studies. Gordon Flagg
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