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During a career that spanned forty years, New York artist Marion Greenwood created paintings, drawings, and prints that championed the lives of indigenous people she encountered during travels to Haiti, India, Africa, Mexico, and other far-flung locales. In 1954, she came to Knoxville when the University of Tennessee commissioned her to create a mural for the new Carolyn P. Brown University Center ballroom. The resulting work, The History of Tennessee, stands as East Tennessee’s largest, most important, and most controversial figural mural painting. Painted on a continuous 30-foot length of canvas, Greenwood’s composition illustrates the distinctive music of the state’s main divisions—the delta blues of West Tennessee, country music of Middle Tennessee, and religious music of East Tennessee.
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Vladek, too, appears to feel a deep sense of guilt about having survived the Holocaust. As Art's guilt persists through the late 1980s, five years after the death of his father, he visits his psychiatrist, Pavel, and the two discuss the nature of guilt and what it means to be a Holocaust "survivor." Vladek's survival in the Holocaust was not the consequence of any particular skill, but the result of luck, both good and bad. Pavel turns the idea of guilt on its head by suggesting that Vladek himself actually felt a strong sense of guilt for having survived the Holocaust while so many of his friends and family did not. And perhaps in response, Vladek took this guilt out on Art, the "real survivor," as Pavel calls him. In essence, Vladek's guilt may have been passed down to his son, establishing the foundation for the volumes of guilt that Art now feels towards his family and its history.