This article presents two generations affected by the Shoah in different ways: Primo Levi, trapped in the impossibility of telling his story to those closest to him, and Art Spiegelman, son of a deportee, who literally “captured” his father’s story in the guise of an “experimental” work (his description), a comic strip describing the universe of Auschwitz. These two paths will illustrate the generative and protective interplay of latency, but also its possible alliance with a negative mise en abyme.