Array ( [0] => {{Short description|Graphic novel by Art Spiegelman}} [1] => {{About|the book|the tank|Panzer VIII Maus||Maus (disambiguation)}} [2] => {{Featured article}} [3] => {{Use mdy dates|date=February 2022}} [4] => {{Infobox graphic novel [5] => |title = Maus [6] => |image = File:Maus (volume 1) cover.jpg [7] => |caption = Cover of the first volume of ''Maus'' [8] => |alt = Cover of the first volume of ''Maus'' [9] => |publisher = [[Pantheon Books]] [10] => |date = 1991 [11] => |origpublication = ''[[Raw (comics magazine)|Raw]]'' [12] => |origissues = Vol. 1 No. 2 – Vol. 2 No. 3 [13] => |origdate = 1980–1991 [14] => |creator = [[Art Spiegelman]] [15] => |pages = 296 [16] => |single_creator = Y [17] => }} [18] => [19] => '''''Maus''''',{{efn|From the German word ''Maus'' {{IPA-de|maʊ̯s|}} pronounced similarly to and meaning "mouse".}} often published as '''''Maus: A Survivor's Tale''''', is a [[graphic novel]] by American cartoonist [[Art Spiegelman]], serialized from 1980 to 1991. It depicts Spiegelman interviewing his father about his experiences as a [[History of the Jews in Poland|Polish Jew]] and [[The Holocaust|Holocaust]] survivor. The work employs [[postmodernism|postmodern]] techniques, and represents Jews as mice and other Germans and Poles as cats and pigs respectively. Critics have classified ''Maus'' as memoir, biography, history, fiction, autobiography, or a mix of genres. In 1992 it became the first graphic novel to win a [[Pulitzer Prize]]. [20] => [21] => In the [[Frame story|frame-tale]] timeline in the narrative present that begins in 1978 in New York City, Spiegelman talks with his father Vladek about his Holocaust experiences, gathering material and information for the ''Maus'' project he is preparing. In the narrative past, Spiegelman depicts these experiences, from the years leading up to [[World War II]] to his parents' liberation from the [[Nazi concentration camps]]. Much of the story revolves around Spiegelman's troubled relationship with his father and the absence of his mother, who died by suicide when Spiegelman was 20. Her grief-stricken husband destroyed her written accounts of [[Auschwitz concentration camp|Auschwitz]]. The book uses a minimalist drawing style and displays innovation in its pacing, structure, and page layouts. [22] => [23] => A three-page strip also called "Maus" that he made in 1972 gave Spiegelman an opportunity to interview his father about his life during World War II. The recorded interviews became the basis for the book, which Spiegelman began in 1978. He serialized ''Maus'' from 1980 until 1991 as an insert in ''[[Raw (comics magazine)|Raw]]'', an avant-garde comics and graphics magazine published by Spiegelman and his wife, [[Françoise Mouly]], who also appears in ''Maus''. A collected volume of the first six chapters that appeared in 1986, '''''Maus I: My Father Bleeds History''''', brought the book mainstream attention; a second volume, '''''Maus II: And Here My Troubles Began''''', collected the remaining chapters in 1991. ''Maus'' was one of the first books in graphic novel format to receive significant academic attention in the English-speaking world. [24] => [25] => {{TOC limit|4}} [26] => [27] => ==Synopsis== [28] => Most of the book weaves in and out of two timelines. In the [[Frame story|frame tale]] of the narrative present, Spiegelman interviews his father Vladek in the [[Rego Park, Queens|Rego Park]] neighborhood of Queens in New York City in 1978–79.{{sfnm|1a1=Witek|1y=1989|1p=98|2a1=LaCapra|2y=1998|2p=154}}{{sfn|Fathers|2007|p=122}}{{sfn|Gordon|2004}} The story that Vladek tells unfolds in the narrative past, which begins in the mid-1930s, and continues until the end of [[the Holocaust]] in 1945.{{sfn|Fathers|2007|p=122}}{{sfn|Kannenberg|1999|pp=100–101}} [29] => [30] => In Rego Park in 1958,{{sfn|Gordon|2004}} a young Art Spiegelman is skating with his friends when he falls down and hurts himself, but his friends keep going. When he returns home, he finds his father Vladek, who asks him why he is upset, and Art proceeds to tell him that his friends left him behind. His father responds in broken English, "Friends? Your friends? If you lock them together in a room with no food for a week, then you could see what it is, friends!"{{sfn|Liss|1998|p=55}} [31] => [32] => As an adult, Art visits his father, from whom he has become estranged.{{sfn|Levine|2006|p=29}} Vladek has remarried to a woman called Mala since the suicide of Art's mother Anja in 1968.{{sfnm|1a1=Young|1y=2006|1p=250|2a1=Fathers|2y=2007|2p=123}} Art asks Vladek to recount his Holocaust experiences.{{sfn|Levine|2006|p=29}} Vladek tells of his time in the Polish city of [[Częstochowa]]{{sfn|Merino|2010}} and how he came to marry into Anja's wealthy family in 1937 and move to [[Sosnowiec]] to become a manufacturer. Vladek begs Art not to include this in the book and Art reluctantly agrees.{{sfn|Pekar|1986|p=54}} Anja suffers a breakdown due to [[postpartum depression]] after giving birth to their first son Richieu,{{efn|Spelled "Rysio" in Polish. "Richieu" is Spiegelman's misspelling, as he had not previously seen his brother's name written down.{{sfn|Reibmann|2001|p=26}}{{sfn|Spiegelman|2011|p=18}}}} and the couple go to a sanitarium in Nazi-occupied Czechoslovakia for her to recover. After they return, political and [[Antisemitism|anti-Semitic]] tensions build until Vladek is [[Conscription|drafted]] just before the [[Invasion of Poland|Nazi invasion of Poland]]. Vladek is captured at the front and forced to work as a [[prisoner of war]]. After his release, he finds Germany has [[Polish areas annexed by Nazi Germany|annexed Sosnowiec]], and he is dropped off on the other side of the border in the [[General Government|German protectorate]]. He sneaks across the border and reunites with his family.{{sfn|Wood|1997|p=83}} [33] => [34] => [[File:Maus page 103 panel 2 HITLER DID IT.png|thumb|left|upright|alt=Comics panel. Drawing of Art's mother dead in a bathtub and Art in prison uniform. "Menopausal depression", "Hitler did it!", "Mommy!" and "Bitch" are written across the panel.|"Prisoner on the Hell Planet" (1973), an early, expressionistic strip about Spiegelman's mother's suicide, reprinted in ''Maus'']] [35] => [36] => During one of Art's visits, he finds that a friend of Mala's has sent the couple one of the [[underground comix]] magazines Art contributed to. Mala had tried to hide it, but Vladek finds and reads it. In "Prisoner on the Hell Planet", Art is traumatized by his mother's suicide three months after his release from the [[Psychiatric hospital|mental hospital]], and in the end depicts himself behind bars saying, "You ''murdered'' me, Mommy, and left me here to take the rap!"{{sfn|Levine|2006|p=36}}{{sfnm|1a1=Witek|1y=1989|1p=100|2a1=Levine|2y=2006|2p=38}} Though it brings back painful memories, Vladek admits that dealing with the issue in such a way was for the best.{{sfn|Kaplan|2006|p=114}} [37] => [38] => In 1943, the Nazis move the Jews of the [[Sosnowiec Ghetto]] to Srodula and march them back to Sosnowiec to work. The family splits up—Vladek and Anja send Richieu to [[Zawiercie]] to stay with an aunt for safety. As more Jews are sent from the ghettos to Auschwitz, the aunt poisons herself, her children and Richieu to death to escape the [[Gestapo]] and not die in the gas chamber. In Srodula, many Jews build bunkers to hide from the Germans. Vladek's bunker is discovered and he is placed into a "ghetto inside the ghetto" surrounded by [[barbed wire]]. The remnants of Vladek and Anja's family are taken away.{{sfn|Wood|1997|p=83}} Srodula is cleared of its Jews, except for a group Vladek hides with in another bunker. When the Germans depart, the group splits up and leaves the ghetto.{{sfn|Wood|1997|p=84}} [39] => [40] => In Sosnowiec, Vladek and Anja move from one hiding place to the next, making occasional contact with other Jews in hiding. Vladek disguises himself as an ethnic Pole and hunts for provisions. The couple arrange with smugglers to escape to Hungary, but it is a trick—the Gestapo arrest them on the train (as Hungary is invaded) and take them to [[Auschwitz concentration camp|Auschwitz]], where they are separated until after the war.{{sfn|Wood|1997|p=84}} [41] => [42] => Art asks after Anja's diaries, which Vladek tells him were her account of her Holocaust experiences and the only record of what happened to her after her separation from Vladek at Auschwitz and which Vladek says she had wanted Art to read. Vladek comes to admit that he burned them after she killed herself. Art is enraged and calls Vladek a "murderer".{{sfnm|1a1=Levine|1y=2006|1p=34|2a1=Rothberg|2y=2000|2p=211}} [43] => [44] => The story jumps to 1986, after the first six chapters of ''Maus'' have appeared in a collected edition. Art is overcome with the unexpected attention the book receives{{sfn|Kannenberg|1999|pp=100–101}} and finds himself "totally blocked". Art talks about the book with his psychiatrist Paul Pavel, a Czech Holocaust survivor.{{sfn|Weine|2006|p=29}} Pavel suggests that, as those who perished in the camps can never tell their stories, "maybe it's better not to have any more stories". Art replies with a quote from [[Samuel Beckett]]: "Every word is like an unnecessary stain on silence and nothingness", but then realizes, "on the other hand, he ''said'' it".{{sfn|Rothberg|2000|p=217}} [45] => [46] => Vladek tells of his hardship in the camps, of starvation and abuse, of his resourcefulness, of avoiding the {{lang|de|selektionen}}—the process by which prisoners were selected for further labor or execution.{{sfn|McGlothlin|2003|p=177}} Despite the danger, Anja and Vladek exchange occasional messages. As the war progresses and the German front is pushed back, the prisoners are marched from Auschwitz in occupied Poland to [[Gross-Rosen concentration camp|Gross-Rosen]] within the Reich and then to [[Dachau concentration camp|Dachau]], where the hardships only increase and Vladek catches [[typhus]].{{sfnm|1a1=McGlothlin|1y=2006|1p=85|2a1=Adams|2y=2008|2p=172}} [47] => [48] => The war ends, the camp survivors are freed and Vladek and Anja reunite. The book closes with Vladek turning over in his bed as he finishes his story and telling Art, "I'm tired from talking, Richieu, and it's enough stories for now".{{sfnm|1a1=Kois|1y=2011|2a1=Wood|2y=1997|2p=88}} The final image is of Vladek and Anja's tombstone{{sfn|Mandel|2006|p=118}}—Vladek died in 1982, before the book was completed.{{sfn|Wood|1997|p=85}} [49] => [50] => ==Primary characters== [51] => {{glossary}} [52] => [53] => {{term|Art Spiegelman}} [54] => [55] => {{defn|Art{{efn|Born Itzhak Avraham ben Zev; his name was changed to Arthur Isadore when he immigrated with his parents to the U.S.{{sfn|Spiegelman|2011|p=17}}}} (born 1948) is a [[cartoonist]] and an [[intellectual]].{{sfn|Spiegelman|2011|p=292}}{{sfn|Gordon|2004}} Art is presented as angry and full of self-pity.{{sfn|Gordon|2004}} He deals with his own traumas and those inherited from his parents by seeking psychiatric help, which continued after the book was completed.{{sfn|Reibmann|2001|p=26}}{{sfn|Fathers|2007|p=124}} He has a strained relationship with his father, Vladek, by whom he feels dominated.{{sfnm|1a1=Young|1y=2006|1p=250|2a1=Fathers|2y=2007|2p=123|3a1=Levine|3y=2006|3p=29}}{{sfn|Gordon|2004}} At first, he displays little sympathy for his father's hardships, but he shows more as the narrative unfolds.{{sfn|Harvey|1996|p=242}}}} [56] => [57] => {{term|Vladek Spiegelman}} [58] => [59] => {{defn|Vladek{{efn|Born Zev Spiegelman, with the [[Jewish surname|Hebrew name]] Zev ben Abraham. His Polish name was Wladislaw ("Wladislaw" and "Wladec" are the spellings Spiegelman provides; the standard Polish spellings for these names are "Władysław" and "Władek"), of which "Wladec" is a diminutive. "Vladek" is the Russian version of this name, which was picked up when the area in which Vladek lived was controlled by Russia. This spelling was chosen for ''Maus'' as it was deemed the easiest spelling for English speakers to pronounce correctly. The German version of his name was "Wilhelm" (or "Wolf" for short), and he became William when he moved to the U.S.{{sfn|Spiegelman|2011|p=16}}}} (1906–1982){{sfn|Spiegelman|2011|pp=291, 293}} is a Polish Jew who survived the Holocaust and then moved to the U.S. in the early 1950s. Speaking broken English, he is presented as intelligent and resourceful, pious and moral, but also egocentric,{{sfn|Harvey|1996|p=242}} insensitive, neurotic, stubborn and sometimes absurdly miserly—traits that greatly annoy his family. He displays racist attitudes, as when Françoise picks up an [[African Americans|African-American]] hitchhiker, whom he fears will rob them.{{sfnm|1a1=Gordon|1y=2004|2a1=Tan|2y=2001|2p=39}} He shows little insight into his own racist comments about others in comparison to his treatment during the Holocaust.{{sfn|Wood|1997|p=85}}}} [60] => [61] => {{term|Mala Spiegelman}} [62] => [63] => {{defn|Mala (1917–2007){{sfn|Spiegelman|2011|pp=291, 294}} is Vladek's second wife. Vladek makes her feel that she can never live up to Anja.{{sfn|Rice|2007|p=18}} Though she too is a survivor and speaks with Art throughout the book, Art makes no attempt to learn of her Holocaust experience.{{sfn|Hirsch|1997|p=35}}}} [64] => [65] => {{term|Anja Spiegelman}} [66] => [67] => {{defn|Also a Polish Jew who has survived the Holocaust, Anja{{efn|Born Andzia Zylberberg, with the Hebrew name Hannah. Her name became Anna when she and Vladek arrived in the U.S.{{sfn|Spiegelman|2011|p=16}}}} (1912–1968){{sfn|Spiegelman|2011|pp=291, 293}} is Art's mother and Vladek's first wife. Nervous, compliant and clinging, she has her first nervous breakdown after giving birth to her first son.{{sfn|Pekar|1986|p=56}} She sometimes told Art about the Holocaust while he was growing up, although his father did not want him to know about it. She killed herself by slitting her wrists in a bathtub in May 1968{{sfn|Rothberg|2000|p=214}} and left no suicide note.{{sfn|Levine|2006|p=35}}}} [68] => [69] => {{term|Richieu Spiegelman}} [70] => [71] => {{defn|Richieu Spiegelman (1937–1943){{sfn|Spiegelman|2011|pp=291, 294}} is Vladek and Anja's first-born son. During the war, Vladek and Anja sent him away to live with an aunt, somewhere they believed he would be safer than he was with them. He did not survive. Richieu is portrayed as an ideal child whom Art can never hope to live up to.{{fact|date=December 2022}}}} [72] => [73] => {{term|Françoise Mouly}} [74] => [75] => {{defn|[[Françoise Mouly|Françoise]] (born 1955){{sfn|Spiegelman|2011|p=292}} is married to Art. She is French and converted to Judaism{{sfn|Moss|2017|p=194}} to please Art's father. Spiegelman struggles with whether he should present her as a Jewish mouse, a French frog, or some other animal—in the end, he uses a mouse.{{sfnm|1a1=Schuldiner|1y=2011|1pp=76–77|2a1=Hirsch|2y=1997|2p=27|3a1=Adams|3y=2008|3p=180}}}} [76] => [77] => {{glossary end}} [78] => [79] => ==Background== [80] => Art Spiegelman was born on February 15, 1948, in Sweden to [[Polish Jew]]s and [[Holocaust survivor]]s Vladek and Anja Spiegelman. An aunt poisoned his parents' first son Richieu to avoid capture by the Nazis, four years before Spiegelman's birth.{{sfn|Kois|2011}} He and his parents emigrated to the United States in 1951.{{sfn|Fischer|Fischer|2002}} During his youth his mother occasionally talked about Auschwitz, but his father did not want him to know about it.{{sfn|Fathers|2007|p=124}} [81] => [82] => Spiegelman developed an interest in comics early and began drawing professionally at 16.{{sfnm|1a1=Fathers|1y=2007|1p=122|2a1=Weiner|2y=2003|2p=36}} He spent a month in [[New York State Inebriate Asylum|Binghamton State Mental Hospital]] in 1968 after a [[Mental breakdown|nervous breakdown]]. Shortly after he got out, his mother died by suicide.{{sfn|Fathers|2007|p=122}} Spiegelman's father was not happy with his son's involvement in the [[hippie]] subculture. Spiegelman said that when he bought himself a German [[Volkswagen]] it damaged their already-strained relationship "beyond repair".{{sfn|Fathers|2007|p=125}} Around this time, Spiegelman read in [[fanzine]]s about such graphic artists as [[Frans Masereel]] who had made [[wordless novel]]s. The discussions in those fanzines about making the [[Great American Novel]] in comics inspired him.{{sfn|Kaplan|2008|p=171}} [83] => [84] => [[File:Art Spiegelman - Maus (1972) page 1 panel 3.png|left|thumb|alt=Cartoon image of a Nazi cat holding a gun to a Jewish mouse's head|From the original, more detailed 1972 "Maus" strip]] [85] => [86] => Spiegelman became a key figure in the underground comix movement of the 1970s, both as cartoonist and editor.{{sfn|Witek|1989|p=103}} In 1972 [[Justin Green (cartoonist)|Justin Green]] produced the semi-autobiographical comic book ''[[Binky Brown Meets the Holy Virgin Mary]]'', which inspired other underground cartoonists to produce more personal and revealing work.{{sfn|Chute|2010|p=18}} The same year, Green asked Spiegelman to contribute a three-page strip for the first issue of ''[[Funny {{Not a typo|Aminals}}]]'', which Green edited.{{sfn|Witek|1989|p=103}} Spiegelman wanted to do a strip about racism, and at first considered focusing on African Americans,{{sfn|Kaplan|2008|p=140}} with cats as [[Ku Klux Klan]] members chasing African-American mice.{{sfn|Conan|2011|p=}} Instead, he turned to the Holocaust and depicted Nazi cats persecuting Jewish mice in a strip he titled "Maus". The tale was narrated to a mouse named "[[Mickey Mouse|Mickey]]".{{sfn|Witek|1989|p=103}} After finishing the strip, Spiegelman visited his father to show him the finished work, which he had based in part on an anecdote he had heard about his father's Auschwitz experience. His father gave him further background information, which piqued Spiegelman's interest. Spiegelman recorded a series of interviews over four days with his father, which was to provide the basis of the longer ''Maus''.{{sfn|Spiegelman|2011|pp=22–24}} Spiegelman followed up with extensive research, reading survivors' accounts and talking to friends and family who had also survived. He got detailed information about Sosnowiec from a series of Polish pamphlets published after the war which detailed what happened to the Jews by region.{{sfn|Brown|1988}} [87] => [88] => [[File:Auschwitz entrance.JPG|right|thumb|alt=Auschwitz entrance|Spiegelman visited [[Auschwitz concentration camp]] in 1979 as part of his research.]] [89] => [90] => In 1973, Spiegelman produced a strip for ''Short Order Comix'' #1{{sfn|Witek|1989|p=98}} about his mother's suicide called "Prisoner on the Hell Planet". The same year, he edited a [[Pornography|pornographic]], [[Psychedelia|psychedelic]] book of quotations, and dedicated it to his mother.{{sfn|Rothberg|2000|p=214}} He spent the rest of the 1970s building his reputation making short [[avant-garde]] comics. He moved back to New York from San Francisco in 1975, which he admitted to his father only in 1977, by which time he had decided to work on a "very long comic book".{{sfn|Kaplan|2006|p=114}} He began another series of interviews with his father in 1978,{{sfn|Fathers|2007|p=125}} and visited Auschwitz in 1979.{{sfn|Blau|2008}} He serialized the story in a comics and graphics magazine he and his wife Mouly began in 1980 called ''Raw''.{{sfn|Petersen|2010|p=221}} [91] => [92] => ===Comics medium=== [93] => [[American comic book]]s were big business with a diversity of genres in the 1940s and 1950s, but had reached a low ebb by the late 1970s. {{sfn|Weiner|2003|pp=5–6}}{{sfn|Duncan|Smith|2009|p=68}} By the time ''Maus'' began serialization, the "Big Two" comics publishers, [[Marvel Comics|Marvel]] and [[DC Comics]], dominated the industry with mostly [[superhero]] titles.{{sfn|Duncan|Smith|2009|p=91}} The [[underground comix]] movement that had flourished in the late 1960s and early 1970s also seemed moribund.{{sfn|Witek|2004}} The public perception of comic books was as adolescent power fantasies, inherently incapable of mature artistic or literary expression.{{sfnm|1a1=Russell|1y=2008|1p=221|2a1=Duncan|2a2=Smith|2y=2009|2p=1}} Most discussion focused on comics as a genre rather than as a medium.{{sfnm|1a1=Witek|1y=2004|2a1=Fagan|2a2=Fagan|2y=2011|2p=3|3a1=Abell|3y=2012|3pp=68–84}} [94] => [95] => ''Maus'' came to prominence when the term "[[graphic novel]]" was beginning to gain currency. [[Will Eisner]] popularized the term with the publication in 1978 of ''[[A Contract with God]]''. The term was used partly to rise above the low cultural status that comics had in the English-speaking world, and partly because the term "comic book" was being used to refer to short-form periodicals, leaving no accepted vocabulary with which to talk about book-form comics.{{sfn|Petersen|2010|p=222}} [96] => [97] => ==Publication history== [98] => The first chapter of ''Maus'' appeared in December 1980 in the second issue of ''Raw''{{sfn|Kaplan|2008|p=171}} as a small insert; a new chapter appeared in each issue until the magazine came to an end in 1991. Every chapter but the last appeared in ''Raw''.{{sfn|Kaplan|2006|p=113}} [99] => [100] => Spiegelman struggled to find a publisher for a book edition of ''Maus'',{{sfn|Kois|2011}} but after a rave ''[[The New York Times|New York Times]]'' review of the serial in August 1986, [[Pantheon Books]] published the first six chapters in a volume{{sfnm|1a1=Kaplan|1y=2008|1p=171|2a1=Kaplan|2y=2006|2p=118}} called ''Maus: A Survivor's Tale'' and subtitled ''My Father Bleeds History''. Spiegelman was relieved that the book's publication preceded the theatrical release of the animated film ''[[An American Tail]]'' by three months, as he believed that the film, produced by [[Steven Spielberg]]'s [[Amblin Entertainment]], was inspired by ''Maus'' and wished to avoid comparisons with it.{{sfnm|1a1=Kaplan|1y=2006|1p=118|2a1=Kaplan|2y=2008|2p=172}} [101] => [102] => The book found a large audience, partly because of its distribution through bookstores rather than the [[direct market]] comic shops where comic books were normally sold.{{sfn|Kaplan|2006|p=115}} ''Maus'' was difficult for critics and reviewers to classify, and also for booksellers, who needed to know on which shelves to place it. Though Pantheon pushed for the term "graphic novel", Spiegelman was not comfortable with this, as many book-length comics were being referred to as "graphic novels" whether or not they had novelistic qualities. He suspected the term's use was an attempt to validate the comics form, rather than to describe the content of the books.{{sfn|Petersen|2010|p=222}} Spiegelman later came to accept the term, and with [[Drawn & Quarterly]] publisher Chris Oliveros successfully lobbied the [[Book Industry Study Group]] in the early 2000s to include "graphic novel" as a category in bookstores.{{sfnm|1a1=McGrath|1y=2004|1p=2|2a1=Morman|2y=2003}} [103] => [104] => Pantheon collected the last five chapters in 1991 in a second volume subtitled ''And Here My Troubles Began''. Pantheon later collected the two volumes into soft- and hardcover two-volume boxed sets and single-volume editions.{{sfn|Rhoades|2008|p=220}} In 1994 the [[Voyager Company]] released ''The Complete Maus'' on [[CD-ROM]], a collection which contained the original comics, Vladek's taped transcripts, filmed interviews, sketches, and other background material.{{sfn|Horowitz|1997|p=403}} The CD-ROM was based on [[HyperCard]], a Macintosh and Apple IIGS application that has since become obsolete.{{sfn|Hignite|2007|p=57}} In 2011 Pantheon Books published a companion to ''The Complete Maus'' entitled ''[[MetaMaus]]'', with further background material, including filmed footage of Vladek.{{sfn|Kois|2011}} The centerpiece of the book is a Spiegelman interview conducted by [[Hillary Chute]]. It also has interviews with Spiegelman's wife and children, sketches, photographs, family trees, assorted artwork, and a DVD with video, audio, photos, and an interactive version of ''Maus''.{{sfn|Garner|2011}} [105] => [106] => Spiegelman dedicated ''Maus'' to his brother Richieu and his first daughter [[Nadja Spiegelman|Nadja]].{{sfnm|1a1=Liss|1y=1998|1p=55|2a1=LaCapra|2y=1998|2p=156}} The book's [[epigraph (literature)|epigraph]] is a quote from [[Adolf Hitler]]: "The Jews are undoubtedly a race, but they are not human".{{sfnm|1a1=Witek|1y=1989|1p=94|2a1=Hirsch|2y=1997|2p=26|3a1=Wirth-Nesher|3y=2006|3p=169}} [107] => [108] => ===International publication=== [109] => [[Penguin Books]] obtained the rights to publish the initial volume in the [[Commonwealth of Nations|Commonwealth]] in 1986. In support of the [[African National Congress]]'s cultural boycott in opposition to [[apartheid]], Spiegelman refused to "compromise with fascism" by allowing publication of his work in South Africa.{{sfn|Smith|2007|p=93}} [110] => [111] => [[File:Bikont i makłowicz.JPG|alt=Piotr Bikont|thumb|Journalist [[Piotr Bikont]] ''(left)'' set up a publishing house in 2001 to publish a Polish edition of ''Maus'' in the face of protest.]] [112] => [113] => By 2011, ''Maus'' had been translated into about 30 languages. Three translations were particularly important to Spiegelman: French, as his wife was French, and because of his respect for the sophisticated [[Franco-Belgian comics]] tradition; German, given the book's background; and [[Polish language|Polish]]. Poland was the setting for most of the book, and Polish was the language of his parents and his own [[First language|mother tongue]].{{sfnm|1a1=Weschler|1y=2001|2a1=Spiegelman|2y=2011|2pp=122–125}} The publishers of the German edition had to convince the German culture ministry of the work's serious intent to have the [[swastika]] appear on the cover, per [[Strafgesetzbuch section 86a|laws prohibiting the display of Nazi symbolism]].{{sfn|Gambino|2015}} Reception in Germany was positive—''Maus'' was a best-seller and was taught in schools. The Polish translation encountered difficulties; as early as 1987, when Spiegelman planned a research visit to Poland, the Polish consulate official who approved his visa questioned him about the Poles' depiction as pigs, and pointed out how serious an insult it was. Publishers and commentators refused to deal with the book for fear of protests and boycotts.{{sfnm|1a1=Weschler|1y=2001|2a1=Spiegelman|2y=2011|2pp=122–125}} [[Piotr Bikont]], a journalist for {{lang|pl|[[Gazeta Wyborcza]]}}, set up his own publishing house to publish ''Maus'' in Polish in 2001. Demonstrators protested ''Maus''{{'}}s publication and burned the book in front of ''Gazeta''{{'}}s offices. Bikont's response was to don a pig mask and wave to the protesters from the office windows.{{sfn|Spiegelman|2011|pp=122–124}} The magazine-sized Japanese translation was the only authorized edition with larger pages.{{sfn|Spiegelman|2011|p=152}} Long-standing plans for an [[Arabic language|Arabic]] translation have yet to come to fruition.{{sfn|Conan|2011}} A Russian law passed in December 2014 prohibiting the display of Nazi propaganda led to the removal of ''Maus'' from Russian bookstores leading up to [[Victory Day (9 May)|Victory Day]] due to the swastika appearing on the book's cover.{{sfn|Gambino|2015}} Now the book is widely available again, with a slightly modified cover.{{Cite web |date= |title=Major russian bookshop "Bookvoed" |url=https://www.bookvoed.ru/book?id=3295844}} [114] => [115] => A few panels were changed for the [[Hebrew language|Hebrew]] edition of ''Maus''. Based on Vladek's memory, Spiegelman portrayed one of the minor characters as a member of the Nazi-installed [[Jewish Police]]. An [[Israelis|Israeli]] descendant objected and threatened to sue for [[Defamation|libel]]. Spiegelman redrew the character with a [[fedora]] in place of his original police hat, but appended a note to the volume voicing his objection to this "intrusion".{{sfnm|1a1=Mozzocco|1y=2011|2a1=Spiegelman|2y=2011|2p=154}} This version of the first volume appeared in 1990 from the publishing house [[Kinneret Zmora-Bitan Dvir|Zmora Bitan]]. It had an indifferent or negative reception, and the publisher did not release the second volume.{{sfnm|1a1=Tzadka|1y=2012|2a1=Spiegelman|2y=2011|2pp=152–153}} Another Israeli publisher put out both volumes, with a new translation by poet [[Yehuda Vizan]] that included Vladek's broken language, which Zmora Bitan had refused to do.{{sfn|Spiegelman|2011|p=153}} Marilyn Reizbaum saw this as highlighting a difference between the self-image of the Israeli Jew as a fearless defender of the homeland, and that of the American Jew as a feeble victim,{{sfn|Reizbaum|2000|p=135–136}} something that one Israeli writer disparaged as "the diaspora sickness".{{sfn|Reizbaum|2000|p=139}}{{efn|Translated from [[Hebrew language|Hebrew]] by Marilyn Reizbaum.{{sfn|Reizbaum|2000|p=139}}}} [116] => [117] => ==Themes== [118] => ===Presentation=== [119] => [[File:Maus volume 2 page 50 panels 3-4.png|right|thumb|300px|alt=Two comics panels, in which the cartoonist cannot decide to depict a character as a mouse or a cat.| In making people of each ethnicity look alike, Spiegelman hoped to show the absurdity of dividing people along such lines. Spiegelman has stated that "these metaphors ... are meant to self-destruct" and "reveal the insanity of the notion itself".]] [120] => [121] => Spiegelman, like many of his critics, has expressed concern that "[r]eality is too much for comics ... so much has to be left out or distorted", admitting that his presentation of the story may not be accurate.{{sfn|Wood|1997|p=87}} He takes a [[Postmodernism|postmodern]] approach; ''Maus'' "feeds on itself", telling the story of how the story was made. It examines the choices Spiegelman made in the retelling of his father's memories, and the artistic choices he had to make. For example, when his French wife [[Conversion to Judaism|converts to Judaism]], Spiegelman's character frets over whether to depict her as a frog, a mouse, or another animal.{{sfnm|1a1=Young|1y=2006|1p=250|2a1=Witek|2y=1989|2pp=112–114}} [122] => [123] => The book portrays humans with the heads and tails of different species of animals; Jews are drawn as mice and other Germans and Poles as cats and pigs,{{sfn|Fathers|2007|p=122}} among others. Spiegelman took advantage of the way [[Nazi propaganda films]] depicted Jews as vermin,{{sfn|Pustz|2007|p=69}} though he was first struck by the metaphor after attending a presentation where [[Ken Jacobs]] showed films of [[minstrel show]]s along with early American animated films, abundant with racial caricatures.{{sfn|Loman|2010|pp=221–223}} Spiegelman derived the mouse as symbol for the Jew from Nazi propaganda, emphasized in a quote from a German newspaper in the 1930s that prefaces the second volume: "Mickey Mouse is the most miserable idea ever revealed ... Healthy emotions tell every independent young man and every honorable youth that the dirty and filth-covered vermin, the greatest bacteria carrier in the animal kingdom, cannot be the ideal type of animal ... Away with Jewish brutalization of the people! Down with Mickey Mouse! Wear the Swastika Cross!"{{sfn|Hungerford|2003|p=87}} [124] => [125] => Jewish characters try to [[Passing (racial identity)|pass themselves off]] as ethnic Poles by tying pig masks to their faces, with the strings showing at the back.{{sfn|Witek|1989|p=106}} Vladek's disguise was more convincing than Anja's—"you could see she was more Jewish", Vladek says. Spiegelman shows this Jewishness by having her tail hang out of her disguise.{{sfnm|1a1=Rothberg|1y=2000|1p=210|2a1=Hatfield|2y=2005|2p=140}} This literalization of the genocidal stereotypes that drove the Nazis to their [[Final Solution]] may risk reinforcing racist labels,{{sfnm|1a1=Reibmann|1y=2001|1p=25|2a1=Liss|2y=1998|2p=53|3a1=Pekar|3y=1986|3p=55}} but Spiegelman uses the idea to create anonymity for the characters. According to art historian Andrea Liss, this may paradoxically enable the reader to identify with the characters as human, preventing the reader from observing racial characteristics based on facial traits, while reminding readers that racist classification is ever present.{{sfn|Liss|1998|p=53}} [126] => [127] => In making people of each ethnicity look alike, Spiegelman hoped to show the absurdity of dividing people along such lines. Spiegelman has stated that "these metaphors ... are meant to self-destruct"{{sfn|Bolhafner|1991|p=96}} and "reveal the inanity of the notion itself".{{sfn|Hays|2011}} Animals signified the characters' roles in the story rather than their races—the [[gentile]] Françoise is a mouse because of her identification with her husband, who identifies with the Holocaust victims. When asked what animal he would make [[Israeli Jews]], Spiegelman suggests [[porcupine]]s.{{sfn|Hungerford|2003|p=87}} When Art visits his [[psychiatrist]], the two wear mouse masks.{{sfn|Pustz|2007|p=70}} Spiegelman's perceptions of the animal metaphor seem to have evolved over the book's making—in the original publication of the first volume, his self-portrait showed a mouse head on a human body, but by the time the second volume arrived, his self-portrait had become that of a man wearing a mouse mask.{{sfn|Hirsch|1997|p=27}} In ''Maus'', the characters seem to be mice and cats only in their predator/prey relationship. In every respect other than their heads and tails, they act and speak as ordinary humans.{{sfn|Hirsch|1997|p=27}} Further complicating the animal metaphor, Anja is ironically shown to be afraid of mice, while other characters appear with pet dogs and cats, and the Nazis with attack dogs.{{sfn|Wolk|2008|p=283}} [128] => [129] => ===Memory=== [130] => To [[Marianne Hirsch]], Spiegelman's life is "dominated by memories that are not his own".{{sfn|Hirsch|1997|p=26}} His work is one not of memory but of ''postmemory'', a term she coined after encountering ''Maus''. This describes the relation of the children of survivors with the survivors themselves. While these children have not had their parents' experiences, they grow up with their parents' memories—the memory of another's memory—until the stories become so powerful that for these children they become memories in their own right. The children's proximity creates a "deep personal connection" with the memory, though separated from it by "generational distance".{{sfnm|1a1=Levine|1y=2006|1p=17|2a1=Berger|2y=1999|2p=231}} In the field of psychology, this is called [[transgenerational trauma]] or [[generational trauma]]. [131] => [132] => Art tried to keep his father's story chronological, because otherwise he would "never keep it straight".{{sfnm|1a1=Merino|1y=2010|2a1=Weine|2y=2006|2p=27|3a1=Brown|3y=1988}} His mother Anja's memories are conspicuously absent from the narrative, given her suicide and Vladek's destruction of her diaries. Hirsch sees ''Maus'' in part as an attempt to reconstruct her memory. Vladek keeps her memory alive with the pictures on his desk, "like a shrine", according to Mala.{{sfn|Hirsch|1997|p=33–34}} [133] => [134] => ===Guilt=== [135] => Spiegelman displays his sense of guilt in many ways. He suffers anguish over his dead brother, Richieu, who perished in the Holocaust, and whom he feels he can never live up to.{{sfn|Schwab|2010|p=37}} The eighth chapter, made after the publication and unexpected success of the first volume, opens with a guilt-ridden Spiegelman (now in human form, with a strapped-on mouse mask) atop a pile of corpses—the corpses of the six million Jews upon whom ''Maus''{{'}} success was built.{{sfn|Kannenberg|2001|p=86}} He is told by his psychiatrist that his father feels guilt for having survived and for outliving his first son, and that some of Art's guilt may spring from painting his father in such an unflattering way.{{sfn|Schuldiner|2011|p=69}}{{sfn|Schuldiner|2011|p=70}} As he had not lived in the camps himself, he finds it difficult to understand or visualize this "separate universe", and feels inadequate in portraying it.{{sfn|Fathers|2007|p=124}}{{sfn|Schuldiner|2011|p=75}} [136] => [137] => ===Racism=== [138] => Spiegelman parodies the Nazis' vision of racial divisions; Vladek's racism is also put on display when he becomes upset that Françoise would pick up a black hitchhiker, a "[[List of ethnic slurs#S|schwartser]]" as he says. When she berates him, a victim of antisemitism, for his attitude, he replies, "It's not even to compare, the schwartsers and the Jews!"{{sfn|Loman|2010|p=224}} Spiegelman gradually deconstructs the animal metaphor throughout the book, especially in the second volume, showing where the lines cannot be drawn between races of humans.{{sfn|Loman|2010|p=225}} [139] => [140] => The Germans are depicted with little difference between them, but there is great variety among the Poles and Jews who dominate the story.{{sfn|LaCapra|1998|pp=161}} Sometimes Jews and the Jewish councils are shown complying with the occupiers; some trick other Jews into capture, while others act as police for the Nazis.{{sfn|LaCapra|1998|pp=167–168}} [141] => [142] => Spiegelman shows numerous instances of Poles who risked themselves to aid Jews, and also shows antisemitism as being rife among them. The [[kapo (concentration camp)|kapo]]s who run the camps are Poles, and Anja and Vladek are tricked by Polish smugglers into the hands of the Nazis. Anja and Vladek hear stories that Poles continue to [[Anti-Jewish violence in Poland, 1944–1946|drive off and even kill returning Jews after the war]].{{sfn|LaCapra|1998|pp=166–167}} [143] => [144] => ===Language=== [145] => Vladek spoke Yiddish and Polish. He also learned English, German, and French while still in Poland. His knowledge of languages helps him several times during the story, both before and during his imprisonment. Vladek's recounting of the Holocaust, first to American soldiers, then to his son, is in English, {{sfn|Rosen|2005|p=165}} which became his daily language when he [[Jewish immigration to the United States|moved to America]].{{sfn|Rosen|2005|p=166}} Vladek's English is fluent, but his phrasing is often non-native, showing the influence of Yiddish (and possibly also of Polish). For example, he asks Art, "But, tell me, how is it by you? How is going the comics business?"{{cite book |last1=Spiegelman |first1=Art |title=The Complete Maus |date=1997 |publisher=Pantheon Books |location=New York |isbn=0679406417 |page=14}} Later, describing his internment, he tells Art, "[E]very day we prayed ... I was very religious, and it wasn't else to do".{{sfn|Wirth-Nesher|2006|p=168}} The passages where he is shown in Europe speaking Yiddish or Polish are in standard English, without the idiosyncratic phrasings Spiegelman records from their English-language conversations. Spiegelman does not show other Holocaust survivors (Vladek's second wife Mala, their friends, and Art's therapist Paul Pavel) using Yiddish-influenced constructions. [146] => [147] => The German word ''Maus'' is [[cognate]] to the English word "mouse",{{sfn|Levine|2006|p=21}} and also reminiscent of the German verb ''mauscheln'', which means "to speak like a Jew"{{sfn|Levine|2006|p=22}} and refers to the way Jews from [[Eastern Europe]] spoke German{{sfn|Rothberg|2000|p=208}}—a word [[Etymology|etymologically]] related not to ''Maus'' but, distantly, to ''[[Moses]]''.{{sfn|Levine|2006|p=22}} [148] => [149] => ==Style== [150] => [[File:Atomic Mouse issue 6 cover.jpg|thumb|right|upright|alt=Cover of comic book Atomic Mouse|Spiegelman's use of [[cartoon animal]]s, similar to those shown here, conflicted with readers' expectations.]] [151] => [152] => Spiegelman's perceived audacity in using the Holocaust as his subject was compounded by his telling the story in comics. The prevailing view in the English-speaking world held comics as inherently trivial,{{sfn|Russell|2008|p=221}} thus degrading Spiegelman's subject matter, especially as he used animal heads in place of recognizably human ones.{{sfn|Witek|1989|p=97}} [[talking animals in fiction|Talking animal]]s have been a staple of comics, and while they have a traditional reputation as children's fare, the underground had long made use of them in adult stories,{{sfn|Witek|1989|p=110}} for example in [[Robert Crumb]]'s [[Fritz the Cat]], which comics critic Joseph Witek asserts shows that the genre could "open up the way to a paradoxical narrative realism" that ''Maus'' exploited.{{sfn|Witek|1989|p=111}} [153] => [154] => Ostensibly about the Holocaust, the story entwines with the frame tale of Art interviewing and interacting with his father. Art's "Prisoner on the Hell Planet" is also encompassed by the frame, and stands in visual and thematic contrast with the rest of the book as the characters are in human form{{sfn|Witek|1989|p=98}} in a [[Surrealism|surreal]], [[German Expressionism|German Expressionist]] [[woodcut]] style inspired by [[Lynd Ward]].{{sfn|Witek|2004|p=100}} [155] => [156] => Spiegelman blurs the line between the frame and the world, such as when neurotically trying to deal with what ''Maus'' is becoming for him, he says to his wife: "In real life you'd never have let me talk this long without interrupting".{{sfn|Liss|1998|p=54}} When a prisoner whom the Nazis believe to be a Jew claims to be German, Spiegelman has difficulty deciding whether to present this character as a cat or a mouse.{{sfn|Kannenberg|2001|p=85}} Throughout the book, Spiegelman incorporates and highlights banal details from his father's tales, sometimes humorous or ironic, giving a lightness and humanity to the story which "helps carry the weight of the unbearable historical realities".{{sfn|Liss|1998|p=55}} [157] => [158] => Spiegelman started taking down his interviews with Vladek on paper, but quickly switched to a tape recorder,{{sfn|Rothberg|2000|pp=207–208}} face-to-face or over the phone.{{sfn|Brown|1988}} Spiegelman often condensed Vladek's words, and occasionally added to the dialogue{{sfn|Rothberg|2000|pp=207–208}} or synthesized multiple retellings into a single portrayal.{{sfn|Brown|1988}} [159] => [160] => Spiegelman worried about the effect that his organizing of Vladek's story would have on its authenticity. In the end, he eschewed a [[Joycean]] approach and settled on a linear narrative he thought would be better at "getting things across".{{sfn|Brown|1988}} He strove to present how the book was recorded and organized as an integral part of the book itself, expressing the "sense of an interview shaped by a relationship".{{sfn|Brown|1988}} [161] => [162] => ===Artwork=== [163] => The story is text-driven, with few wordless [[Panel (comics)|panels]]{{sfn|Kannenberg|1999|pp=100–101}} among its 1,500 black-and-white panels.{{sfn|Weine|2006|pp=25–26}} The art has high contrast, with heavy black areas and thick black borders balanced against areas of white and wide white margins. There is little gray in the shading.{{sfn|Adams|2008|p=172}} In the narrative present, the pages are arranged in eight-panel grids; in the narrative past, Spiegelman found himself "violating the grid constantly" with his page layouts.{{sfn|Weine|2006|p=26}} [164] => [165] => Spiegelman rendered the original three-page "Maus" and "Prisoner on the Hell Planet" in highly detailed, expressive styles. Spiegelman planned to draw ''Maus'' in such a manner, but after initial sketches he decided to use a pared-down style, one little removed from his pencil sketches, which he found more direct and immediate. Characters are rendered in a minimalist way: animal heads with dots for eyes and slashes for eyebrows and mouths, sitting on humanoid bodies.{{sfn|Pekar|1986|p=56}} Spiegelman wanted to get away from the rendering of the characters in the original "Maus", in which oversized cats towered over the Jewish mice, an approach which Spiegelman says, "tells you how to feel, tells you how to think".{{sfn|Witek|1989|p=104}} He preferred to let the reader make independent moral judgments.{{sfn|Witek|1989|p=112}} He drew the cat-Nazis the same size as the mouse-Jews, and dropped the stereotypical villainous expressions.{{sfn|Witek|1989|p=106}} [166] => [167] => Spiegelman wanted the artwork to have a diary feel to it, and so drew the pages on [[stationery]] with a fountain pen and typewriter [[correction fluid]]. It was reproduced at the same size it was drawn, unlike his other work, which was usually drawn larger and shrunk down, which hides defects in the art.{{sfn|Conan|2011}} [168] => [169] => ===Influences=== [170] => [[File:Frans Masereel - Passionate Journey -- two pages.jpg|thumb|alt=Two pages from a woodcut novel by Frans Masereel|Wordless [[Wordless novel|woodcut novel]]s such as those by [[Frans Masereel]] were an early influence on Spiegelman.]] [171] => [172] => Spiegelman has published articles promoting a greater knowledge of his medium's history. Chief among his early influences were [[Harvey Kurtzman]], [[Will Eisner]],{{sfn|Frahm|2004}} and [[Bernard Krigstein]]'s "[[Impact (EC Comics)#Master Race|Master Race]]".{{sfn|Kannenberg|2001|p=28}} Though he acknowledged Eisner's early work as an influence, he denied that Eisner's first graphic novel, ''[[A Contract with God]]'' (1978), had any impact on ''Maus''.{{sfn|Kaplan|2008|p=172}} He cited [[Harold Gray]]'s comic strip ''[[Little Orphan Annie]]'' as having "influenced ''Maus'' fairly directly", and praised Gray's work for using a cartoon-based storytelling vocabulary, rather than an illustration-based one.{{sfn|Spiegelman|2011|p=196}} Justin Green's ''[[Binky Brown Meets the Holy Virgin Mary]]'' (1972) inspired Spiegelman to include autobiographical elements in his comics. Spiegelman stated, "without ''Binky Brown'', there would be no ''Maus''".{{sfn|Chute|2010|p=18}} Among the graphic artists who influenced ''Maus'', Spiegelman cited [[Frans Masereel]], who had made early [[wordless novel]]s in [[woodcut]]s such as ''[[Passionate Journey]]'' (1919).{{sfn|Kaplan|2008|p=171}} [173] => [174] => ==Reception and legacy== [175] => Spiegelman's work as cartoonist and editor had long been known and respected in the comics community, but the media attention after the first volume's publication in 1986 was unexpected.{{sfn|Weiner|2003|p=36}} Hundreds of overwhelmingly positive reviews appeared, and ''Maus'' became the center of new attention focused on comics.{{sfn|Witek|1989|p=94}} It was considered one of the "Big Three" book-form comics from around 1986–87, along with ''[[Watchmen]]'' and ''[[The Dark Knight Returns]]'', that are said to have brought the term "graphic novel" and the idea of comics for adults into mainstream consciousness.{{sfnm|1a1=Kaplan|1y=2008|1p=172|2a1=Sabin|2y=1993|2p=246|3a1=Stringer|3y=1996|3p=262|4a1=Ahrens|4a2=Meteling|4y=2010|4p=1|5a1=Williams|5a2=Lyons|5y=2010|5p=7}} It was credited with changing the public's perception of what comics could be at a time when, in the English-speaking world, they were considered to be for children, and strongly associated with superheroes.{{sfn|Witek|1989|pp=94–95}}{{sfn|Witek|2004}} Initially, critics of ''Maus'' showed a reluctance to include comics in literary discourse.{{sfnm|1a1=Russell|1y=2008|1p=223|2a1=Horowitz|2y=1997|2p=406}} ''The New York Times'' intended praise when saying of the book, "Art Spiegelman doesn't draw comic books".{{sfnm|1a1=Witek|1y=2004|2a1=Langer|2y=1998}} After its [[Pulitzer Prize]] win, it won greater acceptance and interest among academics.{{sfn|Russell|2008|p=223}} The [[Museum of Modern Art]] staged an exhibition on the making of ''Maus'' in 1991–92.{{sfnm|1a1=Kaplan|1y=2006|1p=118|2a1=Weine|2y=2006|2p=25}} [176] => [177] => [[File:Art Spiegelman (2007).jpg|alt=Art Spiegelman|thumb|left|upright|Spiegelman in 2007.]] [178] => [179] => ''Maus'' proved difficult to classify to a genre,{{sfnm|1a1=Orbán|1y=2005|1pp=39–40|2a1=Rhoades|2y=2008|2p=219}} and has been called biography, fiction, autobiography, history, and memoir.{{#tag:ref|For "biography", see {{harvnb|Brown|1988}} [180] =>
For "fiction", see {{harvnb|New York Times staff|1987}}; {{harvnb|Ruth|2011}} [181] =>
For "autobiography", see {{harvnb|Merino|2010}} [182] =>
For "history", see {{harvnb|Brown|1988}}; {{harvnb|Ruth|2011}}; {{harvnb|Garner|2011}} [183] =>
For "memoir", see {{harvnb|Ruth|2011}}; {{harvnb|Garner|2011}}}} Spiegelman petitioned ''The New York Times'' to move it from "fiction" to "non-fiction" on the newspaper's bestseller list,{{sfn|Liss|1998|p=54}} saying, "I shudder to think how [[David Duke]] ... would respond to seeing a carefully researched work based closely on my father's memories of life in Hitler's Europe and in the death camps classified as fiction". An editor responded, "Let's go out to Spiegelman's house and if a giant mouse answers the door, we'll move it to the nonfiction side of the list!" The ''Times'' eventually acquiesced.{{sfnm|1a1=Ruth|1y=2011|2a1=Horowitz|2y=1997|2p=405}} The Pulitzer committee sidestepped the issue by giving the completed ''Maus'' a [[Pulitzer Prize Special Citations and Awards|Special Award in Letters]] in 1992.{{sfnm|1a1=Liss|1y=1998|1p=54|2a1=Fischer|2a2=Fischer|2y=2002|p=230}} [184] => [185] => ''Maus'' ranked highly on comics and literature lists. ''[[The Comics Journal]]'' called it the fourth greatest comics work of the 20th century,{{sfn|Kannenberg|1999|pp=100–101}} and ''[[Wizard (magazine)|Wizard]]'' placed it first on their list of 100 Greatest Graphic Novels.{{sfn|Wizard staff|2009}} ''[[Entertainment Weekly]]'' listed ''Maus'' at seventh place on their list of "The New Classics: Books – The 100 Best Reads from 1983 to 2008",{{sfn|Entertainment Weekly staff|2008}} and ''[[Time (magazine)|Time]]'' put ''Maus'' at seventh place on their list of best non-fiction books from between 1923 and 2005,{{sfn|Silver|2011}} and fourth on their list of top graphic novels.{{sfn|Grossman|2009}} Praise for the book also came from contemporaries such as [[Jules Feiffer]] and literary writers such as [[Umberto Eco]].{{sfn|Kaplan|2006|p=118}} Spiegelman turned down numerous offers to have ''Maus'' adapted for film or television.{{sfn|Pustz|2007|p=73}} [186] => [187] => Early installments of ''Maus'' that appeared in ''Raw'' inspired the young [[Chris Ware]] to "try to do comics that had a 'serious' tone to them".{{sfn|Ball|Kuhlman|2010|p=xii}} ''Maus'' is cited as a primary influence on graphic novels such as [[Marjane Satrapi]]'s ''[[Persepolis (comics)|Persepolis]]'' and [[Alison Bechdel]]'s ''[[Fun Home]]''.{{sfn|Chute|2010|p=18}} [188] => [189] => In 2022, the board of trustees for [[McMinn County Schools]] in east [[Tennessee]] voted unanimously to remove ''Maus'' from the curriculum over concerns including profanity, violence, and nudity.{{Cite news|last=Guzman|first=Francisco|date=January 27, 2022|title=What we know about the removal of Holocaust book 'Maus' by a Tennessee school board|url=https://www.tennessean.com/story/news/2022/01/27/why-did-tennessee-school-board-remove-maus-art-spiegelman/9244295002/|access-date=2022-01-31|work=The Tennessean|location=Nashville|language=en-US}}{{Cite web|url=https://www.cnn.com/2022/01/27/us/tennessee-school-board-removes-maus/index.html|title=A Tennessee school board removed the graphic novel 'Maus', about the Holocaust, from curriculum due to language and nudity concerns|author=Chris Boyette|website=CNN|date=January 28, 2022}}{{cite web|last=Gorman|first=Steve|url=https://www.reuters.com/lifestyle/tennessee-school-board-bans-holocaust-themed-graphic-novel-maus-2022-01-28/|title=Tennessee school board bans Holocaust-themed graphic novel 'Maus'|publisher=[[Reuters]]|date=January 28, 2022|accessdate=January 28, 2022}}{{Cite news|last=Wegner|first=Rachel|date=January 27, 2022|title=Tennessee school board's removal of Holocaust book 'Maus' draws international attention|url=https://www.tennessean.com/story/news/education/2022/01/27/tennessee-school-board-removes-holocaust-mausart-spiegelman/9237260002/|access-date=January 28, 2022|work=The Tennessean|location=Nashville|language=en-US}} The decision led to a backlash{{Cite news|url=https://www.tennessean.com/story/news/education/2022/01/27/tennessee-maus-holocaust-book-banned-mcminn-county-school-board/9239569002/|title=Defense of 'Maus' erupts online after McMinn County schools remove it from curriculum|first=Mel|last=Fronczek|work=The Tennessean|location=Nashville|accessdate=}}{{Cite web|url=https://www.yahoo.com/entertainment/defense-maus-erupts-online-mcminn-200814539.html|title=Defense of 'Maus' erupts online after McMinn County schools remove it from curriculum|website=Yahoo|date=January 28, 2022 }} and attracted attention the day before [[Holocaust Remembrance Day]], and was covered by media in the United States, Europe, Asia, and Africa.{{Cite web|url=https://www.dailymaverick.co.za/article/2022-01-28-tennessee-school-board-bans-holocaust-themed-graphic-novel-maus/|title=Maus banned in Tennessee: Tennessee school board bans Holocaust-themed graphic novel 'Maus'|date=January 28, 2022|website=Daily Maverick}}{{Cite news|url=https://www.sudouest.fr/culture/litterature/etats-unis-juge-vulgaire-et-inapproprie-maus-le-roman-graphique-sur-l-holocauste-banni-d-une-ecole-8111910.php|title=États-Unis: jugé "vulgaire et inapproprié", "Maus", le roman graphique sur l'Holocauste, banni d'une école|first=Sudouest fr avec|last=AFP|date=January 28, 2022|via=Sud Ouest}}{{Cite web|url=https://www.thejakartapost.com/culture/2022/01/28/us-school-board-bans-holocaust-graphic-novel-maus.html|title=US school board bans Holocaust graphic novel 'Maus'|website=The Jakarta Post}}{{cite web|last=Wegner|first=Rachel|url=https://www.tennessean.com:443/story/news/education/2022/01/27/tennessee-school-board-removes-holocaust-mausart-spiegelman/9237260002/|title=Tennessee school board's removal of Holocaust book 'Maus' draws international attention|newspaper=[[The Tennessean]]|date=January 27, 2022|accessdate=January 28, 2022}} Spiegelman called the decision baffling, "[[Orwellian]]", and "daffily myopic".{{cite web|last=Mangan|first=Dan|url=https://www.cnbc.com/2022/01/26/tennessee-school-board-bans-holocaust-comic-maus-by-art-spiegelman.html|title=Tennessee school board bans Holocaust graphic novel 'Maus' – author Art Spiegelman condemns the move as 'Orwellian'|publisher=[[CNBC]]|date=January 26, 2022|accessdate=January 28, 2022}}{{Cite web|url=https://www.nytimes.com/2022/01/27/us/maus-banned-holocaust-tennessee.html|title=School Board in Tennessee Bans Teaching of Holocaust Novel 'Maus'|first=Jenny|last=Gross|date=January 27, 2022|work=The New York Times}} The ban led to [[Amazon (company)|Amazon]] sales of ''Maus'' rising to No. 1.{{cite news|url=https://www.fox44news.com/entertainment-news/sales-soar-for-maus-after-its-banning-in-tennessee/|title=Sales soar for 'Maus' after its banning in Tennessee|agency=Associated Press|publisher=[[KWKT-TV|Fox 44 Waco]]|date=January 28, 2022|accessdate=February 5, 2022}}{{Cite web|url=https://www.cnbc.com/2022/01/28/maus-amazon-bestseller-after-tennessee-school-ban.html|title='Maus' is an Amazon bestseller after Tennessee school ban – author Art Spiegelman compares board to Putin|first=Dan|last=Mangan|date=January 28, 2022|website=CNBC}}{{Cite web|url=https://wnyt.com/entertainment/sales-soar-for-maus-after-its-banning-in-tennessee/6372981/|title=Sales soar for 'Maus' after its banning in Tennessee|date=January 28, 2022|website=WNYT NewsChannel 13|access-date=January 30, 2022|archive-date=January 29, 2022|archive-url=https://web.archive.org/web/20220129184714/https://wnyt.com/entertainment/sales-soar-for-maus-after-its-banning-in-tennessee/6372981/|url-status=dead}} On January 30, 2022, it was the No. 1 overall for books.{{Cite web|url=https://www.huffpost.com/entry/maus-amazon-best-sellers-list_n_61f76710e4b094ce54ac6ad9|title='Maus' Hits No. 1 On Amazon Best Sellers List After Being Banned By Tennessee School Board|date=January 31, 2022|website=HuffPost}}{{Cite web|url=https://indianexpress.com/article/explained/explained-why-pulitzer-prize-winning-novel-maus-topped-amazon-best-seller-list-7749614/|title=Explained: Why Pulitzer Prize-winning novel 'Maus' topped Amazon best-seller list|date=January 31, 2022|work=The Indian Express}} On January 31, ''Maus'' held the No. 1 and No. 2 ranks on Amazon at different times during the day, and also appeared as a best seller on Barnes & Noble's top 100 list and Bookshop's index of best-selling books.{{cite news|url=https://www.cnn.com/2022/01/31/media/maus-best-seller-banned-book-cec/index.html|title='Maus' is back on best seller lists after its ban from a Tennessee school district|first=Scottie|last=Andrew|publisher=CNN|date=January 31, 2022}} Student activist group [[Voters of Tomorrow]] then announced plans in February 2022 to distribute ''Maus'' and other challenged books to students in Texas and Virginia.{{Cite web |date=2022-02-02 |title=Youth-Led Group To Give Out Hundreds Of Copies Of 'Beloved,' 'Maus' Amid Book Bans |url=https://www.huffpost.com/entry/youth-group-give-maus-beloved-book-bans_n_61fafdb4e4b0b69cfe895db8 |access-date=2024-02-22 |website=HuffPost |language=en}}{{Cite web |last=Alfonseca |first=Kiara |title=Students protest book bans by distributing 'Maus,' 'Beloved' |url=https://abcnews.go.com/US/students-protest-book-bans-distributing-maus-beloved/story?id=82622456 |access-date=2024-02-22 |website=ABC News |language=en}} [190] => [191] => ===Critique=== [192] => A cottage industry of academic research has built up around ''Maus'',{{sfn|Meskin|Cook|2012|p=xxiv}} and schools have frequently used it as course material in a range of fields, including literature, history, dysfunctional family psychology,{{sfn|Fathers|2007|p=122}} language arts, and social studies.{{sfn|Monnin|2010|p=121}} The volume of academic work published on ''Maus'' far surpasses that of any other work of comics.{{sfn|Loman|2010|p=217}} One of the earliest such works was [[Joshua Brown (historian)|Joshua Brown]]'s 1988 "Of Mice and Memory" from the ''[[Oral History Association|Oral History Review]]'', which deals with the problems Spiegelman faced in presenting his father's story. Marianne Hirsch wrote an influential essay on post-memory entitled "Family Pictures: ''Maus'', Mourning, and Post-Memory", later expanded into a book called ''Family Frames: Photography, Narrative, and Postmemory''. Academics far outside the field of comics such as [[Dominick LaCapra]], [[Linda Hutcheon]], and [[Terrence Des Pres]] took part in the discourse. Few approached ''Maus'' who were familiar with comics, largely because of the lack of an academic comics tradition—''Maus'' tended to be approached as Holocaust history or from a film or literary perspective. In 2003, Deborah Geis edited a collection of essays on ''Maus'' called ''Considering ''Maus'': Approaches to Art Spiegelman's "Survivor's Tale" of the Holocaust''.{{sfn|Frahm|2004}} ''Maus'' is considered an important work of [[Holocaust literature]], and studies of it have made significant contributions to [[Holocaust studies]].{{sfn|Loman|2010|p=218}} [193] => [194] => [[File:Pekar small.jpg|right|thumb|upright|alt=Harvey Pekar|Comics writer and critic [[Harvey Pekar]] objected to ''Maus''{{'}}s use of animals, and the negative depiction of Spiegelman's father.]] [195] => [196] => According to writer Arie Kaplan, some Holocaust survivors objected to Spiegelman making a comic book out of their tragedy.{{sfn|Kaplan|2006|p=119}} Literary critics such as [[Hillel Halkin]] objected that the animal metaphor was "doubly dehumanizing", reinforcing the Nazi belief that the atrocities were perpetrated by one species on another, when they were actually done by humans against humans.{{sfnm|1a1=Hatfield|1y=2005|1pp=139–140|2a1=Russell|2y=2008|2p=221}} Comics writer and critic [[Harvey Pekar]] and others saw Spiegelman's use of animals as potentially reinforcing stereotypes.{{sfn|Park|2011}}{{sfnm|1a1=Pekar|1y=1986|1p=55|2a1=Pekar|2y=1990|2pp=32–33}} Pekar was also disdainful of Spiegelman's overwhelmingly negative portrayal of his father,{{sfnm|1a1=Pekar|1y=1986|1p=56|2a1=Pekar|2y=1990|2p=32}} calling him disingenuous and hypocritical for such a portrayal in a book that presents itself as objective.{{sfn|Pekar|1986|p=57}} Comics critic [[R. C. Harvey]] argued that Spiegelman's animal metaphor threatened "to erode {{interp|''Maus''{{'}}s}} moral underpinnings",{{sfn|Harvey|1996|p=243}} and played "directly into {{interp|the Nazis'}} racist vision".{{sfn|Harvey|1996|p=244}} [197] => [198] => Commentators such as Peter Obst and Lawrence Weschler expressed concern over the Poles' depiction as pigs,{{sfnm|1a1=Obst|1y=, "A Commentary on Maus by Art Spiegelman"|2a1=Weschler|2y=2001}} which reviewer [[Marek Kohn]] saw as an ethnic slur{{sfn|Baker|1993|pp=142, 160}} and ''The Norton Anthology of American Literature'' called "a calculated insult".{{sfn|Baym|Klinkowitz|Krupat|Wallace|2007|p=3091}} Jewish culture views pigs and pork as non-[[Kashrut|kosher]], or ''unclean'', a point of which the Jewish Spiegelman was unlikely to be ignorant.{{sfnm|1a1=Obst|1y=, "A Commentary on Maus by Art Spiegelman"|2a1=Weschler|2y=2001}} Critics such as Obst and Pekar have said that the portrayal of Poles is unbalanced—that, while some Poles are seen as helping Jews, they are often shown doing so for self-serving reasons.{{sfnm|1a1=Pekar|1y=1990|1pp=32–33|2a1=Obst|2y=, "A Commentary on Maus by Art Spiegelman"}} In the late 1990s, an objector to ''Maus''{{'}}s depiction of Poles interrupted a presentation by Spiegelman at Montreal's [[McGill University]] with persistent abuse and was removed from the auditorium.{{sfn|Surridge|2001|p=37}} [199] => [200] => Literary critic Walter Ben Michaels found Spiegelman's racial divisions "counterfactual".{{sfn|Loman|2010|pp=223–224}} Spiegelman depicts Europeans as different animal species based on Nazi conceptions of race, but all Americans, both black and white, as dogs—with the exception of the Jews, who remain unassimilated mice. To Michaels, ''Maus'' seems to gloss over the racial inequality that has plagued the history of the U.S.{{sfn|Loman|2010|pp=223–224}} [201] => [202] => Scholar Bart Beaty disagrees with claims from other critics that ''Maus'' presents a [[fatalistic]] perspective. Rather, he argues that ''Maus'' problematizes the [[Essentialism|essentialistic]] understanding of the relationship between the German "cats" and Jewish "mice," or the notion that there is something ''natural'' about Germans killing Jewish people.{{sfn|Beaty|2012}} [203] => [204] => Scholar Paul Buhle asserted: "More than a few readers have described {{interp|''Maus''}} as the most compelling of any {{interp|Holocaust}} depiction, perhaps because only the caricatured quality of comic art is equal to the seeming unreality of an experience beyond all reason".{{sfn|Chute|2006|pp=200–201}} Michael Rothberg opined: "By situating a nonfictional story in a highly mediated, unreal, 'comic' space, Spiegelman captures the hyperintensity of Auschwitz".{{sfn|Chute|2006|p=201}} [205] => [206] => === Parody === [207] => Belgian publisher {{lang|fr|La Cinquième Couch}} produced a book entitled ''Katz'', a remix of Spiegelman's book but with all animal heads replaced with cat heads.{{sfn|Couvreur|2012}} The book reproduced every page and line of dialogue from the French translation of ''Maus''. The French publisher of the book, [[Groupe Flammarion|Flammarion]], had the Belgian publisher destroy all copies under charges of [[Copyright infringement|copyright violation]].{{sfn|Beaty|2012}} [208] => [209] => ==Awards and nominations== [210] => {| class="wikitable sortable" [211] => |+ Awards and nominations for ''Maus'' [212] => |- [213] => ! scope="col" | Year [214] => ! scope="col" | Organization [215] => ! scope="col" | Award [216] => ! scope="col" | Result [217] => |- [218] => ! scope="row" |1986 [219] => |[[National Book Critics Circle]] [220] => |[[National Book Critics Circle Award]] for Biography{{sfnm|1a1=Brown|1y=1988|2a1=National Book Critics Circle staff|2y=2012}} [221] => |{{nom}} [222] => |- [223] => ! scope="row" |1987 [224] => |''Present Tense'' magazine
[[American Jewish Committee]] [225] => |''Present Tense''/Joel H. Cavior Book Award for Fiction{{sfnm|1a1=Brown|1y=1988|2a1=New York Times staff|2y=1987}} [226] => |{{won}} [227] => |- [228] => ! scope="row" |1988 [229] => |{{ill|Témoignage chrétien|fr}} ''(Christian Testimony)''Weekly newspaper founded in 1941, in [[Lyon]], to promote [[French resistance]] against the Nazis [230] => | Prix Résistance by ''Témoignage chrétien''{{sfn|Tout en BD staff|1998}} [231] => |{{won}} [232] => |- [233] => ! scope="row" |1988 [234] => |[[Angoulême International Comics Festival|Angoulême International Comics Festival Awards]] [235] => |[[Angoulême International Comics Festival Prize for Best Album|Best Foreign Album]]{{sfnm|1a1=Tout en BD staff|1y=1998|2a1=Jannequin|2y=1990|2p=19}} (''Maus: un survivant raconte - Mon père saigne l'histoire'') [236] => |{{won}} [237] => |- [238] => ! scope="row" |1988 [239] => |[[Urhunden Prizes|Urhunden Prize]] [240] => |Foreign Album{{sfn|Hammarlund|2007}} [241] => |{{won}} [242] => |- [243] => ! scope="row" |1990 [244] => |[[Max & Moritz Prize]] [245] => |Special Prize{{sfn|Comic Salon staff|2012}} [246] => |{{won}} [247] => |- [248] => ! scope="row" |1991 [249] => ||National Book Critics Circle [250] => |National Book Critics Circle Award{{sfn|National Book Critics Circle staff|2012}} [251] => |{{nom}} [252] => |- [253] => ! scope="row" |1992 [254] => |[[1992 Pulitzer Prize|Pulitzer Prize]] [255] => |[[Pulitzer Prize Special Citations and Awards|Special Awards and Citations – Letters]]{{sfn|Pulitzer Prize staff|2012}} [256] => |{{won}} [257] => |- [258] => ! scope="row" |1992 [259] => |[[Eisner Award]] [260] => |Best Graphic Album—Reprint{{sfn|Eisner Awards staff|2012}} (''Maus II''). [261] => |{{won}} [262] => |- [263] => ! scope="row" |1992 [264] => |[[Harvey Award]] [265] => |Best Graphic Album of Previously Published Material{{sfn|Harvey Awards staff|1992}} (''Maus II'') [266] => |{{won}} [267] => |- [268] => ! scope="row" |1992 [269] => |''[[Los Angeles Times]]'' [270] => | Book Prize for Fiction{{sfn|Colbert|1992}} (''Maus II'') [271] => |{{won}} [272] => |- [273] => ! scope="row" |1993 [274] => |Angoulême International Comics Festival Awards [275] => |Best Foreign Album{{sfn|Tout en BD staff|1993}} (''Maus: un survivant raconte - Et c'est là que mes ennuis ont commencé'') [276] => |{{won}} [277] => |- [278] => ! scope="row" |1993 [279] => |Urhunden Prize [280] => |Foreign Album{{sfn|Hammarlund|2007}} (''Maus II'') [281] => |{{won}} [282] => |} [283] => [284] => {| class="wikitable sortable" [285] => |+ Awards and nominations for ''MetaMaus'' [286] => |- [287] => ! scope="col" | Year [288] => ! scope="col" | Organization [289] => ! scope="col" | Award [290] => ! scope="col" | Result [291] => |- [292] => ! scope="row" |2011 [293] => |[[Jewish Book Council]] [294] => |[[National Jewish Book Award]] for Biography [295] => |{{won}} [296] => |} [297] => [298] => ==See also== [299] => {{Portalbar|United States|Comics}} [300] => * [[Anthropomorphism]] [301] => * [[Aniconism in Judaism#The Halakha|Birds' Head Haggadah]] [302] => * [[Ethnic stereotypes in comics]] [303] => * ''[[Mickey au Camp de Gurs]]'' [304] => * [[Stereotypes of Jews in literature]] [305] => [306] => ==Notes== [307] => {{Notelist}} [308] => [309] => ==References== [310] => {{Reflist|colwidth=20em}} [311] => [312] => ===Works cited=== [313] => ====Books==== [314] => {{Refbegin|colwidth=40em}} [315] => * {{cite book [316] => |last = Abell [317] => |first = Catharine [318] => |chapter = Comics and Genre [319] => |title = The Art of Comics: A Philosophical Approach [320] => |editor1-last = Meskin [321] => |editor1-first = Aaron [322] => |editor2-last = Cook [323] => |editor2-first = Roy T [324] => |publisher = [[John Wiley & Sons]] [325] => |year = 2012 [326] => |isbn = 978-1-4443-3464-7}} [327] => * {{cite book [328] => |last = Adams [329] => |first = Jeff [330] => |title = Documentary Graphic Novels and Social Realism [331] => |url = https://books.google.com/books?id=GN8NurpHNwcC [332] => |year = 2008 [333] => |publisher = [[Peter Lang (publisher)|Peter Lang]] [334] => |isbn = 978-3-03911-362-0}} [335] => * {{cite book [336] => |last1 = Ahrens [337] => |first1 = Jörn [338] => |last2 = Meteling [339] => |first2 = Arno [340] => |title = Comics and the City: Urban Space in Print, Picture, and Sequence [341] => |publisher = [[Continuum International Publishing Group]] [342] => |year = 2010 [343] => |isbn = 978-0-8264-4019-8 [344] => |url-access = registration [345] => |url = https://archive.org/details/comicscityurbans0000unse [346] => }} [347] => * {{cite book [348] => |last = Baker [349] => |first = Steve [350] => |title = Picturing the Beast: Animals, Identity, and Representation [351] => |url = https://books.google.com/books?id=yTG8AAAAIAAJ [352] => |year = 1993 [353] => |publisher = [[Manchester University Press]] [354] => |isbn = 978-0-7190-3378-0}} (attributed to {{cite journal|first=Marek|last=Kohn|author-link=Marek Kohn|title=Paws and Whiskers|journal=The Listener|date=September 10, 1987|page=25}}) [355] => * {{cite book [356] => |last1 = Ball [357] => |first1 = David M. [358] => |last2 = Kuhlman [359] => |first2 = Martha B. [360] => |title = The Comics of Chris Ware: Drawing Is a Way of Thinking [361] => |url = https://books.google.com/books?id=QrFmPKlv61sC [362] => |year = 2010 [363] => |publisher = [[University Press of Mississippi]] [364] => |isbn = 978-1-60473-442-3}} [365] => * {{cite book [366] => |first = James [367] => |last = Berger [368] => |title = After the End: Representations of Post-Apocalypse [369] => |publisher = [[University of Minnesota Press]] [370] => |year = 1999 [371] => |isbn = 978-0-8166-2932-9}} [372] => * {{cite book |url = https://books.google.com/books?id=1Xc6QdyrQLAC |last = Chute |first = Hillary L |title = Graphic Women: Life Narrative and Contemporary Comics |publisher = [[Columbia University Press]] |year = 2010 |isbn = 978-0-231-15062-0}} [373] => * {{cite book [374] => |last1 = Duncan [375] => |first1 = Randy [376] => |last2 = Smith [377] => |first2 = Matthew J [378] => |year = 2009 [379] => |title = The Power of Comics [380] => |publisher = [[Continuum International Publishing Group]] [381] => |isbn = 978-0-8264-2936-0}} [382] => * {{cite book [383] => |last1 = Fagan [384] => |first1 = Bryan D. [385] => |last2 = Fagan [386] => |first2 = Jody Condit [387] => |chapter = Medium or Genre? [388] => |title = Comic Book Collections for Libraries [389] => |page = 3 [390] => |publisher = [[ABC-CLIO]] [391] => |year = 2011 [392] => |isbn = 978-1-59884-511-2}} [393] => * {{cite book [394] => |editor-last = Witek [395] => |editor-first = Joseph [396] => |title = Art Spiegelman: Conversations [397] => |publisher = [[University Press of Mississippi]] [398] => |year = 2007 [399] => |isbn = 978-1-934110-12-6 [400] => |last = Fathers [401] => |first = Michael [402] => |chapter = Art Mimics Life in the Death Camps [403] => |pages = 122–125}} (Originally in ''[[The Independent|Independent on Sunday]]'' on 1992-03-22) [404] => * {{cite book [405] => |last1 = Fischer [406] => |first1 = Heinz Dietrich [407] => |last2 = Fischer [408] => |first2 = Erika J. [409] => |title = Complete Biographical Encyclopedia of Pulitzer Prize Winners, 1917–2000: Journalists, Writers and Composers on Their Ways to the Coveted Awards [410] => |chapter-url = https://books.google.com/books?id=-2o4Ywn4LJwC&pg=PA230 [411] => |year = 2002 [412] => |publisher = [[Walter de Gruyter]] [413] => |isbn = 978-3-598-30186-5 [414] => |page = 230 [415] => |chapter = Spiegelman, Art}} [416] => * {{cite book [417] => |last = Harvey [418] => |first = R. C. [419] => |author-link = R. C. Harvey [420] => |title = The Art of the Comic Book: An Aesthetic History [421] => |publisher = [[University Press of Mississippi]] [422] => |year = 1996 [423] => |isbn = 978-0-87805-758-0 [424] => |url-access = registration [425] => |url = https://archive.org/details/artofcomicbookae0000harv [426] => }} [427] => * {{cite book [428] => |last = Hatfield [429] => |first = Charles [430] => |title = Alternative Comics: An Emerging Literature [431] => |publisher = [[University Press of Mississippi]] [432] => |year = 2005 [433] => |isbn = 978-1-57806-719-0}} [434] => * {{cite book [435] => |last = Hignite [436] => |first = Todd [437] => |title = In the Studio: Visits With Contemporary Cartoonists [438] => |chapter-url = https://books.google.com/books?id=nG5j0OPA768C&pg=PA40 [439] => |year = 2007 [440] => |publisher = [[Yale University Press]] [441] => |isbn = 978-0-300-13387-5 [442] => |pages = [https://archive.org/details/instudiovisitswi0000hign/page/40 40–61] [443] => |chapter = Art Spiegelman [444] => |url = https://archive.org/details/instudiovisitswi0000hign/page/40 [445] => }} [446] => * {{cite book [447] => |last = Hirsch [448] => |first = Marianne [449] => |title = Family Frames: Photography, Narrative, and Postmemory [450] => |publisher = [[Harvard University Press]] [451] => |year = 1997 [452] => |isbn = 978-0-674-29265-9}} [453] => * {{cite book [454] => |first = Sara R. [455] => |last = Horowitz [456] => |editor1-last = Shatzky [457] => |editor1-first = Joel [458] => |editor2-last = Taub [459] => |editor2-first = Michael [460] => |title = Contemporary Jewish-American Novelists: A Bio-Critical Sourcebook [461] => |pages = 400–408 [462] => |chapter = Art Spiegelman [463] => |publisher = [[Greenwood Publishing Group]] [464] => |year = 1997 [465] => |isbn = 978-0-313-29462-4}} [466] => * {{cite book [467] => |last = Hungerford [468] => |first = Amy [469] => |chapter = Surviving Rego Park [470] => |title = The Holocaust of Texts: Genocide, Literature, and Personification [471] => |pages = 73–96 [472] => |publisher = [[University of Chicago Press]] [473] => |year = 2003 [474] => |isbn = 978-0-226-36076-8}} [475] => * {{cite book [476] => |first = Gene Jr. [477] => |last = Kannenberg [478] => |chapter = 'I Looked Just Like Rudolph Valentino': Identity and Representation in ''Maus'' [479] => |pages = 79–89 [480] => |title = The Graphic Novel [481] => |editor-first = Jan [482] => |editor-last = Baetens [483] => |publisher = [[KU Leuven|Leuven University Press]] [484] => |year = 2001 [485] => |isbn = 978-90-5867-109-7}} [486] => * {{cite book [487] => |last = Kaplan [488] => |first = Arie [489] => |title = Masters of the Comic Book Universe Revealed! [490] => |publisher = [[Independent Publishers Group#Chicago Review Press|Chicago Review Press]] [491] => |year = 2006 [492] => |isbn = 978-1-55652-633-6}} [493] => * {{cite book [494] => |last = Kaplan [495] => |first = Arie [496] => |title = From Krakow to Krypton: Jews and Comic Books [497] => |publisher = [[Jewish Publication Society]] [498] => |year = 2008 [499] => |isbn = 978-0-8276-0843-6}} [500] => * {{cite book [501] => |title = The Norton Anthology of American Literature [502] => |editor1-last = Baym [503] => |editor1-first = Nina [504] => |editor2-last = Klinkowitz [505] => |editor2-first = Jerome [506] => |editor3-last = Krupat [507] => |editor3-first = Arnold [508] => |editor4-last = Wallace [509] => |editor4-first = Patricia B. [510] => |publisher = [[W. W. Norton]] [511] => |year = 2007 [512] => |volume = E [513] => |isbn = 978-0393927436 [514] => }} [515] => * {{cite book [516] => |last = LaCapra [517] => |first = Dominick [518] => |title = History and Memory After Auschwitz [519] => |chapter-url = https://archive.org/details/historymemoryaft00laca [520] => |chapter-url-access = registration [521] => |publisher = [[Cornell University Press]] [522] => |year = 1998 [523] => |pages = [https://archive.org/details/historymemoryaft00laca/page/139 139–179] [524] => |chapter = 'Twas the Night Before Christmas: Art Spiegelman's ''Maus'' [525] => |isbn = 978-0-8014-8496-4}} [526] => * {{cite book [527] => |last = Levine [528] => |first = Michael G. [529] => |title = The Belated Witness: Literature, Testimony, and the Question of Holocaust Survival [530] => |publisher = [[Stanford University Press]] [531] => |year = 2006 [532] => |isbn = 978-0-8047-5555-9}} [533] => * {{cite book [534] => |last = Liss [535] => |first = Andrea [536] => |title = Trespassing Through Shadows: Memory, Photography, and the Holocaust [537] => |publisher = [[University of Minnesota Press]] [538] => |year = 1998 [539] => |isbn = 978-0-8166-3060-8}} [540] => * {{cite book [541] => |first = Andrew [542] => |last = Loman [543] => |chapter = The Canonization of ''Maus'' [544] => |title = The Rise of the American Comics Artist: Creators and Contexts [545] => |editor1-first = Paul [546] => |editor1-last = Williams [547] => |editor2-first = James [548] => |editor2-last = Lyons [549] => |isbn = 978-1-60473-792-9 [550] => |publisher = [[University Press of Mississippi]] [551] => |year = 2010}} [552] => * {{cite book [553] => |last = Mandel [554] => |first = Naomi [555] => |chapter = The Story of my Death: ''Night'', ''Maus'', ''Shoah'' and the Image of the Speaking Corpse [556] => |title = Against the Unspeakable: Complicity, the Holocaust, and Slavery in America [557] => |pages = 99–130 [558] => |publisher = [[University of Virginia Press]] [559] => |year = 2006 [560] => |isbn = 978-0-8139-2581-3}} [561] => * {{cite book [562] => |last = McGlothlin [563] => |first = Erin Heather [564] => |chapter = 'In Auschwitz We Didn't Wear Watches': Marking Time in Art Spiegelman's ''Maus'' [565] => |title = Second-Generation Holocaust Literature: Legacies of Survival and Perpetration [566] => |pages = 66–90 [567] => |url = https://books.google.com/books?id=GW7xkJQo090C [568] => |publisher = [[Camden House Publishing]] [569] => |year = 2006 [570] => |isbn = 978-1-57113-352-6}} [571] => * {{cite book [572] => |title = The Art of Comics: A Philosophical Approach [573] => |editor1-last = Meskin [574] => |editor1-first = Aaron [575] => |editor2-last = Cook [576] => |editor2-first = Roy T. [577] => |publisher = [[John Wiley & Sons]] [578] => |year = 2012 [579] => |isbn = 978-1-4443-3464-7}} [580] => * {{cite book [581] => |last = Monnin [582] => |first = Katie [583] => |title = Teaching Graphic Novels: Practical Strategies for the Secondary ELA Classroom [584] => |publisher = Maupin House Publishing, Inc [585] => |year = 2010 [586] => |isbn = 978-1-934338-40-7}} [587] => * {{cite book [588] => |last = Moss [589] => |first = Joshua Louis [590] => |title = Why Harry Met Sally: Subversive Jewishness, Anglo-Christian Power, and the Rhetoric of Modern Love [591] => |url = https://books.google.com/books?id=fOzaDgAAQBAJ [592] => |year = 2017 [593] => |publisher = [[University of Texas Press]] [594] => |isbn = 978-1-4773-1283-4}} [595] => * {{cite book [596] => |last = Orbán [597] => |first = Katalin [598] => |chapter = Mauschwitz [599] => |title = Ethical Diversions: The Post-Holocaust Narratives of Pynchon, Abish, DeLillo, and Spiegelman [600] => |pages = 35–74 [601] => |publisher = [[Routledge]] [602] => |year = 2005 [603] => |isbn = 978-0-415-97167-6}} [604] => * {{cite book [605] => |last = Petersen [606] => |first = Robert [607] => |title = Comics, Manga, and Graphic Novels: A History of Graphic Narratives [608] => |publisher = [[ABC-CLIO]] [609] => |year = 2010 [610] => |isbn = 978-0-313-36330-6}} [611] => * {{cite book [612] => |last = Pustz [613] => |first = Matthew J [614] => |chapter = I Gave It All Up to Draw Comics: Autobiographical (And Other) Tales About Creating Comic Books [615] => |title = Inside the World of Comic Books [616] => |pages = 61–81 [617] => |editor-first = Jeffery [618] => |editor-last = Klaehn [619] => |publisher = [[Black Rose Books]] [620] => |year = 2007 [621] => |isbn = 978-1-55164-296-3}} [622] => * {{cite book [623] => |last = Reibmann [624] => |first = James E. [625] => |chapter = Fredric Wertham, Spiegelman's ''Maus'', and Representations of the Holocaust [626] => |title = The Graphic Novel [627] => |editor-last = Baetens [628] => |editor-first = Jan [629] => |pages = 23–30 [630] => |publisher = [[Katholieke Universiteit Leuven|Leuven University]] Press [631] => |year = 2001 [632] => |isbn = 978-90-5867-109-7}} [633] => * {{cite book [634] => |editor1-last = Silberstein [635] => |editor-first = Laurence Jay [636] => |last = Reizbaum [637] => |first = Marilyn [638] => |title = Mapping Jewish Identities [639] => |url = https://books.google.com/books?id=pmr_BIVo7esC&pg=PA136 [640] => |year = 2000 [641] => |publisher = [[New York University Press]] [642] => |isbn = 978-0-8147-9769-3}} [643] => * {{cite book [644] => |last = Rhoades [645] => |first = Shirrel [646] => |title = Comic Books: How the Industry Works [647] => |publisher = [[Peter Lang (publishing company)|Peter Lang]] [648] => |year = 2008 [649] => |isbn = 978-0-8204-8892-9}} [650] => * {{cite book [651] => |last = Rice [652] => |first = Maria J. [653] => |title = Migrations of Memory: Postmemory in Twentieth Century Ethnic American Women's Literature [654] => |year = 2007 [655] => |isbn = 978-0-549-69539-4}} [656] => * {{cite book [657] => |last = Rosen [658] => |first = Alan Charles [659] => |title = Sounds of Defiance: the Holocaust, Multilingualism, and the Problem of English [660] => |publisher = [[University of Nebraska Press]] [661] => |year = 2005 [662] => |isbn = 978-0-8032-3962-3}} [663] => * {{cite book [664] => |last = Rothberg [665] => |first = Michael [666] => |title = Traumatic Realism: The Demands of Holocaust Representation [667] => |publisher = [[University of Minnesota Press]] [668] => |year = 2000 [669] => |isbn = 978-0-8166-3459-0}} [670] => * {{cite book [671] => |last = Russell [672] => |first = Vanessa [673] => |chapter = The Mild-Mannered Reporter: How Clark Kent Surpassed Superman [674] => |title = The Contemporary Comic Book Superhero [675] => |editor-last = Ndalianis [676] => |editor-first = Angela [677] => |pages = 216–232 [678] => |publisher = [[Taylor & Francis]] [679] => |year = 2008 [680] => |isbn = 978-0-415-99176-6}} [681] => * {{cite book [682] => |last = Sabin [683] => |first = Roger [684] => |title = Adult Comics: An Introduction [685] => |publisher = [[Taylor & Francis]] [686] => |year = 1993 [687] => |isbn = 978-0-415-04419-6}} [688] => * {{cite book [689] => |title = Unfinalized Moments: Essays in the Development of Contemporary Jewish American Narrative [690] => |editor-first = Derek Parker [691] => |editor-last = Royal [692] => |publisher = [[Purdue University Press]] [693] => |year = 2011 [694] => |isbn = 978-1-55753-584-9 [695] => |chapter = The Second-Generation Holocaust Nonsurvivor: Third-Degree Metalepsis and Creative Block in Art Spiegelman's ''Maus'' [696] => |pages = 69–80 [697] => |first = Michael [698] => |last = Schuldiner}} [699] => * {{cite book [700] => |last = Schwab [701] => |first = Gabriele [702] => |title = Haunting Legacies: Violent Histories and Transgenerational Trauma [703] => |url = https://books.google.com/books?id=5mJvLAqnXJEC [704] => |year = 2010 [705] => |publisher = [[Columbia University Press]] [706] => |isbn = 978-0-231-52635-7 [707] => }} [708] => * {{cite book [709] => |editor-last = Witek [710] => |editor-first = Joseph [711] => |title = Art Spiegelman: Conversations [712] => |publisher = [[University Press of Mississippi]] [713] => |year = 2007 [714] => |isbn = 978-1-934110-12-6 [715] => |last = Smith [716] => |first = Graham [717] => |chapter = From Mickey to ''Maus'': Recalling the Genocide Through Cartoon [718] => |pages = 84–94}} (Originally in ''Oral History Journal'' Vol. 15, Spring 1987) [719] => * {{cite book [720] => |title = MetaMAUS [721] => |first = Art [722] => |last = Spiegelman [723] => |editor-first = Hillary [724] => |editor-last = Chute [725] => |year = 2011 [726] => |publisher = [[Viking Press]] [727] => |isbn = 978-0-670-91683-2}} [728] => * {{cite book [729] => |editor-last = Stringer [730] => |editor-first = Jenny [731] => |chapter = Graphic novel [732] => |title = The Oxford Companion to Twentieth-Century Literature in English [733] => |page = [https://archive.org/details/isbn_9780192122711/page/262 262] [734] => |publisher = [[Oxford University Press]] [735] => |year = 1996 [736] => |isbn = 978-0-19-212271-1 [737] => |chapter-url-access = registration [738] => |chapter-url = https://archive.org/details/isbn_9780192122711 [739] => |url = https://archive.org/details/isbn_9780192122711/page/262 [740] => }} [741] => * {{cite book [742] => |first = Ed [743] => |last = Tan [744] => |chapter = The Telling Face in Comic Strip and Graphic Novel [745] => |pages = 31–46 [746] => |title = The Graphic Novel [747] => |editor-first = Jan [748] => |editor-last = Baetens [749] => |publisher = [[Leuven University Press]] [750] => |year = 2001 [751] => |isbn = 978-90-5867-109-7}} [752] => * {{cite book [753] => |last = Weine [754] => |first = Stevan J. [755] => |title = Testimony After Catastrophe: Narrating the Traumas of Political Violence [756] => |publisher = [[Northwestern University Press]] [757] => |year = 2006 [758] => |isbn = 978-0-8101-2300-7}} [759] => * {{cite book [760] => |last = Weiner [761] => |first = Stephen [762] => |title = Faster than a Speeding Bullet: The Rise of the Graphic Novel [763] => |publisher = [[NBM Publishing]] [764] => |year = 2003 [765] => |isbn = 978-1-56163-368-5 [766] => |url-access = registration [767] => |url = https://archive.org/details/fasterthanspeedi0000wein [768] => }} [769] => * {{cite book [770] => |last1 = Williams [771] => |first1 = Paul [772] => |last2 = Lyons [773] => |first2 = James [774] => |title = The Rise of the American Comics Artist: Creators and Contexts [775] => |publisher = [[University Press of Mississippi]] [776] => |year = 2010 [777] => |isbn = 978-1-60473-792-9}} [778] => * {{cite book [779] => |first = Hana [780] => |last = Wirth-Nesher [781] => |author-link = Hana Wirth-Nesher [782] => |publisher = [[Princeton University Press]] [783] => |year = 2006 [784] => |title = Call It English: The Languages of Jewish American Literature [785] => |url = https://archive.org/details/callitenglishlan0000wirt [786] => |url-access = registration [787] => |isbn = 978-0-691-13844-2}} [788] => * {{cite book [789] => |last = Witek [790] => |first = Joseph [791] => |title = Comic Books as History: The Narrative Art of Jack Jackson, Art Spiegelman, and Harvey Pekar [792] => |publisher = [[University Press of Mississippi]] [793] => |year = 1989 [794] => |isbn = 978-0-87805-406-0}} [795] => * {{cite book [796] => |last = Wolk [797] => |first = Douglas [798] => |author-link = Douglas Wolk [799] => |title = Reading Comics: How Graphic Novels Work and What They Mean [800] => |url = https://books.google.com/books?id=NuW25idPmz8C [801] => |year = 2008 [802] => |publisher = Da Capo Press [803] => |isbn = 978-0-7867-2157-3 [804] => }} [805] => * {{cite book [806] => |last = Wood [807] => |first = Monica [808] => |chapter = Maus: A Survivor's Tale, Volumes I and II, by Art Spiegelman [809] => |title = 12 Multicultural Novels: Reading and Teacher Strategies [810] => |pages = 81–94 [811] => |publisher = Walch Publishing [812] => |year = 1997 [813] => |isbn = 978-0-8251-2901-8}} [814] => * {{cite book [815] => |last = Young [816] => |first = James E. [817] => |chapter = The Arts of Jewish Memory in a Postmodern Age [818] => |title = Meaning and Representation in History [819] => |editor-first = Jörn [820] => |editor-last = Rüsen [821] => |pages = 239–254 [822] => |publisher = [[Berghahn Books]] [823] => |year = 2006 [824] => |isbn = 978-1-57181-776-1}} [825] => [826] => {{Refend}} [827] => [828] => ====Journals and magazines==== [829] => {{Refbegin|colwidth=40em}} [830] => * {{cite magazine [831] => |title = Lemons into Lemonade [832] => |last = Arnold [833] => |first = Andrew D. [834] => |date = September 7, 2001 [835] => |url = http://content.time.com/time/arts/article/0,8599,173857,00.html#ixzz2tjvL07J8 [836] => |magazine = [[Time (magazine)|Time]] [837] => |access-date = February 19, 2014 [838] => }} [839] => * {{cite journal [840] => |last = Bolhafner [841] => |first = J. Stephen [842] => |date = October 1991 [843] => |journal = [[The Comics Journal]] [844] => |volume = 348 [845] => |publisher = [[Fantagraphics Books]] [846] => |pages = 96–99 [847] => |issn = 0194-7869 [848] => |title = Art for Art's Sake [849] => |issue = 145|bibcode = 1990Natur.348..280C [850] => |doi = 10.1038/348280d0 [851] => |doi-access= free [852] => }} [853] => * {{cite journal [854] => |last = Brown [855] => |first = Joshua [856] => |url = http://www.history.ucsb.edu/faculty/marcuse/classes/33d/33dTexts/maus/JBrownMiceMemoryOHR1988.htm [857] => |title = Of Mice and Memory [858] => |journal = Oral History Review [859] => |issue = Spring [860] => |year = 1988 [861] => |pages = 91–109 [862] => |publisher = [[Oral History Association]] [863] => |issn = 0094-0798|doi = 10.1093/ohr/16.1.91 [864] => }} [865] => * {{cite journal [866] => |last = Chute [867] => |first = Hillary [868] => |s2cid = 160818029 [869] => |title = "The Shadow of a past Time": History and Graphic Representation in "Maus" [870] => |jstor = 20479765 [871] => |journal = Twentieth Century Literature [872] => |date =Summer 2006 [873] => |volume = 52 [874] => |issue = 2 [875] => |pages = 199–230 [876] => |doi = 10.1215/0041462X-2006-3001 [877] => }} [878] => * {{cite journal [879] => |url = http://www.imageandnarrative.be/inarchive/issue08/olefrahm_geis.htm [880] => |access-date = January 30, 2012 [881] => |first = Ole [882] => |last = Frahm [883] => |title = Considering MAUS. Approaches to Art Spiegelman's "Survivor's Tale" of the Holocaust by Deborah R. Geis (ed.) [884] => |date = May 2004 [885] => |issue = 8 [886] => |issn = 1780-678X [887] => |journal = Image & Narrative}} [888] => * {{cite journal [889] => |url = http://www.english.ufl.edu/imagetext/archives/v1_1/gordon/ [890] => |journal = ImageText [891] => |volume = 1 [892] => |issue = 1 [893] => |issn = 1549-6732 [894] => |title = Jewish Fathers and Sons in Spiegelman's ''Maus'' and Roth's ''Patrimony'' [895] => |last = Gordon [896] => |first = Andrew [897] => |date =Spring 2004 [898] => |access-date = February 1, 2012}} [899] => * {{cite journal [900] => |last = Jannequin [901] => |first = Jean-Paul [902] => |title = Druillet and Spiegelman Take Grand Prizes [903] => |journal = [[The Comics Journal]] [904] => |issue = 121 [905] => |page = 19 [906] => |publisher = [[Fantagraphics Books]] [907] => |date = April 1990 [908] => |issn = 0194-7869}} [909] => * {{cite journal [910] => |last = Kannenberg [911] => |first = Gene Jr. [912] => |title = #4: ''Maus'' [913] => |journal = [[The Comics Journal]] [914] => |issue = 210 [915] => |editor-link = Gary Groth [916] => |editor-last = Groth [917] => |editor-first = Gary [918] => |publisher = [[Fantagraphics Books]] [919] => |date = February 1999 [920] => |issn = 0194-7869}} [921] => * {{cite journal [922] => |title = No Time Like the Present: Narrative and Time in Art Spiegelman's Maus [923] => |first = Erin Heather [924] => |last = McGlothlin [925] => |s2cid = 146408018 [926] => |journal = Narrative [927] => |volume = 11 [928] => |issue = 2 [929] => |date = May 2003 [930] => |pages = 177–198 [931] => |doi=10.1353/nar.2003.0007}} [932] => * {{cite journal [933] => |url = http://transatlantica.revues.org/4941 [934] => |title = Memory in Comics: Testimonial, Autobiographical and Historical Space in ''Maus'' [935] => |last = Merino [936] => |first = Ana [937] => |volume = 2010 [938] => |issue = 1 [939] => |issn = 1765-2766 [940] => |journal = TransAtlantica [941] => |year = 2010 [942] => |access-date = February 1, 2012}} [943] => * {{Cite journal|url = http://readperiodicals.com/201101/2269878841.html [944] => |title = Art Spiegelman's Maus: A Survivor's Tale: A Bibliographic Essay [945] => |first = Hye Su [946] => |last = Park [947] => |s2cid = 54749234 [948] => |journal = [[Shofar (journal)|Shofar]] [949] => |volume = 29 [950] => |issue = 2 [951] => |pages = 146–164 [952] => |date = January 1, 2011 [953] => |access-date = March 1, 2012|doi = 10.1353/sho.2011.0038 [954] => }} [955] => * {{cite journal [956] => |author-link = Harvey Pekar [957] => |last = Pekar [958] => |first = Harvey [959] => |title = ''Maus'' and Other Topics [960] => |journal = [[The Comics Journal]] [961] => |issue = 113 [962] => |date = December 1986 [963] => |pages = 54–57 [964] => |publisher = [[Fantagraphics Books]] [965] => |issn = 0194-7869}} [966] => * {{cite journal [967] => |author-link = Harvey Pekar [968] => |last = Pekar [969] => |first = Harvey [970] => |title = Blood and Thunder [971] => |journal = [[The Comics Journal]] [972] => |volume = 302 [973] => |issue = 135 [974] => |date = April 1990 [975] => |pages = 27–34 [976] => |publisher = [[Fantagraphics Books]] [977] => |issn = 0194-7869|bibcode = 1983Natur.302..784D [978] => |doi = 10.1038/302784a0 [979] => |doi-access= free [980] => }} [981] => * {{cite journal [982] => |last = Surridge [983] => |first = Matthew [984] => |title = When Extravagant Fantasies Become Drab Experiences [985] => |journal = [[The Comics Journal]] [986] => |issue = 235 [987] => |pages = 36–37 [988] => |publisher = [[Fantagraphics Books]] [989] => |date = July 2001 [990] => |issn = 0194-7869}} [991] => * {{cite journal [992] => |url = http://linguafranca.mirror.theinfo.org/print/0107/field_notes.html [993] => |access-date = May 15, 2012 [994] => |title = Pig Perplex [995] => |volume = 11 [996] => |issue = 5 [997] => |date = July–August 2001 [998] => |journal = [[Lingua Franca (magazine)|Lingua Franca]] [999] => |first = Lawrence [1000] => |last = Weschler}} [1001] => * {{cite journal [1002] => |url=http://www.english.ufl.edu/imagetext/archives/v1_1/witek/ [1003] => |last=Witek [1004] => |first=Joseph [1005] => |title=Imagetext, or, Why Art Spiegelman Doesn't Draw Comics [1006] => |journal=ImageTexT: Interdisciplinary Comics Studies [1007] => |volume=1 [1008] => |issue=1 [1009] => |year=2004 [1010] => |issn=1549-6732 [1011] => |publisher=[[University of Florida]] [1012] => |access-date=April 16, 2012 [1013] => |url-status=dead [1014] => |archive-url=https://web.archive.org/web/20141129013723/http://www.english.ufl.edu/imagetext/archives/v1_1/witek/ [1015] => |archive-date=November 29, 2014 }} [1016] => * {{cite journal [1017] => |author = Wizard staff [1018] => |title = 100 Greatest Graphic Novels of our Lifetime [1019] => |journal = [[Wizard (magazine)|Wizard]] [1020] => |issue = 212 [1021] => |publisher = [[Wizard Entertainment]] [1022] => |date = June 2009}} [1023] => [1024] => {{Refend}} [1025] => [1026] => ====Newspapers==== [1027] => {{Refbegin|colwidth=40em}} [1028] => * {{cite news [1029] => |url-status = dead [1030] => |archive-date = November 2, 2013 [1031] => |archive-url = https://web.archive.org/web/20131102231955/http://www.lesoir.be/archives?url=%2Fculture%2Fmedias%2F2012-03-05%2Fkatz-a-t-il-defigure-maus-900838.php [1032] => |url = https://www.lesoir.be/archives?url=/culture/medias/2012-03-05/katz-a-t-il-defigure-maus-900838.php [1033] => |newspaper = [[Le Soir]] [1034] => |title = Katz a-t-il défiguré Maus ? [1035] => |first = Daniel [1036] => |last = Couvreur [1037] => |date = March 5, 2012 [1038] => |language = fr [1039] => |access-date = June 15, 2012 [1040] => }} [1041] => * {{cite news [1042] => |url = https://www.nytimes.com/2011/10/13/books/metamaus-by-art-spiegelman-review.html [1043] => |title = After a Quarter-Century, an Author Looks Back at His Holocaust Comic [1044] => |first = Dwight [1045] => |last = Garner [1046] => |date = October 12, 2011 [1047] => |access-date = June 12, 2012 [1048] => |newspaper = [[The New York Times]]}} [1049] => * {{cite news [1050] => |ref = {{SfnRef|Ruth|2011}} [1051] => |last = Franklin [1052] => |first = Ruth [1053] => |title = Art Spiegelman's Genre-Defying Holocaust Work, Revisited [1054] => |url = http://www.tnr.com/article/the-read/95758/art-spiegelman-metamaus-holocaust-memoir-graphic-novel [1055] => |access-date = January 30, 2012 [1056] => |newspaper = [[The New Republic]] [1057] => |date = October 5, 2011}} [1058] => * {{cite news [1059] => |title = Of Maus and man: Art Spiegelman revisits his Holocaust classic [1060] => |first = Matthew [1061] => |last = Hays [1062] => |newspaper = [[The Globe and Mail]] [1063] => |date = October 8, 2011 [1064] => }} [1065] => * {{cite news [1066] => |url = https://www.nytimes.com/2011/12/04/books/review/the-making-of-maus.html [1067] => |title = The Making of 'Maus' [1068] => |access-date = January 27, 2012 [1069] => |date = December 2, 2011 [1070] => |newspaper = [[The New York Times]] [1071] => |first = Dan [1072] => |last = Kois}} [1073] => * {{cite news [1074] => |last = Langer [1075] => |first = Lawrence L [1076] => |title = A Fable Of The Holocaust [1077] => |url = https://www.nytimes.com/books/98/12/06/specials/spiegelman-maus2.html [1078] => |date = December 6, 1998 [1079] => |access-date = August 28, 2012 [1080] => |newspaper = [[The New York Times]]}} [1081] => * {{cite news [1082] => |url = https://www.nytimes.com/2004/07/11/magazine/11GRAPHIC.html..?scp=4&sq=drawn%20and%20quarterly%20fantagraphics&st=cse [1083] => |title = Not Funnies [1084] => |first = Charles [1085] => |last = McGrath [1086] => |date = July 11, 2004 [1087] => |newspaper = [[The New York Times]] [1088] => |access-date = June 7, 2012}} [1089] => * {{cite news [1090] => |author = New York Times staff [1091] => |date = March 11, 1987 [1092] => |access-date = January 30, 2012 [1093] => |title = Awards for Books With Jewish Themes [1094] => |url = https://www.nytimes.com/1987/03/11/books/awards-for-books-with-jewish-themes.html [1095] => |newspaper = [[The New York Times]]}} [1096] => [1097] => {{Refend}} [1098] => [1099] => ====Websites==== [1100] => {{Refbegin|colwidth=40em}} [1101] => * {{cite web [1102] => |url = http://www.comicsreporter.com/index.php/conversational_euro_comics_bart_beaty_on_katz/ [1103] => |last = Beaty [1104] => |first = Bart [1105] => |title = Conversational Euro-Comics: Bart Beaty On Katz [1106] => |publisher = [[Tom Spurgeon|The Comics Reporter]] [1107] => |date = March 7, 2012 [1108] => |access-date = April 17, 2012 [1109] => }} [1110] => * {{cite news [1111] => |url = http://www.ft.com/cms/s/0/69e9620e-bcdc-11dd-af5a-0000779fd18c.html#axzz1sPEGhAQq [1112] => |title = Breakfast with the FT: Art Spiegelman [1113] => |first = Rosie [1114] => |last = Blau [1115] => |newspaper = [[Financial Times]] [1116] => |date = November 29, 2008 [1117] => |access-date = April 18, 2012 [1118] => }}{{registration required}} [1119] => * {{cite news [1120] => |url = http://articles.latimes.com/1992-11-08/books/bk-205_1_maus-ii [1121] => |access-date = January 31, 2012 [1122] => |title = Times Book Prizes 1992 : Fiction : On ''Maus II'' [1123] => |date = November 8, 1992 [1124] => |first = James [1125] => |last = Colbert [1126] => |newspaper = [[Los Angeles Times]] [1127] => }} [1128] => * {{cite web [1129] => |author = Comic Salon staff [1130] => |year = 2012 [1131] => |url = http://www.comic-salon.de/index.asp?FsID=65&spr=1 [1132] => |title = Nominierungen/Preisträger seit 1984 [1133] => |publisher = Comic Salon [1134] => |language = de [1135] => |access-date = January 31, 2012 [1136] => }} [1137] => * {{cite web [1138] => |url = https://www.npr.org/2011/10/05/141085597/spiegelmans-metamaus-the-secrets-behind-maus?singlePage=true [1139] => |last = Conan [1140] => |first = Neal [1141] => |publisher = [[NPR]] [1142] => |date = October 5, 2011 [1143] => |title = 'MetaMaus': The Story Behind Spiegelman's Classic [1144] => |access-date = May 8, 2012 [1145] => }} [1146] => * {{cite web [1147] => |author = The Daily Free Press staff [1148] => |work = [[The Daily Free Press]] [1149] => |title = Cartoonist Sued for $1.5 Million [1150] => |date = September 28, 2000 [1151] => |access-date = February 19, 2014 [1152] => |url = http://dailyfreepress.com/2000/09/28/cartoonist-sued-for-1-5-million/ [1153] => |url-status = dead [1154] => |archive-url = https://web.archive.org/web/20140226061141/http://dailyfreepress.com/2000/09/28/cartoonist-sued-for-1-5-million/ [1155] => |archive-date = February 26, 2014 [1156] => }} [1157] => * {{cite web [1158] => |author=Eisner Awards staff [1159] => |year=2012 [1160] => |title=Complete List of Eisner Award Winners [1161] => |url=http://www.comic-con.org/cci/cci_eisners_pastwinners.php#1992 [1162] => |publisher=[[San Diego Comic-Con International]] [1163] => |access-date=January 31, 2012 [1164] => |url-status=dead [1165] => |archive-url=https://web.archive.org/web/20110427023810/http://www.comic-con.org/cci/cci_eisners_pastwinners.php [1166] => |archive-date=April 27, 2011 [1167] => }} [1168] => * {{cite magazine [1169] => |author = ''Entertainment Weekly'' staff [1170] => |url = http://www.ew.com/ew/article/0,,20207076_20207387_20207349,00.html [1171] => |title = The New Classics: Books [1172] => |magazine = [[Entertainment Weekly]] [1173] => |date = June 27, 2008 [1174] => |access-date = January 27, 2012 [1175] => |archive-date = January 27, 2012 [1176] => |archive-url = http://archive.wikiwix.com/cache/20120127131458/http://www.ew.com/ew/article/0,,20207076_20207387_20207349,00.html [1177] => |url-status = dead [1178] => }} [1179] => * {{cite web [1180] => |last = Gambino [1181] => |first = Lauren [1182] => |title = Art Spiegelman warns of 'dangerous' outcome as Russian shops ban Maus [1183] => |work = [[The Guardian]] [1184] => |date = April 28, 2015 [1185] => |url = https://www.theguardian.com/books/2015/apr/28/art-spiegelman-russia-maus-bookstores-holocaust [1186] => |access-date = August 23, 2015 [1187] => |archive-url = https://web.archive.org/web/20150602025312/http://www.theguardian.com/books/2015/apr/28/art-spiegelman-russia-maus-bookstores-holocaust [1188] => |archive-date = June 2, 2015 [1189] => }} [1190] => * {{cite magazine [1191] => |magazine = [[Time (magazine)|Time]] [1192] => |title = Top Ten Graphic Novels: ''Maus'' [1193] => |first = Lev [1194] => |last = Grossman [1195] => |url = http://entertainment.time.com/2009/03/06/top-10-graphic-novels/?iid=obinsite#maus [1196] => |date = March 6, 2009 [1197] => |access-date = April 16, 2012 [1198] => }} [1199] => * {{cite web [1200] => |url = http://urhunden.se/2007/08/08/satir-och-iransk-kvinnoskildring-far-seriepris/ [1201] => |access-date = April 27, 2012 [1202] => |title = Urhunden: Satir och iransk kvinnoskildring får seriepris [1203] => |first = Ola [1204] => |last = Hammarlund [1205] => |publisher = [[Urhunden Prizes|Urhunden]] [1206] => |language = sv [1207] => |date = August 8, 2007 [1208] => |archive-date = April 13, 2019 [1209] => |archive-url = https://web.archive.org/web/20190413001302/http://urhunden.se/2007/08/08/satir-och-iransk-kvinnoskildring-far-seriepris/ [1210] => |url-status = dead [1211] => }} [1212] => * {{cite web [1213] => |author=Harvey Awards staff [1214] => |year=1992 [1215] => |url=http://www.harveyawards.org/previous-awards-nominees/1992-harvey-awards/ [1216] => |title=1992 Harvey Award Winners [1217] => |publisher=[[Harvey Award]]s [1218] => |access-date=January 31, 2012 [1219] => |url-status=dead [1220] => |archive-url=https://web.archive.org/web/20160315021003/http://www.harveyawards.org/previous-awards-nominees/1992-harvey-awards/ [1221] => |archive-date=March 15, 2016 [1222] => }} [1223] => * {{cite web [1224] => |url = http://records.viu.ca/%7Ejohnstoi/introser/maus.htm [1225] => |title = On Spiegelman's Maus I and II [1226] => |first = Ian [1227] => |last = Johnston [1228] => |publisher = [[Vancouver Island University]] [1229] => |date = December 28, 2001 [1230] => |access-date = February 29, 2012 [1231] => |url-status = dead [1232] => |archive-url = https://web.archive.org/web/20120122105220/http://records.viu.ca/~johnstoi/introser/maus.htm [1233] => |archive-date = January 22, 2012 [1234] => |df = mdy-all [1235] => }} [1236] => * {{cite web [1237] => |url = http://www.indyweek.com/indyweek/high-art-hit-movies-and-manifestos/Content?oid=1188573 [1238] => |title = High Art, Hit Movies and Manifestos [1239] => |first = Todd [1240] => |last = Morman [1241] => |date = January 29, 2003 [1242] => |publisher = [[IndyWeek.com]] [1243] => |access-date = June 7, 2012 [1244] => }} [1245] => * {{cite web [1246] => |title = Balloonless {{!}} Art Spiegelman and Hillary Chute's MetaMaus [1247] => |first = J. Caleb [1248] => |last = Mozzocco [1249] => |url = http://robot6.comicbookresources.com/2011/12/balloonless-art-spiegelman-and-hillary-chutes-metamaus/ [1250] => |access-date = May 18, 2012 [1251] => |date = December 1, 2011 [1252] => |website = [[Comic Book Resources]] [1253] => |archive-date = December 4, 2011 [1254] => |archive-url = https://web.archive.org/web/20111204211849/http://robot6.comicbookresources.com/2011/12/balloonless-art-spiegelman-and-hillary-chutes-metamaus/ [1255] => |url-status = dead [1256] => }} [1257] => * {{cite web [1258] => |url = http://bookcritics.org/awards/past_awards/ [1259] => |year = 2012 [1260] => |access-date = January 31, 2012 [1261] => |author = National Book Critics Circle staff [1262] => |title = All Past National Book Critics Circle Award Winners and Finalists [1263] => |publisher = [[National Book Critics Circle]] [1264] => |archive-url = https://web.archive.org/web/20140408214249/http://bookcritics.org/awards/past_awards/ [1265] => |archive-date = April 8, 2014 [1266] => |url-status = dead [1267] => }} [1268] => * {{cite web [1269] => |ref = {{SfnRef|Obst|, "A Commentary on Maus by Art Spiegelman"}} [1270] => |title = A Commentary on ''Maus'' by Art Spiegelman [1271] => |url = http://www.polishcultureacpc.org/books/Maus.html [1272] => |first = Peter [1273] => |last = Obst [1274] => |publisher = [[American Council for Polish Culture]] [1275] => |access-date = May 16, 2012 [1276] => }} [1277] => * {{cite web [1278] => |author = Pulitzer Prize staff [1279] => |year = 2012 [1280] => |url = http://www.pulitzer.org/bycat/Special-Awards-and-Citations [1281] => |title = Special Awards and Citations [1282] => |publisher = [[Pulitzer Prize]]s [1283] => |access-date = January 31, 2012 [1284] => }} [1285] => * {{cite magazine [1286] => |magazine = [[Time (magazine)|Time]] [1287] => |title = All-TIME 100 Nonfiction Books: ''Maus'' [1288] => |first = Alexandra [1289] => |last = Silver [1290] => |url = http://entertainment.time.com/2011/08/30/all-time-100-best-nonfiction-books/slide/maus-by-art-spiegelman/#maus-by-art-spiegelman [1291] => |date = August 30, 2011 [1292] => |access-date = April 16, 2012 [1293] => }} [1294] => * {{cite web [1295] => |last = Smith [1296] => |first = Russ [1297] => |title = When Controversy Ralls the Comics World [1298] => |url = http://www.jewishworldreview.com/cols/mugger080599.asp [1299] => |work = [[Jewish World Review]] [1300] => |date = July 30, 1999 [1301] => |access-date = February 19, 2014 [1302] => }} [1303] => * {{cite web [1304] => |url = http://www.toutenbd.com/article.php3?id_article=833 [1305] => |author = Tout en BD staff [1306] => |publisher = Tout en BD [1307] => |year = 1993 [1308] => |access-date = January 31, 2012 [1309] => |language = fr [1310] => |title = Le festival BD: Le palmarès 1993 [1311] => |url-status = dead [1312] => |archive-url = https://web.archive.org/web/20111005042229/http://www.toutenbd.com/article.php3?id_article=833 [1313] => |archive-date = October 5, 2011 [1314] => }} [1315] => * {{cite web [1316] => |url = http://www.toutenbd.com/article.php3?id_article=838 [1317] => |publisher = Tout en BD [1318] => |author = Tout en BD staff [1319] => |year = 1998 [1320] => |access-date = January 31, 2012 [1321] => |language = fr [1322] => |title = Le festival BD: Le palmarès 1988 [1323] => |url-status = dead [1324] => |archive-url = https://web.archive.org/web/20120207232502/http://www.toutenbd.com/article.php3?id_article=838 [1325] => |archive-date = February 7, 2012 [1326] => }} [1327] => * {{cite web [1328] => |title = Maus: Revisited [1329] => |first = Saul [1330] => |last = Tzadka [1331] => |date = February 2, 2012 [1332] => |url = https://alondon.net/%D7%9C%D7%90-%D7%A0%D7%9E%D7%90%D7%A1-%D7%9E%D7%94%D7%A2%D7%9B%D7%91%D7%A8/ [1333] => |publisher = Alondon [1334] => |access-date = May 18, 2012 [1335] => }} [1336] => {{Refend}} [1337] => [1338] => ==Further reading== [1339] => {{Refbegin}} [1340] => * {{cite book [1341] => |editor-last1 = Banita [1342] => |editor-first1 = Georgiana [1343] => | editor-first2= Lee [1344] => | editor-last2= Konstantinou [1345] => |title = Artful Breakdowns: The Comics of Art Spiegelman [1346] => |publisher = [[University of Mississippi Press]] [1347] => |year = 2023 [1348] => |isbn = 978-1-4968-3750-9}} [1349] => * {{cite book [1350] => |chapter = Art Spiegelman's ''Maus'' and the Graphic Narrative [1351] => |first = Jeanne [1352] => |last = Ewert [1353] => |pages = 180–193 [1354] => |title = Narrative Across Media: The Languages of Storytelling [1355] => |editor-first = Marie-Laure [1356] => |editor-last = Ryan [1357] => |publisher = University of Nebraska Press [1358] => |year = 2004 [1359] => |isbn = 978-0-8032-8993-2}} [1360] => * {{cite book [1361] => |editor-last = Geis [1362] => |editor-first = Deborah R. [1363] => |title = Considering Maus: Approaches to Art Spiegelman's "Survivor's tale" of the Holocaust [1364] => |publisher = [[University of Alabama Press]] [1365] => |year = 2007 [1366] => |isbn = 978-0-8173-5435-0}} [1367] => * {{cite book [1368] => |last = Kannenberg [1369] => |first = Eugene P. [1370] => |title = Form, Function, Fiction: Text and Image in the Comics Narratives of Winsor McCay, Art Spiegelman, and Chris Ware [1371] => |publisher = [[University of Connecticut]] [1372] => |year = 2002 [1373] => |isbn = 978-0-493-69522-8|id = {{ProQuest|304791620}}}} [1374] => * {{cite book [1375] => |title = Maus: A Memoir of the Holocaust: Teacher's Guide [1376] => |url = http://www.vhec.org/images/pdfs/maus_guide.pdf [1377] => |first = Frieda [1378] => |last = Miller [1379] => |publisher = Vancouver Holocaust Education Centre [1380] => |year = 1998 [1381] => |isbn = 978-1-895754-29-2}} [1382] => * {{cite news|department=Books & the Arts|date=May 3, 2023|title=Past and Present: How Maus changed the way we think about comics|first=Jillian|last=Steinhauer|work=[[The Nation]]|url=https://www.thenation.com/article/culture/maus-now-breakdowns-art-spiegelman/}} [1383] => {{Refend}} [1384] => [1385] => ==External links== [1386] => {{Spoken Wikipedia|Maus.ogg|date=June 23, 2005}} [1387] => * {{Cite web |title=1992: Art Spiegelman on the CREATION of MAUS |publisher=BBC Archive |via=YouTube |date=1 April 1992 |url=https://www.youtube.com/watch?v=eE7uRyQxM1U}} [1388] => * {{Cite web |title='Maus' author Art Spiegelman shares the story behind his Pulitzer-winning work |date=February 11, 2022 |first=Terry |last=Gross |author-link=Terry Gross |url=https://www.npr.org/2022/02/11/1080095967/maus-author-art-spiegelman-shares-the-story-being-his-pulitzer-winning-work |website=NPR}} Audio and transcript excerpt from 1987 interview [1389] => * (video) [https://www.pbs.org/pov/inheritance/photo_gallery_special_maus.php Art Spiegelman and the Making of ''Maus''] {{Webarchive|url=https://web.archive.org/web/20151128221619/http://www.pbs.org/pov/inheritance/photo_gallery_special_maus.php |date=November 28, 2015}} (broken link) [1390] => * [http://www.randomhouse.com/highschool/catalog/display.pperl?isbn=9780394747231&view=tg Teacher's guide] at [[Random House]] [1391] => * [http://www3.iath.virginia.edu/holocaust/spiegelman.html Art Spiegelman's ''MAUS'': Working Through the Trauma of the Holocaust]. In ''Responses to the Holocaust'', [[University of Virginia]] [1392] => * [http://sounds.bl.uk/Arts-literature-and-performance/ICA-talks/024M-C0095X0516XX-0100V0 Spiegelman discusses ''Maus'' with Paul Gravett] - a British Library sound recording [1393] => [1394] => {{Art Spiegelman}} [1395] => {{Pantheon Comics}} [1396] => {{PulitzerPrize SpecialCitations Letters}} [1397] => {{Portal bar|Comics}} [1398] => {{Authority control}} [1399] => [1400] => {{DEFAULTSORT:Maus}} [1401] => [[Category:1980 comics debuts]] [1402] => [[Category:1991 graphic novels]] [1403] => [[Category:American Book Award-winning works]] [1404] => [[Category:American graphic novels]] [1405] => [[Category:Angoulême International Comics Festival Best Foreign Album award winners]] [1406] => [[Category:Autobiographical graphic novels]] [1407] => [[Category:Biographical graphic novels]] [1408] => [[Category:Books about the Holocaust]] [1409] => [[Category:Comics about animals]] [1410] => [[Category:Comics about dogs]] [1411] => [[Category:Comics about mice and rats]] [1412] => [[Category:Comics about Nazi Germany]] [1413] => [[Category:Comics about pigs]] [1414] => [[Category:Comics about the Holocaust]] [1415] => [[Category:Comics by Art Spiegelman]] [1416] => [[Category:Comics set during World War II]] [1417] => [[Category:Comics set in New York City]] [1418] => [[Category:Comics set in Poland]] [1419] => [[Category:Graphic novels set in the 1930s]] [1420] => [[Category:Graphic novels set in the 1940s]] [1421] => [[Category:Graphic novels set in the 1970s]] [1422] => [[Category:Graphic novels set in the 1980s]] [1423] => [[Category:Eisner Award winners]] [1424] => [[Category:Eisner Award winners for Best Graphic Album: Reprint]] [1425] => [[Category:Fiction set in 1978]] [1426] => [[Category:Fiction set in 1979]] [1427] => [[Category:Fictional mice and rats]] [1428] => [[Category:Harvey Award winners for Best Graphic Album of Previously Published Work]] [1429] => [[Category:Books about Jewish Polish history]] [1430] => [[Category:Graphic novels about Jews and Judaism]] [1431] => [[Category:McMinn County, Tennessee]] [1432] => [[Category:Non-fiction graphic novels]] [1433] => [[Category:Obscenity controversies in comics]] [1434] => [[Category:Pantheon Books graphic novels]] [1435] => [[Category:Pulitzer Prize-winning works]] [1436] => [[Category:Race-related controversies in comics]] [1437] => [[Category:Raw (magazine)]] [1438] => [[Category:Graphic novels set in Europe]] [1439] => [[Category:Graphic novels set in the United States]] [] => )
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Maus

"Maus" is a graphic novel written by Art Spiegelman, published in two volumes in 1986 and 1991. It tells the story of Spiegelman's father, Vladek, a Holocaust survivor, and their complex relationship.

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About

It tells the story of Spiegelman's father, Vladek, a Holocaust survivor, and their complex relationship. The novel uniquely depicts Jews as mice and Nazis as cats, employing anthropomorphism to explore the dynamics of power and oppression. Through a series of interviews with his father, Spiegelman delves into his family's history, the horrors of Auschwitz, and the long-lasting effects of trauma. "Maus" received critical acclaim and numerous awards, including the Pulitzer Prize, for its poignant portrayal of the Holocaust and the consequences it has on subsequent generations.

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