The Complete MAUS, english edition: Art Spiegelman

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How do his experiences in the war affect Vladek's behavior as an old man? How do survivors of deep trauma cope with their emotions? A remarkable work, awesome in its conception and execution… at one and the same time a novel, a documentary, a memoir, and a comic book. Brilliant, just brilliant.” Kannenberg, Eugene P. (2002). Form, Function, Fiction: Text and Image in the Comics Narratives of Winsor McCay, Art Spiegelman, and Chris Ware. University of Connecticut. ISBN 978-0-493-69522-8. ProQuest 304791620. Spiegelman consigue con este comic dar con una forma distinta de interesarnos una vez más en las atrocidades del holocausto, lo que tiene su mérito pues todo lo contado en Maus lo hemos leído y/o visto muchas veces. Es por ello que durante su lectura acudirán a sus mentes historias de otras novelas, escenas de otras películas.

A brutally moving work of art—widely hailed as the greatest graphic novel ever written— Maus recounts the chilling experiences of the author’s father during the Holocaust, with Jews drawn as wide-eyed mice and Nazis as menacing cats.McGlothlin, Erin Heather (2006). " 'In Auschwitz We Didn't Wear Watches': Marking Time in Art Spiegelman's Maus". Second-Generation Holocaust Literature: Legacies of Survival and Perpetration. Camden House Publishing. pp.66–90. ISBN 978-1-57113-352-6. Wegner, Rachel (January 27, 2022). "Tennessee school board's removal of Holocaust book 'Maus' draws international attention". The Tennessean . Retrieved January 28, 2022. Johnston, Ian (December 28, 2001). "On Spiegelman's Maus I and II". Vancouver Island University. Archived from the original on January 22, 2012 . Retrieved February 29, 2012. 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, [119] thus degrading Spiegelman's subject matter, especially as he used animal heads in place of recognizably human ones. [120] Talking animals 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, [121] 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. [122] Most of the book weaves in and out of two timelines. In the frame tale of the narrative present, Spiegelman interviews his father Vladek in the Rego Park neighborhood of Queens in New York City in 1978–79. [1] [2] [3] 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. [2] [4]

a b Chris Boyette (January 28, 2022). "A Tennessee school board removed the graphic novel 'Maus', about the Holocaust, from curriculum due to language and nudity concerns". CNN. However, definitely the graphic format of this story makes possible for readers to be witness from the begining until the end (and even further) of the whole tragic and cruel process of what Jews endured (and not many were able to get out alive from it) during the World War II. Defense of 'Maus' erupts online after McMinn County schools remove it from curriculum". Yahoo. January 28, 2022. 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, [112] which became his daily language when he moved to America. [113] 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?" [114] Later, describing his internment, he tells Art, "[E]very day we prayed... I was very religious, and it wasn't else to do". [115] 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. Again, not just the Krauts. Both are not wanted questions that will still take much time to be answered, because no company, government, or religion wants to have anything to do with mass murder and war. But today, with big history and more and more facts coming up, it´s quite clear to see who gave money, not just to the Nazi party, but to all the varieties of it in the UK, US, France, etc. It´s just that nobody talks about that, just as slavery and colonialism tend to be avoided as unwanted elephants in the room, no matter how omnipresent their consequences are. So the biggest bigotry lies in the fact that

A remarkable feat of documentary detail and novelistic vividness...an unfolding literary event ( New York Times Book Review)

Horowitz, Sara R. (1997). "Art Spiegelman". In Shatzky, Joel; Taub, Michael (eds.). Contemporary Jewish-American Novelists: A Bio-Critical Sourcebook. Greenwood Publishing Group. pp.400–408. ISBN 978-0-313-29462-4. Setting: Poland and Germany (1930s and 40s); Rego Park, Queens (1970s and 80s); Catskill Mountains (1979); New York City (1987). Hungerford, Amy (2003). "Surviving Rego Park". The Holocaust of Texts: Genocide, Literature, and Personification. University of Chicago Press. pp.73–96. ISBN 978-0-226-36076-8. Whether you’ve read it or not, I’m sure you’ve heard of Art Spiegelman's Maus. First and foremost, in 1992, Maus became the first graphic novel to ever win a Pulitzer Prize (the Special Award in Letters). Decades later, in 2022, Maus is still in the news, because a school in Tennessee removed the book from its curriculum, deeming it “inappropriate” on account of language and nudity. When a book is controversial/banned, I tend to want to read it more. I hope there are more like me out there (including those kids who are being deprived of the opportunity to learn about it in school! It's the true story of a Jewish man who survived the Holocaust in wartime Europe. This is history. It happened!)Kois, Dan (December 2, 2011). "The Making of 'Maus' ". The New York Times . Retrieved January 27, 2012. Sobre el comic en sí no puedo decir mucho, no soy un consumidor habitual de este formato, el resultado es oscuro, todo él en blanco y negro, como todo el testimonio gráfico que de aquello se tiene, el trazo, basto y, sin embargo, eficaz, los personajes apenas muestras rasgos que los distingan a unos de otros. La estructura del relato es compleja y juega a varios niveles, existen muchos elementos metafóricos, algunos evidentes como la identificación de las nacionalidades con distintos animales o que los judíos, vengan de donde vengan, sean siempre ratones o los cruces de caminos con forma de esvástica… otros son más sutiles. Smith, Russ (July 30, 1999). "When Controversy Ralls the Comics World". Jewish World Review . Retrieved February 19, 2014. Spiegelman has turned the exuberant fantasy of comics inside out by giving us the most incredible fantasy in comics’ history: something that actually occurred…. The central relationship is not that of cat and mouse, but that of Art and Vladek. Maus is terrifying not for its brutality, but for its tenderness and guilt.”