Mouse Book: A Story of Apodemus, a Long-tailed Field Mouse

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Chute, Hillary L (2010). Graphic Women: Life Narrative and Contemporary Comics. Columbia University Press. ISBN 978-0-231-15062-0. Jannequin, Jean-Paul (April 1990). "Druillet and Spiegelman Take Grand Prizes". The Comics Journal. Fantagraphics Books (121): 19. ISSN 0194-7869. It shows people hanging,” he said. “It shows them killing kids. Why does the education system promote this kind of stuff? It is not wise or healthy.”

Entertainment Weekly staff (June 27, 2008). "The New Classics: Books". Entertainment Weekly. Archived from the original on January 27, 2012 . Retrieved January 27, 2012. 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 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. [102] 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. [103] 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. [104] [105] 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. [27] [106] Racism [ edit ] Art tried to keep his father's story chronological, because otherwise he would "never keep it straight". [100] 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. [101] Guilt [ edit ]

It’s leaving me with my jaw open, like, ‘What?’” he said, adding that the board was acting in “Orwellian” fashion. Baym, Nina; Klinkowitz, Jerome; Krupat, Arnold; Wallace, Patricia B., eds. (2007). The Norton Anthology of American Literature. Vol.E. W. W. Norton. ISBN 978-0393927436.

Rothberg, Michael (2000). Traumatic Realism: The Demands of Holocaust Representation. University of Minnesota Press. ISBN 978-0-8166-3459-0. Ball, David M.; Kuhlman, Martha B. (2010). The Comics of Chris Ware: Drawing Is a Way of Thinking. University Press of Mississippi. ISBN 978-1-60473-442-3. 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 [52] in a surreal, German Expressionist woodcut style inspired by Lynd Ward. [123]

In response to Spiegelman’s Maus I and Maus II being removed from the schools by McMinn county, Tennessee school board members, I am offering this free online course for any McMinn county eighth-grade or high school students interested in reading these books with me,” said Scott Denham of Davidson College. 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". [51] 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". [51] Artwork [ edit ] Kois, Dan (December 2, 2011). "The Making of 'Maus' ". The New York Times . Retrieved January 27, 2012.

Moss, Joshua Louis (2017). Why Harry Met Sally: Subversive Jewishness, Anglo-Christian Power, and the Rhetoric of Modern Love. University of Texas Press. ISBN 978-1-4773-1283-4. Spelled "Rysio" in Polish. "Richieu" is Spiegelman's misspelling, as he had not previously seen his brother's name written down. [10] [11] To Marianne Hirsch, Spiegelman's life is "dominated by memories that are not his own". [98] 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". [99] In the field of psychology, this is called transgenerational trauma or generational trauma.

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Spiegelman dedicated Maus to his brother Richieu and his first daughter Nadja. [71] The book's epigraph is a quote from Adolf Hitler: "The Jews are undoubtedly a race, but they are not human". [72] International publication [ edit ] Gordon, Andrew (Spring 2004). "Jewish Fathers and Sons in Spiegelman's Maus and Roth's Patrimony". ImageText. 1 (1). ISSN 1549-6732 . Retrieved February 1, 2012. Wolk, Douglas (2008). Reading Comics: How Graphic Novels Work and What They Mean. Da Capo Press. ISBN 978-0-7867-2157-3. Mangan, Dan (January 26, 2022). "Tennessee school board bans Holocaust graphic novel 'Maus' – author Art Spiegelman condemns the move as 'Orwellian' ". CNBC . Retrieved January 28, 2022.