The Complete MAUS, english edition: Art Spiegelman

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a b Gorman, Steve (January 28, 2022). "Tennessee school board bans Holocaust-themed graphic novel 'Maus' ". Reuters . Retrieved January 28, 2022.

Eisner Awards staff (2012). "Complete List of Eisner Award Winners". San Diego Comic-Con International. Archived from the original on April 27, 2011 . Retrieved January 31, 2012. Mandel, Naomi (2006). "The Story of my Death: Night, Maus, Shoah and the Image of the Speaking Corpse". Against the Unspeakable: Complicity, the Holocaust, and Slavery in America. University of Virginia Press. pp.99–130. ISBN 978-0-8139-2581-3. 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". [17]On the occasion of the twenty-fifth anniversary of its first publication, here is the definitive edition of the book acclaimed as “the most affecting and successful narrative ever done about the Holocaust” (Wall Street Journal) and “the first masterpiece in comic book history” (The New Yorker). A titanic graphic story constructed during years of artistic effort to show, with detail and authenticity, one of the darkest episodes of human history. Frahm, Ole (May 2004). "Considering MAUS. Approaches to Art Spiegelman's "Survivor's Tale" of the Holocaust by Deborah R. Geis (ed.)". Image & Narrative (8). ISSN 1780-678X . Retrieved January 30, 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.

Throughout the book the artist/author is a featured character struggling with his curmudgeonly father while he tries to document the story of his father's time in 1930s and 40s Poland and Germany. His experiences with his father are as much a part of the book as the stories he is trying to document. Fronczek, Mel. "Defense of 'Maus' erupts online after McMinn County schools remove it from curriculum". The Tennessean. Nashville. Maus ranked highly on comics and literature lists. The Comics Journal called it the fourth greatest comics work of the 20th century, [4] and Wizard placed it first on their list of 100 Greatest Graphic Novels. [148] Entertainment Weekly listed Maus at seventh place on their list of "The New Classics: Books – The 100 Best Reads from 1983 to 2008", [149] and Time put Maus at seventh place on their list of best non-fiction books from between 1923 and 2005, [150] and fourth on their list of top graphic novels. [151] Praise for the book also came from contemporaries such as Jules Feiffer and literary writers such as Umberto Eco. [152] Spiegelman turned down numerous offers to have Maus adapted for film or television. [153]I mean, while I agree that Jew Holocaust isn’t a humorous matter, I supposed that it would be some “imaginative” use of places, tools, terms, etc… taking in account that the story was full of mice, cats and even pigs (with some frog or dog, here and there). Williams, Paul; Lyons, James (2010). The Rise of the American Comics Artist: Creators and Contexts. University Press of Mississippi. ISBN 978-1-60473-792-9.

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. [61] Publication history [ edit ] Baker, Steve (1993). Picturing the Beast: Animals, Identity, and Representation. Manchester University Press. ISBN 978-0-7190-3378-0. (attributed to Kohn, Marek (September 10, 1987). "Paws and Whiskers". The Listener: 25. ) Comic Salon staff (2012). "Nominierungen/Preisträger seit 1984" (in German). Comic Salon . Retrieved January 31, 2012.Weschler, Lawrence (July–August 2001). "Pig Perplex". Lingua Franca. 11 (5) . Retrieved May 15, 2012. Entertainment Weekly staff (June 27, 2008). "The New Classics: Books". Entertainment Weekly. Archived from the original on January 27, 2012 . Retrieved January 27, 2012.

One of the clichés about the Holocaust is that you can't imagine it - Spiegelman disproves this theory ( Independent) Kaplan 2008, p.172; Sabin 1993, p.246; Stringer 1996, p.262; Ahrens & Meteling 2010, p.1; Williams & Lyons 2010, p.7. A remarkable feat of documentary detail and novelistic vividness...an unfolding literary event ( New York Times Book Review) A quiet triumph, moving and simple– impossible to describe accurately, and impossible to achieve in any medium but comics.”In making people of a single nationality look "all alike", Spiegelman hoped to show the absurdity of dividing people by these lines. In a 1991 interview, Spiegelman noted that "these metaphors... are meant to self-destruct in my book — and I think they do self-destruct." Stringer, Jenny, ed. (1996). "Graphic novel". The Oxford Companion to Twentieth-Century Literature in English. Oxford University Press. p. 262. ISBN 978-0-19-212271-1.