Hays, Matthew (October 8, 2011). "Of Maus and man: Art Spiegelman revisits his Holocaust classic". The Globe and Mail. Like all great stories, it tells us more about ourselves than we could ever suspect' Philip Pullman Like many great graphic novel masterpieces with important messages, it has some postmodernist elements even questioning the seemingly positive elements, besides the detailed descriptions of atrocities. That´s especially exemplified by and even while I was sure that it will be a crude telling, I didn’t expect that the only difference between “reality” and this graphic novel would be the choice of using “animals” as the characters in the story. Spiegelman figlio intervista Spiegelman padre sulla Shoah (la madre è morta suicida, il fratello maggiore è morto avvelenato dalla zia, anche lei suicida, per evitargli l’orrore del campo di sterminio).

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.” This story is not a pleasant one but it is incredible. It's not easy to read at times but it's essential. It's about so many things. If you read this and it doesn't affect you, you are heartless. Smith, Russ (July 30, 1999). "When Controversy Ralls the Comics World". Jewish World Review . Retrieved February 19, 2014. Kannenberg, Gene Jr. (February 1999). Groth, Gary (ed.). "#4: Maus". The Comics Journal. Fantagraphics Books (210). ISSN 0194-7869.Fronczek, Mel. "Defense of 'Maus' erupts online after McMinn County schools remove it from curriculum". The Tennessean. Nashville.

Spiegelman winning a Pulitzer Prize (and Guggenheim Fellowship) for this work, was a first for a graphic novel. Spiegelman captures the story of his Polish Jewish father's life before and after the second world war, but it could be said as importantly gives episodic accounts about his relationship with his father as he recorded his history; and as a result gave examples of the reality of how the horrors of occupied Europe and Auschwitz not only impacted on the survivors, but also their children's lives. A powerful book, made strangely with more impact because all the Jews are portrayed as mice, the Germans' cats, Poles' pigs, Americans' as dogs etc. 9 out of 12. Sales soar for 'Maus' after its banning in Tennessee". Fox 44 Waco. Associated Press. January 28, 2022 . Retrieved February 5, 2022. Weine, Stevan J. (2006). Testimony After Catastrophe: Narrating the Traumas of Political Violence. Northwestern University Press. ISBN 978-0-8101-2300-7. Ahrens, Jörn; Meteling, Arno (2010). Comics and the City: Urban Space in Print, Picture, and Sequence. Continuum International Publishing Group. ISBN 978-0-8264-4019-8. One of my favourite parts of Maus was the relationship between Art and Vladek. Art has a lot of guilt over having such an easy life when his parents went through a hell he couldn't even imagine. Even so, Art and Vladek have a pretty normal father/son relationship. I felt so bad for Vladek at times with the way Art would treat him but it was a normal father/son relationship in the way that sons don't always treat their fathers the best.En mi caso, la novela que aparecía a menudo en mi cabeza era «Sin destino», de Imre Kertész, empezando por el tono fr��o y distante que comparten ambas historias, doblemente subrayado en el comic al estar los personajes caracterizados por animales —ratones para los judíos, gatos para los alemanes, cerdos para los polacos, perros para los norteamericanos…—, una frialdad que se atenúa considerablemente en los momentos en los que se trata de la relación que el dibujante mantenía con su padre, protagonista y fuente de información, o cuando cuestiona su propio trabajo, estando en ambas situaciones muy presente el sentimiento de culpa, por la distancia que siempre estableció el autor con su padre, por un lado, y por el sentimiento de estar haciendo negocio con el dolor de los judíos, por el otro. In fondo le dimensioni delle vignette di Spiegelman fanno davvero venire in mente i fotogrammi di un film 35 mm). 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]