Comic Salon staff (2012). "Nominierungen/Preisträger seit 1984" (in German). Comic Salon . Retrieved January 31, 2012. Rothberg, Michael (2000). Traumatic Realism: The Demands of Holocaust Representation. University of Minnesota Press. ISBN 978-0-8166-3459-0.

Berger, James (1999). After the End: Representations of Post-Apocalypse. University of Minnesota Press. ISBN 978-0-8166-2932-9.Chute, Hillary L (2010). Graphic Women: Life Narrative and Contemporary Comics. Columbia University Press. ISBN 978-0-231-15062-0. Colbert, James (November 8, 1992). "Times Book Prizes 1992: Fiction: On Maus II". Los Angeles Times . Retrieved January 31, 2012.

It’s leaving me with my jaw open, like, ‘What?’” he said, adding that the board was acting in “Orwellian” fashion. 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. Kois, Dan (December 2, 2011). "The Making of 'Maus' ". The New York Times . Retrieved January 27, 2012. Abell, Catharine (2012). "Comics and Genre". In Meskin, Aaron; Cook, Roy T (eds.). The Art of Comics: A Philosophical Approach. John Wiley & Sons. ISBN 978-1-4443-3464-7.Pekar, Harvey (April 1990). "Blood and Thunder". The Comics Journal. Fantagraphics Books. 302 (135): 27–34. Bibcode: 1983Natur.302..784D. doi: 10.1038/302784a0. ISSN 0194-7869.

Harvey Awards staff (1992). "1992 Harvey Award Winners". Harvey Awards. Archived from the original on March 15, 2016 . Retrieved January 31, 2012. Monnin, Katie (2010). Teaching Graphic Novels: Practical Strategies for the Secondary ELA Classroom. Maupin House Publishing, Inc. ISBN 978-1-934338-40-7. 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] Duncan, Randy; Smith, Matthew J (2009). The Power of Comics. Continuum International Publishing Group. ISBN 978-0-8264-2936-0. 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. )

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Rice, Maria J. (2007). Migrations of Memory: Postmemory in Twentieth Century Ethnic American Women's Literature. ISBN 978-0-549-69539-4. Efforts have also emerged to make Maus more accessible to students. One professor at a North Carolina college offered eighth-grade and high-school students in McMinn county a free online class. Fagan, Bryan D.; Fagan, Jody Condit (2011). "Medium or Genre?". Comic Book Collections for Libraries. ABC-CLIO. p.3. ISBN 978-1-59884-511-2. Wegner, Rachel (January 27, 2022). "Tennessee school board's removal of Holocaust book 'Maus' draws international attention". The Tennessean. Nashville . Retrieved January 28, 2022.

Tan, Ed (2001). "The Telling Face in Comic Strip and Graphic Novel". In Baetens, Jan (ed.). The Graphic Novel. Leuven University Press. pp.31–46. ISBN 978-90-5867-109-7.Reizbaum, Marilyn (2000). Silberstein, Laurence Jay (ed.). Mapping Jewish Identities. New York University Press. ISBN 978-0-8147-9769-3. 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 ]