Maus 1

Maus

MausCover of the first volume of Maus

Creator Art Spiegelman

Date 1991

Page count 296 pages

Publisher Pantheon Books

Original publication

Published in Raw

Issues Vol. 1 No. 2 – Vol. 2 No. 3

Date(s) of publication 1980–91

ISBN 0-394-54155-3 (Vol. I)0-394-55655-0 (Vol. II)

Chronology

Preceded by Breakdowns (1978)

Followed by In the Shadow of No Towers (2004)

Maus is a graphic novel completed in 1991 by American cartoonist Art Spiegelman. It depicts Spiegelmaninterviewing his father about his experiences as a Polish Jew and Holocaust survivor. The book uses postmoderntechniques—most strikingly in its depiction of races of humans as different kinds of animals, with Jews as mice,Germans as cats and non-Jewish Poles as pigs. Maus has been described as memoir, biography, history, fiction,autobiography, or a mix of genres. In 1992 it became the first graphic novel to win a Pulitzer Prize.In the frame tale timeline in the narrative present, beginning in 1978 in Rego Park, New York, Spiegelman talks withhis father about his Holocaust experiences, gathering material for the Maus project he is preparing. In the narrativepast, Spiegelman depicts these experiences, starting in the years leading up to World War II. Much of the storyrevolves around Spiegelman's troubled relationship with his father, and the absence of his mother who committedsuicide when he was 20. Her grief-stricken husband destroyed her written accounts of Auschwitz. The book uses aminimalist drawing style while displaying innovation in its page and panel layouts, pacing, and structure.A three-page 1972 strip by Spiegelman, also called "Maus", was the impetus for Spiegelman to interview his fatherabout his life during World War II. The recorded interviews became the basis for the graphic novel, whichSpiegelman began in 1978. Maus was serialized from 1980 until 1991 as an insert in Raw, an avant-garde comicsand graphics magazine published by Spiegelman and his wife, Françoise Mouly. It was one of the first graphicnovels to receive academic attention in the English-speaking world.

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SynopsisMost of the book weaves in and out of two timelines. In the frame tale of the narrative present,[1] Spiegelmaninterviews his father, Vladek, in Rego Park, New York,[2] in 1978–79.[3] The story that Vladek tells is depicted in thenarrative past, which begins in the mid-1930s[2] and continues until the end of the Holocaust in 1945.[4]

In Rego Park in 1958,[3] a young Art Spiegelman complains to his father that his friends have left him behind. Hisfather responds in broken English, "Friends? Your friends? If you lock them together in a room with no food for aweek, then you could see what it is, friends!"[5]

As an adult, Art visits his father, from whom he has become estranged.[6] Vladek has married a woman called Malain the time since the 1968 suicide of Art's mother, Anja.[7] Art wants Vladek to recount his Holocaust experience.[6]

Vladek tells of his time in Częstochowa,[8] describing how he came to marry into Anja's wealthy family in 1937 andmove to Sosnowiec to become a manufacturer. Vladek begs Art not to include this part of the story in the book, andArt reluctantly agrees.[9] Anja suffers a breakdown due to postpartum depression[10] after giving birth to their firstson, Richieu,[11] </ref> and the couple go to a sanitarium in Nazi-occupied Czechoslovakia for her to recover. Afterthey return, political and antisemitic tensions build until Vladek is drafted just before the Nazi invasion. Vladek iscaptured at the front and forced to work as a prisoner of war. After he is released, he finds Sosnowiec has beenannexed by Germany, and he is dropped off on the other side of the border in the Polish protectorate. He sneaksacross the border and reunites with his family.[12]

During one of Art's visits, he finds that a friend of Mala's has sent the couple one of the underground comixmagazines Art had contributed to. Mala had tried to hide it, but Vladek finds and reads it. In "Prisoner on the HellPlanet",[13] Art is traumatized by his mother's suicide three months after his release from the mental hospital, and inthe end depicts himself behind bars, saying "You murdered me, Mommy, and left me here to take the rap!"[14]

Though it brings back painful memories, Vladek admits that dealing with the issue in such a way was for the best.[15]

In 1943, Sosnowiec Ghetto's Jews are moved to Srodula, then marched to Sosnowiec to work. The family splitsup—Vladek and Anja send Richieu to Zawiercie to be with his aunt, where they believe he will be safe. As theroundups increase, and more Jews are sent from the ghettos to Auschwitz, the aunt poisons herself, her children, andRichieu to escape the Gestapo. In Srodula, many Jews, including Vladek, build bunkers to hide from the Germans.Vladek's bunker is discovered and he is placed into a "ghetto inside the ghetto", surrounded by barbed wire. Theremnants of Vladek and Anja's family are taken away.[12] Srodula is cleared of its Jews, except for a group Vladekhides with in another bunker. When the Germans depart, the group splits up and leaves the ghetto.[16]

In Sosnowiec, Vladek and Anja move from one hiding place to the next, making occasional contact with other Jewsin hiding. Vladek disguises himself as an ethnic Pole and hunts for provisions. They arrange with smugglers toescape to Hungary, but it is a trick—the Gestapo arrest them on the train and take them to Auschwitz, where they areseparated until after the war.[16]

Art asks after Anja's diaries, which Vladek tells him were her account of her Holocaust experiences. They are theonly way to find out what happened to her after her separation from Vladek at Auschwitz. Vladek tells Art she hadsaid, "I wish my son, when he grows up, he will be interested in this." Vladek comes to admit that he burned themafter she killed herself. Art is enraged, and calls Vladek a "murderer".[17]

The story jumps to 1986, after the first six chapters of Maus had been collected into a single volume. Art isovercome with the unexpected attention the book receives,[4] finding himself "totally blocked". Art talks with hispsychiatrist, Paul Pavel, a Czech Holocaust survivor,[18] about the book. Pavel suggests that, as those who perishedin the camps can never tell their stories, "maybe it's better not to have any more stories". Art replies with a quotefrom Samuel Beckett: "Every word is like an unnecessary stain on silence and nothingness", but then realizes, "onthe other hand, he said it".[19]

Vladek tells of his hardship in the camps, of starvation and abuse, of his resourcefulness, of avoiding the selektionen—the selection process by which prisoners were selected for further labor or execution.[20] Though it is

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dangerous, Anja and Vladek can occasionally exchange messages. As the war progresses and the German front ispushed back, the prisoners are marched from Auschwitz in Poland to Gross-Rosen within the Reich, and then toDachau, where the hardships only increase and Vladek catches typhus.[21]

The war ends, the camp survivors are freed, and Vladek and Anja reunite. The book closes with Vladek turning overin his bed and telling Art, "I'm tired from talking, Richieu, and it's enough stories for now."[22] The final image is ofVladek and Anja's tombstone[23]—Vladek died in 1982, before the book was completed.[24]

Primary characters<dfn>Art Spiegelman</dfn>

Art[25] </ref> (born 1948)[26] is a cartoonist and intellectual.[3] Art is presented as egocentric,[27] neurotic andobsessive, angry and full of self-pity.[3] He deals with his own traumas and those inherited from his parents byseeking psychiatric help,[10] which continued after the book was completed.[28] He has a strained relationshipwith his father, Vladek,[29] by whom he feels dominated.[3] At first, he displays little sympathy for his father'shardships, but shows more as the narrative unfolds.[27]

<dfn>Vladek Spiegelman</dfn>Vladek[30] of which "Wladec" is a diminutive. "Vladek" is the Russian version of this name, which was pickedup when the area in which Vladek lived was controlled by Russia. This spelling was chosen for Maus as it wasdeemed the easiest spelling for English speakers to pronounce correctly. The German version of his name was"Wilhelm" (or "Wolf" for short), and he became William when he moved to the US.[31] </ref> (1906–1982)[32]

is a Polish Jew who survived the Holocaust, then moved to the U.S. in the early 1950s. Speaking brokenEnglish,[33] he is presented as miserly, anal retentive, anxious and obstinate—traits that may have helped himsurvive the camps, but which drive his family mad. He displays racist attitudes, as when Françoise picks up anAfrican American hitchhiker, whom he fears will rob them.[34] He shows little insight into his own racistcomments about others.[24]

<dfn>Mala Spiegelman</dfn>Mala (1917–2007)[35] is Vladek's second wife. Vladek makes her feel that she can never live up to Anja.[36]

Though she too is a survivor and speaks with Art throughout the book, Art makes no attempt to learn of herHolocaust experience.[37]

<dfn>Anja Spiegelman</dfn><dfn >Also a Polish Jew who has survived the Holocaust, Anja[38] </ref> (1912–1968)[32] is Art's mother andVladek's first wife. Nervous, compliant, and clinging, she has her first nervous breakdown after giving birth to herfirst son.[39] She sometimes told Art about the Holocaust while he was growing up, although his father did not wanthim to know about it. She killed herself by slashing her wrists in a bathtub in May 1968,[40] and left no suicidenote.[41]</dfn><dfn>Françoise Mouly</dfn>

Françoise (born 1955)[26] is married to Art. She is French, and converted to Judaism[42] to please Art's father.It is unclear to Spiegelman whether she should be represented as a Jewish mouse, a French frog, or some otheranimal.[43]

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BackgroundArt Spiegelman was born on February 15, 1948 in Sweden, to Polish Jews and Holocaust survivors Vladek and AnjaSpiegelman. His brother Richieu had been poisoned by an aunt in order to avoid capture by the Nazis four yearsbefore Art's birth.[44] He and his parents immigrated to the United States in 1951.[45] While he was growing up, hismother occasionally talked about Auschwitz, but his father did not want him to know about it.[28]

Spiegelman developed an early interest in comics and began drawing professionally at 16.[46] He spent a month inBinghamton State Mental Hospital in 1968 after a nervous breakdown. Shortly after he got out, his mothercommitted suicide.[2] The elder Spiegelman was not happy with his son's involvement in the hippie movement.Spiegelman said that when he bought himself a German Volkswagen, it damaged their already-strained relationship"beyond repair".[47] Around this time Spiegelman had been reading in fanzines about graphic artists such as FransMasereel who had made wordless novels. The discussions in those fanzines about making the Great American Novelin comics inspired him.[48]

Spiegelman became a key figure in the underground comix movement of the 1970s, both as cartoonist and editor.[49]

Justin Green was a cartoonist who had produced the semi-autobiographical Binky Brown Meets the Holy Virgin Maryin 1972, an influential work which inspired other underground cartoonists produce more personal, revealingwork.[50] The same year, Green asked Spiegelman to contribute a three-page strip for the first issue of FunnyAminals [sic], which Green edited.[49] Spiegelman wanted to do a strip about racism, and at first considered focusingon African Americans,[51] with cats taking on the role of the Ku Klux Klan chasing African-American mice.[52]

Instead, he turned to the Holocaust. The strip was called "Maus" and depicted Nazi cats, called die Katzen,persecuting Jewish mice. The tale was narrated to a mouse named "Mickey".[49] After finishing the strip, Spiegelmanvisited his father to show him the finished work, which had been partially based on an anecdote he had heard abouthis father's Auschwitz experience. His father gave him further background on the story, which piqued Spiegelman'sinterest to learn more. Spiegelman did a series of taped interviews over four days with his father, which provided thebasis of the longer Maus.[53] Spiegelman followed up with extensive research, reading survivors' accounts andtalking to friends and family who had also survived. One "really important" source for him was a series of Polishpamphlets published after the war which detailed what happened to the Jews by region. From this he was able to getdetailed information about Sosnowiec.[54]

Spiegelman visited Auschwitz in 1979 as part ofhis research.

In 1973, he produced a strip for Short Order Comix #1[55] about hismother's suicide called "Prisoner on the Hell Planet". The same year,he edited a pornographic, psychedelic book of quotations, which hededicated to his mother.[40] He spent the rest of the 1970s building hisreputation making short, avant-garde comics. He moved back to NewYork from San Francisco in 1975, which he admitted to his father onlyin 1977, by which time he had decided he wanted to work on a "verylong comic book".[15] He began another series of interviews with hisfather in 1978,[47] and visited Auschwitz in 1979.[56] The story wasserialized in a comics and graphics magazine he and Mouly began in1980 called Raw.[57]

Comics mediumAmerican comic books, which had been big business with a diversity of genres in the 1940s and 1950s,[58] had reached a low ebb in the 1970s.[59] By the time Maus began serialization, the "Big Two" comics publishers, Marvel and DC Comics, dominated the industry with mostly superhero titles.[60] The underground comix movement that had flourished in the late 1960s and early 1970s also seemed moribund.[61] The public perception of comic books was of adolescent power fantasies, inherently incapable of mature artistic or literary expression.[62] Most discussion focused

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on comics as a genre rather than a medium.[63]

Maus came to prominence when the term "graphic novel" was beginning to gain currency. Will Eisner firstpopularized the term with the 1978 publication of A Contract with God. The term was used partly to mask the lowcultural status that comics had in the English-speaking world, and partly because the term "comic book" was beingused to refer to short-form periodicals, leaving no accepted vocabulary with which to talk about book-formcomics.[64]

About the comics medium, this is what Spiegelman has to say in an interview with Gary Groth: "I'm literally givinga form to my father's words and narrative, and that form for me has to do with panel size, panel rhythms, and visualstructures of the page."[65] Paul Buhle claims, "more than a few readers have described [Maus] as the mostcompelling of any [Holocaust] depiction, perhaps because only the caricatured quality of comic art is equal to theunseeing reality of an experience beyond all reason."[66]

Publication historyThe first chapter of Maus appeared in December 1980 in the second issue of Raw.[48] A new chapter of the storyappeared in every issue as a small insert in the oversized magazine until it came to an end in 1991. Every chapterexcept the last appeared in Raw.[67]

Spiegelman struggled to find a publisher for Maus,[44] but in 1986, Pantheon collected the first six chapters into abook, after a rave New York Times review.[68] The volume was called Maus: A Survivor's Tale, and subtitled MyFather Bleeds History. Spiegelman said he was eager to have the book come out early, even if incomplete, in orderto avoid comparisons with the animated film An American Tail from Steven Spielberg's Amblin Entertainment,which he believed was inspired by Maus.[69] The book found a large audience, partly because it was sold throughbookstores, rather than the direct market comic shops where comic books were normally sold.[70]

The book was difficult for critics and reviewers to classify, and also for booksellers, who needed to know on whichshelves to place it. Pantheon pushed for the term "graphic novel"; Spiegelman was not comfortable with this, asmany book-length comics were being referred to as "graphic novels" whether or not they were novelistic. He alsosuspected the term was being used in an attempt to validate the comics form, rather than to describe the content ofthe books.[64] Spiegelman later came to accept the term, and, along with Drawn and Quarterly publisher ChrisOliveros, successfully lobbied the Book Industry Study Group in the early 2000s to include "graphic novel" as acategory in bookstores.[71]

In 1991, Pantheon collected the last five chapters in the second volume, subtitled And Here My Troubles Began.Pantheon later collected the two volumes into soft– and hard-covered two-volume boxed sets and single-volumeeditions.[72] In 1994, the Voyager Company released The Complete Maus on CD-ROM, a collection which, as wellas the original comics, contained Vladek's taped transcripts, filmed interviews with the author, sketches, and otherbackground material.[73] The CD-ROM was based on HyperCard, a now-obsolete Macintosh-only application.[74] In2011 Pantheon Books published a companion to The Complete Maus entitled MetaMaus, with further backgroundmaterial, including filmed footage of Vladek.[44] The centerpiece of the book is a Spiegelman interview conductedby Hillary Chute. It also has interviews with his wife and children, sketches, photographs, family trees, assortedartwork, and a DVD with video, audio, photos, and an interactive version of Maus.[75]

Spiegelman dedicated Maus to his brother Richieu and his first daughter Nadja.[76] The book's epigraph is a quotefrom Adolf Hitler: "The Jews are undoubtedly a race, but they are not human."[77]

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International publicationThe rights to publish the initial volume in the Commonwealth were licensed to Penguin Books in 1986. In support ofthe African National Congress's cultural boycott in opposition to apartheid, Spiegelman refused to "compromise withfascism" by allowing publication of his work in South Africa.[78]

Piotr Bikont (left) set up a publishing house in2001 to put out a Polish edition of Maus in the

face of protest.

By 2011, Maus had been translated into about thirty languages. Threetranslations were particularly important to Spiegelman: French, as hiswife was French, and because of his respect for the sophisticatedFranco-Belgian comics tradition; German, given the book'sbackground; and Polish. Poland was the setting for the majority of thebook, and Polish was the language of his parents. Spiegelman has saidthat Polish was his own mother tongue. The German reception waspositive—Maus was a best-seller, and was taught in schools. ThePolish translation encountered difficulties; as early as 1987, whenSpiegelman planned a research visit to Poland, the Polish consulateofficial who approved his visa questioned him about the Poles'depiction as pigs and pointed out what a serious insult it was.Publishers and commentators refused to deal with the book for fear ofprotests and boycotts.[79] In 2001, Piotr Bikont, a journalist for Gazeta

Wyborcza, set up his own publishing house to publish Maus in Polish. Demonstrators protested Maus's publication,and burned the book in front of Gazeta's offices. Bikont's response was to don a pig mask and wave to the protestersfrom the office windows.[80] The magazine-sized Japanese translation was the only authorized edition with largerpages.[81] Long-standing plans for an Arabic translation have not yet come to fruition.[52]

For the Hebrew edition of Maus, a few panels were changed. Based on Vladek's memory, Spiegelman portrayed oneof the minor characters as a member of the Nazi-installed Jewish Police. An Israeli descendant objected andthreatened to sue for libel. Spiegelman redrew the character with a fedora in place of his original police hat, butappended a note to the volume voicing his objection to this "intrusion".[82] This version of the first volume waspublished in 1990. Its reception was indifferent or negative, and the publisher, Zmora Bitan, did not release thesecond volume.[83] Another Israeli publisher put out both volumes, with a new translation that included Vladek'sbroken language, which Zmora Bitan had refused to do.[84] Marilyn Reizbaum saw this as highlighting a differencebetween the self-image of the Israeli Jew as fearless defender of the homeland, and that of the American Jew asfeeble victim,[85] something that one Israeli writer disparaged as "the diaspora sickness".[86][87] </ref>

Themes

PresentationSpiegelman, like many of his critics, worries that "[r]eality is too much for comics ... so much has to be left out ordistorted", admitting that his presentation of the story may not be accurate.[88] He takes a postmodern approach;Maus "feeds on itself", telling the story of how the story was made. It examines the choices Spiegelman made in theretelling of his father's memories, and the artistic choices he had to make—for example, when his French wifeconverts to Judaism, Spiegelman's character frets over whether to depict her as a frog or a mouse.[89]

The book portrays different races as different species of animals—the Jews as mice, Germans as cats, and ethnicPoles as pigs,[2] among others. Spiegelman took advantage of the way Nazi propaganda films depicted Jews asvermin,[90] though he was first struck by the metaphor after attending a presentation where Ken Jacobs showed filmsof minstrel shows along with early American animated films, abundant with racial caricatures.[91]

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Jewish characters try to pass themselves off as ethnic Poles by tying pig masks to their faces, with the stringsshowing at the back.[92] Vladek's disguise was more convincing than Anja's—"you could see she was more Jewish",Vladek says. Spiegelman shows this Jewishness by having her tail hang out of her disguise.[93] This literalization ofthe genocidal stereotypes that drove the Nazis to their Final Solution may risk reinforcing racist labels,[94] butSpiegelman uses the idea to create anonymity for the characters. According to art historian Andrea Liss, this mayparadoxically enable the reader to identify with the characters as human, preventing the reader from observing racialcharacteristics based on facial traits, while reminding readers that racist classification is ever present.[95]

In making people of each ethnicity look alike, Spiegelman hoped to show the absurdity of dividing people alongsuch lines. Spiegelman has stated that "these metaphors ... are meant to self-destruct"[96] and "reveal the inanity ofthe notion itself".[97] Professor Amy Hungerford saw no consistent system to the animal metaphor.[98] Rather, itsignified the characters' roles in the story rather than their races—the gentile Françoise is a mouse because of heridentification with her husband, who identifies with the Holocaust victims. When asked what animal he would makeIsraeli Jews, Spiegelman suggests porcupines.[99] When Art visits his psychiatrist, the two wear mouse masks insteadof having mouse heads.[100] Spiegelman's perceptions of the animal metaphor seem to have evolved over the book'smaking—in the original publication of the first volume, his self-portrait showed a mouse head on a human body, butby the time the second volume arrived, his self-portrait had become that of a man wearing a mouse mask.[101] InMaus, the characters seem to be mice and cats only in their predator/prey relationship. In every respect other than theheads, they act and speak as ordinary humans.[101]

MemoryTo Marianne Hirsch, Spiegelman's life is "dominated by memories that are not his own".[102] His work is one not ofmemory but of postmemory—a term she coined after encountering Maus. This describes the relation of the childrenof survivors with the survivors themselves. While these children have not had their parents' experiences, they growup with their parents' memories—the memory of another's memory—until the stories become so powerful that forthese children they become memories in their own right. The children's proximity creates a "deep personalconnection" with the memory, though separated from it by "generational distance".[103]

Art tried to keep his father's story chronological, because otherwise he would "never keep it straight".[104] Hismother Anja's memories are conspicuously absent from the narrative, given her suicide and Vladek's destruction ofher diaries. Hirsch sees Maus in part as an attempt to reconstruct her memory. Vladek keeps her memory alive withthe pictures on his desk, "like a shrine", according to Mala.[105]

GuiltSpiegelman displays his sense of guilt in many ways. He suffers anguish over his dead brother, Richieu, whoperished in the Holocaust, and whom he feels he can never live up to.[106] The eighth chapter, made after thepublication 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'ssuccess was built.[107] He is told by his psychiatrist that his father feels guilt for having survived and for outliving hisfirst son,[108] and that some of Art's guilt may spring from painting his father in such an unflattering way.[109] As hehad not lived in the camps himself, he finds it difficult to understand or visualize this "separate universe", and feelsinadequate in portraying it.[28][110]

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Racism

Kapos, prisoner supervisors under the Nazis, aredepicted as antisemitic Poles.

Spiegelman parodies the Nazis' vision of racial divisions; Vladek'sracism is also put on display when he becomes upset that Françoisewould pick up a black hitchhiker, a "schwartser" as he says. When sheberates him, a victim of antisemitism, for his attitude, he replies, "It'snot even to compare, the schwartsers and the Jews!"[111] Spiegelmangradually deconstructs the animal metaphor throughout the book,especially in the second volume, showing where the lines cannot bedrawn between races of humans.[112]

The Germans are depicted with little difference between them, but there is great variety and little stereotyping amongthe Poles and Jews who dominate the story.[113] Sometimes Jews and the Jewish councils are shown complying withthe occupiers; some trick other Jews into capture, while others act as police for the Nazis.[114]

Spiegelman shows numerous instances of Poles who risked themselves to aid Jews, and also shows antisemitism asbeing rife among them. The kapos who run the camps are Poles, and Anja and Vladek are tricked by Polishsmugglers into the hands of the Nazis. Anja and Vladek hear stories that Poles continue to drive off and even killreturning Jews after the war.[115]

LanguageVladek's English is broken in contrast with that of Art's more fluent therapist, Paul Pavel, who is also an immigrantand Holocaust survivor.[116] His knowledge of the language helps him several times during the story, as when heuses it to meet Anja. He also uses it to befriend a Frenchman, and continues to correspond with him in English afterthe war. His recounting of the Holocaust, first to American soldiers, then to his son, is never in his mothertongue,[117] and English becomes his daily language when he moves to America.[118] His difficulty with his secondlanguage is revealed as Art writes his dialogue in broken English;[119] when Vladek is imprisoned he tells Art"... every day we prayed ... I was very religious, and it wasn't else to do".[120] Late in the book, Vladek talks ofDachau, saying, "And here ... my troubles began", though clearly his troubles had begun long before Dachau. Thisunidiomatic expression was used as the subtitle of the second volume.[119]

The German word maus is cognate to the English word "mouse",[121] and also reminiscent of the German wordmauscheln, which means "to speak like a Jew"[122] and refers to the way Jews spoke German[123]—a word notetymologically related to maus, but distantly to Moses.[122]

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Style

Spiegelman's use of funny animalsconflicted with readers' expectations.

Spiegelman's perceived audacity in using the Holocaust as his subject wascompounded by his use of comics to tell the story. The medium was viewed inthe English-speaking world as being inherently trivial,[124] thus degrading thesubject matter, especially as he used animal heads in place of recognizablyhuman ones.[125] Funny animals have been a staple of comics, and while theyhave traditionally been thought of as being for children, the underground hadlong made use of them in adult stories,[126] for example in Robert Crumb's Fritzthe Cat, which showed that the genre could "open up the way to a paradoxicalnarrative realism" that Maus exploited.[127]

Ostensibly about the Holocaust, the story is entwined with the frame tale of Artinterviewing and interacting with his father. Art's "Prisoner on the Hell Planet" isalso encompassed by the frame, and contrasts visually and thematicically withthe rest of the book as all the characters are in human form[55] in a surreal,German Expressionist woodcut style inspired by Lynd Ward.[128]

The line between the frame and the world is bolded by comments such as whenSpiegelman, neurotically trying to deal with what Maus is becoming for him, says to his wife, "You'd never let medo so much talking without interrupting if this were real life."[129] When a prisoner the Nazis believe to be a Jewclaims to be German, Spiegelman has the difficulty of whether to present this character as a cat or a mouse.[130]

Throughout the book, Spiegelman incorporates and highlights banal details from his father's tales, sometimeshumorous or ironic, giving a lightness and humanity to the story which "helps carry the weight of the unbearablehistorical realities".[5]

Spiegelman started taking down his interviews with Vladek on paper, but quickly switched to a tape recorder,[131]

face-to-face or over the phone.[54] Spiegelman often condensed Vladek's words, and occasionally added to thedialogue,[131] or synthesized multiple retellings into a single portrayal.[54]

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 thingsacross". He also strove to present how the book was recorded and organized as an important part of the book itself,expressing the "sense of an interview shaped by a relationship".[54]

ArtworkThe story is text-driven, with few wordless panels[4] in its 1,500 black-and-white drawings.[132] The art has highcontrast, with heavy black areas and thick black borders balanced against areas of white and wide white margins.There is little gray in the shading.[133] In the narrative present, the pages are arranged in eight-panel grids; in thenarrative past, Spiegelman found himself "violating the grid constantly" with his page layouts.[33]

Spiegelman did the original three-page "Maus" and "Prisoner on the Hell Planet" in highly detailed, expressive styles. Spiegelman initially planned to draw Maus in such a manner, but after initial sketches he decided to use a pared-down style, one little removed from his pencil sketches, which would be more direct and immediate. Characters are rendered in a minimalist way, with dots for eyes and slashes for eyebrows and mouths, looking "as if they were human beings with animal heads pasted on them".[39] Spiegelman wanted to get away from the rendering of the characters in the original "Maus", in which oversized cats towered over the Jewish mice, an approach which Spiegelman says, "tells you how to feel, tells you how to think".[134] He preferred to let the reader make independent moral judgments.[135] He drew the cat-Nazis the same size as the mouse-Jews, and dropped the stereotypical villainous expressions.[92] The contrast between the artwork in "Prisoner on the Hell Planet" and Maus drives home the effectiveness of the simpler artwork—"Prisoner" is alienating, while Maus is more inviting, encouraging deeper

Maus 10

contemplation and understanding.[42]

Spiegelman wanted the artwork to have a diary feel to it, and so drew the pages on stationery with a fountain pen andtypewriter correction fluid. It was reproduced at the same size it was drawn, unlike his other work, which wasusually drawn larger and shrunk down, which would hide defects in the art.[52]

Influences

Wordless woodcut novels like those by FransMasereel were an early influence on Spiegelman.

Spiegelman has published articles promoting a greater knowledge ofhis medium's history. Chief among his early influences were HarveyKurtzman, Will Eisner,[136] and Bernard Krigstein's "MasterRace".[137] He acknowledged Eisner's early work as an influence, buthe denied that Eisner's first graphic novel, A Contract with God (1978),had any impact on Maus.[138] He cited Harold Gray's comic strip LittleOrphan Annie as having "influenced Maus fairly directly", and praisedGray's work for using a cartoon-based vocabulary, rather than anillustration-based one, for telling his stories.[139] Justin Green's BinkyBrown Meets the Holy Virgin Mary (1972) inspired Spiegelman toinclude autobiographical elements in his comics. Spiegelman stated, "without Binky Brown, there would be noMaus".[50] Among the artists who influenced Maus, Spiegelman cited Frans Masereel, who had made an earlywoodcut novel called Passionate Journey[140] (1919).[48]

Reception and legacySpiegelman's work as cartoonist and editor had long been known and respected in the comics community, but themedia attention after the first volume's publication in 1986 was unexpected.[141] Hundreds of overwhelminglypositive reviews appeared, and Maus became the center of new attention focused on comics.[142] It was consideredone of the "Big Three" book-form comics from around 1986–1987, along with Watchmen and The Dark KnightReturns, that are said to have brought the term "graphic novel" and the idea of comics for adults into mainstreamconsciousness.[143] It was credited with changing the public's perception of what comics could be[144] at a timewhen, in the English-speaking world, they were considered to be for children, and strongly associated withsuperheroes.[61] Initially, critics of Maus showed a reluctance to include comics in literary discourse.[145] The NewYork Times intended praise when saying of the book, "Art Spiegelman doesn't draw comic books".[146] After itsPulitzer Prize win, it gradually won greater acceptance and interest among academics.[147] An exhibition on themaking of Maus was staged at the Museum of Modern Art in 1991−92.[148]

Maus 11

Spiegelman continues to attractacademic attention and influence

younger cartoonists.

Maus proved difficult to classify to a genre,[149] and has been called biography,fiction, autobiography, history, and memoir.[150] Spiegelman petitioned The NewYork Times to move it from "fiction" to "non-fiction" on their bestseller list,[129]

saying, "I shudder to think how David Duke ... would respond to seeing acarefully researched work based closely on my father's memories of life inHitler's Europe and in the death camps classified as fiction". One editorresponded, "Let's go out to Spiegelman's house and if a giant mouse answers thedoor, we'll move it to the nonfiction side of the list!" The Times eventuallyacquiesced.[151] The Pulitzer committee sidestepped the issue by giving thecompleted Maus a Special Award in Letters in 1992.[152]

Maus ranked highly on comics and literature lists. The Comics Journal called itthe fourth greatest comics work of the 20th century,[4] and Wizard placed it firston their list of 100 Greatest Graphic Novels.[153] Entertainment Weekly listedMaus at seventh place on their list of The New Classics: Books – The 100 best

reads from 1983 to 2008,[154] and Time put Maus at seventh place on their list of best non-fiction books frombetween 1923 and 2005,[155] and fourth on their list of top graphic novels.[156] Praise for the book also came fromcontemporaries such as Jules Feiffer, and literary writers such as Umberto Eco.[157] Spiegelman turned downnumerous offers to have Maus adapted for film or television.[158]

Early instalments of Maus that appeared in Raw inspired the young Chris Ware to "try to do comics that had a'serious' tone to them".[159] Maus is cited as a primary influence on graphic novels such as Marjane Satrapi'sPersepolis and Alison Bechdel's Fun Home.[50]

In 2013, Maus was featured in a retrospective exhibition of Spiegelman's work mounted at the Vancouver ArtGallery, entitled “CO-MIX: A Retrospective of Comics, Graphics and Scraps”. The exhibition was co-produced bythe Vancouver Art Gallery, the Ludwig Museum (Cologne), and the Jewish Museum (New York).

Academic work and criticismA "cottage industry" of academic research built up around Maus,[160] and schools have frequently used it as coursematerial in a range of fields: history, dysfunctional family psychology,[2] language arts and social studies.[161] Thevolume of academic work published on Maus far surpasses that of any other work of comics.[162] One of the earliestwas Joshua Brown's 1988 "Of Mice and Memory" from the Oral History Review, which deals with the problemsSpiegelman faced in presenting his father's story. Marianne Hirsch wrote an influential essay on post-memory called"Family Pictures: Maus, Mourning, and Post-Memory", later expanded into a book called Family Frames:Photography, Narrative, and Postmemory. Academics far outside the field of comics such as Dominick LaCapra,Linda Hutcheon and Terrence Des Pres took part in the discourse. Few approached Maus who were familiar withcomics, largely because of the lack of an academic comics tradition—Maus tended to be approached as Holocausthistory or from a film or literary perspective. In 2003, Deborah Geis edited a collection of essays on Maus calledConsidering Maus: Approaches to Art Spiegelman's "Survivor's Tale" of the Holocaust.[136] Maus is considered animportant work of Holocaust literature, and studies of it have made significant contributions to Holocauststudies.[163]

Maus 12

Comics writer and critic HarveyPekar objected to Maus's use of

animals and the negative depiction ofSpiegelman's father.

According to writer Arie Kaplan, some Holocaust survivors objected toSpiegelman making a comic book out of their tragedy.[164] Literary critics suchas Hillel Halkin objected that the animal metaphor was "doubly dehumanizing",reinforcing the Nazi belief that the atrocities were perpetrated by one species onanother, when they were actually done by humans against humans.[165] HarveyPekar and others[166] saw Spiegelman's use of animals as potentially reinforcingstereotypes.[167] Pekar was also disdainful of Spiegelman's overwhelminglynegative portrayal of his father,[168] calling him disingenuous and hypocriticalfor such a portrayal in a book that presents itself as objective.[169] Comics criticR. C. Harvey argued that Spiegelman's animal metaphor threatened "to erode[Maus's] moral underpinnings",[170] and played "directly into [the Nazis'] racistvision".[171]

Some commentators, such as Peter Obst and Lawrence Weschler, expressedconcern over the Poles' depiction as pigs,[172] which reviewer Marek Kohn sawas an ethnic slur.[173] Jewish culture views pigs, and pork, as non-kosher, orunclean—a point that was unlikely to be lost on the Jewish Spiegelman.[172] Critics such as Obst and Pekar have saidthat the portrayal of Poles is unbalanced—that, while some Poles are seen as helping Jews, they are often showndoing so for self-serving reasons.[174] In the late 1990s, an objector to Maus's depiction of Poles persistently andabusively interrupted a presentation by Spiegelman at Montreal's McGill University, and was expelled from theauditorium.[175]

Literary critic Walter Ben Michaels found Spiegelman's racial divisions "counterfactual". Spiegelman depicts thevarious European races as different animal species, but Americans, both black and white, as dogs—with theexception of the Jews, who remain unassimilated mice. To Michaels, Maus seems to gloss over the racial inequalitythat has plagued the history of the U.S.[176]

Other critics, such as Bart Beaty, objected to what they saw as the work's fatalism.[177] Belgian publisher LaCinquième Couche[178] anonymously produced a book called Katz, a remix of Spiegelman's book with all animalheads replaced with cat heads. The book reproduced every page and line of dialogue from the French translation ofMaus. Spiegelman's French publisher, Flammarion, forced the publisher to destroy all copies, under charges ofcopyright violation.[177]

Scholar Paul Buhle, quoted by Hillary Chute, claims, "More than a few readers have described [Maus] as the mostcompelling of any [Holocaust] depiction, perhaps because only the caricatured quality of comic art is equal to theseeming unreality of an experience beyond all reason."[66] She also quotes Michael Rothberg as saying, "By situatinga nonfictional story in a highly mediated, unreal, 'comic' space, Spiegelman captures the hyperintensity ofAuschwitz."[179]

Awards and nominations

Maus 13

Awards and nominations for Maus

Year Organisation Award Result

1986 National Book Critics Circle National Book Critics Circle Award for Biography[180] Nominated

1987 Present Tense magazineAmerican Jewish Committee

Present Tense/Joel H. Cavior Book Award for Fiction[181]Won

1988 Angoulême International Comics Festival Awards Religious Award: Christian Testimony[182] Won

1988 Angoulême International Comics Festival Awards Best Foreign Album[183] (Maus: un survivant raconte) Won

1988 Urhunden Prize Foreign Album[184] Won

1990 Max & Moritz Prize Special Prize[185] Won

1991 National Book Critics Circle National Book Critics Circle Award[186] Nominated

1992 Pulitzer Prize Special Awards and Citations – Letters[187] Won

1992 Eisner Award Best Graphic Album—Reprint[188] (Maus II). Won

1992 Harvey Award Best Graphic Album of Previously Published Material[189] (Maus II) Won

1992 Los Angeles Times Book Prize for Fiction[190] (Maus II) Won

1993 Angoulême International Comics Festival Awards Best Foreign Album[191] (Maus: un survivant raconte II) Won

1993 Urhunden Prize Foreign Album[184] (Maus II) Won

Notes[1][1] Witek 1989, p. 98; LaCapra 1998, p. 154.[2][2] Fathers 2007, p. 122.[3][3] Gordon 2004.[4] Kannenberg 1999, pp. 100–101.[5][5] Liss 1998, p. 55.[6][6] Levine 2006, p. 29.[7][7] Young 2006, p. 250; Fathers 2007, p. 123.[8][8] Merino 2010.[9][9] Pekar 1986, p. 54.[10][10] Reibmann 2001, p. 26.[11] Spelled "Rysio" in Polish. "Richieu" is Spiegelman's misspelling, as he had not previously seen his brother's name written down.<ref

name="FOOTNOTESpiegelman201118">Spiegelman 2011, p. 18.[12][12] Wood 1997, p. 83.[13][13] Levine 2006, p. 36.[14][14] Witek 1989, p. 100; Levine 2006, p. 38.[15][15] Kaplan 2006, p. 114.[16][16] Wood 1997, p. 84.[17][17] Levine 2006, p. 34; Rothberg 2000, p. 211.[18][18] Weine 2006, p. 29.[19][19] Rothberg 2000, p. 217.[20][20] McGlothlin 2003, p. 177.[21][21] McGlothlin 2006, p. 85; Adams 2008, p. 172.[22][22] Kois 2011; Wood 1997, p. 88.[23][23] Mandel 2006, p. 118.[24][24] Wood 1997, p. 85.[25] Born Itzhak Avraham ben Zev, his name was changed to Arthur Isadore when he immigrated with his parents to the US.<ref

name="FOOTNOTESpiegelman201117">Spiegelman 2011, p. 17.[26][26] Spiegelman 2011, pp. 292.

Maus 14

[27][27] Harvey 1996, p. 242.[28][28] Fathers 2007, p. 124.[29][29] Young 2006, p. 250; Fathers 2007, p. 123; Levine 2006, p. 29.[30] Born Zev Spiegelman, with the Hebrew name Zev ben Abraham. His Polish name was Wladislaw,<ref group="lower-alpha">"Wladislaw"

and "Wladec" are the spellings Spiegelman gives us, but the standard Polish spellings for these names are "Władysław" and "Władek"[31][31] Spiegelman 2011, p. 16.[32][32] Spiegelman 2011, pp. 291, 293.[33][33] Weine 2006, p. 26.[34][34] Gordon 2004; Tan 2001, p. 39.[35][35] Spiegelman 2011, pp. 291, 294.[36][36] Rice 2007, p. 18.[37][37] Hirsch 1997, p. 35.[38] Born Andzia Zylberberg, with the Hebrew name Hannah. Her name became Anna when she and Vladek arrived in the US.<ref

name="FOOTNOTESpiegelman201116">Spiegelman 2011, p. 16.[39][39] Pekar 1986, p. 56.[40][40] Rothberg 2000, p. 214.[41][41] Levine 2006, p. 35.[42][42] Johnston 2001.[43] Schuldiner 2011, pp. 76–77; Hirsch 1997, p. 27; Adams 2008, p. 180.[44][44] Kois 2011.[45] Fischer & Fischer 2002.[46][46] Fathers 2007, p. 122; Weiner 2003, p. 36.[47][47] Fathers 2007, p. 125.[48][48] Kaplan 2008, p. 171.[49][49] Witek 1989, p. 103.[50][50] Chute 2010, p. 18.[51][51] Kaplan 2008, p. 140.[52][52] Conan 2011.[53] Spiegelman 2011, pp. 22–24.[54][54] Brown 1988.[55][55] Witek 1989, p. 98.[56][56] Blau 2008.[57][57] Petersen 2010, p. 221.[58] Weiner 2003, pp. 5–6.[59] Duncan & Smith 2009, p. 68.[60] Duncan & Smith 2009, p. 91.[61][61] Witek 2004.[62] Russell 2008, p. 221; Duncan & Smith 2009, p. 1.[63] Witek 2004; Fagan & Fagan 2011, p. 3; Abell 2012, pp. 68–84.[64][64] Petersen 2010, p. 222.[65][65] Chute 2006, p. 200.[66] Chute 2006, pp. 200–201.[67][67] Kaplan 2006, p. 113.[68][68] Kaplan 2008, p. 171; Kaplan 2006, p. 118.[69][69] Kaplan 2006, p. 118; Kaplan 2008, p. 172.[70][70] Kaplan 2006, p. 115.[71][71] McGrath 2004, p. 2; Morman 2003.[72][72] Rhoades 2008, p. 220.[73][73] Horowitz 1997, p. 403.[74][74] Hignite 2007, p. 57.[75][75] Garner 2011.[76][76] Liss 1998, p. 55; LaCapra 1998, p. 156.[77][77] Witek 1989, p. 94; Hirsch 1997, p. 26; Wirth-Nesher 2006, p. 169.[78][78] Smith 2007, p. 93.[79] Weschler 2001; Spiegelman 2011, pp. 122–125.[80] Spiegelman 2011, pp. 122–124.[81][81] Spiegelman 2011, p. 152.[82][82] Mozzocco 2011; Spiegelman 2011, p. 154.[83] Tzadka 2012; Spiegelman 2011, pp. 152–153.

Maus 15

[84][84] Spiegelman 2011, p. 153.[85] Reizbaum 2000, p. 135–136.[86][86] Reizbaum 2000, p. 139.[87] Translated from Hebrew by Marilyn Reizbaum.<ref name="FOOTNOTEReizbaum2000139">Reizbaum 2000, p. 139.[88][88] Wood 1997, p. 87.[89] Young 2006, p. 250; Witek 1989, pp. 112–114.[90][90] Pustz 2007, p. 69.[91] Loman 2010, pp. 221–223.[92][92] Witek 1989, p. 106.[93][93] Rothberg 2000, p. 210; Hatfield 2005, p. 140.[94][94] Reibmann 2001, p. 25; Liss 1998, p. 53; Pekar 1986, p. 55.[95][95] Liss 1998, p. 53.[96][96] Bolhafner 1991, p. 96.[97][97] Hays 2011.[98][98] Hungerford 2003, p. 86.[99][99] Hungerford 2003, p. 87.[100][100] Pustz 2007, p. 70.[101][101] Hirsch 1997, p. 27.[102][102] Hirsch 1997, p. 26.[103][103] Levine 2006, p. 17; Berger 1999, p. 231.[104][104] Merino 2010; Weine 2006, p. 27; Brown 1988.[105] Hirsch 1997, p. 33–34.[106][106] Schwab 2010, p. 37.[107][107] Kannenberg 2001, p. 86.[108][108] Schuldiner 2011, p. 69.[109][109] Schuldiner 2011, p. 70.[110][110] Schuldiner 2011, p. 75.[111][111] Loman 2010, p. 224.[112][112] Loman 2010, p. 225.[113][113] LaCapra 1998, pp. 161.[114] LaCapra 1998, pp. 167–168.[115] LaCapra 1998, pp. 166–167.[116][116] Rosen 2005, p. 158.[117][117] Rosen 2005, p. 165.[118][118] Rosen 2005, p. 166.[119][119] Rosen 2005, p. 164.[120][120] Wirth-Nesher 2006, p. 168.[121][121] Levine 2006, p. 21.[122][122] Levine 2006, p. 22.[123][123] Rothberg 2000, p. 208.[124][124] Russell 2008, p. 221.[125][125] Witek 1989, p. 97.[126][126] Witek 1989, p. 110.[127][127] Witek 1989, p. 111.[128][128] Witek 2004, p. 100.[129][129] Liss 1998, p. 54.[130][130] Kannenberg 2001, p. 85.[131] Rothberg 2000, pp. 207–208.[132] Weine 2006, pp. 25–26.[133][133] Adams 2008, p. 172.[134][134] Witek 1989, p. 104.[135][135] Witek 1989, p. 112.[136][136] Frahm 2004.[137][137] Kannenberg 2001, p. 28.[138][138] Kaplan 2008, p. 172.[139][139] Spiegelman 2011, p. 196.[140] Original French title: Mon Livre d'Heures ("My Book of Hours")[141][141] Weiner 2003, p. 36.[142][142] Witek 1989, p. 94.

Maus 16

[143] Kaplan 2008, p. 172; Sabin 1993, p. 246; Stringer 1996, p. 262; Ahrens & Meteling 2010, p. 1; Williams & Lyons 2010, p. 7.[144] Witek 1989, pp. 94–95.[145][145] Russell 2008, p. 223; Horowitz 1997, p. 406.[146][146] Witek 2004; Langer 1998.[147][147] Russell 2008, p. 223.[148][148] Kaplan 2006, p. 118; Weine 2006, p. 25.[149] Orbán 2005, pp. 39–40; Rhoades 2008, p. 219.[150] For "biography", see Brown 1988

For "fiction", see New York Times staff 1987; Ruth 2011For "autobiography", see Merino 2010For "history", see Brown 1988; Ruth 2011; Garner 2011For "memoir", see Ruth 2011; Garner 2011

[151][151] Ruth 2011; Horowitz 1997, p. 405.[152] Liss 1998, p. 54; Fischer & Fischer 2002.[153][153] Wizard staff 2009.[154][154] Entertainment Weekly staff 2008.[155][155] Silver 2011.[156][156] Grossman 2009.[157][157] Kaplan 2006, p. 118.[158][158] Pustz 2007, p. 73.[159] Ball & Kuhlman 2010, p. xii.[160] Meskin & Cook 2012, p. xxiv.[161][161] Monnin 2010, p. 121.[162][162] Loman 2010, p. 217.[163][163] Loman 2010, p. 218.[164][164] Kaplan 2006, p. 119.[165] Hatfield 2005, pp. 139–140; Russell 2008, p. 221.[166][166] Park 2011.[167] Pekar 1986, p. 55; Pekar 1990, pp. 32–33.[168][168] Pekar 1986, p. 56; Pekar 1990, p. 32.[169][169] Pekar 1986, p. 57.[170][170] Harvey 1996, p. 243.[171][171] Harvey 1996, p. 244.[172][172] Obst , "A Commentary on Maus by Art Spiegelman"; Weschler 2001.[173][173] Baker 1993, pp. 142, 160.[174] Pekar 1990, pp. 32–33; Obst , "A Commentary on Maus by Art Spiegelman".[175][175] Surridge 2001, p. 37.[176] Loman 2010, pp. 223–224.[177][177] Beaty 2012.[178][178] Couvreur 2012.[179][179] Chute 2006, p. 201.[180][180] Brown 1988; National Book Critics Circle staff 2012.[181][181] Brown 1988; New York Times staff 1987.[182][182] Tout en BD staff 1998.[183][183] Tout en BD staff 1998; Jannequin 1990, p. 19.[184][184] Hammarlund 2007.[185][185] Comic Salon staff 2012.[186][186] National Book Critics Circle staff 2012.[187][187] Pulitzer Prize staff 2012.[188][188] Eisner Awards staff 2012.[189][189] Harvey Awards staff 1992.[190][190] Colbert 1992.[191][191] Tout en BD staff 1993.

Maus 17

References

Works cited

Books

Abell, Catharine (2012). "Comics and Genre". In Meskin, Aaron; Cook, Roy T. The Art of Comics: APhilosophical Approach. John Wiley & Sons. ISBN 978-1-4443-3464-7.Adams, Jeff (2008). Documentary Graphic Novels and Social Realism (http:/ / books. google. com/books?id=GN8NurpHNwcC). Peter Lang. ISBN 978-3-03911-362-0.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.Baker, Steve (1993). Picturing the Beast: Animals, Identity, and Representation (http:/ / books. google. com/books?id=yTG8AAAAIAAJ). Manchester University Press. ISBN 978-0-7190-3378-0. (attributed to Kohn,Marek (September 10, 1987). "Paws and Whiskers". The Listener: 25.)Ball, David M.; Kuhlman, Martha B. (2010). The Comics of Chris Ware: Drawing Is a Way of Thinking (http:// books. google. com/ books?id=QrFmPKlv61sC). University Press of Mississippi. ISBN 978-1-60473-442-3.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 (http:/ / books. google.com/ books?id=1Xc6QdyrQLAC). Columbia University Press. ISBN 978-0-231-15062-0.Duncan, Randy; Smith, Matthew J (2009). The Power of Comics. Continuum International Publishing Group.ISBN 978-0-8264-2936-0.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.Fathers, Michael (2007). "Art Mimics Life in the Death Camps". In Witek, Joseph. Art Spiegelman:Conversations. University Press of Mississippi. pp. 122–125. ISBN 978-1-934110-12-6. (Originally inIndependent on Sunday on 1992-03-22)Fischer, Heinz Dietrich; Fischer, Erika J. (2002). "Spiegelman, Art" (http:/ / books. google. com/books?id=-2o4Ywn4LJwC& pg=PA230). Complete Biographical Encyclopedia of Pulitzer Prize Winners,1917–2000: Journalists, Writers and Composers on Their Ways to the Coveted Awards. Walter de Gruyter.p. 230. ISBN 978-3-598-30186-5.Harvey, R. C. (1996). The Art of the Comic Book: An Aesthetic History. University Press of Mississippi.ISBN 978-0-87805-758-0.Hatfield, Charles (2005). Alternative Comics: An Emerging Literature. University Press of Mississippi.ISBN 978-1-57806-719-0.Hignite, Todd (2007). "Art Spiegelman" (http:/ / books. google. com/ books?id=nG5j0OPA768C& pg=PA40).In the Studio: Visits With Contemporary Cartoonists. Yale University Press. pp. 40–61.ISBN 978-0-300-13387-5.Hirsch, Marianne (1997). Family Frames: Photography, Narrative, and Postmemory. Harvard UniversityPress. ISBN 978-0-674-29265-9.Horowitz, Sara R. (1997). "Art Spiegelman". In Shatzky, Joel; Taub, Michael. ContemporaryJewish-American Novelists: A Bio-Critical Sourcebook. Greenwood Publishing Group. pp. 400–408.ISBN 978-0-313-29462-4.

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Hungerford, Amy (2003). "Surviving Rego Park". The Holocaust of Texts: Genocide, Literature, andPersonification. University of Chicago Press. pp. 73–96. ISBN 978-0-226-36076-8.Kannenberg, Gene, Jr. (2001). "'I Looked Just Like Rudolph Valentino': Identity and Representation in Maus".In Baetens, Jan. The Graphic Novel. Leuven University Press. pp. 79–89. ISBN 978-90-5867-109-7.Kaplan, Arie (2006). Masters of the Comic Book Universe Revealed!. Chicago Review Press.ISBN 978-1-55652-633-6.Kaplan, Arie (2008). From Krakow to Krypton: Jews and Comic Books. Jewish Publication Society.ISBN 978-0-8276-0843-6.LaCapra, Dominick (1998). "'Twas the Night Before Christmas: Art Spiegelman's Maus". History andMemory After Auschwitz. Cornell University Press. pp. 139–179. ISBN 978-0-8014-8496-4.Levine, Michael G. (2006). The Belated Witness: Literature, Testimony, and the Question of HolocaustSurvival. Stanford University Press. ISBN 978-0-8047-5555-9.Liss, Andrea (1998). Trespassing Through Shadows: Memory, Photography, and the Holocaust. University ofMinnesota Press. ISBN 978-0-8166-3060-8.Loman, Andrew (2010). "The Canonization of Maus". In Williams, Paul; Lyons, James. The Rise of theAmerican Comics Artist: Creators and Contexts. University Press of Mississippi. ISBN 978-1-60473-792-9.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.Meskin, Aaron; Cook, Roy T., eds. (2012). The Art of Comics: A Philosophical Approach. John Wiley &Sons. ISBN 978-1-4443-3464-7.McGlothlin, Erin Heather (2006). "'In Auschwitz We Didn't Wear Watches': Marking Time in ArtSpiegelman's Maus" (http:/ / books. google. com/ books?id=GW7xkJQo090C). Second-Generation HolocaustLiterature: Legacies of Survival and Perpetration. Camden House Publishing. pp. 66–90.ISBN 978-1-57113-352-6.Monnin, Katie (2010). Teaching Graphic Novels: Practical Strategies for the Secondary ELA Classroom.Maupin House Publishing, Inc. ISBN 978-1-934338-40-7.Orbán, Katalin (2005). "Mauschwitz". Ethical Diversions: The Post-Holocaust Narratives of Pynchon, Abish,DeLillo, and Spiegelman. Routledge. pp. 35–74. ISBN 978-0-415-97167-6.Petersen, Robert (2010). Comics, Manga, and Graphic Novels: A History of Graphic Narratives. ABC-CLIO.ISBN 978-0-313-36330-6.Pustz, Matthew J (2007). "I Gave It All Up to Draw Comics: Autobiographical (And Other) Tales AboutCreating Comic Books". In Klaehn, Jeffery. Inside the World of Comic Books. Black Rose Books. pp. 61–81.ISBN 978-1-55164-296-3.Reibmann, James E. (2001). "Fredric Wertham, Spiegelman's Maus, and Representations of the Holocaust". InBaetens, Jan. The Graphic Novel. Leuven University Press. pp. 23–30. ISBN 978-90-5867-109-7.Reizbaum, Marilyn (2000). Silberstein, Laurence Jay, ed. Mapping Jewish Identities (http:/ / books. google.com/ books?id=pmr_BIVo7esC& pg=PA136). New York University Press. ISBN 978-0-8147-9769-3.Rhoades, Shirrel (2008). Comic Books: How the Industry Works. Peter Lang. ISBN 978-0-8204-8892-9.Rice, Maria J. (2007). Migrations of Memory: Postmemory in Twentieth Century Ethnic American Women'sLiterature. ProQuest. ISBN 978-0-549-69539-4.Rosen, Alan Charles (2005). Sounds of Defiance: the Holocaust, Multilingualism, and the Problem of English.University of Nebraska Press. ISBN 978-0-8032-3962-3.

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Rothberg, Michael (2000). Traumatic Realism: The Demands of Holocaust Representation. University ofMinnesota Press. ISBN 978-0-8166-3459-0.Russell, Vanessa (2008). "The Mild-Mannered Reporter: How Clark Kent Surpassed Superman". In Ndalianis,Angela. The Contemporary Comic Book Superhero. Taylor & Francis. pp. 216–232.ISBN 978-0-415-99176-6.Sabin, Roger (1993). Adult Comics: An Introduction. Taylor & Francis. ISBN 978-0-415-04419-6.Schwab, Gabriele (2010). Haunting Legacies: Violent Histories and Transgenerational Trauma. ColumbiaUniversity Press. ISBN 978-0-231-15257-0.Schuldiner, Michael (2011). "The Second-Generation Holocaust Nonsurvivor: Third-Degree Metalepsis andCreative Block in Art Spiegelman's Maus". In Royal, Derek Parker. Unfinalized Moments: Essays in theDevelopment of Contemporary Jewish American Narrative. Purdue University Press. pp. 69–80.ISBN 978-1-55753-584-9.Wirth-Nesher, Hana (2006). Call It English: The Languages of Jewish American Literature. PrincetonUniversity Press. ISBN 978-0-691-13844-2.Smith, Graham (2007). "From Mickey to Maus: Recalling the Genocide Through Cartoon". In Witek, Joseph.Art Spiegelman: Conversations. University Press of Mississippi. pp. 84–94. ISBN 978-1-934110-12-6.(Originally in Oral History Journal Vol. 15, Spring 1987)Spiegelman, Art (2011). Chute, Hillary, ed. MetaMAUS. Viking Press. ISBN 978-0-670-91683-2.Stringer, Jenny, ed. (1996). "Graphic novel". The Oxford Companion to Twentieth-Century Literature inEnglish. Oxford University Press. p. 262. ISBN 978-0-19-212271-1.Tan, Ed (2001). "The Telling Face in Comic Strip and Graphic Novel". In Baetens, Jan. The Graphic Novel.Leuven University Press. pp. 31–46. ISBN 978-90-5867-109-7.Wood, Monica (1997). "Maus: A Survivor's Tale, Volumes I and II, by Art Spiegelman". 12 MulticulturalNovels: Reading and Teacher Strategies. Walch Publishing. pp. 81–94. ISBN 978-0-8251-2901-8.Weine, Stevan J. (2006). Testimony After Catastrophe: Narrating the Traumas of Political Violence.Northwestern University Press. ISBN 978-0-8101-2300-7.Weiner, Stephen (2003). Faster than a Speeding Bullet: The Rise of the Graphic Novel. NBM Publishing.ISBN 978-1-56163-368-5.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.Witek, Joseph (1989). Comic Books as History: The Narrative Art of Jack Jackson, Art Spiegelman, andHarvey Pekar. University Press of Mississippi. ISBN 978-0-87805-406-0.Young, James E. (2006). "The Arts of Jewish Memory in a Postmodern Age". In Rüsen, Jörn. Meaning andRepresentation in History. Berghahn Books. pp. 239–254. ISBN 978-1-57181-776-1.

Journals and magazines

Bolhafner, J. Stephen (October 1991). "Art for Art's Sake". The Comics Journal (Fantagraphics Books) (145):96–99. ISSN  0194-7869 (http:/ / www. worldcat. org/ issn/ 0194-7869).Brown, Joshua (1988). "Of Mice and Memory" (http:/ / www. history. ucsb. edu/ faculty/ marcuse/ classes/33d/ 33dTexts/ maus/ JBrownMiceMemoryOHR1988. htm). Oral History Review (Oral History Association)(Spring): 91–109. ISSN  0094-0798 (http:/ / www. worldcat. org/ issn/ 0094-0798).Chute, Hillary (Summer 2006). ""The Shadow of a past Time": History and Graphic Representation in"Maus"" (http:/ / www. jstor. org/ stable/ 20479765). Twentieth Century Literature 52 (2): 199–230. Retrieved2013-08-02.

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Frahm, Ole (May 2004). "Considering MAUS. Approaches to Art Spiegelman's "Survivor's Tale" of theHolocaust by Deborah R. Geis (ed.)" (http:/ / www. imageandnarrative. be/ inarchive/ issue08/ olefrahm_geis.htm). Image & Narrative (http:/ / www. imageandnarrative. be/ ) (8). ISSN  1780-678X (http:/ / www.worldcat. org/ issn/ 1780-678X). Retrieved January 30, 2012.Gordon, Andrew (2004). "Jewish Fathers and Sons in Spiegelman's Maus and Roth's Patrimony" (http:/ /www. english. ufl. edu/ imagetext/ archives/ v1_1/ gordon/ ). ImageText 1 (Spring). ISSN  1549-6732 (http:/ /www. worldcat. org/ issn/ 1549-6732). Retrieved February 1, 2012.Jannequin, Jean-Paul (April 1990). "Druillet and Spiegelman Take Grand Prizes". The Comics Journal(Fantagraphics Books) (121): 19. ISSN  0194-7869 (http:/ / www. worldcat. org/ issn/ 0194-7869).Kannenberg, Gene, Jr. (February 1999). "# 4: Maus". In Groth, Gary. The Comics Journal (FantagraphicsBooks) (210). ISSN  0194-7869 (http:/ / www. worldcat. org/ issn/ 0194-7869).McGlothlin, Erin Heather (May 2003). "No Time Like the Present: Narrative and Time in Art Spiegelman'sMaus". Narrative 11 (2): 177–198.Merino, Ana (2010). "Memory in Comics: Testimonial, Autobiographical and Historical Space in Maus"(http:/ / transatlantica. revues. org/ 4941). TransAtlantica 2010 (1). ISSN  1765-2766 (http:/ / www. worldcat.org/ issn/ 1765-2766). Retrieved February 1, 2012.Park, Hye Su (January 1, 2011). "Art Spiegelman's Maus: A Survivor's Tale: A Bibliographic Essay" (http:/ /readperiodicals. com/ 201101/ 2269878841. html). Shofar. Retrieved March 1, 2012.Pekar, Harvey (December 1986). "Maus and Other Topics". The Comics Journal (Fantagraphics Books) (113):54–57. ISSN  0194-7869 (http:/ / www. worldcat. org/ issn/ 0194-7869).Pekar, Harvey (April 1990). "Blood and Thunder". The Comics Journal (Fantagraphics Books) (135): 27–34.ISSN  0194-7869 (http:/ / www. worldcat. org/ issn/ 0194-7869).Surridge, Matthew (July 2001). "When Extravagant Fantasies Become Drab Experiences". The ComicsJournal (Fantagraphics Books) (235): 36–37. ISSN  0194-7869 (http:/ / www. worldcat. org/ issn/ 0194-7869).Weschler, Lawrence (July/August 2001). "Pig Perplex" (http:/ / linguafranca. mirror. theinfo. org/ print/ 0107/field_notes. html). Lingua Franca 11 (5). Retrieved May 15, 2012.Witek, Joseph (2004). "Imagetext, or, Why Art Spiegelman Doesn't Draw Comics" (http:/ / www. english. ufl.edu/ imagetext/ archives/ v1_1/ witek/ ). ImageTexT: Interdisciplinary Comics Studies (University of Florida)1 (1). ISSN  1549-6732 (http:/ / www. worldcat. org/ issn/ 1549-6732). Retrieved April 16, 2012.Wizard staff (June 2009). "100 Greatest Graphic Novels of our Lifetime". Wizard (Wizard Entertainment)(212).

Newspapers

Couvreur, Daniel (March 5, 2012). "Katz a-t-il défiguré Maus ?" (http:/ / www. lesoir. be/ culture/ medias/2012-03-05/ katz-a-t-il-defigure-maus-900838. php). Le Soir (in French). Retrieved June 15, 2012.Garner, Dwight (October 12, 2011). "After a Quarter-Century, an Author Looks Back at His HolocaustComic" (http:/ / www. nytimes. com/ 2011/ 10/ 13/ books/ metamaus-by-art-spiegelman-review. html). TheNew York Times. Retrieved June 12, 2012.Franklin, Ruth (October 5, 2011). "Art Spiegelman's Genre-Defying Holocaust Work, Revisited" (http:/ /www. tnr. com/ article/ the-read/ 95758/ art-spiegelman-metamaus-holocaust-memoir-graphic-novel). TheNew Republic. Retrieved January 30, 2012.Hays, Matthew (October 8, 2011). "Of Maus and man: Art Spiegelman revisits his Holocaust classic". TheGlobe and Mail.

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Kois, Dan (December 2, 2011). "The Making of 'Maus'" (http:/ / www. nytimes. com/ 2011/ 12/ 04/ books/review/ the-making-of-maus. html). The New York Times. Retrieved January 27, 2012.Langer, Lawrence L (December 6, 1998). "A Fable Of The Holocaust" (http:/ / www. nytimes. com/ books/98/ 12/ 06/ specials/ spiegelman-maus2. html). The New York Times. Retrieved August 28, 2012.McGrath, Charles (July 11, 2004). "Not Funnies" (http:/ / www. nytimes. com/ 2004/ 07/ 11/ magazine/11GRAPHIC. html. . ?scp=4& sq=drawn and quarterly fantagraphics& st=cse). The New York Times.Retrieved June 7, 2012.New York Times staff (March 11, 1987). "Awards for Books With Jewish Themes" (http:/ / www. nytimes.com/ 1987/ 03/ 11/ books/ awards-for-books-with-jewish-themes. html). The New York Times. RetrievedJanuary 30, 2012.

Websites

Beaty, Bart (March 7, 2012). "Conversational Euro-Comics: Bart Beaty On Katz" (http:/ / www.comicsreporter. com/ index. php/ conversational_euro_comics_bart_beaty_on_katz/ ). The Comics Reporter.Retrieved April 17, 2012.Blau, Rosie (November 29, 2008). "Breakfast with the FT: Art Spiegelman" (http:/ / www. ft. com/ cms/ s/ 0/69e9620e-bcdc-11dd-af5a-0000779fd18c. html#axzz1sPEGhAQq). Financial Times. Retrieved April 18,2012. (registration required)

Colbert, James (November 8, 1992). "Times Book Prizes 1992 : Fiction : On Maus II" (http:/ / articles.latimes. com/ 1992-11-08/ books/ bk-205_1_maus-ii). Los Angeles Times. Retrieved January 31, 2012.Comic Salon staff (2012). "Nominierungen/Preisträger seit 1984" (http:/ / www. comic-salon. de/ index.asp?FsID=65& spr=1) (in German). Comic Salon (http:/ / www. comic-salon. de). Retrieved January 31, 2012.Conan, Neal (October 5, 2011). "'MetaMaus': The Story Behind Spiegelman's Classic" (http:/ / m. npr. org/news/ Books/ 141085597?singlePage=true). National Public Radio. Retrieved May 8, 2012.Eisner Awards staff (2012). "Complete List of Eisner Award Winners" (http:/ / www. comic-con. org/ cci/cci_eisners_pastwinners. php#1992). San Diego Comic-Con International. Retrieved January 31, 2012.Entertainment Weekly staff (June 27, 2008). "The New Classics: Books" (http:/ / www. ew. com/ ew/ article/0,,20207076_20207387_20207349,00. html). Entertainment Weekly. Retrieved January 27, 2012.Grossman, Lev (March 6, 2009). "Top Ten Graphic Novels: Maus" (http:/ / entertainment. time. com/ 2009/03/ 06/ top-10-graphic-novels/ ?iid=obinsite#maus). Time. Retrieved April 16, 2012.Hammarlund, Ola (August 8, 2007). "Urhunden: Satir och iransk kvinnoskildring får seriepris" (http:/ /urhunden. se/ 2007/ 08/ 08/ satir-och-iransk-kvinnoskildring-far-seriepris/ ) (in Swedish). Urhunden. RetrievedApril 27, 2012.Harvey Awards staff (1992). "1992 Harvey Award Winners" (http:/ / www. harveyawards. org/previous-awards-nominees/ 1992-harvey-awards/ ). Harvey Awards. Retrieved January 31, 2012.Johnston, Ian (December 28, 2001). "On Spiegelman's Maus I and II" (http:/ / records. viu. ca/ ~johnstoi/introser/ maus. htm). Vancouver Island University. Retrieved February 29, 2012.Morman, Todd (January 29, 2003). "High Art, Hit Movies and Manifestos" (http:/ / www. indyweek. com/indyweek/ high-art-hit-movies-and-manifestos/ Content?oid=1188573). IndyWeek.com (http:/ / www.indyweek. com). Retrieved June 7, 2012.Mozzocco, J. Caleb (December 1, 2011). "Balloonless | Art Spiegelman and Hillary Chute's MetaMaus" (http:// robot6. comicbookresources. com/ 2011/ 12/ balloonless-art-spiegelman-and-hillary-chutes-metamaus/ ).Comic Book Resources. Retrieved May 18, 2012.

Maus 22

National Book Critics Circle staff (2012). "All Past National Book Critics Circle Award Winners andFinalists" (http:/ / bookcritics. org/ awards/ past_awards/ ). National Book Critics Circle. Retrieved January 31,2012.Obst, Peter. "A Commentary on Maus by Art Spiegelman" (http:/ / www. polishcultureacpc. org/ books/ Maus.html). American Council for Polish Culture. Retrieved May 16, 2012.Pulitzer Prize staff (2012). "Special Awards and Citations" (http:/ / www. pulitzer. org/ bycat/Special-Awards-and-Citations). Pulitzer Prizes. Retrieved January 31, 2012.Silver, Alexandra (August 30, 2011). "All-TIME 100 Nonfiction Books: Maus" (http:/ / entertainment. time.com/ 2011/ 08/ 30/ all-time-100-best-nonfiction-books/ slide/ maus-by-art-spiegelman/#maus-by-art-spiegelman). Time. Retrieved April 16, 2012.Spurgeon, Tom (July 14, 2012). "The Comics Reporter" (http:/ / www. comicsreporter. com/ index. php/your_2012_eisner_award_winners/ ). The Comics Reporter. Retrieved July 15, 2012.Tout en BD staff (1993). "Le festival BD: Le palmarès 1993" (http:/ / www. toutenbd. com/ article.php3?id_article=833) (in French). Tout en BD (http:/ / www. toutenbd. com/ ). Retrieved January 31, 2012.Tout en BD staff (1998). "Le festival BD: Le palmarès 1988" (http:/ / www. toutenbd. com/ article.php3?id_article=838) (in French). Tout en BD (http:/ / www. toutenbd. com/ ). Retrieved January 31, 2012.Tzadka, Saul (February 2, 2012). "Maus: Revisited" (http:/ / www. alondon. net/ index. php?action=art&id=5581& lang=en_GB). Alondon (http:/ / www. alondon. net). Retrieved May 18, 2012.

Further reading• Ewert, Jeanne (2004). "Art Spiegelman's Maus and the Graphic Narrative". In Ryan, Marie-Laure. Narrative

Across Media: The Languages of Storytelling. University of Nebraska Press. pp. 180–193.ISBN 978-0-8032-8993-2.

• Geis, Deborah R., ed. (2007). Considering Maus: Approaches to Art Spiegelman's "Survivor's tale" of theHolocaust. University of Alabama Press. ISBN 978-0-8173-5435-0.

• Kannenberg, Eugene P. (2002). Form, Function, Fiction: Text and Image in the Comics Narratives of WinsorMcCay, Art Spiegelman, and Chris Ware (http:/ / proquest. umi. com/ pqdlink?did=726485471& Fmt=7&clientId=79356& RQT=309& VName=PQD). University of Connecticut. ISBN 978-0-493-69522-8.

• Miller, Frieda (1998). Maus: A Memoir of the Holocaust : Teacher's Guide (http:/ / www. vhec. org/ images/pdfs/ maus_guide. pdf). Vancouver Holocaust Education Centre. ISBN 978-1-895754-29-2.

External links• (video) Art Spiegelman and the Making of Maus (http:/ / www. pbs. org/ pov/ inheritance/

photo_gallery_special_maus. php)• Teacher's guide (http:/ / www. randomhouse. com/ highschool/ catalog/ display. pperl?isbn=9780394747231&

view=tg) at Random House• Questions and Resources for Art Spiegelman's Maus (http:/ / www. history. ucsb. edu/ faculty/ marcuse/ classes/

33d/ 33dTexts/ maus/ MausResources. htm) college study guide with archived articles• Art Spiegelman's MAUS: Working Through the Trauma of the Holocaust (http:/ / www3. iath. virginia. edu/

holocaust/ spiegelman. html). In Responses to the Holocaust, University of Virginia• "Teaching Resources for Art Spiegelman's Maus: A Survivor's Tale" (http:/ / www. buckslib. org/ OneBook/

Maus/ unit2student. htm). Buckslib.org. July 11, 2004. Retrieved January 30, 2012.• Spiegelman, Art (September/October 1997). "Getting in Touch with My Inner Racist". Mother Jones: 51–52.• Spiegelman discusses Maus with Paul Gravett (http:/ / sounds. bl. uk/ Arts-literature-and-performance/ ICA-talks/

024M-C0095X0516XX-0100V0) - a British Library sound recording

Article Sources and Contributors 23

Article Sources and ContributorsMaus  Source: http://en.wikipedia.org/w/index.php?oldid=576159751  Contributors: ***Ria777, 2D, 88888, A Man In Black, Addshore, Allenwanghong, Almafeta, Andrewman327, Angr,Another Believer, Apollo, Arjayay, AstroFloyd, Attilios, Auric, BalthCat, Banananose23, Beetle120, Benc, Bennie Noakes, Berenlazarus, Bibliomaniac15, BlackIceQueen, Blue Danube,BookgirlST, Bosco13, Brandt Luke Zorn, Bridgecross, Briony Coote, Bryan Derksen, Burntsierra754, Byglond, CBM, CGP, CardinalDan, Catfish Jim and the soapdish, Chowbok, ChrisGualtieri,Chuckiesdad, Clarityfiend, Conti, Coopkev2, Crana, Curly Turkey, Cyfal, DARTH SIDIOUS 2, DCEdwards1966, DGG, DGtal, DWill4MVP, Dabomb87, Damien Vryce, Daniel Case, Darz Mol,Dave Cohoe, David Fuchs, David.s.kats, Davidiad, DeadEyeArrow, DearPrudence, Deltabeignet, Dennis G. Jerz, DerHexer, Deville, Discospinster, Do they collide, Dragoncat1234, Dragonfiend,EFieg, Ebz123, Eddie.willers, Eilev G. Myhren, Eleusinian, Emperor, Emurphy42, Enyavar, Error, Esprit15d, Estinate, Ethan Mitchell, Evanh2008, FelinaofL2, Forenti, Fram, Frecklefoot, FritzSaalfeld, Frogman100, Froid, FrostyBytes, Fryn, Furrykef, Gamesmaster, Garion96, GirasoleDE, Gleam, GoCubs88, GoingBatty, Grapple X, Greeniweeni, GregorB, Gzornenplatz, HDCase,Hamiltonstone, Harizotoh9, Havardj, Hbdragon88, Helical gear, Helldjinn, Henryodell, Hiding, Hmarcuse, Hoary, Hob, Hookjaw, Htews, Hueysheridan, I Feel Tired, Indopug, J Greb, J04n, JQF,Jabrona, Jamdav86, JamesAM, Jamesdemonic, Jarble, Jared1111, Jayjg, JeLuF, Jebba, Jj137, John of Reading, JohnRussell, Jonpro, Jr680787, Jusdafax, Kbdank71, Kchishol1970, Keilana,Keitei, KeithB, Kelisi, Khukri, Kimon, Kitoba, Klemen Kocjancic, KleverNever, Koavf, Kristen Eriksen, KyleGarvey, Kyorosuke, Ladybird 88, Leonard Vertighel, Lesfer, Lfstevens,Lockie1111, Lodoss, Lord Bodak, Lowellian, Luckas Blade, Lukobe, Luna Santin, MZMcBride, Maestro25, Magichellcat24, Mandarax, Maple Leaf, MarchOrDie, Marcus Brute, Mario02423,MarkSutton, Marktreut, Marrante, Martarius, Martin de la Iglesia, MasterA113, Mathew5000, Mattjblythe, Max 2000, Mazzargh, Merecat, Metstotop333, Michael Devore, Michael Zimmermann,Mike 7, Minimac, MisfitToys, Moisejp, Morganfitzp, Mortene, Mr Stephen, Mrhank3y0001, Mspraveen, Mtjaws, Naddy, Nakon, Nandesuka, NestleNW911, Nick Pisarro, Jr., Nneonneo, Not adog, Npalumbo58, Nunquam Dormio, Nyttend, Oatmeal batman, OrangeAipom, Osias, Pabix, Pascal.Tesson, Peteashton, Philip Trueman, PhnomPencil, Pijotr, Piotrus, Polarbearmatador,Polylerus, Postdlf, Pratyya Ghosh, Profcumquatt, Pschemp, Psi edit, PuzzletChung, Quebec99, RP9, Radical Mallard, Ray and jub, RexNL, Rich Farmbrough, Richiekim, Riki, Roaneah,Romuluscrohns, Roy da Vinci, Rsl12, Rst20xx, RucasHost, Rumiton, Running, Sbpat21, Schmiteye, Schneelocke, SevereTireDamage, Shaka, SibeliusHicks, Skittle, Skybunny, Slawojarek,SlimVirgin, Spidlock, Spongefrog, Stiv, Stoopideggs2, Stoshmaster, Superman-Clark Kent, Swimnerd316, Switchbreak, Tea with toast, Teklund, That Guy, From That Show!, Theanthrope,Thebuck1, Therealhazel, Thingg, Thuban, Tide rolls, Tjrludicke11, Tktktk, Tony Fox, TonyTheTiger, Trainra, Tranquilo man, Tshepardiv, UmHiThere123456789, Undertow87, Urashimataro,Urzică, Valentinian, Vanished user sfoi943923kjd94, Varlaam, Visor, Vladsinger, Volunteer Marek, Vuerqex, Vzbs34, Wareq, Wayland, Wayne Miller, WhisperToMe, Whooligan, WikiZorro,Witkacy, WoodyWerm, Woohookitty, Xed, YVNP, Ylee, Zenohockey, Zoli79, 561 anonymous edits

Image Sources, Licenses and ContributorsFile:Auschwitz entrance.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Auschwitz_entrance.JPG  License: Creative Commons Attribution 2.5  Contributors: Ankit Maity,Djminisite, Fish and karate, IZAK, Sfan00 IMG, 5 anonymous editsFile:Bikont i makłowicz.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Bikont_i_makłowicz.JPG  License: GNU Free Documentation License  Contributors: MohylekFile:Oberkapo - Armbinde.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Oberkapo_-_Armbinde.jpg  License: Public Domain  Contributors: Original uploader was NORLU atde.wikipedia (Original text : N.Luffy)File:Atomic Mouse issue 6 cover.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Atomic_Mouse_issue_6_cover.jpg  License: Public Domain  Contributors: Curly Turkey, HyjuFile:Frans Masereel - Passionate Journey - two pages.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Frans_Masereel_-_Passionate_Journey_-_two_pages.jpg  License: PublicDomain  Contributors: Curly TurkeyFile:Art Spiegelman (2007).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Art_Spiegelman_(2007).jpg  License: Creative Commons Attribution 2.0  Contributors: Chris AnthonyDiazFile:Pekar small.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Pekar_small.jpg  License: GNU Free Documentation License  Contributors: Davidkphoto

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