The Complete MAUS, english edition: Art Spiegelman

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Early installments of Maus that appeared in Raw inspired the young Chris Ware to "try to do comics that had a 'serious' tone to them". [154] Maus is cited as a primary influence on graphic novels such as Marjane Satrapi's Persepolis and Alison Bechdel's Fun Home. [47] The Complete Maus includes many instances of violence: shootings, hangings, poisoning, beatings, starvation, and much more. Sensitive readers should beware. Until today there has been no real analysis of how big the impact of those forces in other countries and institutions was and is Spelled "Rysio" in Polish. "Richieu" is Spiegelman's misspelling, as he had not previously seen his brother's name written down. [10] [11]

This one isn´t as essential as the terrifying big story itself. It could have easily been a full autobiography without Spiegelman and his complicated relationship with his father, but this personal, subjective note maybe gives it some extra identification points and makes it somehow even more memorable. Because it shows the possibility that it could have happened to everyone better than with fictional characters. A titanic graphic story constructed during years of artistic effort to show, with detail and authenticity, one of the darkest episodes of human history. National Book Critics Circle staff (2012). "All Past National Book Critics Circle Award Winners and Finalists". National Book Critics Circle. Archived from the original on April 8, 2014 . Retrieved January 31, 2012. I don't think there can be "Too much" of things in a true story but I marked Violence because its detailed in the gruesome murders (as well as suicide being a common subject) and I marked Sex as they hint to some happenings and there is one panel with breast.Schwab, Gabriele (2010). Haunting Legacies: Violent Histories and Transgenerational Trauma. Columbia University Press. ISBN 978-0-231-52635-7. Jannequin, Jean-Paul (April 1990). "Druillet and Spiegelman Take Grand Prizes". The Comics Journal. Fantagraphics Books (121): 19. ISSN 0194-7869. Geis, Deborah R., ed. (2007). Considering Maus: Approaches to Art Spiegelman's "Survivor's tale" of the Holocaust. University of Alabama Press. ISBN 978-0-8173-5435-0. The definitive edition of the graphic novel 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) • PULITZER PRIZE WINNER • One of Variety’s “Banned and Challenged Books Everyone Should Read”

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] 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. Hungerford, Amy (2003). "Surviving Rego Park". The Holocaust of Texts: Genocide, Literature, and Personification. University of Chicago Press. pp.73–96. ISBN 978-0-226-36076-8.Duncan, Randy; Smith, Matthew J (2009). The Power of Comics. Continuum International Publishing Group. ISBN 978-0-8264-2936-0. Wood, Monica (1997). "Maus: A Survivor's Tale, Volumes I and II, by Art Spiegelman". 12 Multicultural Novels: Reading and Teacher Strategies. Walch Publishing. pp.81–94. ISBN 978-0-8251-2901-8. When Published: The first volume of Maus (“My Father Bleeds History”) was serialized in Raw magazine, beginning in 1980 and ending in 1991, when the magazine ceased publication. The first volume was published in book form in 1986. The second volume (“And Here My Troubles Began”) was published in 1991. Couvreur, Daniel (March 5, 2012). "Katz a-t-il défiguré Maus?". Le Soir (in French). Archived from the original on November 2, 2013 . Retrieved June 15, 2012.

According to writer Arie Kaplan, some Holocaust survivors objected to Spiegelman making a comic book out of their tragedy. [177] Literary critics such as Hillel Halkin objected that the animal metaphor was "doubly dehumanizing", reinforcing the Nazi belief that the atrocities were perpetrated by one species on another, when they were actually done by humans against humans. [178] Comics writer and critic Harvey Pekar and others saw Spiegelman's use of animals as potentially reinforcing stereotypes. [179] [180] Pekar was also disdainful of Spiegelman's overwhelmingly negative portrayal of his father, [181] calling him disingenuous and hypocritical for such a portrayal in a book that presents itself as objective. [182] Comics critic R.C. Harvey argued that Spiegelman's animal metaphor threatened "to erode [ Maus 's] moral underpinnings", [183] and played "directly into [the Nazis'] racist vision". [184] Reibmann, James E. (2001). "Fredric Wertham, Spiegelman's Maus, and Representations of the Holocaust". In Baetens, Jan (ed.). The Graphic Novel. Leuven University Press. pp.23–30. ISBN 978-90-5867-109-7. Langer, Lawrence L (December 6, 1998). "A Fable Of The Holocaust". The New York Times . Retrieved August 28, 2012. Hays, Matthew (October 8, 2011). "Of Maus and man: Art Spiegelman revisits his Holocaust classic". The Globe and Mail.Wolk, Douglas (2008). Reading Comics: How Graphic Novels Work and What They Mean. Da Capo Press. ISBN 978-0-7867-2157-3. Families can talk about how The Complete Maus uses the comics medium to tell its story. Why are some topics particularly suited to becoming graphic novels? 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]

Miller, Frieda (1998). Maus: A Memoir of the Holocaust: Teacher's Guide (PDF). Vancouver Holocaust Education Centre. ISBN 978-1-895754-29-2.The story follows Comic artist Art Spiegelman as he interviews his father about WWII. They tell a before, during, and after so that you can truly understand what life was like normally before and how it could never be that again after. This non-fiction piece is brilliantly put together. The success of Maus obviously can tied to the reason of being a Jew Holocaust’s story, and almost any suc story receive a wide positive acceptance, but I think that what makes different Maus from many of similar stories is its bold honesty.