As similarly suggested by Wally Hastings (1998), in his online article about Maus, By distancing the reader from the experience, the talking animals enable us to bear the horror implicit in the Holocaust memory." Art Spiegelman made use of differe Continue Reading...
The problem occurred with the New York Times Book Review as well, criss-crossing the Fiction and the Non-Fiction Best Seller Lists (69). Spiegelman responded with a letter to the editor: 'if you list were divided into literature and non-literature, Continue Reading...
Art Spiegelman's Maus II, a continuation of the story in Maus I, is part of a new approach to the telling of the story of the Holocaust. The form selected is the comic book format, and it has a number of powerful advantages. First, it is a fresh appr Continue Reading...
This 'floating' use of body parts and fluid use of human and mouse anatomical characteristics is another distinct feature of the graphic style of Maus. Frame 6 In this frame, we discover the source of the father's displeasure with Mala. Mala was p Continue Reading...
For one, the cover art used for each of these media formats is remarkably -- and perhaps not coincidentally -- similar. Spiegelman's graphic novel cover depicts a large white circle front and center. On this white circle is a Nazi swastika with a ca Continue Reading...
