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...
Maus 1, Maus Art Speigelman's works Maus 1 and Maus 2 serve as an exploration of the father and son bond after an traumatic event, the Holocaust and how it influences relationships. These works act as a way to explore such stereotypes about Jews and 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...
Hopefully, regardless of what happens in the rest of the communication world and media, such magazines either in print, electronic or digital form will continue to amaze children. Unfortunately, most young adult books have hit rock bottom, dealing Continue Reading...
