Mouse Book: A Story of Apodemus, a Long-tailed Field Mouse

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Gross, Jenny (January 27, 2022). "School Board in Tennessee Bans Teaching of Holocaust Novel 'Maus' ". The New York Times. Kaplan 2008, p.172; Sabin 1993, p.246; Stringer 1996, p.262; Ahrens & Meteling 2010, p.1; Williams & Lyons 2010, p.7. Wizard staff (June 2009). "100 Greatest Graphic Novels of our Lifetime". Wizard. Wizard Entertainment (212).

Surridge, Matthew (July 2001). "When Extravagant Fantasies Become Drab Experiences". The Comics Journal. Fantagraphics Books (235): 36–37. ISSN 0194-7869.Berger, James (1999). After the End: Representations of Post-Apocalypse. University of Minnesota Press. ISBN 978-0-8166-2932-9. Morman, Todd (January 29, 2003). "High Art, Hit Movies and Manifestos". IndyWeek.com . Retrieved June 7, 2012. Commentators such as Peter Obst and Lawrence Weschler expressed concern over the Poles' depiction as pigs, [185] which reviewer Marek Kohn saw as an ethnic slur [186] and The Norton Anthology of American Literature called "a calculated insult". [187] Jewish culture views pigs and pork as non- kosher, or unclean, a point of which the Jewish Spiegelman was unlikely to be ignorant. [185] Critics such as Obst and Pekar have said that the portrayal of Poles is unbalanced—that, while some Poles are seen as helping Jews, they are often shown doing so for self-serving reasons. [188] In the late 1990s, an objector to Maus 's depiction of Poles interrupted a presentation by Spiegelman at Montreal's McGill University with persistent abuse and was removed from the auditorium. [189]

Oh, thank you,’ said the Mouse. ‘I think that’s a very wise decision. I meant what I said. I will help you, Mr Lion. One day. Just you wait and see.’ Spiegelman dedicated Maus to his brother Richieu and his first daughter Nadja. [71] The book's epigraph is a quote from Adolf Hitler: "The Jews are undoubtedly a race, but they are not human". [72] International publication [ edit ] Hirsch, Marianne (1997). Family Frames: Photography, Narrative, and Postmemory. Harvard University Press. ISBN 978-0-674-29265-9. 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. ) Scholar Bart Beaty disagrees with claims from other critics that Maus presents a fatalistic perspective. Rather, he argues that Maus problematizes the essentialistic understanding of the relationship between the German "cats" and Jewish "mice," or the notion that there is something natural about Germans killing Jewish people. [191]Kois, Dan (December 2, 2011). "The Making of 'Maus' ". The New York Times . Retrieved January 27, 2012. Weschler, Lawrence (July–August 2001). "Pig Perplex". Lingua Franca. 11 (5) . Retrieved May 15, 2012. Mozzocco, J. Caleb (December 1, 2011). "Balloonless | Art Spiegelman and Hillary Chute's MetaMaus". Comic Book Resources. Archived from the original on December 4, 2011 . Retrieved May 18, 2012.

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] 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. Duncan, Randy; Smith, Matthew J (2009). The Power of Comics. Continuum International Publishing Group. ISBN 978-0-8264-2936-0.American comic books were big business with a diversity of genres in the 1940s and 1950s, but had reached a low ebb by the late 1970s. [55] [56] By the time Maus began serialization, the "Big Two" comics publishers, Marvel and DC Comics, dominated the industry with mostly superhero titles. [57] The underground comix movement that had flourished in the late 1960s and early 1970s also seemed moribund. [58] The public perception of comic books was as adolescent power fantasies, inherently incapable of mature artistic or literary expression. [59] Most discussion focused on comics as a genre rather than as a medium. [60] 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. Born Andzia Zylberberg, with the Hebrew name Hannah. Her name became Anna when she and Vladek arrived in the U.S. [30]