Maus

This article is about the graphic novel. For other uses, 1930s[2] and continues until the end of the Holocaust in
see Maus (disambiguation).
1945.[4]
In Rego Park in 1958,[3] a young Art Spiegelman complains to his father that his friends have left him behind.
His father responds in broken English, Friends? Your
friends? If you lock them together in a room with no
food for a week, then you could see what it is, friends!"[5]

Maus is a graphic novel by American cartoonist Art

Spiegelman, serialized from 1980 to 1991. It depicts
Spiegelman interviewing his father about his experiences
as a Polish Jew and Holocaust survivor. The book uses
postmodern techniquesmost strikingly in its depiction
of races as dierent kinds of animals: Jews as mice, Germans as cats, and non-Jewish Poles as pigs. Critics have
classied Maus as memoir, biography, history, ction, autobiography, or a mix of genres. In 1992 it became the
rst graphic novel to win a Pulitzer Prize.

As an adult, Art visits his father, from whom he

has become estranged.[6] Vladek has remarried to a
woman called Mala since the suicide in 1968 of Arts
mother Anja.[7] Art asks Vladek to recount his Holocaust
experiences.[6] Vladek tells of his time in the Polish city
Czstochowa[8] and how he came to marry into Anjas
wealthy family in 1937 and move to Sosnowiec to become a manufacturer. Vladek begs Art not to include
this in the book, and Art reluctantly agrees.[9] Anja suffers a breakdown due to postpartum depression[10] after
giving birth to their rst son Richieu,[lower-alpha 1] and the
couple go to a sanitarium in Nazi-occupied Czechoslovakia for her to recover. After they return, political and
antisemitic tensions build until Vladek is drafted just before the Nazi invasion. Vladek is captured at the front and
forced to work as a prisoner of war. After his release, he
nds Germany has annexed Sosnowiec, and he is dropped
o on the other side of the border in the German protectorate. He sneaks across the border and reunites with his
family.[12]

In the frame-tale timeline in the narrative present that begins in 1978 in New York City, Spiegelman talks with his
father Vladek about his Holocaust experiences, gathering
material for the Maus project he is preparing. In the narrative past, Spiegelman depicts these experiences, from
the years leading up to World War II to his parents liberation from the Nazi concentration camps. Much of the
story revolves around Spiegelmans troubled relationship
with his father, and the absence of his mother who committed suicide when he was 20. Her grief-stricken husband destroyed her written accounts of Auschwitz. The
book uses a minimalist drawing style and displays innovation in its pacing, and structure, and page layouts.
A three-page strip also called Maus that he made in
1972 gave Spiegelman an opportunity to interview his father about his life during World War II. The recorded interviews became the basis for the graphic novel, which
Spiegelman began in 1978. He serialized Maus from
1980 until 1991 as an insert in Raw, an avant-garde
comics and graphics magazine published by Spiegelman
and his wife, Franoise Mouly, who also appears in Maus.
A collected volume of the rst six chapters that appeared
in 1986 brought the book mainstream attention; a second
volume collected the remaining chapters in 1991. Maus
was one of the rst graphic novels to receive signicant
academic attention in the English-speaking world.

During one of Arts visits, he nds that a friend of Malas

has sent the couple one of the underground comix magazines Art contributed to. Mala had tried to hide it,
but Vladek nds and reads it. In Prisoner on the Hell
Planet,[13] Art is traumatized by his mothers suicide
three months after his release from the mental hospital, and in the 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, the Nazis move the Jews of the Sosnowiec
Ghetto to Srodula, and march them back to Sosnowiec
to work. The family splits upVladek and Anja send
Richieu to Zawiercie to stay with an aunt for safety. As
more Jews are sent from the ghettos to Auschwitz, the
aunt poisons herself, her children, and Richieu to escape
the Gestapo. In Srodula, many Jews build bunkers to hide
from the Germans. Vladeks bunker is discovered and he
is placed into a ghetto inside the ghetto surrounded by
barbed wire. The remnants of Vladek and Anjas family

Synopsis

Most of the book weaves in and out of two timelines. In

the frame tale of the narrative present,[1] Spiegelman interviews his father Vladek in the Rego Park neighborhood
of New York City[2] in 197879.[3] The story that Vladek
tells unfolds in the narrative past, which begins in the mid1

2 PRIMARY CHARACTERS
from Samuel Beckett: Every word is like an unnecessary stain on silence and nothingness, but then realizes,
on the other hand, he said it.[19]
Vladek tells of his hardship in the camps, of starvation
and abuse, of his resourcefulness, of avoiding the selektionenthe process by which prisoners were selected for
further labor or execution.[20] Despite the danger, Anja
and Vladek exchange occasional messages. As the war
progresses and the German front is pushed back, the prisoners are marched from Auschwitz in occupied Poland to
Gross-Rosen within the Reich, and then to Dachau, 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
over in his bed as he nishes his story and telling Art,
I'm tired from talking, Richieu, and its enough stories
for now.[22] The nal image is of Vladek and Anjas
tombstone[23] Vladek died in 1982, before the book
was completed.[24]

2 Primary characters
Art Spiegelman Art[lower-alpha 2] (born 1948)[26] is a
cartoonist and intellectual.[3] Art is presented as
egocentric,[27] neurotic and obsessive, angry and
Prisoner on the Hell Planet (1973), an early, expressionistic
full of self-pity.[3] He deals with his own traustrip about Spiegelmans mothers suicide, reprinted in Maus
mas and those inherited from his parents by seeking psychiatric help,[10] which continued after the
book was completed.[28] He has a strained relation[12]
are taken away. Srodula is cleared of its Jews, except
ship with his father, Vladek,[29] by whom he feels
for a group Vladek hides with in another bunker. When
dominated.[3] At rst, he displays little sympathy for
the Germans depart, the group splits up and leaves the
his fathers hardships, but shows more as the narraghetto.[16]
tive unfolds.[27]
In Sosnowiec, Vladek and Anja move from one hiding Vladek Spiegelman Vladek[lower-alpha 3]
(1906
place to the next, making occasional contact with other
1982)[31] is a Polish Jew who survived the
Jews in hiding. Vladek disguises himself as an ethnic Pole
Holocaust, then moved to the U.S. in the early
and hunts for provisions. The couple arrange with smug1950s. Speaking broken English,[32] he is presented
glers to escape to Hungary, but it is a trickthe Gestapo
as miserly, anal retentive, anxious and obstinate
arrest them on the train and take them to Auschwitz,
traits that may have helped him survive the camps,
where they are separated until after the war.[16]
but which greatly annoy his family. He displays
racist attitudes, as when Franoise picks up an
Art asks after Anjas diaries, which Vladek tells him
African American hitchhiker, who he fears will rob
were her account of her Holocaust experiences and the
them.[33] He shows little insight into his own racist
only record of what happened to her after her separation
comments about others.[24]
from Vladek at Auschwitz, and which Vladek says she
had wanted Art to read. Vladek comes to admit that he
[34]
is Vladeks
burned them after she killed herself. Art is enraged, and Mala Spiegelman Mala (19172007)
second
wife.
Vladek
makes
her
feel
that
she can
[17]
calls Vladek a murderer.
never live up to Anja.[35] Though she too is a survivor
The story jumps to 1986, after the rst six chapters of
and speaks with Art throughout the book, Art makes
Maus have appeared in a collected edition. Art is overno attempt to learn of her Holocaust experience.[36]
come with the unexpected attention the book receives[4]
and nds himself totally blocked. Art talks about the Anja Spiegelman Also a Polish Jew who has survived
book with his psychiatrist Paul Pavel, a Czech Holocaust
the Holocaust, Anja[lower-alpha 4] (19121968)[31] is
[18]
Arts mother and Vladeks rst wife. Nervous, comsurvivor. Pavel suggests that, as those who perished in
the camps can never tell their stories, maybe its better
pliant, and clinging, she has her rst nervous breaknot to have any more stories. Art replies with a quote
down after giving birth to her rst son.[37] She some-

3
times told Art about the Holocaust while he was
growing up, although his father did not want him
to know about it. She killed herself by slitting her
wrists in a bathtub in May 1968,[38] and left no suicide note.[39]
Franoise Mouly Franoise (born 1955)[26] is married
to Art. She is French, and converted to Judaism[40]
to please Arts father. It is unclear to Spiegelman whether she should be represented as a Jewish
mouse, a French frog, or some other animal.[41]

Background

Art Spiegelman was born on February 15, 1948, in

Sweden to Polish Jews and Holocaust survivors Vladek
and Anja Spiegelman. An aunt poisoned their rst son
Richieu to avoid capture by the Nazis four years before
Spiegelmans birth.[42] He and his parents immigrated to
the United States in 1951.[43] During his youth his mother
occasionally talked about Auschwitz, but his father did
not want him to know about it.[28]
Spiegelman developed an interest in comics early and began drawing professionally at 16.[44] He spent a month
in Binghamton State Mental Hospital in 1968 after a
nervous breakdown. Shortly after he got out, his mother
committed suicide.[2] Spiegelmans father was not happy
with his sons involvement in the hippie subculture.
Spiegelman said that when he bought himself a German
Volkswagen it damaged their already-strained relationship beyond repair.[45] Around this time, Spiegelman
in fanzines about such graphic artists as Frans Masereel
who had made wordless novels. The discussions in those
fanzines about making the Great American Novel in
comics inspired him.[46]

comix movement of the 1970s, both as cartoonist and

editor.[47] In 1972 Justin Green produced the semiautobiographical comic book Binky Brown Meets the Holy
Virgin Mary, which inspired other underground cartoonists to produce more personal and revealing work.[48]
The same year, Green asked Spiegelman to contribute
a three-page strip for the rst issue of Funny Aminals
[sic], which Green edited.[47] Spiegelman wanted to do
a strip about racism, and at rst considered focusing
on African Americans,[49] with cats as Ku Klux Klan
members chasing African-American mice.[50] Instead, he
turned to the Holocaust and depicted Nazi cats persecuting Jewish mice in a strip he titled Maus. The tale was
narrated to a mouse named "Mickey".[47] After nishing
the strip, Spiegelman visited his father to show him the
nished work, which he had based in part on an anecdote
he had heard about his fathers Auschwitz experience. His
father gave him further background information, which
piqued Spiegelmans interest. Spiegelman recorded a series of interviews over four days with his father, which
was to provide the basis of the longer Maus.[51] Spiegelman followed up with extensive research, reading survivors accounts and talking to friends and family who
had also survived. He got detailed information about Sosnowiec from a series of Polish pamphlets published after the war which detailed what happened to the Jews by
region.[52]

Spiegelman visited Auschwitz in 1979 as part of his research.

In 1973, Spiegelman produced a strip for Short Order

Comix #1[53] about his mothers suicide called Prisoner on the Hell Planet. The same year, he edited a
pornographic, psychedelic book of quotations, and dedicated it to his mother.[38] He spent the rest of the 1970s
building his reputation making short avant-garde comics.
He moved back to New York from San Francisco in
1975, which he admitted to his father only in 1977, by
which time he had decided to work on a very long comic
book.[15] He began another series of interviews with his
father in 1978,[45] and visited Auschwitz in 1979.[54] He
From the original, less subtle 1972 Maus strip
serialized the story in a comics and graphics magazine he
Spiegelman became a key gure in the underground and his wife Mouly began in 1980 called Raw.[55]

3.1

Comics medium

American comic books were big business with a diversity

of genres in the 1940s and 1950s,[56] but had reached a
low ebb by the late 1970s.[57] By the time Maus began
serialization, the Big Two comics publishers, Marvel
and DC Comics, dominated the industry with mostly
superhero titles.[58] The underground comix movement
that had ourished in the late 1960s and early 1970s also
seemed moribund.[59] The public perception of comic
books was as adolescent power fantasies, inherently incapable of mature artistic or literary expression.[60] Most
discussion focused on comics as a genre rather than a
medium.[61]

PUBLICATION HISTORY

Group in the early 2000s to include graphic novel as

a category in bookstores.[67]
Pantheon collected the last ve chapters in 1991 in
a second volume subtitled And Here My Troubles Began. Pantheon later collected the two volumes into
soft- and hardcover two-volume boxed sets and singlevolume editions.[68] In 1994 the Voyager Company released The Complete Maus on CD-ROM, a collection which contained the original comics, Vladeks
taped transcripts, lmed interviews, sketches, and other
background material.[69] The CD-ROM was based on
HyperCard, a Macintosh-only application that has since
become obsolete.[70] In 2011 Pantheon Books published a companion to The Complete Maus entitled
MetaMaus, with further background material, including
lmed footage of Vladek.[42] The centerpiece of the book
is a Spiegelman interview conducted by Hillary Chute.
It also has interviews with Spiegelmans wife and children, sketches, photographs, family trees, assorted artwork, and a DVD with video, audio, photos, and an interactive version of Maus.[71]

Maus came to prominence when the term "graphic novel"

was beginning to gain currency. Will Eisner popularized
the term with the publication in 1978 of A Contract with
God. The term was used partly to mask the low cultural
status that comics had in the English-speaking world, and
partly because the term comic book was being used to
refer to short-form periodicals, leaving no accepted vocabulary with which to talk about book-form comics.[62] Spiegelman dedicated Maus to his brother Richieu and
his rst daughter Nadja.[72] The books epigraph is a quote
from Adolf Hitler: The Jews are undoubtedly a race, but
they are not human.[73]

Publication history

The rst chapter of Maus appeared in December 1980

in the second issue of Raw[46] as a small insert; a new
chapter appeared in each issue until the magazine came
to an end in 1991. Every chapter but the last appeared in
Raw.[63]

4.1 International publication

Penguin Books obtained the rights to publish the initial

volume in the Commonwealth in 1986. In support of
the African National Congress's cultural boycott in opposition to apartheid, Spiegelman refused to compromise
Spiegelman struggled to nd a publisher for a book ediwith fascism[74] by allowing publication of his work in
tion of Maus,[42] but after a rave New York Times reSouth Africa.[74]
view of the serial in August 1986, Pantheon Books published the rst six chapters in a volume[64] called Maus:
A Survivors Tale and subtitled My Father Bleeds History. Spiegelman was relieved that the books publication
preceded the theatrical release of the animated lm An
American Tail by three months, as he believed that the
lm, produced by Steven Spielberg's Amblin Entertainment, was inspired by Maus and wished to avoid comparisons with it.[65]
The book found a large audience, partly because of its distribution through bookstores rather than the direct market
comic shops where comic books were normally sold.[66]
Maus was dicult for critics and reviewers to classify,
and also for booksellers, who needed to know on which
shelves to place it. Though Pantheon pushed for the term
graphic novel, Spiegelman was not comfortable with
this, as many book-length comics were being referred
to as graphic novels whether or not they had novelistic qualities. He suspected the terms use was an attempt
to validate the comics form, rather than to describe the
content of the books.[62] Spiegelman later came to accept
the term, and with Drawn and Quarterly publisher Chris
Oliveros successfully lobbied the Book Industry Study

Piotr Bikont (left) set up a publishing house in 2001 to put out a

Polish edition of Maus in the face of protest.

By 2011, Maus had been translated into about thirty languages. Three translations were particularly important

5.1

Presentation

to Spiegelman: French, as his wife was French, and because of his respect for the sophisticated Franco-Belgian
comics tradition; German, given the books background;
and Polish. Poland was the setting for most of the book
and Polish was the language of his parents and his own
mother tongue. The German reception was positive
Maus was a best-seller and was taught in schools. The Polish translation encountered diculties; as early as 1987,
when Spiegelman planned a research visit to Poland, the
Polish consulate ocial who approved his visa questioned
him about the Poles depiction as pigs and pointed out
how serious an insult it was. Publishers and commentators refused to deal with the book for fear of protests and
boycotts.[75] Piotr Bikont, a journalist for Gazeta Wyborcza, set up his own publishing house to publish Maus in
Polish in 2001. Demonstrators protested Maus 's publication and burned the book in front of Gazeta 's oces.
Bikonts response was to don a pig mask and wave to
the protesters from the oce windows.[76] The magazinesized Japanese translation was the only authorized edition
with larger pages.[77] Long-standing plans for an Arabic
translation have yet to come to fruition.[50]
A few panels were changed for the Hebrew edition of
Maus. Based on Vladeks memory, Spiegelman portrayed
one of the minor characters as a member of the Naziinstalled Jewish Police. An Israeli descendant objected
and threatened to sue for libel. Spiegelman redrew the
character with a fedora in place of his original police hat,
but appended a note to the volume voicing his objection
to this intrusion.[78] This version of the rst volume appeared in 1990 from the publishing house Zmora Bitan.
It had an indierent or negative reception, and the publisher did not release the second volume.[79] Another Israeli publisher put out both volumes, with a new translation by poet Yehuda Vizan that included Vladeks broken language, which Zmora Bitan had refused to do.[80]
Marilyn Reizbaum saw this as highlighting a dierence
between the self-image of the Israeli Jew as fearless defender of the homeland, and that of the American Jew as
feeble victim,[81] something that one Israeli writer disparaged as the diaspora sickness.[82][lower-alpha 5]

5
5.1

Themes
Presentation

Spiegelman, like many of his critics, worries that

"[r]eality is too much for comics ... so much has to be
left out or distorted, admitting that his presentation of
the story may not be accurate.[83] 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 the retelling of his fathers memories, and the
artistic choices he had to makefor example, when his
French wife converts to Judaism, Spiegelmans character
frets over whether to depict her as a frog, a mouse, or

Spiegelman nds the animal metaphor self-destructs.

other animal.[84]
The book portrays dierent races as dierent species of
animalsthe Jews as mice, Germans as cats, and ethnic Poles as pigs,[2] among others. Spiegelman took advantage of the way Nazi propaganda lms depicted Jews
as vermin,[85] though he was rst struck by the metaphor
after attending a presentation where Ken Jacobs showed
lms of minstrel shows along with early American animated lms, abundant with racial caricatures.[86]
Jewish characters try to pass themselves o as ethnic
Poles by tying pig masks to their faces, with the strings
showing at the back.[87] Vladeks disguise was more convincing than Anjas"you could see she was more Jewish, Vladek says. Spiegelman shows this Jewishness by
having her tail hang out of her disguise.[88] This literalization of the genocidal stereotypes that drove the Nazis to
their Final Solution may risk reinforcing racist labels,[89]
but Spiegelman uses the idea to create anonymity for
the characters. According to art historian Andrea Liss,
this may paradoxically enable the reader to identify with
the characters as human, preventing the reader from
observing racial characteristics based on facial traits,
while reminding readers that racist classication is ever
present.[90]
In making people of each ethnicity look alike, Spiegelman hoped to show the absurdity of dividing people along
such lines. Spiegelman has stated that these metaphors
... are meant to self-destruct[91] and reveal the inanity
of the notion itself.[92] Professor Amy Hungerford saw
no consistent system to the animal metaphor.[93] Rather,
it signied the characters roles in the story rather than
their racesthe gentile Franoise is a mouse because
of her identication with her husband, who identies
with the Holocaust victims. When asked what animal he would make Israeli Jews, Spiegelman suggests
porcupines.[94] When Art visits his psychiatrist, the two
wear mouse masks.[95] Spiegelmans perceptions of the
animal metaphor seem to have evolved over the books
makingin the original publication of the rst volume,
his self-portrait showed a mouse head on a human body,
but by the time the second volume arrived, his selfportrait had become that of a man wearing a mouse
mask.[96] In Maus, the characters seem to be mice and
cats only in their predator/prey relationship. In every respect other than their heads and tails, they act and speak

5 THEMES

as ordinary humans.[96] Further complicating the animal

metaphor, Anja is ironically shown to be afraid of mice,
while other characters appear with pet dogs and cats, and
the Nazis with attack dogs.[97]

5.2

Memory

To Marianne Hirsch, Spiegelmans life is dominated by

memories that are not his own.[98] His work is one not
of memory but of postmemorya term she coined after encountering Maus. This describes the relation of
the children of survivors with the survivors themselves.
While these children have not had their parents experiences, they grow up with their parents memoriesthe
memory of anothers memoryuntil the stories become
so powerful that for these children they become memories in their own right. The childrens proximity creates
a deep personal connection with the memory, though
separated from it by generational distance.[99]

Kapos, prisoner supervisors under the Nazis, are depicted as antisemitic Poles.

throughout the book, especially in the second volume,

showing where the lines cannot be drawn between races
of humans.[108]

The Germans are depicted with little dierence between

them, but there is great variety and little stereotyping
among the Poles and Jews who dominate the story.[109]
Sometimes Jews and the Jewish councils are shown comArt tried to keep his fathers story chronological, be- plying with the occupiers; some trick other Jews into cap[110]
cause otherwise he would never keep it straight.[100] His ture, while others act as police for the Nazis.
mother Anjas memories are conspicuously absent from Spiegelman shows numerous instances of Poles who
the narrative, given her suicide and Vladeks destruction risked themselves to aid Jews, and also shows antiof her diaries. Hirsch sees Maus in part as an attempt to semitism as being rife among them. The kapos who run
reconstruct her memory. Vladek keeps her memory alive the camps are Poles, and Anja and Vladek are tricked by
with the pictures on his desk, like a shrine, according Polish smugglers into the hands of the Nazis. Anja and
to Mala.[101]
Vladek hear stories that Poles continue to drive o and
even kill returning Jews after the war.[111]

5.3

Guilt

Spiegelman displays his sense of guilt in many ways. He

suers anguish over his dead brother, Richieu, who perished in the Holocaust, and whom he feels he can never
live up to.[102] The eighth chapter, made after the publication and unexpected success of the rst volume, opens
with a guilt-ridden Spiegelman (now in human form, with
a strapped-on mouse mask) atop a pile of corpsesthe
corpses of the six million Jews upon whom Maus 's success was built.[103] He is told by his psychiatrist that his
father feels guilt for having survived and for outliving his
rst son,[104] and that some of Arts guilt may spring from
painting his father in such an unattering way.[105] As he
had not lived in the camps himself, he nds it dicult to
understand or visualize this separate universe, and feels
inadequate in portraying it.[28][106]

5.5 Language

Vladeks English is broken in contrast with that of Arts

more uent therapist, Paul Pavel, who is also an immigrant and Holocaust survivor.[112] Vladeks knowledge of
the language helps him several times during the story, as
when he uses it to meet Anja. He also uses it to befriend
a Frenchman, and continues to correspond with him in
English after the war. His recounting of the Holocaust,
rst to American soldiers, then to his son, is never in his
mother tongue,[113] and English becomes his daily language when he moves to America.[114] His diculty with
his second language is revealed as Art writes his dialogue
in broken English;[115] when Vladek is imprisoned he tells
Art "... every day we prayed ... I was very religious, and
it wasn't else to do.[116] Late in the book, Vladek talks of
Dachau, saying, And here ... my troubles began, though
clearly his troubles had begun long before Dachau. This
5.4 Racism
unidiomatic expression was used as the subtitle of the sec[115]
Spiegelman parodies the Nazis vision of racial divisions; ond volume.
Vladeks racism is also put on display when he becomes The German word maus is cognate to the English word
upset that Franoise would pick up a black hitchhiker, mouse,[117] and also reminiscent of the German word
a "schwartser" as he says. When she berates him, a mauscheln, which means to speak like a Jew[118] and
victim of antisemitism, for his attitude, he replies, Its refers to the way Jews from Eastern Europe spoke
not even to compare, the schwartsers and the Jews!"[107] German[119] a word not etymologically related to maus,
Spiegelman gradually deconstructs the animal metaphor but distantly to Moses.[118]

6.1

Artwork

Style

7
interrupting.[125] When a prisoner whom the Nazis believe to be a Jew claims to be German, Spiegelman has
diculty deciding whether to present this character as a
cat or a mouse.[126] Throughout the book, Spiegelman incorporates and highlights banal details from his fathers
tales, sometimes humorous or ironic, giving a lightness
and humanity to the story which helps carry the weight
of the unbearable historical realities.[5]
Spiegelman started taking down his interviews with
Vladek on paper, but quickly switched to a tape
recorder,[127] face-to-face or over the phone.[52] Spiegelman often condensed Vladeks words, and occasionally added to the dialogue[127] or synthesized multiple
retellings into a single portrayal.[52]
Spiegelman worried about the eect that his organizing
of Vladeks 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
things across.[52] He strove to present how the book was
recorded and organized as an integral part of the book
itself, expressing the sense of an interview shaped by a
relationship.[52]

6.1 Artwork
The story is text-driven, with few wordless panels[4] in
its 1,500 black-and-white panels.[128] The art has high
contrast, with heavy black areas and thick black borders
balanced against areas of white and wide white margins.
Spiegelmans use of funny animals, similar to those shown here, There is little gray in the shading.[129] In the narrative
conicted with readers expectations.
present, the pages are arranged in eight-panel grids; in
the narrative past, Spiegelman found himself violating
Spiegelmans perceived audacity in using the Holocaust the grid constantly with his page layouts.[32]
as his subject was compounded by his telling the story Spiegelman rendered the original three-page Maus and
in comics. The prevailing view in the English-speaking Prisoner on the Hell Planet in highly detailed, expresworld held comics as inherently trivial,[120] thus degradsive styles. Spiegelman planned to draw Maus in such
ing Spiegelmans subject matter, especially as he used a manner, but after initial sketches he decided to use
animal heads in place of recognizably human ones.[121]
a pared-down style, one little removed from his penFunny animals have been a staple of comics, and while cil sketches, which he found more direct and immedithey have a traditional reputation as childrens fare,
ate. Characters are rendered in a minimalist way: anthe underground had long made use of them in adult imal heads with dots for eyes and slashes for eyebrows
stories,[122] for example in Robert Crumb's Fritz the Cat,
and mouths, sitting on humanoid bodies.[37] Spiegelman
which comics critic Joseph Witek asserts shows that the wanted to get away from the rendering of the characgenre could open up the way to a paradoxical narrative ters in the original Maus, in which oversized cats towrealism that Maus exploited.[123]
ered over the Jewish mice, an approach which Spiegelman
says, tells you how to feel, tells you how to think.[130]
He preferred to let the reader make independent moral
judgments.[131] He drew the cat-Nazis the same size as
the mouse-Jews, and dropped the stereotypical villainous expressions.[87] The contrast between the artwork in
Prisoner on the Hell Planet and Maus drives home the
eectiveness of the simpler artwork"Prisoner is alienencouraging deeper
Spiegelman blurs the line between the frame and the ating, while Maus is more inviting,
[40]
contemplation
and
understanding.
world, such as when neurotically trying to deal with what
Maus is becoming for him, he says to his wife, In Spiegelman wanted the artwork to have a diary feel to
real life you'd never have let me talk this long without it, and so drew the pages on stationery with a fountain
Ostensibly about the Holocaust, the story entwines with
the frame tale of Art interviewing and interacting with his
father. Arts Prisoner on the Hell Planet is also encompassed by the frame, and stands in visual and thematical contrast with the rest of the book as the characters
are in human form[53] in a surreal, German Expressionist
woodcut style inspired by Lynd Ward.[124]

pen and typewriter correction uid. It was reproduced at

the same size it was drawn, unlike his other work, which
was usually drawn larger and shrunk down, which hides
defects in the art.[50]

6.2

Inuences

RECEPTION AND LEGACY

sidered to be for children, and strongly associated with

superheroes.[59] Initially, critics of Maus showed a reluctance to include comics in literary discourse.[140] The
New York Times intended praise when saying of the book,
Art Spiegelman doesn't draw comic books.[141] After
its Pulitzer Prize win, it won greater acceptance and interest among academics.[142] The Museum of Modern Art
staged an exhibition on the making of Maus in 1991
92.[143]

Wordless woodcut novels like those by Frans Masereel were an

early inuence on Spiegelman.

Spiegelman has published articles promoting a greater

knowledge of his mediums history. Chief among his
early inuences were Harvey Kurtzman, Will Eisner,[132]
and Bernard Krigstein's "Master Race".[133] Though he
acknowledged Eisners early work as an inuence, he denied that Eisners rst graphic novel, A Contract with God
(1978), had any impact on Maus.[134] He cited Harold
Gray's comic strip Little Orphan Annie as having inuenced Maus fairly directly, and praised Grays work for
using a cartoon-based storytelling vocabulary, rather than
an illustration-based one.[135] Justin Greens Binky Brown
Meets the Holy Virgin Mary (1972) inspired Spiegelman to include autobiographical elements in his comics.
Spiegelman stated, without Binky Brown, there would be
no Maus".[48] Among the artists who inuenced Maus,
Spiegelman cited Frans Masereel, who had made an
early woodcut novel called Passionate Journey[lower-alpha 6]
(1919).[46]

Reception and legacy

Spiegelmans work as cartoonist and editor had long been

known and respected in the comics community, but the
media attention after the rst volumes publication in
1986 was unexpected.[136] Hundreds of overwhelmingly
positive reviews appeared, and Maus became the center
of new attention focused on comics.[137] It was considered
one of the Big Three book-form comics from around
19861987, along with Watchmen and The Dark Knight
Returns, that are said to have brought the term graphic
novel and the idea of comics for adults into mainstream
consciousness.[138] It was credited with changing the publics perception of what comics could be[139] at a time
when, in the English-speaking world, they were con-

Spiegelman continues to attract academic attention and inuence

younger cartoonists.

Maus proved dicult to classify to a genre,[144] and has

been called biography, ction, autobiography, history,
and memoir.[145] Spiegelman petitioned The New York
Times to move it from ction to non-ction on the
newspapers bestseller list,[125] saying, I shudder to think
how David Duke ... would respond to seeing a carefully
researched work based closely on my fathers memories
of life in Hitlers Europe and in the death camps classied as ction. An editor responded, Lets go out
to Spiegelmans house and if a giant mouse answers the
door, we'll move it to the nonction side of the list!" The
Times eventually acquiesced.[146] The Pulitzer committee sidestepped the issue by giving the completed Maus a
Special Award in Letters in 1992.[147]
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 rst 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

7.1

Academic work and criticism

their list of best non-ction 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 Feier and literary writers such as
Umberto Eco.[152] Spiegelman turned down numerous offers to have Maus adapted for lm or television.[153]
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.[154] Maus is cited as a primary
inuence on graphic novels such as Marjane Satrapi's
Persepolis and Alison Bechdel's Fun Home.[48]
In 1999, cartoonist Ted Rall had an article published in The Village Voice criticizing Spiegelmans
prominence and inuence in the New York cartooning
community.[155] Entitled King Maus: Art Spiegelman
Rules the World of Comix With Favors and Fear, it
accused the Pulitzer board of opportunism in selecting Maus, which Rall deemed unworthy.[156] Cartoonist
Danny Hellman responded to the piece with a prank email
in which Hellman posed as Rall,[155] soliciting discussion
at the email address TedRallsBalls@onelist.com. Hellman followed up by posting fake responses from New
York magazine editors and art directors. Rall launched a
lawsuit seeking damages of $1.5 million for libel, breach
of privacy, and causing emotional distress.[157] To raise
funds to ght the suit, in 2001 Hellman had the Legal Action Comics anthology published, which included
a back cover by Spiegelman in which he depicts Rall as a
urinal.[155]

7.1

Academic work and criticism

A cottage industry of academic research has built up

around Maus,[158] and schools have frequently used it
as course material in a range of elds: history, dysfunctional family psychology,[2] language arts, and social
studies.[159] The volume of academic work published on
Maus far surpasses that of any other work of comics.[160]
One of the earliest such works was Joshua Brown's 1988
Of Mice and Memory from the Oral History Review,
which deals with the problems Spiegelman faced in presenting his fathers story. Marianne Hirsch wrote an inuential 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 eld of
comics such as Dominick LaCapra, Linda Hutcheon, and
Terrence Des Pres took part in the discourse. Few approached Maus who were familiar with comics, largely
because of the lack of an academic comics tradition
Maus tended to be approached as Holocaust history or
from a lm or literary perspective. In 2003, Deborah
Geis edited a collection of essays on Maus called Considering Maus: Approaches to Art Spiegelmans Survivors
Tale of the Holocaust.[132] Maus is considered an important work of Holocaust literature, and studies of it have
made signicant contributions to Holocaust studies.[161]

Comics writer and critic Harvey Pekar objected to Maus 's use of
animals and the negative depiction of Spiegelmans father.

According to writer Arie Kaplan, some Holocaust survivors objected to Spiegelman making a comic book
out of their tragedy.[162] 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.[163] Comics writer and critic Harvey Pekar and
others[164] saw Spiegelmans use of animals as potentially reinforcing stereotypes.[165] Pekar was also disdainful of Spiegelmans overwhelmingly negative portrayal
of his father,[166] calling him disingenuous and hypocritical for such a portrayal in a book that presents itself as objective.[167] Comics critic R. C. Harvey argued
that Spiegelmans animal metaphor threatened to erode
[Maus 's] moral underpinnings,[168] and played directly
into [the Nazis] racist vision.[169]
Commentators such as Peter Obst and Lawrence
Weschler expressed concern over the Poles depiction as
pigs,[170] which reviewer Marek Kohn saw as an ethnic slur.[171] Jewish culture views pigs and pork as nonkosher, or uncleana point of which the Jewish Spiegelman was unlikely to be ignorant.[170] Critics such as
Obst and Pekar have said that the portrayal of Poles is
unbalancedthat, while some Poles are seen as helping Jews, they are often shown doing so for self-serving
reasons.[172] In the late 1990s, an objector to Maus 's depiction of Poles interrupted a presentation by Spiegelman
at Montreals McGill University with persistent abuse and
was expelled from the auditorium.[173]

10

10

Literary critic Walter Ben Michaels found Spiegelmans

racial divisions counterfactual.[174] Spiegelman depicts
the various European races as dierent animal species,
but Americans, both black and white, as dogswith the
exception of the Jews, who remain unassimilated mice.
To Michaels, Maus seems to gloss over the racial inequality that has plagued the history of the U.S.[174]
Other critics, such as Bart Beaty, objected to what they
saw as the works fatalism.[175] Belgian publisher La Cinquime Couche[176] anonymously produced a book called
Katz, a remix of Spiegelmans book with all animal heads
replaced with cat heads. The book reproduced every
page and line of dialogue from the French translation of
Maus. Spiegelmans French publisher, Flammarion, had
the Belgian publisher destroy all copies under charges of
copyright violation.[175]
Scholar Paul Buhle asserted, More than a few readers
have described [Maus] as the most compelling of any
[Holocaust] depiction, perhaps because only the caricatured quality of comic art is equal to the seeming unreality
of an experience beyond all reason.[177] Michael Rothberg opined, By situating a nonctional story in a highly
mediated, unreal, 'comic' space, Spiegelman captures the
hyperintensity of Auschwitz.[178]

REFERENCES

his name was Wilhelm (or Wolf for short), and he became William when he moved to the US.[30]
[4] Born Andzia Zylberberg, with the Hebrew name Hannah.
Her name became Anna when she and Vladek arrived in
the US.[30]
[5] Translated from Hebrew by Marilyn Reizbaum.[82]
[6] Original French title: Mon Livre d'Heures ("My Book of
Hours")

10 References
[1] Witek 1989, p. 98; LaCapra 1998, p. 154.
[2] Fathers 2007, p. 122.
[3] Gordon 2004.
[4] Kannenberg 1999, pp. 100101.
[5] Liss 1998, p. 55.
[6] Levine 2006, p. 29.
[7] Young 2006, p. 250; Fathers 2007, p. 123.
[8] Merino 2010.

7.2

Awards and nominations

See also

[9] Pekar 1986, p. 54.

[10] Reibmann 2001, p. 26.
[11] Spiegelman 2011, p. 18.

Anthropomorphism

[12] Wood 1997, p. 83.

Birds Head Haggadah

[13] Levine 2006, p. 36.

Ethnic stereotypes in comics

[14] Witek 1989, p. 100; Levine 2006, p. 38.

Stereotypes of Jews in literature

[15] Kaplan 2006, p. 114.

[16] Wood 1997, p. 84.

Notes

[17] Levine 2006, p. 34; Rothberg 2000, p. 211.

[18] Weine 2006, p. 29.

[1] Spelled Rysio in Polish. Richieu is Spiegelmans misspelling, as he had not previously seen his brothers name
written down.[11]
[2] Born Itzhak Avraham ben Zev, his name was changed to
Arthur Isadore when he immigrated with his parents to
the US.[25]
[3] Born Zev Spiegelman, with the Hebrew name Zev ben
Abraham. His Polish name was Wladislaw (Wladislaw and Wladec are the spellings Spiegelman provides; the standard Polish spellings for these names are
Wadysaw and Wadek), of which Wladec is a
diminutive. Vladek is the Russian version of this name,
which was picked up when the area in which Vladek lived
was controlled by Russia. This spelling was chosen for
Maus as it was deemed the easiest spelling for English
speakers to pronounce correctly. The German version of

[19] Rothberg 2000, p. 217.

[20] McGlothlin 2003, p. 177.
[21] McGlothlin 2006, p. 85; Adams 2008, p. 172.
[22] Kois 2011; Wood 1997, p. 88.
[23] Mandel 2006, p. 118.
[24] Wood 1997, p. 85.
[25] Spiegelman 2011, p. 17.
[26] Spiegelman 2011, pp. 292.
[27] Harvey 1996, p. 242.
[28] Fathers 2007, p. 124.

11

[29] Young 2006, p. 250; Fathers 2007, p. 123; Levine 2006,

p. 29.
[30] Spiegelman 2011, p. 16.
[31] Spiegelman 2011, pp. 291, 293.

[65] Kaplan 2006, p. 118; Kaplan 2008, p. 172.

[66] Kaplan 2006, p. 115.
[67] McGrath 2004, p. 2; Morman 2003.
[68] Rhoades 2008, p. 220.

[32] Weine 2006, p. 26.

[69] Horowitz 1997, p. 403.
[33] Gordon 2004; Tan 2001, p. 39.
[70] Hignite 2007, p. 57.
[34] Spiegelman 2011, pp. 291, 294.
[71] Garner 2011.
[35] Rice 2007, p. 18.
[36] Hirsch 1997, p. 35.

[72] Liss 1998, p. 55; LaCapra 1998, p. 156.

[37] Pekar 1986, p. 56.

[73] Witek 1989, p. 94; Hirsch 1997, p. 26; Wirth-Nesher

2006, p. 169.

[38] Rothberg 2000, p. 214.

[74] Smith 2007, p. 93.

[39] Levine 2006, p. 35.

[75] Weschler 2001; Spiegelman 2011, pp. 122125.

[40] Johnston 2001.

[76] Spiegelman 2011, pp. 122124.

[41] Schuldiner 2011, pp. 7677; Hirsch 1997, p. 27; Adams

2008, p. 180.

[77] Spiegelman 2011, p. 152.

[42] Kois 2011.

[43] Fischer & Fischer 2002.
[44] Fathers 2007, p. 122; Weiner 2003, p. 36.
[45] Fathers 2007, p. 125.
[46] Kaplan 2008, p. 171.
[47] Witek 1989, p. 103.
[48] Chute 2010, p. 18.
[49] Kaplan 2008, p. 140.

[78] Mozzocco 2011; Spiegelman 2011, p. 154.

[79] Tzadka 2012; Spiegelman 2011, pp. 152153.
[80] Spiegelman 2011, p. 153.
[81] Reizbaum 2000, p. 135136.
[82] Reizbaum 2000, p. 139.
[83] Wood 1997, p. 87.
[84] Young 2006, p. 250; Witek 1989, pp. 112114.
[85] Pustz 2007, p. 69.

[50] Conan 2011.

[86] Loman 2010, pp. 221223.

[51] Spiegelman 2011, pp. 2224.

[87] Witek 1989, p. 106.

[52] Brown 1988.

[88] Rothberg 2000, p. 210; Hateld 2005, p. 140.

[53] Witek 1989, p. 98.

[89] Reibmann 2001, p. 25; Liss 1998, p. 53; Pekar 1986, p.

55.

[54] Blau 2008.

[55] Petersen 2010, p. 221.
[56] Weiner 2003, pp. 56.
[57] Duncan & Smith 2009, p. 68.

[90] Liss 1998, p. 53.

[91] Bolhafner 1991, p. 96.
[92] Hays 2011.
[93] Hungerford 2003, p. 86.

[58] Duncan & Smith 2009, p. 91.

[94] Hungerford 2003, p. 87.
[59] Witek 2004.
[95] Pustz 2007, p. 70.
[60] Russell 2008, p. 221; Duncan & Smith 2009, p. 1.
[96] Hirsch 1997, p. 27.
[61] Witek 2004; Fagan & Fagan 2011, p. 3; Abell 2012, pp.
6884.

[97] Wolk 2008, p. 283.

[62] Petersen 2010, p. 222.

[98] Hirsch 1997, p. 26.

[63] Kaplan 2006, p. 113.

[99] Levine 2006, p. 17; Berger 1999, p. 231.

[64] Kaplan 2008, p. 171; Kaplan 2006, p. 118.

[100] Merino 2010; Weine 2006, p. 27; Brown 1988.

12

[101] Hirsch 1997, p. 3334.

10

REFERENCES

[102] Schwab 2010, p. 37.

[138] Kaplan 2008, p. 172; Sabin 1993, p. 246; Stringer 1996,

p. 262; Ahrens & Meteling 2010, p. 1; Williams & Lyons
2010, p. 7.

[103] Kannenberg 2001, p. 86.

[139] Witek 1989, pp. 9495.

[104] Schuldiner 2011, p. 69.

[140] Russell 2008, p. 223; Horowitz 1997, p. 406.

[105] Schuldiner 2011, p. 70.

[141] Witek 2004; Langer 1998.

[106] Schuldiner 2011, p. 75.

[142] Russell 2008, p. 223.

[107] Loman 2010, p. 224.

[143] Kaplan 2006, p. 118; Weine 2006, p. 25.

[108] Loman 2010, p. 225.

[144] Orbn 2005, pp. 3940; Rhoades 2008, p. 219.

[109] LaCapra 1998, pp. 161.

[145] For biography, see Brown 1988

For ction, see New York Times sta 1987; Ruth 2011
For autobiography, see Merino 2010
For history, see Brown 1988; Ruth 2011; Garner 2011
For memoir, see Ruth 2011; Garner 2011

[110] LaCapra 1998, pp. 167168.

[111] LaCapra 1998, pp. 166167.
[112] Rosen 2005, p. 158.
[113] Rosen 2005, p. 165.
[114] Rosen 2005, p. 166.
[115] Rosen 2005, p. 164.
[116] Wirth-Nesher 2006, p. 168.
[117] Levine 2006, p. 21.
[118] Levine 2006, p. 22.
[119] Rothberg 2000, p. 208.
[120] Russell 2008, p. 221.
[121] Witek 1989, p. 97.
[122] Witek 1989, p. 110.
[123] Witek 1989, p. 111.
[124] Witek 2004, p. 100.
[125] Liss 1998, p. 54.
[126] Kannenberg 2001, p. 85.
[127] Rothberg 2000, pp. 207208.
[128] Weine 2006, pp. 2526.
[129] Adams 2008, p. 172.
[130] Witek 1989, p. 104.
[131] Witek 1989, p. 112.
[132] Frahm 2004.
[133] Kannenberg 2001, p. 28.
[134] Kaplan 2008, p. 172.
[135] Spiegelman 2011, p. 196.
[136] Weiner 2003, p. 36.
[137] Witek 1989, p. 94.

[146] Ruth 2011; Horowitz 1997, p. 405.

[147] Liss 1998, p. 54; Fischer & Fischer 2002.
[148] Wizard sta 2009.
[149] Entertainment Weekly sta 2008.
[150] Silver 2011.
[151] Grossman 2009.
[152] Kaplan 2006, p. 118.
[153] Pustz 2007, p. 73.
[154] Ball & Kuhlman 2010, p. xii.
[155] Arnold 2001.
[156] Smith 1999.
[157] The Daily Free Press sta 2000.
[158] Meskin & Cook 2012, p. xxiv.
[159] Monnin 2010, p. 121.
[160] Loman 2010, p. 217.
[161] Loman 2010, p. 218.
[162] Kaplan 2006, p. 119.
[163] Hateld 2005, pp. 139140; Russell 2008, p. 221.
[164] Park 2011.
[165] Pekar 1986, p. 55; Pekar 1990, pp. 3233.
[166] Pekar 1986, p. 56; Pekar 1990, p. 32.
[167] Pekar 1986, p. 57.
[168] Harvey 1996, p. 243.
[169] Harvey 1996, p. 244.
[170] Obst , A Commentary on Maus by Art Spiegelman;
Weschler 2001.

10.1

Works cited

[171] Baker 1993, pp. 142, 160.

[172] Pekar 1990, pp. 3233; Obst , A Commentary on Maus
by Art Spiegelman.
[173] Surridge 2001, p. 37.
[174] Loman 2010, pp. 223224.
[175] Beaty 2012.
[176] Couvreur 2012.
[177] Chute 2006, pp. 200201.
[178] Chute 2006, p. 201.
[179] Brown 1988; National Book Critics Circle sta 2012.
[180] Brown 1988; New York Times sta 1987.
[181] Tout en BD sta 1998.
[182] Tout en BD sta 1998; Jannequin 1990, p. 19.
[183] Hammarlund 2007.
[184] Comic Salon sta 2012.
[185] National Book Critics Circle sta 2012.
[186] Pulitzer Prize sta 2012.
[187] Eisner Awards sta 2012.
[188] Harvey Awards sta 1992.
[189] Colbert 1992.
[190] Tout en BD sta 1993.

10.1

Works cited

10.1.1

Books

13
Ball, David M.; Kuhlman, Martha B. (2010). The
Comics of Chris Ware: Drawing Is a Way of Thinking. University Press of Mississippi. ISBN 978-160473-442-3.
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. 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 978-1-59884511-2.
Fathers, Michael (2007). Art Mimics Life in the
Death Camps. In Witek, Joseph. Art Spiegelman:
Conversations. University Press of Mississippi. pp.
122125. ISBN 978-1-934110-12-6. (Originally in
Independent on Sunday on 1992-03-22)
Fischer, Heinz Dietrich; Fischer, Erika J. (2002).
Spiegelman, Art. Complete Biographical Encyclopedia of Pulitzer Prize Winners, 19172000: 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.
Hateld, Charles (2005). Alternative Comics: An
Emerging Literature. University Press of Mississippi. ISBN 978-1-57806-719-0.

Abell, Catharine (2012). Comics and Genre. In

Meskin, Aaron; Cook, Roy T. The Art of Comics: A
Philosophical Approach. John Wiley & Sons. ISBN
978-1-4443-3464-7.

Hignite, Todd (2007). Art Spiegelman. In the

Studio: Visits With Contemporary Cartoonists. Yale
University Press. pp. 4061. ISBN 978-0-30013387-5.

Adams, Je (2008). Documentary Graphic Novels and Social Realism. Peter Lang. ISBN 978-303911-362-0.

Hirsch, Marianne (1997). Family Frames: Photography, Narrative, and Postmemory. Harvard University Press. ISBN 978-0-674-29265-9.

Ahrens, Jrn; Meteling, Arno (2010). Comics and

the City: Urban Space in Print, Picture, and Sequence. Continuum International Publishing Group.
ISBN 978-0-8264-4019-8.

Horowitz, Sara R. (1997). Art Spiegelman.

In Shatzky, Joel; Taub, Michael. Contemporary
Jewish-American Novelists: A Bio-Critical Sourcebook. Greenwood Publishing Group. pp. 400408.
ISBN 978-0-313-29462-4.

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.)

Hungerford, Amy (2003). Surviving Rego Park.

The Holocaust of Texts: Genocide, Literature, and
Personication. University of Chicago Press. pp.
7396. ISBN 978-0-226-36076-8.

14
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. 7989. ISBN 978-90-5867109-7.
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 Spiegelmans Maus". History
and Memory After Auschwitz. Cornell University
Press. pp. 139179. ISBN 978-0-8014-8496-4.
Levine, Michael G. (2006). The Belated Witness:
Literature, Testimony, and the Question of Holocaust
Survival. Stanford University Press. ISBN 978-08047-5555-9.

10

REFERENCES

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 About
Creating Comic Books. In Klaehn, Jeery. Inside
the World of Comic Books. Black Rose Books. pp.
6181. ISBN 978-1-55164-296-3.
Reibmann, James E. (2001). Fredric Wertham,
Spiegelmans Maus, and Representations of the
Holocaust. In Baetens, Jan. The Graphic Novel.
Leuven University Press. pp. 2330. ISBN 97890-5867-109-7.
Reizbaum, Marilyn (2000). Silberstein, Laurence
Jay, ed. Mapping Jewish Identities. New York University Press. ISBN 978-0-8147-9769-3.
Rhoades, Shirrel (2008). Comic Books: How the Industry Works. Peter Lang. ISBN 978-0-8204-88929.

Liss, Andrea (1998). Trespassing Through Shadows: Memory, Photography, and the Holocaust.
University of Minnesota Press. ISBN 978-0-81663060-8.

Rice, Maria J. (2007). Migrations of Memory:

Postmemory in Twentieth Century Ethnic American
Womens Literature. ProQuest. ISBN 978-0-54969539-4.

Loman, Andrew (2010). The Canonization of

Maus". In Williams, Paul; Lyons, James. The Rise
of the American Comics Artist: Creators and Contexts. University Press of Mississippi. ISBN 978-160473-792-9.

Rosen, Alan Charles (2005). Sounds of Deance:

the Holocaust, Multilingualism, and the Problem of
English. University of Nebraska Press. ISBN 9780-8032-3962-3.

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. 99130. ISBN 978-0-81392581-3.
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 Art
Spiegelmans Maus". Second-Generation Holocaust
Literature: Legacies of Survival and Perpetration.
Camden House Publishing. pp. 6690. ISBN 9781-57113-352-6.
Monnin, Katie (2010). Teaching Graphic Novels:
Practical Strategies for the Secondary ELA Classroom. Maupin House Publishing, Inc. ISBN 9781-934338-40-7.
Orbn, 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.

Rothberg, Michael (2000). Traumatic Realism: The

Demands of Holocaust Representation. University of
Minnesota 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. 216232. 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.
Columbia University Press. ISBN 978-0-23115257-0.
Schuldiner, Michael (2011).
The SecondGeneration Holocaust Nonsurvivor: Third-Degree
Metalepsis and Creative Block in Art Spiegelmans
Maus". In Royal, Derek Parker. Unnalized Moments: Essays in the Development of Contemporary
Jewish American Narrative. Purdue University
Press. pp. 6980. ISBN 978-1-55753-584-9.
Wirth-Nesher, Hana (2006). Call It English: The
Languages of Jewish American Literature. Princeton
University Press. ISBN 978-0-691-13844-2.

10.1

Works cited

Smith, Graham (2007). From Mickey to Maus:

Recalling the Genocide Through Cartoon. In
Witek, Joseph. Art Spiegelman: Conversations.
University Press of Mississippi. pp. 8494. 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
in English. 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. 3146. ISBN
978-90-5867-109-7.
Wood, Monica (1997). Maus: A Survivors Tale,
Volumes I and II, by Art Spiegelman. 12 Multicultural Novels: Reading and Teacher Strategies. Walch
Publishing. pp. 8194. ISBN 978-0-8251-2901-8.
Weine, Stevan J. (2006). Testimony After Catastrophe: Narrating the Traumas of Political Violence.
Northwestern University Press. ISBN 978-0-81012300-7.
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 978-160473-792-9.
Witek, Joseph (1989). Comic Books as History:
The Narrative Art of Jack Jackson, Art Spiegelman,
and Harvey Pekar. University Press of Mississippi.
ISBN 978-0-87805-406-0.
Wolk, Douglas (2008). Reading Comics: How
Graphic Novels Work and What They Mean. Da
Capo Press. ISBN 978-0-7867-2157-3.
Young, James E. (2006). The Arts of Jewish Memory in a Postmodern Age. In Rsen, Jrn. Meaning
and Representation in History. Berghahn Books. pp.
239254. ISBN 978-1-57181-776-1.
10.1.2

Journals and magazines

Arnold, Andrew D. (2001-09-07). Lemons into

Lemonade. Time. Retrieved 2014-02-19.
Bolhafner, J. Stephen (October 1991). Art for Arts
Sake. The Comics Journal (Fantagraphics Books)
348 (145): 9699. Bibcode:1990Natur.348..280C.
doi:10.1038/348280d0. ISSN 0194-7869.

15
Brown, Joshua (1988). Of Mice and Memory.
Oral History Review (Oral History Association)
(Spring): 91109. ISSN 0094-0798.
Chute, Hillary (Summer 2006). ""The Shadow of a
past Time": History and Graphic Representation in
Maus"". Twentieth Century Literature 52 (2): 199
230. JSTOR 20479765.
Frahm, Ole (May 2004). Considering MAUS. Approaches to Art Spiegelmans Survivors Tale of
the Holocaust by Deborah R. Geis (ed.)". Image &
Narrative (8). ISSN 1780-678X. Retrieved 201201-30.
Gordon, Andrew (Spring 2004). Jewish Fathers
and Sons in Spiegelmans Maus and Roths Patrimony". ImageText 1 (1). ISSN 1549-6732. Retrieved 2012-02-01.
Jannequin, Jean-Paul (April 1990). Druillet and
Spiegelman Take Grand Prizes. The Comics Journal (Fantagraphics Books) (121): 19. ISSN 01947869.
Kannenberg, Gene, Jr. (February 1999). Groth,
Gary, ed. "#4: Maus". The Comics Journal
(Fantagraphics Books) (210). ISSN 0194-7869.
McGlothlin, Erin Heather (May 2003). No Time
Like the Present: Narrative and Time in Art
Spiegelmans Maus. Narrative 11 (2): 177198.
doi:10.1353/nar.2003.0007.
Merino, Ana (2010). Memory in Comics: Testimonial, Autobiographical and Historical Space in
Maus". TransAtlantica 2010 (1). ISSN 1765-2766.
Retrieved 2012-02-01.
Park, Hye Su (2011-01-01). Art Spiegelmans
Maus: A Survivors Tale: A Bibliographic Essay.
Shofar. Retrieved 2012-03-01.
Pekar, Harvey (December 1986). "Maus and Other
Topics. The Comics Journal (Fantagraphics Books)
(113): 5457. ISSN 0194-7869.
Pekar, Harvey (April 1990). Blood and Thunder. The Comics Journal (Fantagraphics Books)
302 (135): 2734. Bibcode:1983Natur.302..784D.
doi:10.1038/302784a0. ISSN 0194-7869.
Surridge, Matthew (July 2001). When Extravagant
Fantasies Become Drab Experiences. The Comics
Journal (Fantagraphics Books) (235): 3637. ISSN
0194-7869.
Weschler, Lawrence (JulyAugust 2001). Pig Perplex. Lingua Franca 11 (5). Retrieved 2012-0515.

16

10

Witek, Joseph (2004).

Imagetext, or, Why
Art Spiegelman Doesn't Draw Comics. ImageTexT: Interdisciplinary Comics Studies (University of
Florida) 1 (1). ISSN 1549-6732. Retrieved 201204-16.
Wizard sta (June 2009). 100 Greatest Graphic
Novels of our Lifetime. Wizard (Wizard Entertainment) (212).
10.1.3

Newspapers

Couvreur, Daniel (2012-03-05). Katz a-t-il dgur Maus ?". Le Soir (in French). Retrieved 201206-15.
Garner, Dwight (2011-10-12). After a QuarterCentury, an Author Looks Back at His Holocaust
Comic. The New York Times. Retrieved 2012-0612.
Franklin, Ruth (2011-10-05). Art Spiegelmans
Genre-Defying Holocaust Work, Revisited. The
New Republic. Retrieved 2012-01-30.
Hays, Matthew (2011-10-08). Of Maus and man:
Art Spiegelman revisits his Holocaust classic. The
Globe and Mail.
Kois, Dan (2011-12-02). The Making of 'Maus".
The New York Times. Retrieved 2012-01-27.
Langer, Lawrence L (1998-12-06). A Fable Of
The Holocaust. The New York Times. Retrieved
2012-08-28.
McGrath, Charles (2004-07-11). Not Funnies.
The New York Times. Retrieved 2012-06-07.
New York Times sta (1987-03-11). Awards for
Books With Jewish Themes. The New York Times.
Retrieved 2012-01-30.
10.1.4

Websites

Beaty, Bart (2012-03-07). Conversational EuroComics: Bart Beaty On Katz. The Comics Reporter.
Retrieved 2012-04-17.

REFERENCES

Conan, Neal (2011-10-05). "'MetaMaus: The

Story Behind Spiegelmans Classic. NPR. Retrieved 2012-05-08.
The Daily Free Press sta (2000-09-28).
Cartoonist Sued for $1.5 Million. The Daily
Free Press. Retrieved 2014-02-19.
Eisner Awards sta (2012). Complete List of Eisner Award Winners. San Diego Comic-Con International. Retrieved 2012-01-31.
Entertainment Weekly sta (2008-06-27). The
New Classics: Books. Entertainment Weekly. Retrieved 2012-01-27.
Grossman, Lev (2009-03-06). Top Ten Graphic
Novels: Maus". Time. Retrieved 2012-04-16.
Hammarlund, Ola (2007-08-08).
Urhunden:
Satir och iransk kvinnoskildring fr seriepris (in
Swedish). Urhunden. Retrieved 2012-04-27.
Harvey Awards sta (1992). 1992 Harvey Award
Winners. Harvey Awards. Retrieved 2012-01-31.
Johnston, Ian (2001-12-28). On Spiegelmans
Maus I and II. Vancouver Island University. Retrieved 2012-02-29.
Morman, Todd (2003-01-29). High Art, Hit
Movies and Manifestos. IndyWeek.com. Retrieved 2012-06-07.
Mozzocco, J. Caleb (2011-12-01). Balloonless |
Art Spiegelman and Hillary Chutes MetaMaus.
Comic Book Resources. Retrieved 2012-05-18.
National Book Critics Circle sta (2012). All Past
National Book Critics Circle Award Winners and
Finalists. National Book Critics Circle. Retrieved
2012-01-31.
Obst, Peter. A Commentary on Maus by Art
Spiegelman. American Council for Polish Culture.
Retrieved 2012-05-16.
Pulitzer Prize sta (2012). Special Awards and Citations. Pulitzer Prizes. Retrieved 2012-01-31.
Silver, Alexandra (2011-08-30). All-TIME 100
Nonction Books: Maus". Time. Retrieved 201204-16.

Blau, Rosie (2008-11-29). Breakfast with the FT:

Art Spiegelman. Financial Times. Retrieved 201204-18. (registration required)

Smith, Russ (1999-07-30). When Controversy

Ralls the Comics World. Jewish World Review. Retrieved 2014-02-19.

Colbert, James (1992-11-08). Times Book Prizes

1992 : Fiction : On Maus II". Los Angeles Times.
Retrieved 2012-01-31.

Tout en BD sta (1993). Le festival BD: Le palmars 1993 (in French). Tout en BD. Retrieved
2012-01-31.

Comic
Salon
sta
(2012).
Nominierungen/Preistrger seit 1984 (in German). Comic Salon. Retrieved 2012-01-31.

Tout en BD sta (1998). Le festival BD: Le palmars 1988 (in French). Tout en BD. Retrieved
2012-01-31.

17
Tzadka, Saul (2012-02-02). Maus: Revisited.
Alondon. Retrieved 2012-05-18.

11

Further reading

Ewert, Jeanne (2004). Art Spiegelmans Maus

and the Graphic Narrative. In Ryan, Marie-Laure.
Narrative Across Media: The Languages of Storytelling. University of Nebraska Press. pp. 180193.
ISBN 978-0-8032-8993-2.
Geis, Deborah R., ed. (2007). Considering Maus:
Approaches to Art Spiegelmans Survivors tale of
the Holocaust. 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 Winsor McCay, Art Spiegelman, and Chris
Ware. University of Connecticut. ISBN 978-0-49369522-8.
Miller, Frieda (1998). Maus: A Memoir of the Holocaust : Teachers Guide (PDF). Vancouver Holocaust Education Centre. ISBN 978-1-895754-29-2.

12

External links

(video) Art Spiegelman and the Making of Maus

Teachers guide at Random House
Questions and Resources for Art Spiegelmans Maus
college study guide with archived articles
Art Spiegelmans MAUS: Working Through the
Trauma of the Holocaust. In Responses to the Holocaust, University of Virginia
Teaching Resources for Art Spiegelmans Maus: A
Survivors Tale. Buckslib.org. July 11, 2004. Retrieved January 30, 2012.
Spiegelman, Art (SeptemberOctober 1997). Getting in Touch with My Inner Racist. Mother Jones:
5152.
Spiegelman discusses Maus with Paul Gravett - a
British Library sound recording

18

13

13
13.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

Text

Maus Source: https://en.wikipedia.org/wiki/Maus?oldid=677333506 Contributors: Bryan Derksen, JeLuF, Frecklefoot, Kchishol1970,

Theanthrope, Mortene, Emperor, Jebba, Error, Vzbs34, Lukobe, Conti, Schneelocke, Andrewman327, WhisperToMe, Furrykef, Slawojarek, Skybunny, PuzzletChung, Naddy, Lowellian, Postdlf, Auric, Benc, Wayland, Nick Pisarro, Jr., DocWatson42, Michael Devore, BalthCat, Varlaam, Gzornenplatz, Hob, Leonard Vertighel, Chowbok, MistToys, Piotrus, BookgirlST, Gleam~enwiki, Klemen Kocjancic, Running, Jayjg, Lord Bodak, CGP, Maestro25, Discospinster, Rich Farmbrough, Michael Zimmermann, Helldjinn~enwiki, Ylee, Zenohockey,
Xed, Robotje, Shaka~enwiki, Roy da Vinci, Pschemp, DCEdwards1966, Polylerus, Kitoba, Fritz Saalfeld, SlimVirgin, Hoary, Osias, Radical Mallard, Ebz123, Metstotop333, Wtmitchell, Almafeta, Ringbang, Angr, Woohookitty, FeanorStar7, Daniel Case, Kelisi, Hbdragon88,
GregorB, Psi edit, Mandarax, Deltabeignet, Kbdank71, JIP, Dave Cohoe, Rjwilmsi, Koavf, Teklund, MZMcBride, Pabix, Nneonneo,
Wareq, Nandesuka, Jamdav86, A Man In Black, Merecat, Hiding, Vanished user sfoi943923kjd94, RexNL, Witkacy, Bennie Noakes,
Riki, Stiv~enwiki, Valentinian, Visor, Volunteer Marek, YurikBot, RussBot, Max 2000, Lesfer, Hueysheridan, Stoopideggs2, Kyorosuke,
Eddie.willers, Dragonend, Eleusinian, Gadget850, DeadEyeArrow, Trainra, Blue Danube, Whooligan, Crisco 1492, Deville, Bosco13, Peteashton, Rms125a@hotmail.com, SMcCandlish, Esprit15d, JQF, Fram, Ethan Mitchell, Skittle, Curpsbot-unicodify, Garion96, DearPrudence, Bibliomaniac15, That Guy, From That Show!, Sardanaphalus, Attilios, Havardj, SmackBot, JohnRussell, KnowledgeOfSelf, Kimon,
Eskimbot, David Fuchs, Marktreut, Rst20xx, Schmiteye, Chris the speller, Oatmeal batman, Emurphy42, Rrburke, Addshore, Khukri, SevereTireDamage, Nakon, Beetle120, Lost in space, KeithB, WoodyWerm, Marcus Brute, Ligulembot, Curly Turkey, Tktktk, FrostyBytes,
Berenlazarus, MarkSutton, Dennis G. Jerz, Mr Stephen, Darz Mol~enwiki, Damien Vryce, Therealhazel, DGtal, Keitei, Clarityend, Lodoss, KyleGarvey, Romuluscrohns, Gamesmaster, Tony Fox, HDCase, Wolfdog, Morgantzp, Ethnopunk, CBM, Nunquam Dormio, Hookjaw, Sbpat21, Mike 7, Cydebot, Urashimataro, Bridgecross, Pascal.Tesson, Tawkerbot4, Crana, Mathew5000, JamesAM, TonyTheTiger,
AstroFloyd, Stoshmaster, Eilev G. Myhren~enwiki, Hmarcuse, Mattjblythe, AntiVandalBot, Luna Santin, Jj137, SibeliusHicks, Lfstevens,
Undertow87, J Greb, MasterA113, Mark Staeri, Mtjaws, P64, Brandt Luke Zorn, ***Ria777, Tshepardiv, Nyttend, Froid, Profcumquatt,
Not a dog, Hamiltonstone, DerHexer, Matthias Blume, Wayne Miller, DGG, Jniech, Rsl12, DrKiernan, Richiekim, Jonpro, 88888, Thuban,
Prhartcom, Cometstyles, Moisejp, CardinalDan, Polarbearmatador, Philip Trueman, GimmeBot, Rei-bot, Henryodell, Rumiton, Spidlock,
Vladsinger, Greeniweeni, Tranquilo man, VeblenBot, OrangeAipom, Thebuck1, GirasoleDE, SieBot, BotMultichill, BlackIceQueen, FelinaofL2, Keilana, Switchbreak, RucasHost, Jamesdemonic, Cyfal, Capitalismojo, Dabomb87, Randy Kryn, YVNP, Martin de la Iglesia,
Martarius, ClueBot, Roaneah, Enyavar, The Thing That Should Not Be, Mazzargh, Piledhigheranddeeper, Mspraveen, Catsh Jim and the
soapdish, Jusdafax, WikiZorro, Ray and jub, Frogman100, Arjayay, Another Believer, Fryn, Pijotr, Jared1111, Thingg, Tezero, Indopug,
DumZiBoT, Allenwanghong, Zoli79, Kbdankbot, Addbot, Jr680787, Npalumbo58, LaaknorBot, RP9, Mario02423, Tide rolls, Lightbot,
Luckas Blade, Jarble, Htews, Yobot, 2D, RudyReis, Eric-Wester, David.s.kats, AnomieBOT, Kristen Eriksen, Coopkev2, Chuckiesdad,
Materialscientist, Citation bot, Vuerqex, Apollo, Quebec99, Xqbot, I Feel Tired, Briony Coote, J04n, RibotBOT, Do they collide, Jabrona,
Urzic, Spongefrog, NSH002, EFieg, Tea with toast, Trappist the monk, Minimac, DARTH SIDIOUS 2, RjwilmsiBot, Forenti, EmausBot,
John of Reading, WikitanvirBot, Banananose23, GoingBatty, Marrante, Firebot4, Evanh2008, H3llBot, KleverNever, Byglond, SporkBot,
ChuispastonBot, Estinate, Grapple X, ClueBot NG, Ladybird 88, NestleNW911, Swimnerd316, Widr, Helical gear, Superman-Clark Kent,
Helpful Pixie Bot, DWill4MVP, UmHiThere123456789, PhnomPencil, Davidiad, Harizotoh9, GoCubs88, Lockie1111, BattyBot, Pratyya
Ghosh, ChrisGualtieri, Dragoncat1234, Tjrludicke11, MarchOrDie, Magichellcat24, Burntsierra754, Wiki.correct.1, Sanya7901, TFA Protector Bot, Mrhank3y0001, Werddemer, Paul2520, Youare169, Monkbot, Andyni123, HeidiannShatzi, Julietdeltalima, Solooooos, Alakzi,
Zortwort, Dongord, KasparBot and Anonymous: 443

13.2

Images

File:Art_Spiegelman_(2007).jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/86/Art_Spiegelman_%282007%29.jpg

License: CC BY 2.0 Contributors: http://www.flickr.com/photos/mr-kiss-kiss-bang-bang/479512503/ Original artist: Chris Anthony Diaz
File:Art_Spiegelman_-_Maus_(1972)_page_1_panel_3.png
Source:
https://upload.wikimedia.org/wikipedia/en/3/3a/Art_
Spiegelman_-_Maus_%281972%29_page_1_panel_3.png License: Fair use Contributors:
http://3.bp.blogspot.com/-hPOGFKy2RWc/T24Qsav5_QI/AAAAAAAAF0w/7_GCrp62nsg/s1600/MetaMaus0004.jpg Original artist: ?
File:Atomic_Mouse_issue_6_cover.jpg Source:
https://upload.wikimedia.org/wikipedia/commons/d/d9/Atomic_Mouse_issue_6_
cover.jpg License: Public domain Contributors: http://media.comicvine.com/uploads/5/50876/1016611-6_super.jpeg Original artist: Al
Fago
File:Auschwitz_entrance.JPG Source: https://upload.wikimedia.org/wikipedia/en/6/6f/Auschwitz_entrance.JPG License: CC-BY-2.5
Contributors: ? Original artist: ?
File:Bikont_i_makowicz.JPG Source: https://upload.wikimedia.org/wikipedia/commons/e/ee/Bikont_i_mak%C5%82owicz.JPG License: GFDL Contributors: Own work Original artist: Mohylek
File:Book_collection.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/3f/Book_collection.jpg License: CC BY-SA 3.0
Contributors: ? Original artist: ?
File:Fasces_lictoriae.svg Source: https://upload.wikimedia.org/wikipedia/commons/7/74/Fasces_lictoriae.svg License: Public domain
Contributors: Own work Original artist: F l a n k e r
File:Flag_of_Poland.svg Source: https://upload.wikimedia.org/wikipedia/en/1/12/Flag_of_Poland.svg License: Public domain Contributors: ? Original artist: ?
File:Frans_Masereel_-_Passionate_Journey_-_two_pages.jpg Source:
https://upload.wikimedia.org/wikipedia/commons/0/03/
Frans_Masereel_-_Passionate_Journey_-_two_pages.jpg License: Public domain Contributors: http://madinkbeard.com/archives/
masereels-leaps-in-time Original artist: Frans Masereel
File:Heinkel_He_111_during_the_Battle_of_Britain.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/82/Heinkel_
He_111_during_the_Battle_of_Britain.jpg License: Public domain Contributors: This is photograph MH6547 from the collections of the
Imperial War Museums (collection no. 4700-05) Original artist: Unknown

13.3

Content license

19

File:Maus.jpg Source: https://upload.wikimedia.org/wikipedia/en/9/98/Maus.jpg License: Fair use Contributors:

Apparent scan made by the original uploader User:Marcus Brute. Original artist: ?
File:Maus.ogg Source: https://upload.wikimedia.org/wikipedia/commons/9/99/Maus.ogg License: CC-BY-SA-3.0 Contributors:
Derivative of Maus (comics) Original artist: Speaker: CGP
Authors of the article
File:Maus_page_103_panel_2_HITLER_DID_IT.png Source:
panel_2_HITLER_DID_IT.png License: Fair use Contributors:
Maus Volume I, page 103, panels 2 Original artist: ?

https://upload.wikimedia.org/wikipedia/en/6/6d/Maus_page_103_

File:Maus_volume_2_page_50_panels_3-4.png Source: https://upload.wikimedia.org/wikipedia/en/3/31/Maus_volume_2_page_50_

panels_3-4.png License: Fair use Contributors:
Maus Volume II, page 50, panels 34 Original artist: ?
File:Oberkapo_-_Armbinde.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4c/Oberkapo_-_Armbinde.jpg License:
Public domain Contributors: Transferred from de.wikipedia to Commons.
Original artist: NORLU at German Wikipedia
File:Pekar_small.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/6b/Pekar_small.jpg License: CC-BY-SA-3.0 Contributors: www.davidkphoto.com Original artist: Davidkphoto
File:Sound-icon.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/47/Sound-icon.svg License:
Derivative work from Silsor's versio Original artist: Crystal SVG icon set

LGPL Contributors:

File:Speech_balloon.svg Source: https://upload.wikimedia.org/wikipedia/commons/3/37/Speech_balloon.svg License: Public domain

Contributors: Self-drawn using gedit and Inkscape Original artist: Marian Sigler {bla}
File:Star_of_David.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/49/Star_of_David.svg License: Public domain Contributors: Own work Original artist: Zscout370

13.3

Content license

Creative Commons Attribution-Share Alike 3.0