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

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Orbán, 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. To Marianne Hirsch, Spiegelman's life is "dominated by memories that are not his own". [98] His work is one not of memory but of postmemory, a 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' memories—the memory of another's memory—until the stories become so powerful that for these children they become memories in their own right. The children's proximity creates a "deep personal connection" with the memory, though separated from it by "generational distance". [99] In the field of psychology, this is called transgenerational trauma or generational trauma. That’s the funniest thing I’ve ever heard,’ said the Lion. ‘A tiny mouse helping a huge lion like me. I’m not going to eat you after all, little Mouse. You’re too funny to eat. I’m going to let you go.’ Kois, Dan (December 2, 2011). "The Making of 'Maus' ". The New York Times . Retrieved January 27, 2012.

Russell, Vanessa (2008). "The Mild-Mannered Reporter: How Clark Kent Surpassed Superman". In Ndalianis, Angela (ed.). The Contemporary Comic Book Superhero. Taylor & Francis. pp.216–232. ISBN 978-0-415-99176-6. Spiegelman developed an interest in comics early and began drawing professionally at 16. [43] He spent a month in Binghamton State Mental Hospital in 1968 after a nervous breakdown. Shortly after he got out, his mother died by suicide. [2] Spiegelman's father was not happy with his son's involvement in the hippie subculture. Spiegelman said that when he bought himself a German Volkswagen it damaged their already-strained relationship "beyond repair". [44] Around this time, Spiegelman read 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. [45] From the original, more detailed 1972 "Maus" strip Jannequin, Jean-Paul (April 1990). "Druillet and Spiegelman Take Grand Prizes". The Comics Journal. Fantagraphics Books (121): 19. ISSN 0194-7869. Gambino, Lauren (April 28, 2015). "Art Spiegelman warns of 'dangerous' outcome as Russian shops ban Maus". The Guardian. Archived from the original on June 2, 2015 . Retrieved August 23, 2015.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. Langer, Lawrence L (December 6, 1998). "A Fable Of The Holocaust". The New York Times . Retrieved August 28, 2012.

Sales soar for 'Maus' after its banning in Tennessee". Fox 44 Waco. Associated Press. January 28, 2022 . Retrieved February 5, 2022. Entertainment Weekly staff (June 27, 2008). "The New Classics: Books". Entertainment Weekly. Archived from the original on January 27, 2012 . Retrieved January 27, 2012. Merino, Ana (2010). "Memory in Comics: Testimonial, Autobiographical and Historical Space in Maus". TransAtlantica. 2010 (1). ISSN 1765-2766 . Retrieved February 1, 2012. 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] Defense of 'Maus' erupts online after McMinn County schools remove it from curriculum". Yahoo. January 28, 2022.AFP, Sudouest fr avec (January 28, 2022). "États-Unis: jugé "vulgaire et inapproprié", "Maus", le roman graphique sur l'Holocauste, banni d'une école"– via Sud Ouest.

Still the Lion didn’t move so the Mouse walked along the Lion’s side and climbed up towards his head. ‘All the animals in the forest are scared of you, Mr Lion, but not us mice ‘cos mice are the bravest creatures in the world.’ Liss, Andrea (1998). Trespassing Through Shadows: Memory, Photography, and the Holocaust. University of Minnesota Press. ISBN 978-0-8166-3060-8. Spiegelman struggled to find a publisher for a book edition of Maus, [41] but after a rave New York Times review of the serial in August 1986, Pantheon Books published the first six chapters in a volume [63] called Maus: A Survivor's Tale and subtitled My Father Bleeds History. Spiegelman was relieved that the book's publication preceded the theatrical release of the animated film An American Tail by three months, as he believed that the film, produced by Steven Spielberg's Amblin Entertainment, was inspired by Maus and wished to avoid comparisons with it. [64]Beaty, Bart (March 7, 2012). "Conversational Euro-Comics: Bart Beaty On Katz". The Comics Reporter . Retrieved April 17, 2012. Kannenberg, Gene Jr. (2001). " 'I Looked Just Like Rudolph Valentino': Identity and Representation in Maus". In Baetens, Jan (ed.). The Graphic Novel. Leuven University Press. pp.79–89. ISBN 978-90-5867-109-7. Sales soar for 'Maus' after its banning in Tennessee". WNYT NewsChannel 13. January 28, 2022. Archived from the original on January 29, 2022 . Retrieved January 30, 2022. Born Andzia Zylberberg, with the Hebrew name Hannah. Her name became Anna when she and Vladek arrived in the U.S. [30]