Art Spiegelman and Maus

When Art Spiegelman published MAUS I in 1986, he transformed the medium of comics and greatly affected the American literary world. His work experimented with the traditional form of the comic strip at the same time that it altered forever the content associated with the medium. Spiegelman's choice to depict the Holocaust and its aftermath in a medium often associated (rightly or wrongly) with children, cartoons, and simple caricature changed both the landscape of the comic and that of Holocaust representation. Comics or "comix," as Spiegelman dubbed them, were suddenly taken much more seriously than ever before. MAUS I and II appealed to a broader audience than did the conventional comic strip. When MAUS won the Pulitzer Prize in 1992 (after the publication of the second volume in the series), Spiegelman's work drew even greater attention. Since the publication of this magnum opus, he has become one of the comix medium's greatest advocates, traveling the country with his Comix 101 presentation and arguing for the importance of the form.

Spiegelman was born in 1948 in Stockholm, Sweden. His parents, Anja and Vladek, who appear as central characters in MAUS, were refugees, survivors of the concentration camps and World War II. Using the medium of the comic and the figures of the cat and mouse to represent Nazi and Jew respectively, MAUS tells Spiegelman's parents' stories, as well as his own. After getting his start by editing and writing for the graphic magazine RAW, in which early drawings from MAUS were serialized, Spiegelman went on to draw covers for The New Yorker for a number of years, eventually falling out with the editors due to the political nature of many of his drawings.



How does Spiegelman's medium affect his message in MAUS? Is there something sacrilegious about his representation of the Holocaust? Do we read his work as straight memoir, fiction, or some hybrid in-between genre? Has he chosen the appropriate