También el sentimiento de culpa es fundamental en la novela de Kertész, aunque en este caso lo fuera por lo común que era en muchos de los que sobrevivieron, y cuya causa Primo Levi resumió en esta demoledora frase: «Sobrevivían los peores, es decir, los más aptos; los mejores han muerto todos». Eisner Awards staff (2012). "Complete List of Eisner Award Winners". San Diego Comic-Con International. Archived from the original on April 27, 2011 . Retrieved January 31, 2012. It´s just too hardcore, by using anthropomorphized animals and the art of painting, it gets even worse and kind of more graphic. But the impact and mind blowing factor are amazing, because it´s

All too infrequently, a book comes along that’s as daring as it is acclaimed. Art Spiegelman’s Maus is just such a book.” Anybody can create perfect heroes, only true writers are able to show the dark moments of his/her own family, in the middle of the storytelling of a book.

I hadn’t expected that roughly half of this book is actually about Art coming to terms with what his parents endured, with his issues making art about the Holocaust and making money (not to mention getting famous) off this work he feels incredibly uneasy about. There was a history of depression and possible mental illness in his family (you learn early on that this mother was depressive and committed suicide) that their history probably amplified. He uses an interesting meta approach to discuss this, illustrating conversations with his wife and therapist, to illustrate that the experience of creating this graphic novel was a struggle on many different levels. This harrowing portrait of the multi-generational consequences of war is probably what gutted me most as I read this: even long after the bombs stopped dropping, damage continues to be inflicted on people who weren’t even born during the war because of the unimaginable reality their parents had to survive. Chute, Hillary (Summer 2006). " "The Shadow of a past Time": History and Graphic Representation in "Maus" ". Twentieth Century Literature. 52 (2): 199–230. doi: 10.1215/0041462X-2006-3001. JSTOR 20479765. S2CID 160818029. Horowitz, Sara R. (1997). "Art Spiegelman". In Shatzky, Joel; Taub, Michael (eds.). Contemporary Jewish-American Novelists: A Bio-Critical Sourcebook. Greenwood Publishing Group. pp.400–408. ISBN 978-0-313-29462-4. When Published: The first volume of Maus (“My Father Bleeds History”) was serialized in Raw magazine, beginning in 1980 and ending in 1991, when the magazine ceased publication. The first volume was published in book form in 1986. The second volume (“And Here My Troubles Began”) was published in 1991.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide. Get started CloseArt Spiegelman's MAUS: Working Through the Trauma of the Holocaust. In Responses to the Holocaust, University of Virginia In fondo le dimensioni delle vignette di Spiegelman fanno davvero venire in mente i fotogrammi di un film 35 mm). Setting: Poland and Germany (1930s and 40s); Rego Park, Queens (1970s and 80s); Catskill Mountains (1979); New York City (1987). This is the “Complete” edition of “Maus: A Survivor’s Tale” collecting both parts: “My Father Bleeds History” and “And Here My Troubles Began”. Wirth-Nesher, Hana (2006). Call It English: The Languages of Jewish American Literature. Princeton University Press. ISBN 978-0-691-13844-2.

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.99–130. ISBN 978-0-8139-2581-3. Wolk, Douglas (2008). Reading Comics: How Graphic Novels Work and What They Mean. Da Capo Press. ISBN 978-0-7867-2157-3.Langer, Lawrence L (December 6, 1998). "A Fable Of The Holocaust". The New York Times . Retrieved August 28, 2012. It´s still a great work, but maybe all the same animals of one species would have been an even better choice. Not just because it would have been ideal to show that they´re all the same, just different, let's say with dogs or cats and many breeds, but because it´s just an unnecessary point of criticism that could have easily been avoided. It's petty and art is free, but some nations might not find it that great to be associated with certain animals. It didn’t dawn on me until later that this brilliant piece of graphic artistry and fiction is actually a very clever allegory. On the face of it, we’re led to believe that it’s a story of the terrible suffering perpetrated by the Nazis against the Jews in Poland and throughout Europe. But if you scratch beneath the surface, I think you’ll find that this particular holocaust story was made to symbolize something more pervasive and endemic. I speak of the horrific violence that persists to this day; that inflicted by cats on defenseless mice. Perhaps the most obvious clue that this is, in truth, the intended theme lies in the title itself: Maus. For those of you unfamiliar with German, this is their word for mouse. Beyond that, when you look carefully at the drawings, you see that the goose-steppers have distinctly feline features, while the persecuted Jews in the ghettos and camps have rodent-like proboscides and disproportionately small eyes. Wizard staff (June 2009). "100 Greatest Graphic Novels of our Lifetime". Wizard. Wizard Entertainment (212). Just as in real history, there have been actions and politics before, during, and after the war that had big influences on what happened. To just blame the Germans would be far too superficial, one has to look at the fascist tendencies in many other countries that could have easily led to Man in the High Castle scenarios without WW2.