Maus

This article is about the graphic novel. For other uses,see Maus (disambiguation).

Maus is a graphic novel by American cartoonist ArtSpiegelman, serialized from 1980 to 1991. It depictsSpiegelman interviewing his father about his experiencesas a Polish Jew and Holocaust survivor. The book usespostmodern techniques—most strikingly in its depictionof races as different kinds of animals: Jews as mice, Ger-mans as cats, and non-Jewish Poles as pigs. Critics haveclassified Maus as memoir, biography, history, fiction, au-tobiography, or a mix of genres. In 1992 it became thefirst graphic novel to win a Pulitzer Prize.In the frame-tale timeline in the narrative present that be-gins in 1978 in New York City, Spiegelman talks with hisfather Vladek about his Holocaust experiences, gatheringmaterial for the Maus project he is preparing. In the nar-rative past, Spiegelman depicts these experiences, fromthe years leading up to World War II to his parents’ lib-eration from the Nazi concentration camps. Much of thestory revolves around Spiegelman’s troubled relationshipwith his father, and the absence of his mother who com-mitted suicide when he was 20. Her grief-stricken hus-band destroyed her written accounts of Auschwitz. Thebook uses a minimalist drawing style and displays inno-vation in its pacing, and structure, and page layouts.A three-page strip also called “Maus” that he made in1972 gave Spiegelman an opportunity to interview his fa-ther about his life during World War II. The recorded in-terviews became the basis for the graphic novel, whichSpiegelman began in 1978. He serialized Maus from1980 until 1991 as an insert in Raw, an avant-gardecomics and graphics magazine published by Spiegelmanand his wife, Françoise Mouly, who also appears in Maus.A collected volume of the first six chapters that appearedin 1986 brought the book mainstream attention; a secondvolume collected the remaining chapters in 1991. Mauswas one of the first graphic novels to receive significantacademic attention in the English-speaking world.

1 Synopsis

Most of the book weaves in and out of two timelines. Inthe frame tale of the narrative present,[1] Spiegelman in-terviews his father Vladek in the Rego Park neighborhoodof New York City[2] in 1978–79.[3] The story that Vladektells unfolds in the narrative past, which begins in the mid-

1930s[2] and continues until the end of the Holocaust in1945.[4]

In Rego Park in 1958,[3] a young Art Spiegelman com-plains to his father that his friends have left him behind.His father responds in broken English, “Friends? Yourfriends? If you lock them together in a room with nofood for a week, then you could see what it is, friends!"[5]

As an adult, Art visits his father, from whom hehas become estranged.[6] Vladek has remarried to awoman called Mala since the suicide in 1968 of Art’smother Anja.[7] Art asks Vladek to recount his Holocaustexperiences.[6] Vladek tells of his time in the Polish cityCzęstochowa[8] and how he came to marry into Anja’swealthy family in 1937 and move to Sosnowiec to be-come a manufacturer. Vladek begs Art not to includethis in the book, and Art reluctantly agrees.[9] Anja suf-fers a breakdown due to postpartum depression[10] aftergiving birth to their first son Richieu,[lower-alpha 1] and thecouple go to a sanitarium in Nazi-occupied Czechoslo-vakia for her to recover. After they return, political andantisemitic tensions build until Vladek is drafted just be-fore the Nazi invasion. Vladek is captured at the front andforced to work as a prisoner of war. After his release, hefinds Germany has annexed Sosnowiec, and he is droppedoff on the other side of the border in the German protec-torate. He sneaks across the border and reunites with hisfamily.[12]

During one of Art’s visits, he finds that a friend of Mala’shas sent the couple one of the underground comix mag-azines Art contributed to. Mala had tried to hide it,but Vladek finds and reads it. In “Prisoner on the HellPlanet”,[13] Art is traumatized by his mother’s suicidethree months after his release from the mental hospi-tal, and in the end depicts himself behind bars saying,“You murdered me, Mommy, and left me here to take therap!"[14] Though it brings back painful memories, Vladekadmits that dealing with the issue in such a way was forthe best.[15]

In 1943, the Nazis move the Jews of the SosnowiecGhetto to Srodula, and march them back to Sosnowiecto work. The family splits up—Vladek and Anja sendRichieu to Zawiercie to stay with an aunt for safety. Asmore Jews are sent from the ghettos to Auschwitz, theaunt poisons herself, her children, and Richieu to escapethe Gestapo. In Srodula, many Jews build bunkers to hidefrom the Germans. Vladek’s bunker is discovered and heis placed into a “ghetto inside the ghetto” surrounded bybarbed wire. The remnants of Vladek and Anja’s family

1

2 2 PRIMARY CHARACTERS

“Prisoner on the Hell Planet” (1973), an early, expressionisticstrip about Spiegelman’s mother’s suicide, reprinted in Maus

are taken away.[12] Srodula is cleared of its Jews, exceptfor a group Vladek hides with in another bunker. Whenthe Germans depart, the group splits up and leaves theghetto.[16]

In Sosnowiec, Vladek and Anja move from one hidingplace to the next, making occasional contact with otherJews in hiding. Vladek disguises himself as an ethnic Poleand hunts for provisions. The couple arrange with smug-glers to escape to Hungary, but it is a trick—the Gestapoarrest them on the train and take them to Auschwitz,where they are separated until after the war.[16]

Art asks after Anja’s diaries, which Vladek tells himwere her account of her Holocaust experiences and theonly record of what happened to her after her separationfrom Vladek at Auschwitz, and which Vladek says shehad wanted Art to read. Vladek comes to admit that heburned them after she killed herself. Art is enraged, andcalls Vladek a “murderer”.[17]

The story jumps to 1986, after the first six chapters ofMaus have appeared in a collected edition. Art is over-come with the unexpected attention the book receives[4]

and finds himself “totally blocked”. Art talks about thebook with his psychiatrist Paul Pavel, a Czech Holocaustsurvivor.[18] Pavel suggests that, as those who perished inthe camps can never tell their stories, “maybe it’s betternot to have any more stories”. Art replies with a quote

from Samuel Beckett: “Every word is like an unneces-sary 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 starvationand abuse, of his resourcefulness, of avoiding the selek-tionen—the process by which prisoners were selected forfurther labor or execution.[20] Despite the danger, Anjaand Vladek exchange occasional messages. As the warprogresses and the German front is pushed back, the pris-oners are marched from Auschwitz in occupied Poland toGross-Rosen within the Reich, and then to Dachau, wherethe hardships only increase and Vladek catches typhus.[21]

The war ends, the camp survivors are freed, and Vladekand Anja reunite. The book closes with Vladek turningover in his bed as he finishes his story and telling Art,“I'm tired from talking, Richieu, and it’s enough storiesfor now.”[22] The final image is of Vladek and Anja’stombstone[23]—Vladek died in 1982, before the bookwas completed.[24]

2 Primary characters

Art Spiegelman Art[lower-alpha 2] (born 1948)[26] is acartoonist and intellectual.[3] Art is presented asegocentric,[27] neurotic and obsessive, angry andfull of self-pity.[3] He deals with his own trau-mas and those inherited from his parents by seek-ing psychiatric help,[10] which continued after thebook was completed.[28] He has a strained relation-ship with his father, Vladek,[29] by whom he feelsdominated.[3] At first, he displays little sympathy forhis father’s hardships, but shows more as the narra-tive unfolds.[27]

Vladek Spiegelman Vladek[lower-alpha 3] (1906–1982)[31] is a Polish Jew who survived theHolocaust, then moved to the U.S. in the early1950s. Speaking broken English,[32] he is presentedas miserly, anal retentive, anxious and obstinate—traits that may have helped him survive the camps,but which greatly annoy his family. He displaysracist attitudes, as when Françoise picks up anAfrican American hitchhiker, who he fears will robthem.[33] He shows little insight into his own racistcomments about others.[24]

Mala Spiegelman Mala (1917–2007)[34] is Vladek’ssecond wife. Vladek makes her feel that she cannever live up to Anja.[35] Though she too is a survivorand speaks with Art throughout the book, Art makesno attempt to learn of her Holocaust experience.[36]

Anja Spiegelman Also a Polish Jew who has survivedthe Holocaust, Anja[lower-alpha 4] (1912–1968)[31] isArt’s mother and Vladek’s first wife. Nervous, com-pliant, and clinging, she has her first nervous break-down after giving birth to her first son.[37] She some-

3

times told Art about the Holocaust while he wasgrowing up, although his father did not want himto know about it. She killed herself by slitting herwrists in a bathtub in May 1968,[38] and left no sui-cide note.[39]

Françoise Mouly Françoise (born 1955)[26] is marriedto Art. She is French, and converted to Judaism[40]

to please Art’s father. It is unclear to Spiegel-man whether she should be represented as a Jewishmouse, a French frog, or some other animal.[41]

3 Background

Art Spiegelman was born on February 15, 1948, inSweden to Polish Jews and Holocaust survivors Vladekand Anja Spiegelman. An aunt poisoned their first sonRichieu to avoid capture by the Nazis four years beforeSpiegelman’s birth.[42] He and his parents immigrated tothe United States in 1951.[43] During his youth his motheroccasionally talked about Auschwitz, but his father didnot want him to know about it.[28]

Spiegelman developed an interest in comics early and be-gan drawing professionally at 16.[44] He spent a monthin Binghamton State Mental Hospital in 1968 after anervous breakdown. Shortly after he got out, his mothercommitted suicide.[2] Spiegelman’s father was not happywith his son’s involvement in the hippie subculture.Spiegelman said that when he bought himself a GermanVolkswagen it damaged their already-strained relation-ship “beyond repair”.[45] Around this time, Spiegelmanin fanzines about such graphic artists as Frans Masereelwho had made wordless novels. The discussions in thosefanzines about making the Great American Novel incomics inspired him.[46]

From the original, less subtle 1972 “Maus” strip

Spiegelman became a key figure in the underground

comix movement of the 1970s, both as cartoonist andeditor.[47] In 1972 Justin Green produced the semi-autobiographical comic book Binky Brown Meets the HolyVirgin Mary, which inspired other underground cartoon-ists to produce more personal and revealing work.[48]

The same year, Green asked Spiegelman to contributea three-page strip for the first issue of Funny Aminals[sic], which Green edited.[47] Spiegelman wanted to doa strip about racism, and at first considered focusingon African Americans,[49] with cats as Ku Klux Klanmembers chasing African-American mice.[50] Instead, heturned to the Holocaust and depicted Nazi cats persecut-ing Jewish mice in a strip he titled “Maus”. The tale wasnarrated to a mouse named "Mickey".[47] After finishingthe strip, Spiegelman visited his father to show him thefinished work, which he had based in part on an anecdotehe had heard about his father’s Auschwitz experience. Hisfather gave him further background information, whichpiqued Spiegelman’s interest. Spiegelman recorded a se-ries of interviews over four days with his father, whichwas to provide the basis of the longer Maus.[51] Spiegel-man followed up with extensive research, reading sur-vivors’ accounts and talking to friends and family whohad also survived. He got detailed information about Sos-nowiec from a series of Polish pamphlets published af-ter the war which detailed what happened to the Jews byregion.[52]

Spiegelman visited Auschwitz in 1979 as part of his research.

In 1973, Spiegelman produced a strip for Short OrderComix #1[53] about his mother’s suicide called “Pris-oner on the Hell Planet”. The same year, he edited apornographic, psychedelic book of quotations, and dedi-cated it to his mother.[38] He spent the rest of the 1970sbuilding his reputation making short avant-garde comics.He moved back to New York from San Francisco in1975, which he admitted to his father only in 1977, bywhich time he had decided to work on a “very long comicbook”.[15] He began another series of interviews with hisfather in 1978,[45] and visited Auschwitz in 1979.[54] Heserialized the story in a comics and graphics magazine heand his wife Mouly began in 1980 called Raw.[55]

4 4 PUBLICATION HISTORY

3.1 Comics medium

American comic books were big business with a diversityof genres in the 1940s and 1950s,[56] but had reached alow ebb by the late 1970s.[57] By the time Maus beganserialization, the “Big Two” comics publishers, Marveland DC Comics, dominated the industry with mostlysuperhero titles.[58] The underground comix movementthat had flourished in the late 1960s and early 1970s alsoseemed moribund.[59] The public perception of comicbooks was as adolescent power fantasies, inherently in-capable of mature artistic or literary expression.[60] Mostdiscussion focused on comics as a genre rather than amedium.[61]

Maus came to prominence when the term "graphic novel"was beginning to gain currency. Will Eisner popularizedthe term with the publication in 1978 of A Contract withGod. The term was used partly to mask the low culturalstatus that comics had in the English-speaking world, andpartly because the term “comic book” was being used torefer to short-form periodicals, leaving no accepted vo-cabulary with which to talk about book-form comics.[62]

4 Publication history

The first chapter of Maus appeared in December 1980in the second issue of Raw[46] as a small insert; a newchapter appeared in each issue until the magazine cameto an end in 1991. Every chapter but the last appeared inRaw.[63]

Spiegelman struggled to find a publisher for a book edi-tion of Maus,[42] but after a rave New York Times re-view of the serial in August 1986, Pantheon Books pub-lished the first six chapters in a volume[64] called Maus:A Survivor’s Tale and subtitled My Father Bleeds His-tory. Spiegelman was relieved that the book’s publicationpreceded the theatrical release of the animated film AnAmerican Tail by three months, as he believed that thefilm, produced by Steven Spielberg's Amblin Entertain-ment, was inspired by Maus and wished to avoid compar-isons with it.[65]

The book found a large audience, partly because of its dis-tribution through bookstores rather than the direct marketcomic shops where comic books were normally sold.[66]

Maus was difficult for critics and reviewers to classify,and also for booksellers, who needed to know on whichshelves to place it. Though Pantheon pushed for the term“graphic novel”, Spiegelman was not comfortable withthis, as many book-length comics were being referredto as “graphic novels” whether or not they had novelis-tic qualities. He suspected the term’s use was an attemptto validate the comics form, rather than to describe thecontent of the books.[62] Spiegelman later came to acceptthe term, and with Drawn and Quarterly publisher ChrisOliveros successfully lobbied the Book Industry Study

Group in the early 2000s to include “graphic novel” asa category in bookstores.[67]

Pantheon collected the last five chapters in 1991 ina second volume subtitled And Here My Troubles Be-gan. Pantheon later collected the two volumes intosoft- and hardcover two-volume boxed sets and single-volume editions.[68] In 1994 the Voyager Company re-leased The Complete Maus on CD-ROM, a collec-tion which contained the original comics, Vladek’staped transcripts, filmed interviews, sketches, and otherbackground material.[69] The CD-ROM was based onHyperCard, a Macintosh-only application that has sincebecome obsolete.[70] In 2011 Pantheon Books pub-lished a companion to The Complete Maus entitledMetaMaus, with further background material, includingfilmed footage of Vladek.[42] The centerpiece of the bookis a Spiegelman interview conducted by Hillary Chute.It also has interviews with Spiegelman’s wife and chil-dren, sketches, photographs, family trees, assorted art-work, and a DVD with video, audio, photos, and an in-teractive version of Maus.[71]

Spiegelman dedicated Maus to his brother Richieu andhis first daughter Nadja.[72] The book’s epigraph is a quotefrom Adolf Hitler: “The Jews are undoubtedly a race, butthey are not human.”[73]

4.1 International publication

Penguin Books obtained the rights to publish the initialvolume in the Commonwealth in 1986. In support ofthe African National Congress's cultural boycott in oppo-sition to apartheid, Spiegelman refused to “compromisewith fascism”[74] by allowing publication of his work inSouth Africa.[74]

Piotr Bikont (left) set up a publishing house in 2001 to put out aPolish edition of Maus in the face of protest.

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

5.1 Presentation 5

to Spiegelman: French, as his wife was French, and be-cause of his respect for the sophisticated Franco-Belgiancomics tradition; German, given the book’s background;and Polish. Poland was the setting for most of the bookand Polish was the language of his parents and his ownmother tongue. The German reception was positive—Maus was a best-seller and was taught in schools. The Pol-ish translation encountered difficulties; as early as 1987,when Spiegelman planned a research visit to Poland, thePolish consulate official who approved his visa questionedhim about the Poles’ depiction as pigs and pointed outhow serious an insult it was. Publishers and commenta-tors refused to deal with the book for fear of protests andboycotts.[75] Piotr Bikont, a journalist for Gazeta Wybor-cza, set up his own publishing house to publish Maus inPolish in 2001. Demonstrators protested Maus ' s publi-cation and burned the book in front of Gazeta ' s offices.Bikont’s response was to don a pig mask and wave tothe protesters from the office windows.[76] The magazine-sized Japanese translation was the only authorized editionwith larger pages.[77] Long-standing plans for an Arabictranslation have yet to come to fruition.[50]

A few panels were changed for the Hebrew edition ofMaus. Based on Vladek’s memory, Spiegelman portrayedone of the minor characters as a member of the Nazi-installed Jewish Police. An Israeli descendant objectedand threatened to sue for libel. Spiegelman redrew thecharacter with a fedora in place of his original police hat,but appended a note to the volume voicing his objectionto this “intrusion”.[78] This version of the first volume ap-peared in 1990 from the publishing house Zmora Bitan.It had an indifferent or negative reception, and the pub-lisher did not release the second volume.[79] Another Is-raeli publisher put out both volumes, with a new trans-lation by poet Yehuda Vizan that included Vladek’s bro-ken language, which Zmora Bitan had refused to do.[80]

Marilyn Reizbaum saw this as highlighting a differencebetween the self-image of the Israeli Jew as fearless de-fender of the homeland, and that of the American Jew asfeeble victim,[81] something that one Israeli writer dispar-aged as “the diaspora sickness”.[82][lower-alpha 5]

5 Themes

5.1 Presentation

Spiegelman, like many of his critics, worries that"[r]eality is too much for comics ... so much has to beleft out or distorted”, admitting that his presentation ofthe story may not be accurate.[83] He takes a postmodernapproach; Maus “feeds on itself”, telling the story of howthe story was made. It examines the choices Spiegelmanmade in the retelling of his father’s memories, and theartistic choices he had to make—for example, when hisFrench wife converts to Judaism, Spiegelman’s characterfrets over whether to depict her as a frog, a mouse, or

Spiegelman finds the animal metaphor self-destructs.

other animal.[84]

The book portrays different races as different species ofanimals—the Jews as mice, Germans as cats, and eth-nic Poles as pigs,[2] among others. Spiegelman took ad-vantage of the way Nazi propaganda films depicted Jewsas vermin,[85] though he was first struck by the metaphorafter attending a presentation where Ken Jacobs showedfilms of minstrel shows along with early American ani-mated films, abundant with racial caricatures.[86]

Jewish characters try to pass themselves off as ethnicPoles by tying pig masks to their faces, with the stringsshowing at the back.[87] Vladek’s disguise was more con-vincing than Anja’s—"you could see she was more Jew-ish”, Vladek says. Spiegelman shows this Jewishness byhaving her tail hang out of her disguise.[88] This literaliza-tion of the genocidal stereotypes that drove the Nazis totheir Final Solution may risk reinforcing racist labels,[89]

but Spiegelman uses the idea to create anonymity forthe characters. According to art historian Andrea Liss,this may paradoxically enable the reader to identify withthe characters as human, preventing the reader fromobserving racial characteristics based on facial traits,while reminding readers that racist classification is everpresent.[90]

In making people of each ethnicity look alike, Spiegel-man hoped to show the absurdity of dividing people alongsuch lines. Spiegelman has stated that “these metaphors... are meant to self-destruct”[91] and “reveal the inanityof the notion itself”.[92] Professor Amy Hungerford sawno consistent system to the animal metaphor.[93] Rather,it signified the characters’ roles in the story rather thantheir races—the gentile Françoise is a mouse becauseof her identification with her husband, who identifieswith the Holocaust victims. When asked what ani-mal he would make Israeli Jews, Spiegelman suggestsporcupines.[94] When Art visits his psychiatrist, the twowear mouse masks.[95] Spiegelman’s perceptions of theanimal metaphor seem to have evolved over the book’smaking—in the original publication of the first volume,his self-portrait showed a mouse head on a human body,but by the time the second volume arrived, his self-portrait had become that of a man wearing a mousemask.[96] In Maus, the characters seem to be mice andcats only in their predator/prey relationship. In every re-spect other than their heads and tails, they act and speak

6 5 THEMES

as ordinary humans.[96] Further complicating the animalmetaphor, Anja is ironically shown to be afraid of mice,while other characters appear with pet dogs and cats, andthe Nazis with attack dogs.[97]

5.2 Memory

To Marianne Hirsch, Spiegelman’s life is “dominated bymemories that are not his own”.[98] His work is one notof memory but of postmemory—a term she coined af-ter encountering Maus. This describes the relation ofthe children of survivors with the survivors themselves.While these children have not had their parents’ experi-ences, they grow up with their parents’ memories—thememory of another’s memory—until the stories becomeso powerful that for these children they become memo-ries in their own right. The children’s proximity createsa “deep personal connection” with the memory, thoughseparated from it by “generational distance”.[99]

Art tried to keep his father’s story chronological, be-cause otherwise he would “never keep it straight”.[100] Hismother Anja’s memories are conspicuously absent fromthe narrative, given her suicide and Vladek’s destructionof her diaries. Hirsch sees Maus in part as an attempt toreconstruct her memory. Vladek keeps her memory alivewith the pictures on his desk, “like a shrine”, accordingto Mala.[101]

5.3 Guilt

Spiegelman displays his sense of guilt in many ways. Hesuffers anguish over his dead brother, Richieu, who per-ished in the Holocaust, and whom he feels he can neverlive up to.[102] The eighth chapter, made after the publi-cation and unexpected success of the first volume, openswith a guilt-ridden Spiegelman (now in human form, witha strapped-on mouse mask) atop a pile of corpses—thecorpses of the six million Jews upon whom Maus ' s suc-cess was built.[103] He is told by his psychiatrist that hisfather feels guilt for having survived and for outliving hisfirst son,[104] and that some of Art’s guilt may spring frompainting his father in such an unflattering way.[105] As hehad not lived in the camps himself, he finds it difficult tounderstand or visualize this “separate universe”, and feelsinadequate in portraying it.[28][106]

5.4 Racism

Spiegelman parodies the Nazis’ vision of racial divisions;Vladek’s racism is also put on display when he becomesupset that Françoise would pick up a black hitchhiker,a "schwartser" as he says. When she berates him, avictim of antisemitism, for his attitude, he replies, “It’snot even to compare, the schwartsers and the Jews!"[107]

Spiegelman gradually deconstructs the animal metaphor

Kapos, prisoner supervisors under the Nazis, are depicted as an-tisemitic Poles.

throughout the book, especially in the second volume,showing where the lines cannot be drawn between racesof humans.[108]

The Germans are depicted with little difference betweenthem, but there is great variety and little stereotypingamong the Poles and Jews who dominate the story.[109]

Sometimes Jews and the Jewish councils are shown com-plying with the occupiers; some trick other Jews into cap-ture, while others act as police for the Nazis.[110]

Spiegelman shows numerous instances of Poles whorisked themselves to aid Jews, and also shows anti-semitism as being rife among them. The kapos who runthe camps are Poles, and Anja and Vladek are tricked byPolish smugglers into the hands of the Nazis. Anja andVladek hear stories that Poles continue to drive off andeven kill returning Jews after the war.[111]

5.5 Language

Vladek’s English is broken in contrast with that of Art’smore fluent therapist, Paul Pavel, who is also an immi-grant and Holocaust survivor.[112] Vladek’s knowledge ofthe language helps him several times during the story, aswhen he uses it to meet Anja. He also uses it to befrienda Frenchman, and continues to correspond with him inEnglish after the war. His recounting of the Holocaust,first to American soldiers, then to his son, is never in hismother tongue,[113] and English becomes his daily lan-guage when he moves to America.[114] His difficulty withhis second language is revealed as Art writes his dialoguein broken English;[115] when Vladek is imprisoned he tellsArt "... every day we prayed ... I was very religious, andit wasn't else to do”.[116] Late in the book, Vladek talks ofDachau, saying, “And here ... my troubles began”, thoughclearly his troubles had begun long before Dachau. Thisunidiomatic expression was used as the subtitle of the sec-ond volume.[115]

The German word maus is cognate to the English word“mouse”,[117] and also reminiscent of the German wordmauscheln, which means “to speak like a Jew”[118] andrefers to the way Jews from Eastern Europe spokeGerman[119]—a word not etymologically related to maus,but distantly to Moses.[118]

6.1 Artwork 7

6 Style

Spiegelman’s use of funny animals, similar to those shown here,conflicted with readers’ expectations.

Spiegelman’s perceived audacity in using the Holocaustas his subject was compounded by his telling the storyin comics. The prevailing view in the English-speakingworld held comics as inherently trivial,[120] thus degrad-ing Spiegelman’s subject matter, especially as he usedanimal heads in place of recognizably human ones.[121]

Funny animals have been a staple of comics, and whilethey have a traditional reputation as children’s fare,the underground had long made use of them in adultstories,[122] for example in Robert Crumb's Fritz the Cat,which comics critic Joseph Witek asserts shows that thegenre could “open up the way to a paradoxical narrativerealism” that Maus exploited.[123]

Ostensibly about the Holocaust, the story entwines withthe frame tale of Art interviewing and interacting with hisfather. Art’s “Prisoner on the Hell Planet” is also encom-passed by the frame, and stands in visual and themati-cal contrast with the rest of the book as the charactersare in human form[53] in a surreal, German Expressionistwoodcut style inspired by Lynd Ward.[124]

Spiegelman blurs the line between the frame and theworld, such as when neurotically trying to deal with whatMaus is becoming for him, he says to his wife, “Inreal life you'd never have let me talk this long without

interrupting.”[125] When a prisoner whom the Nazis be-lieve to be a Jew claims to be German, Spiegelman hasdifficulty deciding whether to present this character as acat or a mouse.[126] Throughout the book, Spiegelman in-corporates and highlights banal details from his father’stales, sometimes humorous or ironic, giving a lightnessand humanity to the story which “helps carry the weightof the unbearable historical realities”.[5]

Spiegelman started taking down his interviews withVladek on paper, but quickly switched to a taperecorder,[127] face-to-face or over the phone.[52] Spiegel-man often condensed Vladek’s words, and occasion-ally added to the dialogue[127] or synthesized multipleretellings into a single portrayal.[52]

Spiegelman worried about the effect that his organizingof Vladek’s story would have on its authenticity. In theend, he eschewed a Joycean approach and settled on alinear narrative he thought would be better at “gettingthings across”.[52] He strove to present how the book wasrecorded and organized as an integral part of the bookitself, expressing the “sense of an interview shaped by arelationship”.[52]

6.1 Artwork

The story is text-driven, with few wordless panels[4] inits 1,500 black-and-white panels.[128] The art has highcontrast, with heavy black areas and thick black bordersbalanced against areas of white and wide white margins.There is little gray in the shading.[129] In the narrativepresent, the pages are arranged in eight-panel grids; inthe narrative past, Spiegelman found himself “violatingthe grid constantly” with his page layouts.[32]

Spiegelman rendered the original three-page “Maus” and“Prisoner on the Hell Planet” in highly detailed, expres-sive styles. Spiegelman planned to draw Maus in sucha manner, but after initial sketches he decided to usea pared-down style, one little removed from his pen-cil sketches, which he found more direct and immedi-ate. Characters are rendered in a minimalist way: an-imal heads with dots for eyes and slashes for eyebrowsand mouths, sitting on humanoid bodies.[37] Spiegelmanwanted to get away from the rendering of the charac-ters in the original “Maus”, in which oversized cats tow-ered over the Jewish mice, an approach which Spiegelmansays, “tells you how to feel, tells you how to think”.[130]

He preferred to let the reader make independent moraljudgments.[131] He drew the cat-Nazis the same size asthe mouse-Jews, and dropped the stereotypical villain-ous expressions.[87] The contrast between the artwork in“Prisoner on the Hell Planet” and Maus drives home theeffectiveness of the simpler artwork—"Prisoner” is alien-ating, while Maus is more inviting, encouraging deepercontemplation and understanding.[40]

Spiegelman wanted the artwork to have a diary feel toit, and so drew the pages on stationery with a fountain

8 7 RECEPTION AND LEGACY

pen and typewriter correction fluid. It was reproduced atthe same size it was drawn, unlike his other work, whichwas usually drawn larger and shrunk down, which hidesdefects in the art.[50]

6.2 Influences

Wordless woodcut novels like those by Frans Masereel were anearly influence on Spiegelman.

Spiegelman has published articles promoting a greaterknowledge of his medium’s history. Chief among hisearly influences were Harvey Kurtzman, Will Eisner,[132]

and Bernard Krigstein's "Master Race".[133] Though heacknowledged Eisner’s early work as an influence, he de-nied that Eisner’s first graphic novel, A Contract with God(1978), had any impact on Maus.[134] He cited HaroldGray's comic strip Little Orphan Annie as having “influ-enced Maus fairly directly”, and praised Gray’s work forusing a cartoon-based storytelling vocabulary, rather thanan illustration-based one.[135] Justin Green’s Binky BrownMeets the Holy Virgin Mary (1972) inspired Spiegel-man to include autobiographical elements in his comics.Spiegelman stated, “without Binky Brown, there would beno Maus".[48] Among the artists who influenced Maus,Spiegelman cited Frans Masereel, who had made anearly woodcut novel called Passionate Journey[lower-alpha 6]

(1919).[46]

7 Reception and legacy

Spiegelman’s work as cartoonist and editor had long beenknown and respected in the comics community, but themedia attention after the first volume’s publication in1986 was unexpected.[136] Hundreds of overwhelminglypositive reviews appeared, and Maus became the centerof new attention focused on comics.[137] It was consideredone of the “Big Three” book-form comics from around1986–1987, along with Watchmen and The Dark KnightReturns, that are said to have brought the term “graphicnovel” and the idea of comics for adults into mainstreamconsciousness.[138] It was credited with changing the pub-lic’s perception of what comics could be[139] at a timewhen, in the English-speaking world, they were con-

sidered to be for children, and strongly associated withsuperheroes.[59] Initially, critics of Maus showed a re-luctance to include comics in literary discourse.[140] TheNew York Times intended praise when saying of the book,“Art Spiegelman doesn't draw comic books”.[141] Afterits Pulitzer Prize win, it won greater acceptance and in-terest among academics.[142] The Museum of Modern Artstaged an exhibition on the making of Maus in 1991–92.[143]

Spiegelman continues to attract academic attention and influenceyounger cartoonists.

Maus proved difficult to classify to a genre,[144] and hasbeen called biography, fiction, autobiography, history,and memoir.[145] Spiegelman petitioned The New YorkTimes to move it from “fiction” to “non-fiction” on thenewspaper’s bestseller list,[125] saying, “I shudder to thinkhow David Duke ... would respond to seeing a carefullyresearched work based closely on my father’s memoriesof life in Hitler’s Europe and in the death camps clas-sified as fiction”. An editor responded, “Let’s go outto Spiegelman’s house and if a giant mouse answers thedoor, we'll move it to the nonfiction side of the list!" TheTimes eventually acquiesced.[146] The Pulitzer commit-tee sidestepped the issue by giving the completed Maus aSpecial Award in Letters in 1992.[147]

Maus ranked highly on comics and literature lists. TheComics Journal called it the fourth greatest comics workof the 20th century,[4] and Wizard placed it first on theirlist of 100 Greatest Graphic Novels.[148] EntertainmentWeekly listed Maus at seventh place on their list of TheNew Classics: Books – The 100 best reads from 1983to 2008,[149] and Time put Maus at seventh place on

7.1 Academic work and criticism 9

their list of best non-fiction books from between 1923and 2005,[150] and fourth on their list of top graphicnovels.[151] Praise for the book also came from contem-poraries such as Jules Feiffer and literary writers such asUmberto Eco.[152] Spiegelman turned down numerous of-fers to have Maus adapted for film or television.[153]

Early instalments of Maus that appeared in Raw inspiredthe young Chris Ware to “try to do comics that had a'serious’ tone to them”.[154] Maus is cited as a primaryinfluence on graphic novels such as Marjane Satrapi'sPersepolis and Alison Bechdel's Fun Home.[48]

In 1999, cartoonist Ted Rall had an article pub-lished in The Village Voice criticizing Spiegelman’sprominence and influence in the New York cartooningcommunity.[155] Entitled “King Maus: Art SpiegelmanRules the World of Comix With Favors and Fear”, itaccused the Pulitzer board of opportunism in select-ing Maus, which Rall deemed unworthy.[156] CartoonistDanny Hellman responded to the piece with a prank emailin which Hellman posed as Rall,[155] soliciting discussionat the email address TedRallsBalls@onelist.com. Hell-man followed up by posting fake responses from NewYork magazine editors and art directors. Rall launched alawsuit seeking damages of $1.5 million for libel, breachof privacy, and causing emotional distress.[157] To raisefunds to fight the suit, in 2001 Hellman had the Le-gal Action Comics anthology published, which includeda back cover by Spiegelman in which he depicts Rall as aurinal.[155]

7.1 Academic work and criticism

A cottage industry of academic research has built uparound Maus,[158] and schools have frequently used itas course material in a range of fields: history, dys-functional family psychology,[2] language arts, and socialstudies.[159] The volume of academic work published onMaus 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 pre-senting his father’s story. Marianne Hirsch wrote an in-fluential essay on post-memory called “Family Pictures:Maus, Mourning, and Post-Memory”, later expanded intoa book called Family Frames: Photography, Narrative,and Postmemory. Academics far outside the field ofcomics such as Dominick LaCapra, Linda Hutcheon, andTerrence Des Pres took part in the discourse. Few ap-proached Maus who were familiar with comics, largelybecause of the lack of an academic comics tradition—Maus tended to be approached as Holocaust history orfrom a film or literary perspective. In 2003, DeborahGeis edited a collection of essays on Maus called Consid-ering Maus: Approaches to Art Spiegelman’s “Survivor’sTale” of the Holocaust.[132] Maus is considered an impor-tant work of Holocaust literature, and studies of it havemade significant contributions to Holocaust studies.[161]

Comics writer and critic Harvey Pekar objected to Maus ' s use ofanimals and the negative depiction of Spiegelman’s father.

According to writer Arie Kaplan, some Holocaust sur-vivors objected to Spiegelman making a comic bookout of their tragedy.[162] Literary critics such as HillelHalkin objected that the animal metaphor was “dou-bly dehumanizing”, reinforcing the Nazi belief thatthe atrocities were perpetrated by one species on an-other, when they were actually done by humans againsthumans.[163] Comics writer and critic Harvey Pekar andothers[164] saw Spiegelman’s use of animals as poten-tially reinforcing stereotypes.[165] Pekar was also disdain-ful of Spiegelman’s overwhelmingly negative portrayalof his father,[166] calling him disingenuous and hypo-critical for such a portrayal in a book that presents it-self as objective.[167] Comics critic R. C. Harvey arguedthat Spiegelman’s animal metaphor threatened “to erode[Maus ' s] moral underpinnings”,[168] and played “directlyinto [the Nazis’] racist vision”.[169]

Commentators such as Peter Obst and LawrenceWeschler expressed concern over the Poles’ depiction aspigs,[170] which reviewer Marek Kohn saw as an eth-nic slur.[171] Jewish culture views pigs and pork as non-kosher, or unclean—a point of which the Jewish Spiegel-man was unlikely to be ignorant.[170] Critics such asObst and Pekar have said that the portrayal of Poles isunbalanced—that, while some Poles are seen as help-ing Jews, they are often shown doing so for self-servingreasons.[172] In the late 1990s, an objector to Maus ' s de-piction of Poles interrupted a presentation by Spiegelmanat Montreal’s McGill University with persistent abuse andwas expelled from the auditorium.[173]

10 10 REFERENCES

Literary critic Walter Ben Michaels found Spiegelman’sracial divisions “counterfactual”.[174] Spiegelman depictsthe various European races as different animal species,but Americans, both black and white, as dogs—with theexception of the Jews, who remain unassimilated mice.To Michaels, Maus seems to gloss over the racial inequal-ity that has plagued the history of the U.S.[174]

Other critics, such as Bart Beaty, objected to what theysaw as the work’s fatalism.[175] Belgian publisher La Cin-quième Couche[176] anonymously produced a book calledKatz, a remix of Spiegelman’s book with all animal headsreplaced with cat heads. The book reproduced everypage and line of dialogue from the French translation ofMaus. Spiegelman’s French publisher, Flammarion, hadthe Belgian publisher destroy all copies under charges ofcopyright violation.[175]

Scholar Paul Buhle asserted, “More than a few readershave described [Maus] as the most compelling of any[Holocaust] depiction, perhaps because only the carica-tured quality of comic art is equal to the seeming unrealityof an experience beyond all reason.”[177] Michael Roth-berg opined, “By situating a nonfictional story in a highlymediated, unreal, 'comic' space, Spiegelman captures thehyperintensity of Auschwitz.”[178]

7.2 Awards and nominations

8 See also

• Anthropomorphism

• Birds’ Head Haggadah

• Ethnic stereotypes in comics

• Stereotypes of Jews in literature

9 Notes[1] Spelled “Rysio” in Polish. “Richieu” is Spiegelman’s mis-

spelling, as he had not previously seen his brother’s namewritten down.[11]

[2] Born Itzhak Avraham ben Zev, his name was changed toArthur Isadore when he immigrated with his parents tothe US.[25]

[3] Born Zev Spiegelman, with the Hebrew name Zev benAbraham. His Polish name was Wladislaw (“Wladis-law” and “Wladec” are the spellings Spiegelman pro-vides; the standard Polish spellings for these names are“Władysław” and “Władek”), of which “Wladec” is adiminutive. “Vladek” is the Russian version of this name,which was picked up when the area in which Vladek livedwas controlled by Russia. This spelling was chosen forMaus as it was deemed the easiest spelling for Englishspeakers to pronounce correctly. The German version of

his name was “Wilhelm” (or “Wolf” for short), and he be-came 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 inthe US.[30]

[5] Translated from Hebrew by Marilyn Reizbaum.[82]

[6] Original French title: Mon Livre d'Heures ("My Book ofHours")

10 References[1] Witek 1989, p. 98; LaCapra 1998, p. 154.

[2] Fathers 2007, p. 122.

[3] Gordon 2004.

[4] Kannenberg 1999, pp. 100–101.

[5] Liss 1998, p. 55.

[6] Levine 2006, p. 29.

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

[8] Merino 2010.

[9] Pekar 1986, p. 54.

[10] Reibmann 2001, p. 26.

[11] Spiegelman 2011, p. 18.

[12] Wood 1997, p. 83.

[13] Levine 2006, p. 36.

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

[15] Kaplan 2006, p. 114.

[16] Wood 1997, p. 84.

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

[18] Weine 2006, p. 29.

[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.

[32] Weine 2006, p. 26.

[33] Gordon 2004; Tan 2001, p. 39.

[34] Spiegelman 2011, pp. 291, 294.

[35] Rice 2007, p. 18.

[36] Hirsch 1997, p. 35.

[37] Pekar 1986, p. 56.

[38] Rothberg 2000, p. 214.

[39] Levine 2006, p. 35.

[40] Johnston 2001.

[41] Schuldiner 2011, pp. 76–77; Hirsch 1997, p. 27; Adams2008, p. 180.

[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.

[50] Conan 2011.

[51] Spiegelman 2011, pp. 22–24.

[52] Brown 1988.

[53] Witek 1989, p. 98.

[54] Blau 2008.

[55] Petersen 2010, p. 221.

[56] Weiner 2003, pp. 5–6.

[57] Duncan & Smith 2009, p. 68.

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

[59] Witek 2004.

[60] Russell 2008, p. 221; Duncan & Smith 2009, p. 1.

[61] Witek 2004; Fagan & Fagan 2011, p. 3; Abell 2012, pp.68–84.

[62] Petersen 2010, p. 222.

[63] Kaplan 2006, p. 113.

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

[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.

[69] Horowitz 1997, p. 403.

[70] Hignite 2007, p. 57.

[71] Garner 2011.

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

[73] Witek 1989, p. 94; Hirsch 1997, p. 26; Wirth-Nesher2006, p. 169.

[74] Smith 2007, p. 93.

[75] Weschler 2001; Spiegelman 2011, pp. 122–125.

[76] Spiegelman 2011, pp. 122–124.

[77] Spiegelman 2011, p. 152.

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

[79] Tzadka 2012; Spiegelman 2011, pp. 152–153.

[80] Spiegelman 2011, p. 153.

[81] Reizbaum 2000, p. 135–136.

[82] Reizbaum 2000, p. 139.

[83] Wood 1997, p. 87.

[84] Young 2006, p. 250; Witek 1989, pp. 112–114.

[85] Pustz 2007, p. 69.

[86] Loman 2010, pp. 221–223.

[87] Witek 1989, p. 106.

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

[89] Reibmann 2001, p. 25; Liss 1998, p. 53; Pekar 1986, p.55.

[90] Liss 1998, p. 53.

[91] Bolhafner 1991, p. 96.

[92] Hays 2011.

[93] Hungerford 2003, p. 86.

[94] Hungerford 2003, p. 87.

[95] Pustz 2007, p. 70.

[96] Hirsch 1997, p. 27.

[97] Wolk 2008, p. 283.

[98] Hirsch 1997, p. 26.

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

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

12 10 REFERENCES

[101] Hirsch 1997, p. 33–34.

[102] Schwab 2010, p. 37.

[103] Kannenberg 2001, p. 86.

[104] Schuldiner 2011, p. 69.

[105] Schuldiner 2011, p. 70.

[106] Schuldiner 2011, p. 75.

[107] Loman 2010, p. 224.

[108] Loman 2010, p. 225.

[109] LaCapra 1998, pp. 161.

[110] LaCapra 1998, pp. 167–168.

[111] LaCapra 1998, pp. 166–167.

[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. 207–208.

[128] Weine 2006, pp. 25–26.

[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.

[138] Kaplan 2008, p. 172; Sabin 1993, p. 246; Stringer 1996,p. 262; Ahrens & Meteling 2010, p. 1; Williams & Lyons2010, p. 7.

[139] Witek 1989, pp. 94–95.

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

[141] Witek 2004; Langer 1998.

[142] Russell 2008, p. 223.

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

[144] Orbán 2005, pp. 39–40; Rhoades 2008, p. 219.

[145] For “biography”, see Brown 1988For “fiction”, see New York Times staff 1987; Ruth 2011For “autobiography”, see Merino 2010For “history”, see Brown 1988; Ruth 2011; Garner 2011For “memoir”, see Ruth 2011; Garner 2011

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

[147] Liss 1998, p. 54; Fischer & Fischer 2002.

[148] Wizard staff 2009.

[149] Entertainment Weekly staff 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 staff 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] Hatfield 2005, pp. 139–140; Russell 2008, p. 221.

[164] Park 2011.

[165] Pekar 1986, p. 55; Pekar 1990, pp. 32–33.

[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 13

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

[172] Pekar 1990, pp. 32–33; Obst , “A Commentary on Mausby Art Spiegelman”.

[173] Surridge 2001, p. 37.

[174] Loman 2010, pp. 223–224.

[175] Beaty 2012.

[176] Couvreur 2012.

[177] Chute 2006, pp. 200–201.

[178] Chute 2006, p. 201.

[179] Brown 1988; National Book Critics Circle staff 2012.

[180] Brown 1988; New York Times staff 1987.

[181] Tout en BD staff 1998.

[182] Tout en BD staff 1998; Jannequin 1990, p. 19.

[183] Hammarlund 2007.

[184] Comic Salon staff 2012.

[185] National Book Critics Circle staff 2012.

[186] Pulitzer Prize staff 2012.

[187] Eisner Awards staff 2012.

[188] Harvey Awards staff 1992.

[189] Colbert 1992.

[190] Tout en BD staff 1993.

10.1 Works cited

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• Abell, Catharine (2012). “Comics and Genre”. InMeskin, Aaron; Cook, Roy T. The Art of Comics: APhilosophical Approach. John Wiley & Sons. ISBN978-1-4443-3464-7.

• Adams, Jeff (2008). Documentary Graphic Nov-els and Social Realism. Peter Lang. ISBN 978-3-03911-362-0.

• Ahrens, Jörn; Meteling, Arno (2010). Comics andthe City: Urban Space in Print, Picture, and Se-quence. Continuum International Publishing Group.ISBN 978-0-8264-4019-8.

• Baker, Steve (1993). Picturing the Beast: Animals,Identity, and Representation. Manchester Univer-sity Press. ISBN 978-0-7190-3378-0. (attributedto Kohn, Marek (September 10, 1987). “Paws andWhiskers”. The Listener: 25.)

• Ball, David M.; Kuhlman, Martha B. (2010). TheComics of Chris Ware: Drawing Is a Way of Think-ing. University Press of Mississippi. ISBN 978-1-60473-442-3.

• Berger, James (1999). After the End: Representa-tions of Post-Apocalypse. University of MinnesotaPress. ISBN 978-0-8166-2932-9.

• Chute, Hillary L (2010). Graphic Women: Life Nar-rative and Contemporary Comics. Columbia Univer-sity Press. ISBN 978-0-231-15062-0.

• Duncan, Randy; Smith, Matthew J (2009). ThePower of Comics. Continuum International Publish-ing Group. ISBN 978-0-8264-2936-0.

• Fagan, Bryan D.; Fagan, Jody Condit (2011).“Medium or Genre?". Comic Book Collections forLibraries. ABC-CLIO. p. 3. ISBN 978-1-59884-511-2.

• Fathers, Michael (2007). “Art Mimics Life in theDeath Camps”. In Witek, Joseph. Art Spiegelman:Conversations. University Press of Mississippi. pp.122–125. ISBN 978-1-934110-12-6. (Originally inIndependent on Sunday on 1992-03-22)

• Fischer, Heinz Dietrich; Fischer, Erika J. (2002).“Spiegelman, Art”. Complete Biographical Encyclo-pedia of Pulitzer Prize Winners, 1917–2000: Jour-nalists, Writers and Composers on Their Ways to theCoveted Awards. Walter de Gruyter. p. 230. ISBN978-3-598-30186-5.

• Harvey, R. C. (1996). The Art of the Comic Book:An Aesthetic History. University Press of Missis-sippi. ISBN 978-0-87805-758-0.

• Hatfield, Charles (2005). Alternative Comics: AnEmerging Literature. University Press of Missis-sippi. ISBN 978-1-57806-719-0.

• Hignite, Todd (2007). “Art Spiegelman”. In theStudio: Visits With Contemporary Cartoonists. YaleUniversity Press. pp. 40–61. ISBN 978-0-300-13387-5.

• Hirsch, Marianne (1997). Family Frames: Photog-raphy, Narrative, and Postmemory. Harvard Univer-sity Press. ISBN 978-0-674-29265-9.

• Horowitz, Sara R. (1997). “Art Spiegelman”.In Shatzky, Joel; Taub, Michael. ContemporaryJewish-American Novelists: A Bio-Critical Source-book. Greenwood Publishing Group. pp. 400–408.ISBN 978-0-313-29462-4.

• Hungerford, Amy (2003). “Surviving Rego Park”.The Holocaust of Texts: Genocide, Literature, andPersonification. University of Chicago Press. pp.73–96. ISBN 978-0-226-36076-8.

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• Kannenberg, Gene, Jr. (2001). "'I Looked Just LikeRudolph Valentino': Identity and Representation inMaus". In Baetens, Jan. The Graphic Novel. LeuvenUniversity Press. pp. 79–89. ISBN 978-90-5867-109-7.

• Kaplan, Arie (2006). Masters of the Comic BookUniverse Revealed!. Chicago Review Press. ISBN978-1-55652-633-6.

• 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 Be-fore Christmas: Art Spiegelman’s Maus". Historyand Memory After Auschwitz. Cornell UniversityPress. pp. 139–179. ISBN 978-0-8014-8496-4.

• Levine, Michael G. (2006). The Belated Witness:Literature, Testimony, and the Question of HolocaustSurvival. Stanford University Press. ISBN 978-0-8047-5555-9.

• Liss, Andrea (1998). Trespassing Through Shad-ows: Memory, Photography, and the Holocaust.University of Minnesota Press. ISBN 978-0-8166-3060-8.

• Loman, Andrew (2010). “The Canonization ofMaus". In Williams, Paul; Lyons, James. The Riseof the American Comics Artist: Creators and Con-texts. University Press of Mississippi. ISBN 978-1-60473-792-9.

• Mandel, Naomi (2006). “The Story of my Death:Night, Maus, Shoah and the Image of the Speak-ing Corpse”. Against the Unspeakable: Complicity,the Holocaust, and Slavery in America. Universityof Virginia Press. pp. 99–130. ISBN 978-0-8139-2581-3.

• Meskin, Aaron; Cook, Roy T., eds. (2012). The Artof Comics: A Philosophical Approach. John Wiley& Sons. ISBN 978-1-4443-3464-7.

• McGlothlin, Erin Heather (2006). "'In AuschwitzWe Didn't Wear Watches’: Marking Time in ArtSpiegelman’s Maus". Second-Generation HolocaustLiterature: Legacies of Survival and Perpetration.Camden House Publishing. pp. 66–90. ISBN 978-1-57113-352-6.

• Monnin, Katie (2010). Teaching Graphic Novels:Practical Strategies for the Secondary ELA Class-room. Maupin House Publishing, Inc. ISBN 978-1-934338-40-7.

• Orbán, Katalin (2005). “Mauschwitz”. Ethical Di-versions: The Post-Holocaust Narratives of Pynchon,Abish, DeLillo, and Spiegelman. Routledge. pp. 35–74. ISBN 978-0-415-97167-6.

• Petersen, Robert (2010). Comics, Manga, andGraphic Novels: A History of Graphic Narratives.ABC-CLIO. ISBN 978-0-313-36330-6.

• Pustz, Matthew J (2007). “I Gave It All Up to DrawComics: Autobiographical (And Other) Tales AboutCreating Comic Books”. In Klaehn, Jeffery. Insidethe World of Comic Books. Black Rose Books. pp.61–81. ISBN 978-1-55164-296-3.

• Reibmann, James E. (2001). “Fredric Wertham,Spiegelman’s Maus, and Representations of theHolocaust”. In Baetens, Jan. The Graphic Novel.Leuven University Press. pp. 23–30. ISBN 978-90-5867-109-7.

• Reizbaum, Marilyn (2000). Silberstein, LaurenceJay, ed. Mapping Jewish Identities. New York Uni-versity Press. ISBN 978-0-8147-9769-3.

• Rhoades, Shirrel (2008). Comic Books: How the In-dustry Works. Peter Lang. ISBN 978-0-8204-8892-9.

• Rice, Maria J. (2007). Migrations of Memory:Postmemory in Twentieth Century Ethnic AmericanWomen’s Literature. ProQuest. ISBN 978-0-549-69539-4.

• Rosen, Alan Charles (2005). Sounds of Defiance:the Holocaust, Multilingualism, and the Problem ofEnglish. University of Nebraska Press. ISBN 978-0-8032-3962-3.

• Rothberg, Michael (2000). Traumatic Realism: TheDemands of Holocaust Representation. University ofMinnesota Press. ISBN 978-0-8166-3459-0.

• Russell, Vanessa (2008). “The Mild-Mannered Re-porter: How Clark Kent Surpassed Superman”. InNdalianis, Angela. The Contemporary Comic BookSuperhero. Taylor & Francis. pp. 216–232. ISBN978-0-415-99176-6.

• Sabin, Roger (1993). Adult Comics: An Introduc-tion. Taylor & Francis. ISBN 978-0-415-04419-6.

• Schwab, Gabriele (2010). Haunting Legacies:Violent Histories and Transgenerational Trauma.Columbia University Press. ISBN 978-0-231-15257-0.

• Schuldiner, Michael (2011). “The Second-Generation Holocaust Nonsurvivor: Third-DegreeMetalepsis and Creative Block in Art Spiegelman’sMaus". In Royal, Derek Parker. Unfinalized Mo-ments: Essays in the Development of ContemporaryJewish American Narrative. Purdue UniversityPress. pp. 69–80. ISBN 978-1-55753-584-9.

• Wirth-Nesher, Hana (2006). Call It English: TheLanguages of Jewish American Literature. PrincetonUniversity Press. ISBN 978-0-691-13844-2.

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• Smith, Graham (2007). “From Mickey to Maus:Recalling the Genocide Through Cartoon”. InWitek, Joseph. Art Spiegelman: Conversations.University Press of Mississippi. pp. 84–94. ISBN978-1-934110-12-6. (Originally in Oral HistoryJournal Vol. 15, Spring 1987)

• Spiegelman, Art (2011). Chute, Hillary, ed. Meta-MAUS. Viking Press. ISBN 978-0-670-91683-2.

• Stringer, Jenny, ed. (1996). “Graphic novel”. TheOxford Companion to Twentieth-Century Literaturein English. Oxford University Press. p. 262. ISBN978-0-19-212271-1.

• Tan, Ed (2001). “The Telling Face in Comic Stripand Graphic Novel”. In Baetens, Jan. The GraphicNovel. Leuven University Press. pp. 31–46. ISBN978-90-5867-109-7.

• Wood, Monica (1997). “Maus: A Survivor’s Tale,Volumes I and II, by Art Spiegelman”. 12 Multicul-tural Novels: Reading and Teacher Strategies. WalchPublishing. pp. 81–94. ISBN 978-0-8251-2901-8.

• Weine, Stevan J. (2006). Testimony After Catastro-phe: Narrating the Traumas of Political Violence.Northwestern University Press. ISBN 978-0-8101-2300-7.

• Weiner, Stephen (2003). Faster than a Speeding Bul-let: The Rise of the Graphic Novel. NBM Publishing.ISBN 978-1-56163-368-5.

• Williams, Paul; Lyons, James (2010). The Riseof the American Comics Artist: Creators and Con-texts. University Press of Mississippi. ISBN 978-1-60473-792-9.

• 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: HowGraphic Novels Work and What They Mean. DaCapo Press. ISBN 978-0-7867-2157-3.

• Young, James E. (2006). “The Arts of Jewish Mem-ory in a Postmodern Age”. In Rüsen, Jörn. Meaningand Representation in History. Berghahn Books. pp.239–254. ISBN 978-1-57181-776-1.

10.1.2 Journals and magazines

• Arnold, Andrew D. (2001-09-07). “Lemons intoLemonade”. Time. Retrieved 2014-02-19.

• Bolhafner, J. Stephen (October 1991). “Art for Art’sSake”. The Comics Journal (Fantagraphics Books)348 (145): 96–99. Bibcode:1990Natur.348..280C.doi:10.1038/348280d0. ISSN 0194-7869.

• Brown, Joshua (1988). “Of Mice and Memory”.Oral History Review (Oral History Association)(Spring): 91–109. ISSN 0094-0798.

• Chute, Hillary (Summer 2006). ""The Shadow of apast Time": History and Graphic Representation in“Maus"". Twentieth Century Literature 52 (2): 199–230. JSTOR 20479765.

• Frahm, Ole (May 2004). “Considering MAUS. Ap-proaches to Art Spiegelman’s “Survivor’s Tale” ofthe Holocaust by Deborah R. Geis (ed.)". Image &Narrative (8). ISSN 1780-678X. Retrieved 2012-01-30.

• Gordon, Andrew (Spring 2004). “Jewish Fathersand Sons in Spiegelman’s Maus and Roth’s Patri-mony". ImageText 1 (1). ISSN 1549-6732. Re-trieved 2012-02-01.

• Jannequin, Jean-Paul (April 1990). “Druillet andSpiegelman Take Grand Prizes”. The Comics Jour-nal (Fantagraphics Books) (121): 19. ISSN 0194-7869.

• 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 TimeLike the Present: Narrative and Time in ArtSpiegelman’s Maus”. Narrative 11 (2): 177–198.doi:10.1353/nar.2003.0007.

• Merino, Ana (2010). “Memory in Comics: Testi-monial, Autobiographical and Historical Space inMaus". TransAtlantica 2010 (1). ISSN 1765-2766.Retrieved 2012-02-01.

• Park, Hye Su (2011-01-01). “Art Spiegelman’sMaus: A Survivor’s Tale: A Bibliographic Essay”.Shofar. Retrieved 2012-03-01.

• Pekar, Harvey (December 1986). "Maus and OtherTopics”. The Comics Journal (Fantagraphics Books)(113): 54–57. ISSN 0194-7869.

• Pekar, Harvey (April 1990). “Blood and Thun-der”. The Comics Journal (Fantagraphics Books)302 (135): 27–34. Bibcode:1983Natur.302..784D.doi:10.1038/302784a0. ISSN 0194-7869.

• Surridge, Matthew (July 2001). “When ExtravagantFantasies Become Drab Experiences”. The ComicsJournal (Fantagraphics Books) (235): 36–37. ISSN0194-7869.

• Weschler, Lawrence (July–August 2001). “Pig Per-plex”. Lingua Franca 11 (5). Retrieved 2012-05-15.

16 10 REFERENCES

• Witek, Joseph (2004). “Imagetext, or, WhyArt Spiegelman Doesn't Draw Comics”. Image-TexT: Interdisciplinary Comics Studies (University ofFlorida) 1 (1). ISSN 1549-6732. Retrieved 2012-04-16.

• Wizard staff (June 2009). “100 Greatest GraphicNovels of our Lifetime”. Wizard (Wizard Entertain-ment) (212).

10.1.3 Newspapers

• Couvreur, Daniel (2012-03-05). “Katz a-t-il défig-uré Maus ?". Le Soir (in French). Retrieved 2012-06-15.

• Garner, Dwight (2011-10-12). “After a Quarter-Century, an Author Looks Back at His HolocaustComic”. The New York Times. Retrieved 2012-06-12.

• Franklin, Ruth (2011-10-05). “Art Spiegelman’sGenre-Defying Holocaust Work, Revisited”. TheNew Republic. Retrieved 2012-01-30.

• Hays, Matthew (2011-10-08). “Of Maus and man:Art Spiegelman revisits his Holocaust classic”. TheGlobe 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 OfThe Holocaust”. The New York Times. Retrieved2012-08-28.

• McGrath, Charles (2004-07-11). “Not Funnies”.The New York Times. Retrieved 2012-06-07.

• New York Times staff (1987-03-11). “Awards forBooks With Jewish Themes”. The New York Times.Retrieved 2012-01-30.

10.1.4 Websites

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

• Blau, Rosie (2008-11-29). “Breakfast with the FT:Art Spiegelman”. Financial Times. Retrieved 2012-04-18. (registration required)

• Colbert, James (1992-11-08). “Times Book Prizes1992 : Fiction : On Maus II". Los Angeles Times.Retrieved 2012-01-31.

• Comic Salon staff (2012).“Nominierungen/Preisträger seit 1984” (in Ger-man). Comic Salon. Retrieved 2012-01-31.

• Conan, Neal (2011-10-05). "'MetaMaus’: TheStory Behind Spiegelman’s Classic”. NPR. Re-trieved 2012-05-08.

• The Daily Free Press staff (2000-09-28).“Cartoonist Sued for $1.5 Million”. The DailyFree Press. Retrieved 2014-02-19.

• Eisner Awards staff (2012). “Complete List of Eis-ner Award Winners”. San Diego Comic-Con Inter-national. Retrieved 2012-01-31.

• Entertainment Weekly staff (2008-06-27). “TheNew Classics: Books”. Entertainment Weekly. Re-trieved 2012-01-27.

• Grossman, Lev (2009-03-06). “Top Ten GraphicNovels: Maus". Time. Retrieved 2012-04-16.

• Hammarlund, Ola (2007-08-08). “Urhunden:Satir och iransk kvinnoskildring får seriepris” (inSwedish). Urhunden. Retrieved 2012-04-27.

• Harvey Awards staff (1992). “1992 Harvey AwardWinners”. Harvey Awards. Retrieved 2012-01-31.

• Johnston, Ian (2001-12-28). “On Spiegelman’sMaus I and II”. Vancouver Island University. Re-trieved 2012-02-29.

• Morman, Todd (2003-01-29). “High Art, HitMovies and Manifestos”. IndyWeek.com. Re-trieved 2012-06-07.

• Mozzocco, J. Caleb (2011-12-01). “Balloonless |Art Spiegelman and Hillary Chute’s MetaMaus”.Comic Book Resources. Retrieved 2012-05-18.

• National Book Critics Circle staff (2012). “All PastNational Book Critics Circle Award Winners andFinalists”. National Book Critics Circle. Retrieved2012-01-31.

• Obst, Peter. “A Commentary on Maus by ArtSpiegelman”. American Council for Polish Culture.Retrieved 2012-05-16.

• Pulitzer Prize staff (2012). “Special Awards and Ci-tations”. Pulitzer Prizes. Retrieved 2012-01-31.

• Silver, Alexandra (2011-08-30). “All-TIME 100Nonfiction Books: Maus". Time. Retrieved 2012-04-16.

• Smith, Russ (1999-07-30). “When ControversyRalls the Comics World”. Jewish World Review. Re-trieved 2014-02-19.

• Tout en BD staff (1993). “Le festival BD: Le pal-marès 1993” (in French). Tout en BD. Retrieved2012-01-31.

• Tout en BD staff (1998). “Le festival BD: Le pal-marès 1988” (in French). Tout en BD. Retrieved2012-01-31.

17

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

11 Further reading• Ewert, Jeanne (2004). “Art Spiegelman’s Maus

and the Graphic Narrative”. In Ryan, Marie-Laure.Narrative Across Media: The Languages of Story-telling. University of Nebraska Press. pp. 180–193.ISBN 978-0-8032-8993-2.

• Geis, Deborah R., ed. (2007). Considering Maus:Approaches to Art Spiegelman’s “Survivor’s tale” ofthe Holocaust. University of Alabama Press. ISBN978-0-8173-5435-0.

• Kannenberg, Eugene P. (2002). Form, Function,Fiction: Text and Image in the Comics Narra-tives of Winsor McCay, Art Spiegelman, and ChrisWare. University of Connecticut. ISBN 978-0-493-69522-8.

• Miller, Frieda (1998). Maus: A Memoir of the Holo-caust : Teacher’s Guide (PDF). Vancouver Holo-caust Education Centre. ISBN 978-1-895754-29-2.

12 External links• (video) Art Spiegelman and the Making of Maus

• Teacher’s guide at Random House

• Questions and Resources for Art Spiegelman’s Mauscollege study guide with archived articles

• Art Spiegelman’s MAUS: Working Through theTrauma of the Holocaust. In Responses to the Holo-caust, University of Virginia

• “Teaching Resources for Art Spiegelman’s Maus: ASurvivor’s Tale”. Buckslib.org. July 11, 2004. Re-trieved January 30, 2012.

• Spiegelman, Art (September–October 1997). “Get-ting in Touch with My Inner Racist”. Mother Jones:51–52.

• Spiegelman discusses Maus with Paul Gravett - aBritish Library sound recording

18 13 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

13 Text and image sources, contributors, and licenses

13.1 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, Slawo-jarek, Skybunny, PuzzletChung, Naddy, Lowellian, Postdlf, Auric, Benc, Wayland, Nick Pisarro, Jr., DocWatson42, Michael Devore, Balth-Cat, Varlaam, Gzornenplatz, Hob, Leonard Vertighel, Chowbok, MisfitToys, Piotrus, BookgirlST, Gleam~enwiki, Klemen Kocjancic, Run-ning, 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, Radi-cal 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, Dragonfiend, Eleusinian, Gadget850, DeadEyeArrow, Trainra, Blue Danube, Whooligan, Crisco 1492, Deville, Bosco13, Pe-teashton, Rms125a@hotmail.com, SMcCandlish, Esprit15d, JQF, Fram, Ethan Mitchell, Skittle, Curpsbot-unicodify, Garion96, DearPru-dence, 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, Sev-ereTireDamage, 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, Clarityfiend, Lo-doss, KyleGarvey, Romuluscrohns, Gamesmaster, Tony Fox, HDCase, Wolfdog, Morganfitzp, Ethnopunk, CBM, Nunquam Dormio, Hook-jaw, 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 Staffieri, 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, Fe-linaofL2, 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, Catfish Jim and thesoapdish, 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,Urzică, 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, PratyyaGhosh, ChrisGualtieri, Dragoncat1234, Tjrludicke11, MarchOrDie, Magichellcat24, Burntsierra754, Wiki.correct.1, Sanya7901, TFA Pro-tector Bot, Mrhank3y0001, Werddemer, Paul2520, Youare169, Monkbot, Andyni123, HeidiannShatzi, Julietdeltalima, Solooooos, Alakzi,Zortwort, Dongord, KasparBot and Anonymous: 443

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