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Here's a House Mouse card with an image that just blew me away! I saw it in the store and had to have it! I just love that little guy bala This provided the perfect excuse to put some ink on a brand new House Mouse stamp that I couldn't resist buying when I saw it at JoAnn's.

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This mega-suite is full of floral goodness. The Jar of Flowers stamp set and punch, and the Celebrate Sunflowers bundle are just the beginning.

There's also a sumptuous set of 6"x6" DSP, a three-ribbon combo, the Flowers for Every Season gems and the most adorable mason jar shaker domes.

The stamp sets can be used by themselves or can be combined. By , Maus had been translated into about thirty languages. Three translations were particularly important to Spiegelman: French, as his wife was French, and because of his respect for the sophisticated Franco-Belgian comics tradition; German, given the book's 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 Polish translation encountered difficulties; as early as , when Spiegelman planned a research visit to Poland, the Polish consulate official 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. Demonstrators protested Maus ' s publication and burned the book in front of Gazeta ' s offices.

Bikont's response was to don a pig mask and wave to the protesters from the office windows. A few panels were changed for the Hebrew edition of Maus.

Based on Vladek's memory, Spiegelman portrayed one of the minor characters as a member of the Nazi-installed 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".

It had an indifferent or negative reception, and the publisher did not release the second volume. Spiegelman, like many of his critics, worries that "[r]eality is too much for comics It examines the choices Spiegelman made in the retelling of his father's memories, and the artistic choices he had to make—for example, when his French wife converts to Judaism , Spiegelman's character frets over whether to depict her as a frog, a mouse, or another animal.

The book portrays humans with the heads and tails of different species of animals; Jews are drawn as mice and other Germans and Poles as cats and pigs, [2] among others.

Spiegelman took advantage of the way Nazi propaganda films depicted Jews as vermin, [86] though he was first struck by the metaphor after attending a presentation where Ken Jacobs showed films of minstrel shows along with early American animated films, abundant with racial caricatures.

Healthy emotions tell every independent young man and every honorable youth that the dirty and filth-covered vermin, the greatest bacteria carrier in the animal kingdom, cannot be the ideal type of animal Away with Jewish brutalization of the people!

Down with Mickey Mouse! Wear the Swastika Cross! Jewish characters try to pass themselves off as ethnic Poles by tying pig masks to their faces, with the strings showing at the back.

Spiegelman shows this Jewishness by having her tail hang out of her disguise. 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 classification is ever present.

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 When asked what animal he would make Israeli Jews , Spiegelman suggests porcupines.

In every respect other than their heads and tails, they act and speak as ordinary humans. To Marianne Hirsch , Spiegelman's life is "dominated by memories that are not his own".

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".

Art tried to keep his father's story chronological, because otherwise he would "never keep it straight".

Hirsch sees Maus in part as an attempt to reconstruct her memory. Vladek keeps her memory alive with the pictures on his desk, "like a shrine", according to Mala.

Spiegelman displays his sense of guilt in many ways. He suffers anguish over his dead brother, Richieu, who perished in the Holocaust, and whom he feels he can never live up to.

When she berates him, a victim of antisemitism, for his attitude, he replies, "It's not even to compare, the schwartsers and the Jews! The Germans are depicted with little difference between them, but there is great variety among the Poles and Jews who dominate the story.

Spiegelman shows numerous instances of Poles who risked themselves to aid Jews, and also shows antisemitism as being rife among them.

The kapos who run the camps are Poles, and Anja and Vladek are tricked by Polish smugglers into the hands of the Nazis. Anja and Vladek hear stories that Poles continue to drive off and even kill returning Jews after the war.

Vladek's English is broken in contrast with that of Art's more fluent therapist, Paul Pavel, who is also an immigrant and Holocaust survivor.

He also uses it to befriend a Frenchman, and continues to correspond with him in English after the war. His recounting of the Holocaust, first to American soldiers, then to his son, is never in his mother tongue, [] and English becomes his daily language when he moves to America.

I was very religious, and it wasn't else to do". This unidiomatic expression was used as the subtitle of the second volume.

The German word Maus is cognate to the English word "mouse", [] and also reminiscent of the German verb mauscheln , which means "to speak like a Jew" [] and refers to the way Jews from Eastern Europe spoke German [] —a word not etymologically related to Maus , but distantly to Moses.

Spiegelman's perceived audacity in using the Holocaust as his subject was compounded by his telling the story in comics.

The prevailing view in the English-speaking world held comics as inherently trivial, [] thus degrading Spiegelman's subject matter, especially as he used animal heads in place of recognizably human ones.

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 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.

Spiegelman blurs the line between the frame and the world, such as when neurotically trying to deal with what Maus is becoming for him, he says to his wife, "In real life you'd never have let me talk this long without interrupting.

Spiegelman started taking down his interviews with Vladek on paper, but quickly switched to a tape recorder, [] face-to-face or over the phone.

Spiegelman worried about the effect that his organizing of Vladek's 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".

The story is text-driven, with few wordless panels [4] in its 1, black-and-white panels. There is little gray in the shading.

Spiegelman rendered the original three-page "Maus" and "Prisoner on the Hell Planet" in highly detailed, expressive styles. Spiegelman planned to draw Maus in such a manner, but after initial sketches he decided to use a pared-down style, one little removed from his pencil sketches, which he found more direct and immediate.

Characters are rendered in a minimalist way: animal heads with dots for eyes and slashes for eyebrows and mouths, sitting on humanoid bodies.

Spiegelman wanted the artwork to have a diary feel to it, and so drew the pages on stationery with a fountain pen and typewriter correction fluid.

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.

Spiegelman has published articles promoting a greater knowledge of his medium's history. Spiegelman stated, "without Binky Brown , there would be no Maus ".

Spiegelman's work as cartoonist and editor had long been known and respected in the comics community, but the media attention after the first volume's publication in was unexpected.

Maus proved difficult to classify to a genre, [] and has been called biography, fiction, autobiography, history, and memoir.

An editor responded, "Let's go out to Spiegelman's house and if a giant mouse answers the door, we'll move it to the nonfiction side of the list!

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 first on their list of Greatest Graphic Novels.

Early installments of Maus that appeared in Raw inspired the young Chris Ware to "try to do comics that had a 'serious' tone to them".

In , cartoonist Ted Rall had an article published in The Village Voice criticizing Spiegelman's prominence and influence in the New York cartooning community.

Hellman followed up by posting fake responses from New York magazine editors and art directors. A cottage industry of academic research has built up around Maus , [] and schools have frequently used it as course material in a range of fields: history, dysfunctional family psychology, [2] language arts, and social studies.

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 film or literary perspective.

According to writer Arie Kaplan, some Holocaust survivors objected to Spiegelman making a comic book out of their tragedy.

Harvey argued that Spiegelman's animal metaphor threatened "to erode [ Maus ' s] moral underpinnings", [] and played "directly into [the Nazis'] racist vision".

Commentators such as Peter Obst and Lawrence Weschler expressed concern over the Poles' depiction as pigs, [] which reviewer Marek Kohn saw as an ethnic slur [] and The Norton Anthology of American Literature called "a calculated insult".

Literary critic Walter Ben Michaels found Spiegelman's racial divisions "counterfactual". To Michaels, Maus seems to gloss over the racial inequality that has plagued the history of the U.

Other critics, such as Bart Beaty, objected to what they saw as the work's fatalism. 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.

The book reproduced every page and line of dialogue from the French translation of Maus. Spiegelman's French publisher, Flammarion , had the Belgian publisher destroy all copies under charges of copyright violation.

Moss, Joshua Louis University of Texas Press. From Wikipedia, the free encyclopedia. This article is about the graphic novel. For other uses, see Maus disambiguation.

This spelling was chosen for Maus as it was deemed the easiest spelling for English speakers to pronounce correctly.

The German version of his name was "Wilhelm" or "Wolf" for short , and he became William when he moved to the U.

Her name became Anna when she and Vladek arrived in the U. Abell, Catharine Documentary Graphic Novels and Social Realism. Peter Lang. Continuum International Publishing Group.

Picturing the Beast: Animals, Identity, and Representation. Manchester University Press. The Listener : Ball, David M. University Press of Mississippi.

After the End: Representations of Post-Apocalypse. University of Minnesota Press. Columbia University Press.

The Power of Comics. Comic Book Collections for Libraries. In Witek, Joseph ed. Art Spiegelman: Conversations. Walter de Gruyter. Alternative Comics: An Emerging Literature.

Yale University Press. Family Frames: Photography, Narrative, and Postmemory. Harvard University Press. In Shatzky, Joel; Taub, Michael eds.

Greenwood Publishing Group. University of Chicago Press. In Baetens, Jan ed. The Graphic Novel. Leuven University Press.

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