Maus Now
Selected Writing
(Sprache: Englisch)
"Pulitzer Prize-winning author Art Spiegelman is one of our most influential contemporary artists, and it is hard to overstate his effect on postwar American culture. Maus has shaped the fields of literature, history, and art, and enlivened our collective...
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"Pulitzer Prize-winning author Art Spiegelman is one of our most influential contemporary artists, and it is hard to overstate his effect on postwar American culture. Maus has shaped the fields of literature, history, and art, and enlivened our collective sense of what these practices can accomplish. [This book] collects responses to the work that confirm its unique and terrain-shifting status. Here, writers such as Philip Pullman, Robert Storr, Ruth Franklin, and others approach Maus from a wide range of viewpoints and traditions, inspired by the material's complexity"--
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The Shadow of a Past Time : History and Graphic Representation in MausBy Hillary Chute
In In the Shadow of No Towers, his most recent book of comic strips, Art Spiegelman draws connections between his experience of 9/11 and his survivor parents experience of World War II, suggesting that the horrors of the Holocaust do not feel far removed from his present-day experience in the twenty-first century. The killer apes learned nothing from the twin towers of Auschwitz and Hiroshima, Spiegelman writes; 9/11 is the same old deadly business as usual (np). Produced serially, Spiegelman s No Towers comic strips were too politically incendiary to find wide release in the United States; they were largely published abroad and in New York s weekly Jewish newspaper, the Forward. In the Shadow of No Towers powerfully asserts that the shadow of a past time [interweaves] with a present time ; to use Spiegelman s own description of his Pulitzer Prize winning two-volume work Maus: A Survivor s Tale (Silverblatt, 35). In one telling panel there the bodies of four Jewish girls hanged in World War II dangle from trees in the Catskills as the Spiegelmans drive to the supermarket in 1979.
The persistence of the past in Maus, of course, does figure prominently in analyses of the text s overall representational strategies. We see this, for instance, in Dominick LaCapra s reading of the book s thematic mode of carnivalization (175), Andreas Huyssen s theorizing of Adornean mimesis in Maus, and Alan Rosen s study of Vladek Spiegelman s broken English.3 Most readings of how Maus represents history approach the issue in terms of ongoing debates about Holocaust representation, in the context of postmodernism, or in relation to theories of traumatic memory. But such readings do not pay much attention to Maus s narrative form: the specificities of reading graphically, of taking individual pages as crucial units of comics grammar. The form of Maus,
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however, is essential to how it represents history. Indeed, Maus s contribution to thinking about the crisis in representation, I will argue, is precisely in how it proposes that the medium of comics can approach and express serious, even devastating, histories.
I m literally giving a form to my father s words and narrative, Spiegelman observes about Maus, and that form for me has to do with panel size, panel rhythms, and visual structures of the page (Interview with Gary Groth, 105, emphasis in original). As I hope to show, to claim that comics makes language, ideas, and concepts literal is to call attention to how the medium can make the twisting lines of history readable through form.
When critics of Maus do examine questions of form, they often focus on the cultural connotations of comics rather than on the form s aesthetic capabilities its innovations with space and temporality. Paul Buhle, for instance, claims, 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 (16). Where Michael Rothberg contends, By situating a nonfictional story in a highly mediated, unreal, comic space, Spiegelman captures the hyperintensity of Auschwitz (Traumatic Realism, 206), Stephen Tabachnick suggests that Maus may work because it depicts what was all too real, however unbelievable, in a tightly controlled and brutally stark manner. The black and white qua
I m literally giving a form to my father s words and narrative, Spiegelman observes about Maus, and that form for me has to do with panel size, panel rhythms, and visual structures of the page (Interview with Gary Groth, 105, emphasis in original). As I hope to show, to claim that comics makes language, ideas, and concepts literal is to call attention to how the medium can make the twisting lines of history readable through form.
When critics of Maus do examine questions of form, they often focus on the cultural connotations of comics rather than on the form s aesthetic capabilities its innovations with space and temporality. Paul Buhle, for instance, claims, 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 (16). Where Michael Rothberg contends, By situating a nonfictional story in a highly mediated, unreal, comic space, Spiegelman captures the hyperintensity of Auschwitz (Traumatic Realism, 206), Stephen Tabachnick suggests that Maus may work because it depicts what was all too real, however unbelievable, in a tightly controlled and brutally stark manner. The black and white qua
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Inhaltsverzeichnis zu „Maus Now “
ContextsPhilip Pullman Behind the Masks (2003)
Joshua Brown Of Mice and Memory (1988)
Ken Tucker Cats, Mice, and History: The Avant-Garde of the Comic Strip (1985)
Adam Gopnik Comics and Catastrophe: Art Spiegelman s Maus and the History of the Cartoon (1987)
Kurt Scheel Mauschwitz? Art Spiegelman s A Survivor s Tale (1989)
Dorit Abusch The Holocaust in Comics? (1997 and 2021)
Thomas Doherty Art Spiegelman s Maus: Graphic Art and the Holocaust (1996 and 2020)
Stephen E. Tabachnick Of Maus and Memory: The Structure of Art Spiegelman s Graphic Novel of the Holocaust (1993)
Problems of Representation
Marianne Hirsch My Travels with Maus, 1992 2020 (1992, 1997, 2012, and 2020)
Nancy K. Miller Cartoons of the Self: Portrait of the Artist as a Young Murderer Art Spiegelman s Maus (1992)
Michael Rothberg We Were Talking Jewish : Art Spiegelman s Maus as Holocaust Production (1994)
Alan Rosen The Language of Survival: English as Metaphor in Spiegelman s Maus (1995)
Terrence Des Pres Holocaust Laughter? (1988)
Andreas Huyssen Of Mice and Mimesis: Reading Spiegelman with Adorno (2003)
Legacy
Robert Storr Making Maus (1991)
Hillary Chute The Shadow of a Past Time : History and Graphic Representation in Maus (2006)
Ruth Franklin Art Spiegelman s Genre-Defying Holocaust Work, Revisited (2011)
Pierre-Alban Delannoy Spiegelman, in Nobody s Land (2009)
David Samuels Q&A with Art Spiegelman, Creator of Maus (2013)
Hans Kruschwitz Everything Depends on Images: Reflections on Language and Image in Spiegelman s Maus (2018)
Alisa Solomon The Haus of Maus: Art Spiegelman s Twitchy Irreverence (2014)
Acknowledgments
Notes
Works Cited
Selected Further Writing on Maus
Contributors
Autoren-Porträt von Hillary Chute
Edited by Hillary Chute
Bibliographische Angaben
- Autor: Hillary Chute
- 2022, 432 Seiten, mit Schwarz-Weiss-Abbildungen, Masse: 16,5 x 24,4 cm, Gebunden, Englisch
- Herausgegeben: Hillary Chute
- Verlag: Pantheon
- ISBN-10: 0593315774
- ISBN-13: 9780593315774
- Erscheinungsdatum: 15.11.2022
Sprache:
Englisch
Pressezitat
This is a thought-provoking collection of pieces that explore topics that Maus touches on, and is a must-read if you ve read Spiegelman s books. Book RiotAt a time when book banning is on the rise and, indeed, the very nature of truth is under attack this omnibus investigates relevant questions . . . Chute s book, which contains a generous selection of illustrations, features such luminaries as Ruth Franklin, Adam Gopnik, Marianne Hirsch, Alisa Solomon, and Philip Pullman, all coming together to create a valuable resource for the cottage industry of Maus research. Kirkus Reviews
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