The Complete MAUS
About the book
The Complete Maus by Art Spiegelman - the Pulitzer prize-winning Holocaust survivor story 'The most affecting and successful narrative ever done about the Holocaust' Wall Street Journal 'The first masterpiece in comic book history' The New Yorker The Pulitzer Prize-winning Maus tells the story of Vladek Spiegelman, a Jewish survivor of Hitler's Europe, and his son, a cartoonist coming to terms with his father's story. Maus approaches the unspeakable through the diminutive. Its form, the cartoon (the Nazis are cats, the Jews mice), shocks us out of any lingering sense of familiarity and succeeds in 'drawing us closer to the bleak heart of the Holocaust' (The New York Times). Maus is a haunting tale within a tale. Vladek's harrowing story of survival is woven into the author's account of his tortured relationship with his aging father. Against the backdrop of guilt brought by survival, they stage a normal life of small arguments and unhappy visits. This astonishing retelling of our century's grisliest news is a story of survival, not only of Vladek but of the children who survive even the survivors. Maus studies the bloody pawprints of history and tracks its meaning for all of us. This combined, definitive edition includes Maus I: A Survivor's Tale and Maus II. Art Spiegelman is a contributing editor and artist for the New Yorker. His drawings and prints have been exhibited in museums and galleries around the world. He won the Pulitzer Prize for Maus, and a Guggenheim fellowship. It was also nominated for the National Book Critics Award. His other books include: Breakdowns: From Maus to Now, an Anthology of Strips; The Wild Party; Open Me, I'm A Dog; Jack Cole and Plastic Man: Forms Stretched to Their Limits; In the Shadow of No Towers; Breakdowns: Portrait of the Artist as a Young %@ Be a Nose; Jack and the Box and MetaMaus. He lives in New York.
Incluye los dos tomos - My Father Bleeds History & Here My Troubles Began
The first masterpiece in comic book history * New Yorker * One of the cliches about the Holocaust is that you can't imagine it - Spiegelman disproves this theory * Independent * A brutally moving work of art * Boston Globe * In the tradition of Aesop and Orwell, it serves to shock and impart powerful resonance to a well-documented subject. The artwork is so accomplished, forceful and moving * TimeOut * Spiegelman has turned the exuberant fantasy of comics inside out by giving us the most incredible fantasy in comics' history: something that actually occurred. Maus is terrifying not for its brutality, but for its tenderness and guilt * New Yorker * An epic story told in tiny pictures * New York Times * The most affecting and successful narrative ever done about the Holocaust * Wall Street Journal * Maus is a book that cannot be put down, truly, even to sleep...when you finish Maus, you are unhappy to have left that magical world and long for the sequel that will return you to it -- Umberto Eco A remarkable feat of documentary detail and novelistic vividness...an unfolding literary event * New York Times Book Review * The Pulitzer Prize-winning Maus tells the story of Vladek Spiegelman, a Jewish survivor of Hitler's Europe, and his son, a cartoonist coming to terms with his father's story. Maus approaches the unspeakable through the diminutive. Its form, the cartoon (the Nazis are cats, the Jews mice), shocks us out of any lingering sense of familiarity and succeeds in 'drawing us closer to the bleak heart of the Holocaust' * New York Times * A quiet triumph, moving and simple - impossible to describe accurately, and impossible to achieve in any medium but comics * Washington Post * All too infrequently, a book comes along that' s as daring as it is acclaimed. Art Spiegelman's Maus is just such a book * Esquire * A remarkable work, awesome in its conception and execution... at one and the same time a novel, a documentary, a memoir, and a comic book. Brilliant, just brilliant -- Jules Feiffer Maus is a masterpiece, and it's in the nature of such things to generate mysteries, and pose more questions than they answer. But if the notion of a canon means anything, Maus is there at the heart of it. Like all great stories, it tells us more about ourselves than we could ever suspect -- Philip Pullman Spiegelman's Maus changed comics forever. Comics now can be about anything -- Alison Bechdel Reading [his work] has been an amazing lesson in storytelling * Etgar Keret * It can be easy to forget how much of a game-changer Maus was. * Washington Post *
Art Spiegelman Biography
Art Spiegelman (; born Itzhak Avraham ben Zeev Spiegelman on February 15, 1948) is an American cartoonist, editor, and comics advocate best known for his graphic novel Maus. His work as co-editor on the comics magazines Arcade and Raw has been influential, and from 1992 he spent a decade as contributing artist for The New Yorker. He is married to designer and editor Françoise Mouly, and is the father of writer Nadja Spiegelman. In September 2022, the National Book Foundation announced that he would receive the Medal for Distinguished Contribution to American Letters.Spiegelman began his career with Topps (a bubblegum and trading card company) in the mid-1960s, which was his main financial support for two decades; there he co-created parodic series such as Wacky Packages in the 1960s and Garbage Pail Kids in the 1980s. He gained prominence in the underground comix scene in the 1970s with short, experimental, and often autobiographical work. A selection of these strips appeared in the collection Breakdowns in 1977, after which Spiegelman turned focus to the book-length Maus, about his relationship with his father, a Holocaust survivor. The postmodern book depicts Germans as cats, Jews as mice, and ethnic Poles as pigs, and took 13 years to create until its completion in 1991. It won a special Pulitzer Prize in 1992 and has gained a reputation as a pivotal work. Spiegelman and Mouly edited eleven issues of Raw from 1980 to 1991. The oversized comics and graphics magazine helped introduce talents who became prominent in alternative comics, such as Charles Burns, Chris Ware, and Ben Katchor, and introduced several foreign cartoonists to the English-speaking comics world. Beginning in the 1990s, the couple worked for The New Yorker, which Spiegelman left to work on In the Shadow of No Towers (2004), about his reaction to the September 11 attacks in New York in 2001. Spiegelman advocates for greater comics literacy. As an editor, a teacher at the School of Visual Arts in New York City, and a lecturer, Spiegelman has promoted better understanding of comics and has mentored younger cartoonists.
Family historySpiegelman's parents were Polish Jews Władysław (1906–1982) and Andzia (1912–1968) Spiegelman. His father was born Zeev Spiegelman, with the Hebrew name Zeev ben Avraham. Władysław was his Polish name, and Władek (or Vladek in anglicized form) was a diminutive of this name. He was also known as Wilhelm under the German occupation, and Anglicized his name to William upon immigration to the United States. His mother was born Andzia Zylberberg, with the Hebrew name Hannah. She changed her name to Anna upon immigrating to the United States. In Spiegelman's Maus, from which the couple are best known, Spiegelman used the spellings "Vladek" and "Anja", which he believed would be easier for Americans to pronounce. The surname Spiegelman is German for "mirror man".In 1937, the Spiegelmans had one other son, Rysio (spelled "Richieu" in Maus), who ... Read full biography
|Publisher:||Penguin Books Ltd|
|Languages:||| English ||
|Publication date:||Oct. 2, 2003|
|First Publication Date:||None|
|Publication City/Country:||London, United Kingdom|