Hays, Matthew (October 8, 2011). "Of Maus and man: Art Spiegelman revisits his Holocaust classic". The Globe and Mail.

Langer, Lawrence L (December 6, 1998). "A Fable Of The Holocaust". The New York Times . Retrieved August 28, 2012. Weschler, Lawrence (July–August 2001). "Pig Perplex". Lingua Franca. 11 (5) . Retrieved May 15, 2012. Smith, Russ (July 30, 1999). "When Controversy Ralls the Comics World". Jewish World Review . Retrieved February 19, 2014.

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Reizbaum, Marilyn (2000). Silberstein, Laurence Jay (ed.). Mapping Jewish Identities. New York University Press. ISBN 978-0-8147-9769-3. Still the Lion didn’t move so the Mouse walked along the Lion’s side and climbed up towards his head. ‘All the animals in the forest are scared of you, Mr Lion, but not us mice ‘cos mice are the bravest creatures in the world.’ Sales soar for 'Maus' after its banning in Tennessee". WNYT NewsChannel 13. January 28, 2022. Archived from the original on January 29, 2022 . Retrieved January 30, 2022. Williams, Paul; Lyons, James (2010). The Rise of the American Comics Artist: Creators and Contexts. University Press of Mississippi. ISBN 978-1-60473-792-9. 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". [51] He strove to present how the book was recorded and organized as an integral part of the book itself, expressing the "sense of an interview shaped by a relationship". [51] Artwork [ edit ]

Oh, thank you,’ said the Mouse. ‘I think that’s a very wise decision. I meant what I said. I will help you, Mr Lion. One day. Just you wait and see.’ 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". [154] Maus is cited as a primary influence on graphic novels such as Marjane Satrapi's Persepolis and Alison Bechdel's Fun Home. [47] But the very next day he was scurrying through the forest when he heard more roaring. This time though, it wasn’t a roar of laughter but a roar of pain and fear. The Mouse crept closer to the terrible sound and saw the same Lion all tangled up in a hunter’s net. The more he struggled the more tangled up he became.Monnin, Katie (2010). Teaching Graphic Novels: Practical Strategies for the Secondary ELA Classroom. Maupin House Publishing, Inc. ISBN 978-1-934338-40-7. Surridge, Matthew (July 2001). "When Extravagant Fantasies Become Drab Experiences". The Comics Journal. Fantagraphics Books (235): 36–37. ISSN 0194-7869.

Adams, Jeff (2008). Documentary Graphic Novels and Social Realism. Peter Lang. ISBN 978-3-03911-362-0. That’s the funniest thing I’ve ever heard,’ said the Lion. ‘A tiny mouse helping a huge lion like me. I’m not going to eat you after all, little Mouse. You’re too funny to eat. I’m going to let you go.’Hungerford, Amy (2003). "Surviving Rego Park". The Holocaust of Texts: Genocide, Literature, and Personification. University of Chicago Press. pp.73–96. ISBN 978-0-226-36076-8. Fischer, Heinz Dietrich; Fischer, Erika J. (2002). "Spiegelman, Art". Complete Biographical Encyclopedia of Pulitzer Prize Winners, 1917–2000: Journalists, Writers and Composers on Their Ways to the Coveted Awards. Walter de Gruyter. p.230. ISBN 978-3-598-30186-5. Spiegelman dedicated Maus to his brother Richieu and his first daughter Nadja. [71] The book's epigraph is a quote from Adolf Hitler: "The Jews are undoubtedly a race, but they are not human". [72] International publication [ edit ] 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. [102] The eighth chapter, made after the publication and unexpected success of the first volume, opens with a guilt-ridden Spiegelman (now in human form, with a strapped-on mouse mask) atop a pile of corpses—the corpses of the six million Jews upon whom Maus ' success was built. [103] He is told by his psychiatrist that his father feels guilt for having survived and for outliving his first son, and that some of Art's guilt may spring from painting his father in such an unflattering way. [104] [105] As he had not lived in the camps himself, he finds it difficult to understand or visualize this "separate universe", and feels inadequate in portraying it. [27] [106] Racism [ edit ] Orbán, Katalin (2005). "Mauschwitz". Ethical Diversions: The Post-Holocaust Narratives of Pynchon, Abish, DeLillo, and Spiegelman. Routledge. pp.35–74. ISBN 978-0-415-97167-6.

Mozzocco, J. Caleb (December 1, 2011). "Balloonless | Art Spiegelman and Hillary Chute's MetaMaus". Comic Book Resources. Archived from the original on December 4, 2011 . Retrieved May 18, 2012. Spelled "Rysio" in Polish. "Richieu" is Spiegelman's misspelling, as he had not previously seen his brother's name written down. [10] [11] He was just about to run away when the Mouse remembered how the Lion could have eaten him but let him go. And then the Mouse remembered saying: ‘I will help you, Mr Lion. One day. Just you wait and see.’ Yesterday I laughed when you said you would help me. I’m not laughing now. You are a very brave little Mouse. Just goes to show you don’t have to be big to be a big friend. Thank you.’

Scholar Bart Beaty disagrees with claims from other critics that Maus presents a fatalistic perspective. Rather, he argues that Maus problematizes the essentialistic understanding of the relationship between the German "cats" and Jewish "mice," or the notion that there is something natural about Germans killing Jewish people. [191] Hammarlund, Ola (August 8, 2007). "Urhunden: Satir och iransk kvinnoskildring får seriepris" (in Swedish). Urhunden. Archived from the original on April 13, 2019 . Retrieved April 27, 2012. Moss, Joshua Louis (2017). Why Harry Met Sally: Subversive Jewishness, Anglo-Christian Power, and the Rhetoric of Modern Love. University of Texas Press. ISBN 978-1-4773-1283-4.