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The Complete Maus: A Survivor's Tale Hardcover – November 19, 1996
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Editorial Reviews
Review
“A loving documentary and brutal fable, a mix of compassion and stoicism [that] sums up the experience of the Holocaust with as much power and as little pretension as any other work I can think of.”
–The New Republic
“A quiet triumph, moving and simple–impossible to describe accurately, and impossible to achieve in any medium but comics.”
–The Washington Post
“Spiegelman has turned the exuberant fantasy of comics inside out by giving us the most incredible fantasy in comics’ history: something that actually occurred…. The central relationship is not that of cat and mouse, but that of Art and Vladek. Maus is terrifying not for its brutality, but for its tenderness and guilt.”
–The New Yorker
“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
“An epic story told in tiny pictures.”
–The New York Times
“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 Feffer
–The New Republic
“A quiet triumph, moving and simple–impossible to describe accurately, and impossible to achieve in any medium but comics.”
–The Washington Post
“Spiegelman has turned the exuberant fantasy of comics inside out by giving us the most incredible fantasy in comics’ history: something that actually occurred…. The central relationship is not that of cat and mouse, but that of Art and Vladek. Maus is terrifying not for its brutality, but for its tenderness and guilt.”
–The New Yorker
“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
“An epic story told in tiny pictures.”
–The New York Times
“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 Feffer
From the Inside Flap
Volumes I & II in paperback of this 1992 Pulitzer Prize-winning illustrated narrative of Holocaust survival.
--This text refers to the
Paperback
edition.
Customer Reviews
Most Helpful Customer Reviews
195 of 198 people found the following review helpful
By
Jay Bee
on February 10, 2010
Format: Hardcover
Verified Purchase
2 Comments
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Browsing through the reviews and comments about Maus, I saw that there was some question as to whether the hardcover edition comprised Parts I and II. This is understandable because the product is listed in Amazon as "The Complete Maus: A Survivor's Tale (No 1)," which seems contradictory.
When I was considering purchasing it, I looked at the number of pages that were listed for the edition and guessed that it included both parts of the story. So I bought it, it arrived fine, and I am now writing to confirm that yes, this edition includes I and II.
Amazon should look into this and remove the "(No 1)" from the listing's title.
When I was considering purchasing it, I looked at the number of pages that were listed for the edition and guessed that it included both parts of the story. So I bought it, it arrived fine, and I am now writing to confirm that yes, this edition includes I and II.
Amazon should look into this and remove the "(No 1)" from the listing's title.
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260 of 267 people found the following review helpful
By
A Customer
on February 26, 2003
Format: Paperback
12 Comments
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These books are an easy and fast read, but by no means are they simple. In two slim comic books, Art Spiegelman chronicles his parents' movement from comfortable homes in Poland to the death camps of Auschwitz and Birkenau, and from there to a surreally banal afterlife in upstate New York. We watch the destruction of the Holocaust continue in Spiegelman's father's transformation from a bright, good-looking youth to a miserly neurotic, his mother's deterioration from a sensitive, sweet girl into a suicide, and in the author's own unhappy interactions with his parents.
I have read some of the most negative reviews of these books, and I respectfully disagree. Some negative reviews ("Spiegelman is a jerk") castigate Spiegelman for his shamefully self-interested milking of his father's life and the Holocaust. Other negative reviews find fault with the unoriginality of the story, or discover historical inaccuracies, self-contradictions, or simplifications in the tale. Finally, a set of reviews are upset with Spiegelman's coding of people of different nationalities as animals(especially the Poles, who were also victimized by the Nazis but are depicted as pigs in the comics.)
The first criticism is both deserved and unfair. Deserved, because Spiegelman profits by the pain and death of millions, including his own family. Unfair, because Spiegelman himself consciously provides the basis for our criticism that he mocked and neglected his elderly father at the same time that he fed his own success upon his father's tales. The two volumes echo with his regret and unexpiable guilt at his treatment of his parents, and at his own success and survival. To attack Spiegelman for these things is like scolding a man in the midst of his self-immolation.Read more ›
I have read some of the most negative reviews of these books, and I respectfully disagree. Some negative reviews ("Spiegelman is a jerk") castigate Spiegelman for his shamefully self-interested milking of his father's life and the Holocaust. Other negative reviews find fault with the unoriginality of the story, or discover historical inaccuracies, self-contradictions, or simplifications in the tale. Finally, a set of reviews are upset with Spiegelman's coding of people of different nationalities as animals(especially the Poles, who were also victimized by the Nazis but are depicted as pigs in the comics.)
The first criticism is both deserved and unfair. Deserved, because Spiegelman profits by the pain and death of millions, including his own family. Unfair, because Spiegelman himself consciously provides the basis for our criticism that he mocked and neglected his elderly father at the same time that he fed his own success upon his father's tales. The two volumes echo with his regret and unexpiable guilt at his treatment of his parents, and at his own success and survival. To attack Spiegelman for these things is like scolding a man in the midst of his self-immolation.Read more ›
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150 of 162 people found the following review helpful
By
Michael J. Mazza
HALL OF FAME on August 21, 2001
Format: Paperback
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Art Spiegelman's "Maus: A Survivor's Tale" is a unique and unforgettable work of literature. This two-volume set of book-length comics (or "graphic novels," if you prefer) tells the story of the narrator, Artie, and his father Vladek, a Holocaust survivor. "Maus" is thus an important example of both Holocaust literature and of the graphic novel. The two volumes of "Maus" are subtitled "My Father Bleeds History" and "And Here My Troubles Began"; they should be read together to get the biggest impact.
Artie is a comic book artist who is trying to create art that is meaningful, not just commercial. As the two volumes of "Maus" unfold, he gradually learns the full story of his father's history as a Jewish survivor of the World War II Holocaust. There is a complex "book within the book" motif, since the main character is actually writing the book that we are reading. This self-referentiality also allows Spiegelman to get in some satiric material.
The distinguishing conceit of "Maus" involves depicting the books' humanoid characters as having animal heads. All the Jews have mice heads, the Germans are cats, the Americans dogs, etc. It is a visually provocative device, although not without problematic aspects. To his credit, Spiegelman addresses some of the ambiguities of this visual device in the course of the 2 volumes. For example, Artie's wife, a Frenchwoman who converted to Judaism, wonders what kind of animal head she should have in the comic.
"Maus" contains some stunning visual touches, as well as some truly painful and thought-provoking dialogue. Vladek is one of the most extraordinary characters in 20th century literature. As grim as the two books' subject matter is, there are some moments of humor and warmth. Overall, "Maus" is a profound reflection on family ties, history, memory, and the role of the artist in society.
Artie is a comic book artist who is trying to create art that is meaningful, not just commercial. As the two volumes of "Maus" unfold, he gradually learns the full story of his father's history as a Jewish survivor of the World War II Holocaust. There is a complex "book within the book" motif, since the main character is actually writing the book that we are reading. This self-referentiality also allows Spiegelman to get in some satiric material.
The distinguishing conceit of "Maus" involves depicting the books' humanoid characters as having animal heads. All the Jews have mice heads, the Germans are cats, the Americans dogs, etc. It is a visually provocative device, although not without problematic aspects. To his credit, Spiegelman addresses some of the ambiguities of this visual device in the course of the 2 volumes. For example, Artie's wife, a Frenchwoman who converted to Judaism, wonders what kind of animal head she should have in the comic.
"Maus" contains some stunning visual touches, as well as some truly painful and thought-provoking dialogue. Vladek is one of the most extraordinary characters in 20th century literature. As grim as the two books' subject matter is, there are some moments of humor and warmth. Overall, "Maus" is a profound reflection on family ties, history, memory, and the role of the artist in society.
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81 of 96 people found the following review helpful
By
doomsdayer520
HALL OF FAME on April 4, 2003
Format: Hardcover
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The title of this review consists of words I don't use too often. But this is a masterpiece that deserved its Pulitzer Prize and then some. What makes Spiegelman's work so moving is the juxtaposition of a supposedly lighthearted form, the comic strip, with the greatest evil and suffering in human history, the Holocaust. Spiegelman's parents miraculously survived the concentration camps, being among very few survivors, getting by on luck and (in the case of Spiegelman's father) a lot of resourcefulness. This is their story, from the point of view of the father, who lost nearly all of his relatives. With the Jews as mice and the Nazis as cats, this work pulls no punches in describing the true horrors of the Holocaust, and Spiegelman's minimalist artwork makes the images all the more disturbing. You don't get this kind of emotion, terror, and brutal honesty in standard written accounts of the period. But underneath the direct suffering of the Holocaust, the true theme of this book is the lasting effects on the Spiegelman family, including the father's lasting agony and the mental illness shared by both Spiegelman's mother and himself, who hadn't even been born yet. The strained relationship between father and son are the true heart of this tremendous work. I haven't been this blown away by a work of literature in a very long time, if ever.
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