Spiegelman, a stalwart of the underground comics scene of the 1960s and '70s, interviewed his father, Vladek, a Holocaust survivor living outside New York City, about his experiences. The artist then deftly translated that story into a graphic novel. By portraying a true story of the Holocaust in comic form--the Jews are mice, the Germans cats, the Poles pigs, the French frogs, and the Americans dogs--Spiegelman compels the reader to imagine the action, to fill in the blanks that are so often shied away from. Reading Maus, you are forced to examine the Holocaust anew.

This is neither easy nor pleasant. However, Vladek Spiegelman and his wife Anna are resourceful heroes, and enough acts of kindness and decency appear in the tale to spur the reader onward (we also know that the protagonists survive, else reading would be too painful). This first volume introduces Vladek as a happy young man on the make in pre-war Poland. With outside events growing ever more ominous, we watch his marriage to Anna, his enlistment in the Polish army after the outbreak of hostilities, his and Anna's life in the ghetto, and then their flight into hiding as the Final Solution is put into effect. The ending is stark and terrible, but the worst is yet to come--in the second volume of this Pulitzer Prize-winning set. --Michael Gerber

Product Description
A story of a Jewish survivor of Hitler's Europe and his son, a cartoonist who tries to come to terms with his father's story and history itself.

Art Spiegelman attempts to tell the story of his father Vladek's life in Hitler's Europe. By and large, the book is a detailed, objective retelling of his Vladek's story. However, as Art himself will realize, "I can't even make sense out of my relationship with my father--how am I supposed to make sense out of the Holocaust?" and "Reality is much too complex for comics--so much has to be left out or distorted." Thus liberated from the impossible standard of complete objectivity, Art is free to insert two important subjective elements into the story--the depiction of different races as different species, and the insertion of himself as a character in MAUS.

Obviously, Art is not a overt racist--in fact, in the second part of MAUS, Art will scold his father for distrusting a black person, and a German-Jewish couple will help Vladek return home after being freed from the death camps. The point of portraying Jews as mice, Germans as cats, Poles as pigs, etc. is to show what race relations during Hitler's Europe might have been like.

The characterization of race doesn't end there, though--as the scene shifts from Nazi Germany to the present, and as Art must suffer the daily trials and tribulations of life with a father permanently scarred by his experiences, Art depicts himself as a mouse as well, a confession that he himself is unable to completely escape the aftermath of the poisoned race relations of the Holocaust. Maybe this makes him a covert racist. But if he is, then who isn't?

Art's involvement in MAUS goes beyond interviewing his father, though. Later in the story we will see that Art was treated in a mental hospital and sees a psychiatrist regularly. As the book cover declares, "MAUS is a story about the survivors of the Holocaust--and of the children who somehow survive the survivors."

The storytelling in MAUS is stellar, and the craftsmanship is as well. The comics medium allows Spiegelman to employ some interesting tricks. For example, whenever Vladek is trying to sneak around, he is portrayed with a pig mask. When Vladek and Anja are trying to escape from the ghetto, Anja, who in real life was easily identifiable as a Jew by her appearance, is drawn with a long tail, while Vladek is not.

In sum, MAUS is a gripping story of his parents' experience during the Holocaust, filled with countless brushes with death, tales of betrayal, and plenty of terrible, graphic illustrations of victims being executed. It is not a history text in the most austere and empirical sense. Rather, it is a confession that the Holocaust defies dispassionate and detached analysis.


Raw, Painful and Personal.   May 5, 1998
 15 out of 16 found this review helpful

This is a powerful work. The tale of a young man's painful relationship with his father is elegantly interwoven with the father's recollection of life as a Jew in Nazi-occupied Poland. Spiegelman's skill and honesty make this a raw, gut-wrenching read, though the tale is somehow ultimately uplifting.

I first read this book as a teenager, and would highly recommend it to people of any age. Over the years, I have re-read it frequently and shared it with friends of all ages. All have taken much from Spiegelman's tale.

A few notes must be made in response to the 10/26/97 comment posted below by a reviewer from Ontario, Canada. It is quite clear that this reviewer did not, in fact, read the book. (S)he mistakenly attacks Spiegelman for portraying the Poles as rats, and wonders if he would be offended if a book were written portraying Jews as rats. Anyone who took the time to read Maus (or merely to examine it's cover!) would know that it is, in fact, the Jewish people who are portrayed as mice/rats, whereas the Poles are portrayed not as vermin, but rather as pigs.

In fact, far from a "vicious" attack against Poles, there are many acts of kindness by Polish people portrayed in the book. Certainly there is unkindness as well, but how can the reviewer forget that this is a factual account of Vladek Spiegelman's life, told from his perspective. If unkind acts by Polish people are a part of that life, then they should be in the book.

Finally, the reviewer in question inelegantly raises a point of some merit, though it is one that is only tangentially related to Spiegelman's work. The Polish people did, in fact, suffer horribly at the hands of both Nazis and Soviets alike. Their death toll in the concentration camps numbered in the millions, and should never be forgotten or omitted when discussing the Holocaust. This book, however, is about Vladek Spiegelman, and so surely it cannot be assailed for its focus on events from his perspective.

Spiegelman's fidelity to his father's! story is to be admired, not attacked. And certainly not by a reviewer who could not be bothered to read the book.


An ASTONISHING Tale...   October 29, 2003
 15 out of 19 found this review helpful

"Maus I" is a powerful and awe-inspiring experience. I have never read anything quite like it, I have to admit. It's really hard to comprehend the term "page-turner" until you read this very unique and intense tale of surviving one of the most terrible times in history.

Written in comic book form, Art Spiegelman tells the tale of his father's hardships and survival in the Holocaust. Vladek Spiegelman (his father) was a POW, but managed to sneak out of one of the camps that held him, only to later have him and his whole family thrown into terrible death camps. Uncertain of what tragedies they would endure or when they may be the next to be sent to Auschwitz, Vladek was always certain that they would make it out alive, no matter what obstacles were thrown in their way. This is a survivor's tale, as well as a tale of how a son tries to patch up a damaged relationship with his father. The account we are given is absolutely horrifying, but at the same time triumphant.

I literally could not put this book down once I started it. It's a very fast and easy read. This is a great advantage because this makes it easier for those who do not read a lot to be able to read it without any problems. It's an important tale that needs to be told and it is one that needs to be read by as many people as possible. The Holocaust is something we should never forget and it's something that needs to be taught to everyone. This book is a great way to get people aware of the situation who may not know a lot about that terrible time.

The comic book structure and style really makes the story work. While this is something I could've read in plain text or in a regular novel, the drawings help you experience just exactly what is taking place. It makes it easier for you to want to continue reading without forcing you to strain yourself. The style and structure also insures that more people will give it a chance and read it.

"Maus I" is an important tale of survival, hope, hardships and family. It's a tale worth being told, that much I can assure you. If you have never read this before, I strongly recommend that you pick it up sometime and give it a chance. It is an easy and fast read that will give you an experience like none you have ever encountered. It may be a sad and terrible tale to hear, but to know that somebody can survive such a horrendous scenario like the Holocaust and come out of it alive just goes to show you how strong a person can be, both inside and out. It is an important tale that deserves to be heard by as many people as possible.


Subject matter overshadows a very mediocre work   July 17, 2004
 15 out of 33 found this review helpful

If one can truly see past all the cultural signifiers and content obeisance attached to Maus and simply judge the work on craft alone, one will find a fairly pedestrian work, well told, yet instantly forgettable.

Spiegelman has crafted a shrewd piece of media here, he has mined the true-life experiences of his grandfather to fashion a non-fiction biographic tale of internment in a concentration camp, replacing the Germans with cats and the Jews with mice. Such a choice is guaranteed critic-proof simply because of the subject matter. Publicly, one is not allowed to dislike Maus or find it flawed in any fundamental way; it fosters a mild form of cultural fascism against the dissenter. Recently discussing Maus with someone who thought it profound, I found myself dodging bullets of anti-Semitism and callousness towards the human spirit. But we must understand that Maus the graphic novel has virtually disappeared, its place taken by Maus the "Holocaust for a new Generation" and Maus the "culturally significant signpost of human dignity."

Granted the story is compelling. If Maus had been told as a straight prose work of non-fiction it would have most certainly been published and given average to good marks, quickly joining the legion of Holocaust literature. But should we elevate Maus to the ranks of the graphic novel pantheon just because Spiegelman is Jewish and he used his authentic Jewish roots to tell a story of the Holocaust in pictures? I counter arguments that posit Spiegelman's work as introducing the Holocaust to a new generation (sort of like re-inventing Shakespeare for the geek set?) with the idea that the generation itself should begin to question its own intellectual vigor when we must teach our children about the holocaust using a comic strip. In that case, forget the Bible, why not teach it through a graphic `Chronicles of Jesus' format, allowing our children to get the story while abandoning the thorny arguments and contradictions that make reading any work of art a challenge to the mind?

I repeat, do we give Maus credibility for simply choosing subject matter? If we do, then we must re-think the way we judge literary works. We must then judge every piece of holocaust literature to be superlative, and regardless of its actual merit, place it on a hallowed shelf above all other literature. We must then judge every piece of art or media the same. In this new critical paradigm, if a graffiti artist painted a series of stick figures across a barren factory wall but above them sprayed the name "Auschwitz," we should take care not remove them. However, if that same artist simply painted a wall full of stick figures, they should be removed post-haste and a steep fine levied against the artist.

I am tired of works being given credibility for subject matter and not for craft. Maus is not a bad book, and may well foster early discussions with children or adolescents about the holocaust. But judged by artistic merit and craft alone it hardly belongs on the same shelf as Watchmen, From Hell, or Miller's Batman writings. In those works, the writers crafted dense literary works that truly transcended the genre and used the form in novel and interesting ways. They did not rely on content alone to sell mediocre work.


Comic Alternative: What if the Jews Were the Pigs?   June 13, 2001
 12 out of 37 found this review helpful

I object to the portrayal of Poles as pigs in this cartoon. It is demeaning and insulting. How would the Jewish author, and Jewish readers, feel if the genocide of Jews during the Holocaust was shown, in a popular comic strip, as Jewish pigs being sent to a giant slaughterhouse? The answer is rather obvious. So why did the author choose pigs to depict Poles? Did he lack the social intelligence of the average 5-year old, or does he harbor malevolence towards Poles? Oh, I apologize for my silly sentiments, because I forgot the obvious answer: The Poles are not deemed a politically-correct victim group, by the liberal elites, so it is perfectly OK to ridicule and demean them, even in widely-used educational material. After all, everyone in the US is equal, but some are more equal than others.