Harvey Awards staff (1992). "1992 Harvey Award Winners". Harvey Awards. Archived from the original on March 15, 2016 . Retrieved January 31, 2012. Young, James E. (2006). "The Arts of Jewish Memory in a Postmodern Age". In Rüsen, Jörn (ed.). Meaning and Representation in History. Berghahn Books. pp.239–254. ISBN 978-1-57181-776-1. Weschler, Lawrence (July–August 2001). "Pig Perplex". Lingua Franca. 11 (5) . Retrieved May 15, 2012. Pekar, Harvey (April 1990). "Blood and Thunder". The Comics Journal. Fantagraphics Books. 302 (135): 27–34. Bibcode: 1983Natur.302..784D. doi: 10.1038/302784a0. ISSN 0194-7869.

Spiegelman's perceived audacity in using the Holocaust as his subject was compounded by his telling the story in comics. The prevailing view in the English-speaking world held comics as inherently trivial, [119] thus degrading Spiegelman's subject matter, especially as he used animal heads in place of recognizably human ones. [120] Talking animals have been a staple of comics, and while they have a traditional reputation as children's fare, the underground had long made use of them in adult stories, [121] for example in Robert Crumb's Fritz the Cat, which comics critic Joseph Witek asserts shows that the genre could "open up the way to a paradoxical narrative realism" that Maus exploited. [122] Wizard staff (June 2009). "100 Greatest Graphic Novels of our Lifetime". Wizard. Wizard Entertainment (212). Loman, Andrew (2010). "The Canonization of Maus". In Williams, Paul; Lyons, James (eds.). 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 ] Hirsch, Marianne (1997). Family Frames: Photography, Narrative, and Postmemory. Harvard University Press. ISBN 978-0-674-29265-9.Witek, Joseph (2004). "Imagetext, or, Why Art Spiegelman Doesn't Draw Comics". ImageTexT: Interdisciplinary Comics Studies. University of Florida. 1 (1). ISSN 1549-6732. Archived from the original on November 29, 2014 . Retrieved April 16, 2012.

Rothberg, Michael (2000). Traumatic Realism: The Demands of Holocaust Representation. University of Minnesota Press. ISBN 978-0-8166-3459-0. Kois, Dan (December 2, 2011). "The Making of 'Maus' ". The New York Times . Retrieved January 27, 2012. 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.’Rosen, Alan Charles (2005). Sounds of Defiance: the Holocaust, Multilingualism, and the Problem of English. University of Nebraska Press. ISBN 978-0-8032-3962-3.

Petersen, Robert (2010). Comics, Manga, and Graphic Novels: A History of Graphic Narratives. ABC-CLIO. ISBN 978-0-313-36330-6. Conan, Neal (October 5, 2011). " 'MetaMaus': The Story Behind Spiegelman's Classic". NPR . Retrieved May 8, 2012.

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Scholar Paul Buhle asserted: "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". [192] Michael Rothberg opined: "By situating a nonfictional story in a highly mediated, unreal, 'comic' space, Spiegelman captures the hyperintensity of Auschwitz". [193] Parody [ edit ] Most of the book weaves in and out of two timelines. In the frame tale of the narrative present, Spiegelman interviews his father Vladek in the Rego Park neighborhood of Queens in New York City in 1978–79. [1] [2] [3] The story that Vladek tells unfolds in the narrative past, which begins in the mid-1930s, and continues until the end of the Holocaust in 1945. [2] [4] Adams, Jeff (2008). Documentary Graphic Novels and Social Realism. Peter Lang. ISBN 978-3-03911-362-0. American comic books were big business with a diversity of genres in the 1940s and 1950s, but had reached a low ebb by the late 1970s. [55] [56] By the time Maus began serialization, the "Big Two" comics publishers, Marvel and DC Comics, dominated the industry with mostly superhero titles. [57] The underground comix movement that had flourished in the late 1960s and early 1970s also seemed moribund. [58] The public perception of comic books was as adolescent power fantasies, inherently incapable of mature artistic or literary expression. [59] Most discussion focused on comics as a genre rather than as a medium. [60] To Marianne Hirsch, Spiegelman's life is "dominated by memories that are not his own". [98] His work is one not of memory but of postmemory, a term she coined after encountering Maus. This describes the relation of the children of survivors with the survivors themselves. While these children have not had their parents' experiences, they grow up with their parents' memories—the memory of another's memory—until the stories become so powerful that for these children they become memories in their own right. The children's proximity creates a "deep personal connection" with the memory, though separated from it by "generational distance". [99] In the field of psychology, this is called transgenerational trauma or generational trauma.