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Maus: A Survivor's Tale is a memoir presented as a graphic novel by Art Spiegelman. It recounts Spiegelman's father's struggle to survive the Holocaust as a Polish Jew and draws largely on his father's recollections of events he personally experienced. The book also follows the author's troubled relationship with his father and the way the effects of war reverberate through generations of a family. In 1992 it won a Pulitzer Prize Special Award. The New York Times described the selection of Maus for the honor: "The Pulitzer board members ... found the cartoonist's depiction of Nazi Germany hard to classify."^[1]

Overview

The book alternates the stories told by Spiegelman's father Vladek Spiegelman about life in Poland before and during the Second World War, with the contemporary life of Art, Vladek and their loved ones in the Rego Park neighborhood of New York City and in Florida. The book recounts the struggle of Vladek Spiegelman living with his family in Radomsko, Czestochowa, Sosnowiec and Bielsko in the late 1930s and his tragic odyssey during the war which ultimately led him to Auschwitz as prisoner 175113. Throughout the book, Art Spiegelman also confronts his complex and often conflictual relationship with his father. Vladek is depicted as still exhibiting racial prejudice against blacks despite his own life experience. He is also presented as extremely stingy and making life very difficult for those around him, such as his first wife Anja (Art's mother who committed suicide) and his second wife Mala, also a concentration camp survivor.

Themes

The author's articulation of the Holocaust is the central theme of the two graphic novels, giving the book a metabiographical aspect. Spiegelman often mentions the apprehension he feels related to trying to express the unexpressable. The novel adopts both a survivor's point of view of the Holocaust and the point of view of those who did not live it, but are still deeply connected to it. The author makes a unique choice to depict the varying nationalities and races in the novel with animals. At one point the author questions his own choice in doing so, and at that point he begins drawing characters as humans wearing animal masks.

Animals used

The Jews are represented by mice.
The Germans are represented by cats.
The Americans are represented by dogs.
The Polish are represented by pigs.
The Roma (Gypsies) are represented as gypsy moths.
The French are represented by frogs
The Swedes are represented by deer.
The British are represented by fish.
The child of a Jew and a German is shown as a mouse with cat stripes.

The animals are presumably chosen based on the characteristics of the nation/racial group chosen, and some obvious allegories can be seen[1]:

The Jews, as mice, can be seen as weak and helpless victims, as well as satirizing the Nazi portrayal of Jews.
The Germans, as cats, suggest power over the Jews, as well as malevolence (cats often play with mice before killing them).
Dogs for the Americans suggest power (the USA was arguably the most powerful of the WW2 nations) as well as friendliness, loyalty and many other positive values. The stereotypical dog also dislikes cats and may attack them.
The use of pigs as Polish suggests more negative views: as well as greed, the Poles/pigs are brutal (Spiegelman makes mention of a Jew who survives the war, only to be murdered by Poles when he returns home.)
The only encounter with a gypsy is when she tells the fortune of Anja, Vladek's wife: the moth allegory would seem to be the magical and mystic nature of this event.
The French being frogs would appear to be a direct reference to an oft-used nickname, itself a lampoon of the fact that the French are supposedly renowned for eating frogs: it is also, however, suggested that Spiegelman wanted a certain amount of sliminess about the French, as he says to his wife: "Bunnies are too innocent for the French... Think of the years of anti-Semitism."
The Swedish as deer suggests reindeer.
The British as fish suggests an aquatic creature, a metaphor of British Naval supremacy. It might also be a reference to "Fish and Chips."

The use of animals in the graphic novel is misleading: instead of creating social stereotypes, Spiegelman attempts to lampoon them and show how stupid it is to classify a human being based on their nation, or ethnicity.[2] His images are not his: they were "borrowed from the Germans... Ultimately what the book's about is the commonality of human beings. It's crazy to divide things down along nationalistic or racial or religious lines... These metaphors, which are meant to self-destruct in my book - and I think they do self-destruct - still have a residual force and still get people worked up over them."

Publication

Maus was originally published as a three page strip for Funny Aminals, an underground comic published by Apex Novelties in 1972. In 1977, Spiegelman decided to lengthen the work,^[2] publishing most of the work serially in RAW magazine, a publication Spiegelman co-edited along with his wife Françoise Mouly. It was then published in its final form in two parts (Volume I: "My Father Bleeds History" and Volume II: "And Here My Troubles Began"), before eventually being integrated into a single volume. A CD-ROM edition also exists, although it is no longer in print.

The impact of Maus

Since its publication, Maus has been the subject of numerous essays published either in books or online. Deborah R. Geis published a collection of essays involving Maus titled Considering Maus: Approaches to Art Spiegelman's "Survivor's Tale" of the Holocaust, which received criticism in an Image & Narrative essay for, among other things, excluding several essays praising and even the rare essay critiquing the graphic novel.[3]

Alan Moore praised Maus in a recommendations list for the website http://www.readyourselfraw.com, saying "I have been convinced that Art Spiegelman is perhaps the single most important comic creator working within the field and in my opinion Maus represents his most accomplished work to date…"[4]

Maus has also become a subject of study in schools. [5]

Awards and nominations

Awards

1988 Angoulême International Comics Festival Awards - Religious Award: Christian Testimony & Prize for Best Comic Book: Foreign Comic Award (Maus: un survivant raconte).
1988 Urhunden Prize - Foreign Album (Maus).
1990 Max & Moritz Prizes - Special Prize (Maus).
1992 Pulitzer Prize - Special Awards and Citations - Letters (Maus). [6]
1992 Eisner Award - Best Graphic Album: Reprint (Maus II).
1992 Harvey Award - Best Graphic Album of Previously Published Work (Maus II). [7]
1993 Los Angeles Times Book Prize for Fiction (Maus II, A Survivor's Tale). [8]
1993 Angoulême International Comics Festival Awards - Prize for Best Comic Book: Foreign comic (Maus: un survivant raconte, part II).
1993 Urhunden Prize - Foreign Album (Maus II).

Nominations

1986 National Book Critics Circle Award
1992 National Book Critics Circle Award

Editions

ISBN 0394747232 - Volume One (paperback)
ISBN 0679729771 - Volume Two (paperback)
ISBN 0679748407 - Paperback boxed set
ISBN 0141014083 - Paperback containing both volumes in one book
ISBN 0679406417 - Hardcover containing both volumes in one book

Notes

^ Stanley, Alessandra (April 08, 1992). "'Thousand Acres' Wins Fiction As 21 Pulitzer Prizes Are Given". New York Times. {{cite news}}: Check date values in: |date= (help)
^ "Art Spiegelman" (http). Witness & Legacy - Contemporary Art about the Holocaust:. Retrieved February 14. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)CS1 maint: extra punctuation (link)

References

"Art Spiegelman" (http). Witness & Legacy - Contemporary Art about the Holocaust:. Retrieved February 14. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)CS1 maint: extra punctuation (link)
Allen, Sara (1997). "MAUS: A Narrative History of Family and Tragedy" (http). Retrieved July 27. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
Feinstein, Stephen C. "Witness and Legacy" (http). Witness & Legacy - Contemporary Art about the Holocaust:. Retrieved February 14. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)CS1 maint: extra punctuation (link)
McQuade, Donald (2003). "Embodying Identity" (pdf). Seeing & Writing 2. Retrieved February 14. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
Masłoń, Krzysztof. "Goebbels' Tradition in the Comic Book" (http). Retrieved February 14. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
"Maus" (http). National Museum of American Jewish History. 1996. Retrieved February 14. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
Dooley, Michael (2005). "The Unsinkable Denis Kitchen" (http). AIGA Journal of Design. Retrieved February 14. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)

External links

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Teacher's guide at Random House
Reconstructivist Art: Maus
Art Spiegelman's MAUS: Working Through the Trauma of the Holocaust. In Responses to the Holocaust, U. Virginia

[1] Stanley, Alessandra (April 08, 1992). "'Thousand Acres' Wins Fiction As 21 Pulitzer Prizes Are Given". New York Times. {{cite news}}: Check date values in: |date= (help)

[2] "Art Spiegelman" (http). Witness & Legacy - Contemporary Art about the Holocaust:. Retrieved February 14. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)CS1 maint: extra punctuation (link)

[1]

[2]

@@ Line 1: / Line 1: @@
 [[image:Maus.jpg|right|frame|Cover]]
 {{otheruses}}
-'''''Maus: A Survivor's Tale''''' is a memoir presented as a [[graphic novel]] by [[Art Spiegelman]]. It recounts Spiegelman's father's struggle to survive the [[Holocaust]] as a [[Poland|Polish]] [[Jew]] and draws largely on his father's recollections of events he personally experienced.  The book also follows the author's troubled relationship with his father and the way the effects of war reverberate through generations of a family.  In [[1992]] it won a [[Pulitzer Prize Special Citations and Awards|Pulitzer Prize Special Award]]. The ''[[New York Times]]'' described the selection of ''Maus'' for the honor: "The Pulitzer board members ... found the cartoonist's depiction of Nazi Germany hard to classify."{{ref|nyt.141}}
+'''''Maus: A Survivor's Tale''''' is a memoir presented as a [[graphic novel]] by [[Art Spiegelman]]. It recounts Spiegelman's father's struggle to survive the [[Holocaust]] as a [[Poland|Polish]] [[Jew]] and draws largely on his father's recollections of events he personally experienced.  The book also follows the author's troubled relationship with his father and the way the effects of war reverberate through generations of a family.  In [[1992]] it won a [[Pulitzer Prize Special Citations and Awards|Pulitzer Prize Special Award]]. The ''[[New York Times]]'' described the selection of ''Maus'' for the honor: "The Pulitzer board members ... found the cartoonist's depiction of Nazi Germany hard to classify."<ref>{{cite news |first=Alessandra |last=Stanley |title='Thousand Acres' Wins Fiction As 21 Pulitzer Prizes Are Given |date=April 08, 1992 |publisher=New York Times |url=http://www.nytimes.com/books/98/04/05/specials/smiley-pulitzer.html}}</ref>
 ==Overview==
-The book alternates the stories told by Spiegelman's father [[Vladek Spiegelman]], about life in Poland before the Second World War (in [[Radomsko]], [[Czestochowa]], [[Sosnowiec]] and [[Bielsko]]), and during the war (as a war prisoner near [[Nuremberg]], in [[Lublin]], Sosnowiec again, the nearby Srodula, then [[Auschwitz]] as prisoner 175113, [[Gross Rosen]], [[Dachau]]), with the contemporary life of Art, Vladek and their surroundings in [[Rego Park]], [[New York City]], [[New York]] and [[Florida]]. Through the book, Spiegelman shows how his father, in spite of his experience, still shows [[racism|racial prejudice]] against [[black people|blacks]], or how he is extremely stingy and makes life very difficult for those around him, such as his second wife Mala (after the suicide of Art's mother Anja), also a [[Konzentrationslager|KZ]] survivor.
+The book alternates the stories told by Spiegelman's father [[Vladek Spiegelman]] about life in Poland before and during the [[World War II|Second World War]], with the contemporary life of Art, Vladek and their loved ones in the [[Rego Park]] neighborhood of [[New York City]] and in [[Florida]]. The book recounts the struggle of Vladek Spiegelman living with his family in [[Radomsko]], [[Czestochowa]], [[Sosnowiec]] and [[Bielsko]] in the late [[1930s]] and his tragic odyssey during the war which ultimately led him to [[Auschwitz]] as prisoner 175113. Throughout the book, Art Spiegelman also confronts his complex and often conflictual relationship with his father. Vladek is depicted as still exhibiting [[racism|racial prejudice]] against [[black people|blacks]] despite his own life experience. He is also presented as extremely stingy and making life very difficult for those around him, such as his first wife Anja (Art's mother who committed suicide) and his second wife Mala, also a [[Nazi concentration camps|concentration camp]] survivor.
 ==Themes==
 The author's articulation of the Holocaust is the central theme of the two graphic novels, giving the book a metabiographical aspect. Spiegelman often mentions the apprehension he feels related to trying to express the unexpressable. The novel adopts both a survivor's point of view of the Holocaust and the point of view of those who did not live it, but are still deeply connected to it. The author makes a unique choice to depict the varying nationalities and races in the novel with animals. At one point the author questions his own choice in doing so, and at that point he begins drawing characters as humans wearing animal [[mask]]s.
-==Animals Used==
+==Animals used==
+*The [[Jew]]s are represented by [[mouse|mice]].
-The [[Jew]]s are represented by [[mouse|mice]], the [[Germany|Germans]] by [[cat]]s, the [[United States|Americans]] by [[dog]]s, the [[Poland|Polish]] by [[pig]]s, the [[Roma]] (Gypsies) as [[moth]]s, the [[France|French]] by [[frog]]s, the [[Britain|British]] by [[fish]], and the [[Sweden|Swedes]] by [[deer]]. The child of a Jew and a German is shown as a mouse with cat stripes. Spiegelman apparently chose the animals according to traits of the nation; his wife suggested making the French [[rabbit]]s, but he refused, believing that rabbits look too innocent for the French.
+*The [[Germany|Germans]] are represented by [[cat]]s.
+*The [[United States|Americans]] are represented by [[dog]]s.
+*The [[Poland|Polish]] are represented by [[pig]]s.
+*The [[Roma_people|Roma]] (Gypsies) are represented as [[gypsy moth]]s.
+*The [[France|French]] are represented by [[frog]]s
+*The [[Sweden|Swedes]] are represented by [[deer]].
+*The [[Britain|British]] are represented by [[fish]].
+*The child of a Jew and a German is shown as a mouse with cat stripes.
+The animals are presumably chosen based on the characteristics of the nation/racial group chosen, and some obvious allegories can be seen[http://www.mala.bc.ca/~Johnstoi/introser/maus.htm]:
+*The Jews, as mice, can be seen as weak and helpless victims, as well as [[satire|satirizing]] the Nazi portrayal of Jews.
+*The Germans, as cats, suggest power over the Jews, as well as malevolence (cats often play with mice before killing them).
+*Dogs for the Americans suggest power (the USA was arguably the most powerful of the WW2 nations) as well as friendliness, loyalty and many other positive values. The stereotypical dog also dislikes cats and may attack them.
+*The use of pigs as Polish suggests more negative views: as well as greed, the Poles/pigs are brutal (Spiegelman makes mention of a Jew who survives the war, only to be murdered by Poles when he returns home.)
+*The only encounter with a gypsy is when she tells the fortune of Anja, Vladek's wife: the moth allegory would seem to be the magical and mystic nature of this event.
+*The French being frogs would appear to be a direct reference to an oft-used nickname, itself a lampoon of the fact that the French are supposedly renowned for eating frogs: it is also, however, suggested that Spiegelman wanted a certain amount of sliminess about the French, as he says to his wife: "Bunnies are too innocent for the French... Think of the years of [[anti-Semitism]]."
+*The Swedish as deer suggests [[reindeer]].
+*The British as fish suggests an aquatic creature, a metaphor of British Naval supremacy. It might also be a reference to "[[Fish and Chips]]."
+The use of animals in the graphic novel is misleading: instead of creating social stereotypes, Spiegelman attempts to lampoon them and show how stupid it is to classify a human being based on their nation, or ethnicity.[http://www.northern.edu/hastingw/maus.htm]  His images are not his: they were "borrowed from the Germans... Ultimately what the book's about is the commonality of human beings.  It's crazy to divide things down along nationalistic or racial or religious lines... These metaphors, which are meant to self-destruct in my book - and I think they do self-destruct - still have a residual force and still get people worked up over them."
 ==Publication==
-''Maus'' was originally published as a three page strip Spiegelman submitted in 1971 to [[Denis Kitchen]], for [[Marvel Comics]]' ''Comix Book'' {{ref|nma.147}},{{ref|aiga.148}}. In 1977, Spiegelman decided to lengthen the work,{{ref|wit.149}} publishing most of the work serially in ''[[RAW (magazine)|RAW]]'' magazine, a publication Spiegelman co-edited along with his wife.  It was then published in its final form in two parts (Volume I: "My Father Bleeds History" and Volume II: "And Here My Troubles Began"), before eventually being integrated into a single volume.  A [[CD-ROM]] edition also exists, although it is no longer in print.
+''Maus'' was originally published as a three page strip for ''Funny Aminals,''<!--"aminals" is the correct spelling, not a typo--> an underground comic published by Apex Novelties in 1972. In 1977, Spiegelman decided to lengthen the work,<ref>{{cite web | title=Art Spiegelman | format=http | work=Witness & Legacy - Contemporary Art about the Holocaust: | url=http://sunsite.utk.edu/witness/artists/spiegelman/ | accessdate=February 14 | accessyear=2006}}</ref> publishing most of the work serially in ''[[RAW (magazine)|RAW]]'' magazine, a publication Spiegelman co-edited along with his wife [[Françoise Mouly]].  It was then published in its final form in two parts (Volume I: "My Father Bleeds History" and Volume II: "And Here My Troubles Began"), before eventually being integrated into a single volume.  A [[CD-ROM]] edition also exists, although it is no longer in print.
+==The impact of Maus==
+Since its publication, ''Maus'' has been the subject of numerous essays published either in books or online. Deborah R. Geis published a collection of essays involving ''Maus'' titled ''[[Considering Maus: Approaches to Art Spiegelman's "Survivor's Tale" of the Holocaust]]'', which received criticism in an [[Image & Narrative]] essay for, among other things, excluding several essays praising and even the rare essay critiquing the graphic novel.[http://www.imageandnarrative.be/issue08/olefrahm_geis.htm]
+[[Alan Moore]] praised ''Maus'' in a recommendations list for the website http://www.readyourselfraw.com, saying "I have been convinced that Art Spiegelman is perhaps the single most important comic creator working within the field and in my opinion Maus represents his most accomplished work to date…"[http://www.readyourselfraw.com/recommended/rec_alanmoore/recommended_alanmoore.html]
+''Maus'' has also become a subject of study in schools. [http://www.buckslib.org/OneBook/Maus/unit2student.htm]
+==Awards and nominations==
+===Awards===
+*1988 [[Angoulême International Comics Festival|Angoulême International Comics Festival Awards]] -  [[Angoulême International Comics Festival Religious award|Religious Award]]:   Christian Testimony & [[Angoulême International Comics Festival Prize for Best Comic Book|Prize for Best Comic Book]]: Foreign Comic Award (''Maus: un survivant raconte'').
+*1988 [[Urhunden Prizes|Urhunden Prize]] - Foreign Album (''Maus'').
+*1990 [[Max & Moritz Prizes]] - Special Prize (''Maus'').
+*1992 [[Pulitzer Prize]] - Special Awards and Citations - Letters (''Maus''). [http://www.pulitzer.org/]
+*1992 [[Eisner Award]] - Best Graphic Album: Reprint (''Maus II'').
+*1992 [[Harvey Award]] - Best Graphic Album of Previously Published Work (''Maus II''). [http://www.harveyawards.org/awards_1992win.html]
+*1993 ''[[Los Angeles Times]]'' Book Prize for Fiction (''Maus II, A Survivor's Tale''). [http://home.comcast.net/~netaylor1/latimesfiction.html]
+*1993 Angoulême International Comics Festival Awards -  Prize for Best Comic Book: Foreign comic (''Maus: un survivant raconte, part II'').
+*1993 Urhunden Prize - Foreign Album (''Maus II'').
+===Nominations===
+*1986 [[National Book Critics Circle Award]]
+*1992 National Book Critics Circle Award
 ==Editions==
@@ Line 23: / Line 67: @@
 ==Notes==
+<references />
-#{{note|nyt.141}} {{cite news |first=Alessandra |last=Stanley |title='Thousand Acres' Wins Fiction As 21 Pulitzer Prizes Are Given |date=April 08, 1992 |publisher=New York Times |url=http://www.nytimes.com/books/98/04/05/specials/smiley-pulitzer.html}}
-#{{note|wit.142}} {{cite web | title=Art Spiegelman | format=http | work=Witness & Legacy - Contemporary Art about the Holocaust: | url=http://sunsite.utk.edu/witness/artists/spiegelman/ | accessdate=February 14 | accessyear=2006}}
+==References==
-#{{note|geo.143}} {{cite web | title=Comic, Narrative, Literature | format=http | url=http://www.georgetown.edu/faculty/bassr/218/projects/allen/maussea2.htm | accessdate=February 14 | accessyear=2006}}
-#{{note|wit.144}} {{cite web | author=Feinstein, Stephen C. | title=Witness and Legacy | format=http | work=Witness & Legacy - Contemporary Art about the Holocaust: | url=http://sunsite.utk.edu/neighborhoods/witness/essays/feinstein/feinstein.html | accessdate=February 14 | accessyear=2006}}
+*{{cite web | title=Art Spiegelman | format=http | work=Witness & Legacy - Contemporary Art about the Holocaust: | url=http://sunsite.utk.edu/witness/artists/spiegelman/ | accessdate=February 14 | accessyear=2006}}
-#{{note|pdf.145}} {{cite web | author=McQuade, Donald | year=2003 | title=Embodying Identity | format=pdf | work=Seeing & Writing 2 | url=http://bedfordstmartins.com/seeingandwriting2e/instructor/pdfs/mcquade_ch04.pdf | accessdate=February 14 |accessyear=2006}}
+*{{cite web | author=Allen, Sara | title=MAUS: A Narrative History of Family and Tragedy | year=1997 | format=http | url=http://www.georgetown.edu/faculty/bassr/218/projects/allen/maussea1.htm | accessdate=July 27 | accessyear=2006}}
-#{{note|for.146}} {{cite web | author=Masłoń, Krzysztof | title=Goebbels' Tradition in the Comic Book | format=http | url=http://www.forum-znak.org.pl/index-en.php?t=przeglad&id=1020 | accessdate=February 14 | accessyear=2006}}
+*{{cite web | author=Feinstein, Stephen C. | title=Witness and Legacy | format=http | work=Witness & Legacy - Contemporary Art about the Holocaust: | url=http://sunsite.utk.edu/neighborhoods/witness/essays/feinstein/feinstein.html | accessdate=February 14 | accessyear=2006}}
-#{{note|nma.147}} {{cite web | year=1996 | title=Maus | format=http | work=National Museum of American Jewish History | url=http://www.nmajh.org/exhibitions/maus/maus2.html | accessdate=February 14 | accessyear=2006}}
+*{{cite web | author=McQuade, Donald | year=2003 | title=Embodying Identity | format=pdf | work=Seeing & Writing 2 | url=http://bedfordstmartins.com/seeingandwriting2e/instructor/pdfs/mcquade_ch04.pdf | accessdate=February 14 |accessyear=2006}}
-#{{note|aiga.148}} {{cite web | author=Dooley, Michael | year=2005 | title=The Unsinkable Denis Kitchen | format=http | work=AIGA Journal of Design | url=http://journal.aiga.org/content.cfm?ContentAlias=_getfullarticle&aid=1239039 | accessdate=February 14 | accessyear=2006}}
+*{{cite web | author=Masłoń, Krzysztof | title=Goebbels' Tradition in the Comic Book | format=http | url=http://www.forum-znak.org.pl/index-en.php?t=przeglad&id=1020 | accessdate=February 14 | accessyear=2006}}
-#{{note|wit.149}} {{cite web | title=Art Spiegelman | format=http | work=Witness & Legacy - Contemporary Art about the Holocaust: | url=http://sunsite.utk.edu/witness/artists/spiegelman/ | accessdate=February 14 | accessyear=2006}}
+*{{cite web | year=1996 | title=Maus | format=http | work=National Museum of American Jewish History | url=http://www.nmajh.org/exhibitions/maus/maus2.html | accessdate=February 14 | accessyear=2006}}
+*{{cite web | author=Dooley, Michael | year=2005 | title=The Unsinkable Denis Kitchen | format=http | work=AIGA Journal of Design | url=http://journal.aiga.org/content.cfm?ContentAlias=_getfullarticle&aid=1239039 | accessdate=February 14 | accessyear=2006}}
 ==External links==
 {{Spoken Wikipedia|Maus.ogg|2005-06-23}}
 *[http://www.randomhouse.com/highschool/catalog/display.pperl?isbn=9780394747231&view=tg Teacher's guide] at [[Random House]]
-*[http://ceh.kitoba.com/hook/reconstructive.html Reconstructivist Art]: Maus
+*[http://kitoba.com/kitopedia.php?page=Reconstructivist%20Art Reconstructivist Art]: Maus
-*[http://www3.iath.virginia.edu/holocaust/spiegelman.html Art Spiegelman's MAUS: Working Through the Trauma of the Holocaust].  In ''Responses to the Holocaust'', U.Virginia
+*[http://www3.iath.virginia.edu/holocaust/spiegelman.html Art Spiegelman's MAUS: Working Through the Trauma of the Holocaust].  In ''Responses to the Holocaust'', U. Virginia
 [[Category:Comic book titles|Maus]]
@@ Line 44: / Line 89: @@
 [[Category:Holocaust]]
 [[Category:Jewish Polish history]]
-[[Category:Anti-Polonism]]
 [[Category:Fictional mice and rats]]
-[[Category:Fictional Jews]]
 [[ca:Maus]]