Art Spiegelman

Art Spiegelman (born Itzhak Avraham ben Zeev on

February 15, 1948) is an American cartoonist, editor, and
comics advocate best known for his graphic novel Maus.
His work as co-editor on the comics magazines Arcade
and Raw has been inuential, and from 1992 he spent a
decade as contributing artist for The New Yorker, where
he made several high-prole and sometimes controversial
covers. He is married to designer and editor Franoise
Mouly and is the father of writer Nadja Spiegelman.
Spiegelman began his career with the Topps bubblegum
card company in the mid-1960s, which was his main nancial support for two decades; there he co-created parodic series such as Wacky Packages in the 1960s and the
Garbage Pail Kids in the 1980s. He gained prominence
in the underground comix scene in the 1970s with short,
experimental, and often autobiographical work. A selection of these strips appeared in the collection Breakdowns
in 1977. After Breakdowns, Spiegelman turned focus to
the book-length Maus, about his relation with his father, a
Holocaust survivor. The postmodern book depicts Nazis
as cats, Jews as mice, and ethnic Poles as pigs, and took
thirteen years until its completion in 1991. It won a special Pulitzer Prize in 1992 and has gained a reputation as a
pivotal work, responsible for bringing scholarly attention
to the comics medium.

Liquidation at the Sosnowiec Ghetto in occupied Poland during

World War II; Spiegelman tells of his parents survival in Maus.

Wadek (or Vladek in Russied form) was a diminutive of

this name. He was also known as Wilhelm under German
occupation, and upon immigration to the United States
he took the name William. His mother was born Andzia
Zylberberg, with the Hebrew name Hannah. She took the
name Anna upon her immigration to the US. In Spiegelmans Maus, from which they are best known, Spiegelman used the spellings Vladek and Anja, which he
[3]
Spiegelman and Mouly edited eleven issues of Raw from believed would be easier for Americans to pronounce.[4]
1980 to 1991. The oversized comics and graphics mag- The surname Spiegelman is German for mirror man.
azine helped introduce talents who became prominent in The Spiegelmans had one other son, Rysio (spelled
alternative comics, such as Charles Burns, Chris Ware, Richieu in Maus), who died before Art was born[1]
and Ben Katchor, and introduced several foreign cartoon- at about the age of ve or six.[5] During the Holocaust,
ists to the English-speaking comics world. Beginning in Spiegelmans parents sent Rysio to stay with an aunt,
the 1990s, the couple worked for The New Yorker, which with whom they believed he would be safe. The aunt
Spiegelman left to work on In the Shadow of No Towers poisoned herself along with Rysio and two other young
(2004), about his reaction to the September 11 attacks in family members in her care so that the Nazis would not
New York in 2001.
take them to the extermination camps. After the war,
Spiegelman advocates for greater comics literacy. As an the Spiegelmans, unable to accept that Rysio was dead,
editor, a teacher at the School of Visual Arts in New searched orphanages all over Europe in the hope of ndYork City, and a lecturer, Spiegelman has promoted bet- ing him. Spiegelman talked of having a sort of sibling
ter understanding of comics and has mentored younger rivalry with his ghost brotherhe felt unable to compete with an ideal brother who never threw tantrums
cartoonists.
or got in any kind of trouble.[6] Of 85 Spiegelman relatives alive at the beginning of World War II, only 13 are
known to have survived the Holocaust.[7]

Family history

Art Spiegelmans parents were Polish Jews Wadysaw

(19061982) and Andzia (19121968) Spiegelman. His
father was born Zeev Spiegelman, with the Hebrew name
Zeev ben Avraham. Wadysaw was his Polish name, and

2 Life and career

1

LIFE AND CAREER

After Spiegelmans release from Binghamton State Mental Hospital, his mother committed suicide.
Spiegelman graduated from the High School of Art and Design
in 1965.

Spiegelman began selling self-published underground

comix on street corners in 1966. He had cartoons published in underground publications such as the East Vil2.1 Early life
lage Other and traveled to San Francisco for a few months
in 1967, where the underground comix scene was just beSpiegelman was born Itzhak Avraham ben Zeev[1] in ginning to burgen.[14]
Stockholm, Sweden, on February 15, 1948. He immi- In late winter 1968 Spiegelman suered a brief but ingrated with his parents to the US in 1951.[8] Upon immi- tense nervous breakdown,[15] which cut his university
gration his name was registered as Arthur Isadore, but he studies short.[14] He has said that at the he time he was
later had his given name changed to Art.[1] Initially the taking LSD with great frequency.[15] He spent a month in
family settled in Norristown, Pennsylvania, and then re- Binghamton State Mental Hospital, and shortly after he
located to Rego Park in Queens, New York City, in 1957. got out his mother committed suicide following the death
He began cartooning in 1960[8] and imitated the style of of her only surviving brother.[16]
his favorite comic books, such as Mad. At Russell Sage
Junior High School, where he was an honors student, he
produced the Mad-inspired fanzine, Blas. He was earn- 2.2 Underground comix (19711977)
ing money from his drawing by the time he reached high
school and sold artwork to the Long Island Press and other In 1971, after several visits, Spiegelman moved to San
outlets. His talent was such that he caught the eyes of Francisco[14] and became a part of the countercultural unUnited Features Syndicate, who oered him the chance derground comix movement that had been brewing there.
to produce a syndicated comic strip. Dedicated to the Some of the comix he produced during this period inidea of art as expression, he turned down this commercial
clude The Compleat Mr. Innity (1970), a ten-page bookopportunity.[9] He attended the High School of Art and let of explicit comic strips, and The Viper Vicar of Vice,
Design in Manhattan beginning in 1963. He met Woody
Villainy and Vickedness (1972),[17] a transgressive work
Gelman, the art director of Topps Chewing Gum Com- in the vein of fellow underground cartoonist S. Clay Wilpany, who encouraged Spiegelman to apply to Topps afson.[18] Spiegelmans work also appeared in underground
ter graduating high school.[8] At 15, Spiegelman received magazines such as Gothic Blimp Works, Bijou Funnies,
payment for his work from a Rego Park newspaper.[10]
Young Lust,[14] Real Pulp, and Bizarre Sex,[19] and were
After he graduated in 1965, Spiegelmans parents urged in an variety of styles and genres as Spiegelman sought
him to pursue the nancial security of a career such as his artistic voice.[18] He also did a number of cartoons
dentistry, but he chose instead to enrol at Harpur Col- for mens magazines such as Cavalier, The Dude, and
lege to study art and philosophy. While there, he got a Gent.[14]
freelance art job at Topps, which provided him with an In 1972, Justin Green asked Spiegelman to do a threeincome for the next two decades.[11]
page strip for the rst issue of Funny Aminals [sic].[20]
Spiegelman attended Harpur College from 1965 until
1968, where he worked as sta cartoonist for the college
newspaper and edited a college humor magazine.[12] After a summer internship when he was 18, he was hired for
Gelmans Product Development Department at Topps[13]
as a creative consultant making trading cards and related
products in 1966, such as the Wacky Packages series of
parodic trading cards begun in 1967.[14]

He wanted to do one about racism, and at rst considered a story[21] with African-Americans as mice and cats
taking on the role of the Ku Klux Klan.[22] Instead, he
turned to the Holocaust that his parents had survived. The
strip was called Maus. The Jews were depicted as mice
persecuted by die Katzen, which were Nazis depicted as
cats. It was narrated to a mouse named "Mickey".[20] It
was with this story that Spiegelman felt he had found his

2.3

Raw and Maus (19781991)

voice.[10]

read Prisoner on the Hell Planet Mouly felt the urge to

Seeing Greens revealingly autobiographical Binky Brown contact him. An eight-hour phone call led to a deepening
Meets the Holy Virgin Mary while in-progress in 1971 of their relationship. Spiegelman followed her to France
return to fulll obligations in her archiinspired Spiegelman to produce Prisoner on the Hell when she had to
[34]
tecture
course.
Planet, an expressionistic work that dealt with his
mothers suicide; it appeared in 1972 in Short Order Spiegelman introduced Mouly to the world of comics and
Comix #1,[23] which he edited.[14] Spiegelmans work helped her nd work as a colorist for Marvel Comics.[35]
thereafter went through a phase of increasing formal After returning to the US in 1977, Mouly ran into visa
experimentation;[24] the Apex Treasury of Underground problems, which the couple solved by getting married.[36]
Comics in 1974 quotes him: As an art form the comic The couple began to make yearly trips to Europe to
strip is barely in its infancy. So am I. Maybe we'll grow up explore the comics scene, and brought back European
together.[25] The often-reprinted[26] Ace Hole, Midget comics to show to their circle of friends.[37] Mouly asDetective of 1974 was a Cubist-style nonlinear par- sisted in putting together the lavish, oversized collecody of hardboiled crime ction full of non sequiturs.[27] tion of Spiegelmans experimental strips Breakdowns in
A Day at the Circuits of 1975 is a recursive single- 1977.[38]
page strip about alcoholism and depression in which
the reader follows the character through multiple neverending pathways.[28] Nervous Rex: The Malpractice 2.3 Raw and Maus (19781991)
Suite of 1976 is made up of cut-out panels from the
soap-opera comic strip Rex Morgan, M.D. refashioned in
such a way as to defy coherence.[24]
In 1973 Spiegelman edited a pornographic and
psychedelic book of quotations and dedicated it to
his mother. Co-edited with Bob Schneider, it was called
Whole Grains: A Book of Quotations.[29] In 19741975,
he taught a studio cartooning class at the San Francisco
Academy of Art.[17]
By the mid-1970s, the underground comix movement
was encountering a slowdown. To give cartoonists a safe
berth, Spiegelman co-edited the anthology Arcade with
Bill Grith, in 1975 and 1976. Arcade was printed by
The Print Mint and lasted seven issues, ve of which had
covers by Robert Crumb. It stood out from similar publications by having an editorial plan, in which Spiegelman
and Grith attempt to show how comics connect to the
broader realms of artistic and literary culture. Spiegelmans own work in Arcade tended to be short and concerned with formal experimentation.[30] Arcade also introduced art from ages past, as well as contemporary literary pieces by writers such as William S. Burroughs and
Charles Bukowski.[31] In 1975, Spiegelman moved back
to New York City,[32] which put most of the editorial
work for Arcade on the shoulders of Grith and his cartoonist wife, Diane Noomin. This, combined with distribution problems and retailer indierence, led to the magazines 1976 demise. For a time, Spiegelman swore he
would never edit another magazine.[33]

Spiegelman visited the Auschwitz concentration camp in 1979 as

research for Maus; his parents had been imprisoned there.

Breakdowns suered poor distribution and sales, and

30% of the print run was unusable due to printing errors, an experience that motivated Mouly to gain control
over the printing process.[38] She took courses in oset
printing and bought a printing press for her loft,[39] on
which she was to print parts of[40] a new magazine she
insisted on launching with Spiegelman.[41] With Mouly
as publisher, Spiegelman and Mouly co-edited Raw starting in July 1980.[42] The rst issue was subtitled The
Graphix Magazine of Postponed Suicides.[41] While
it included work from such established underground
cartoonists as Crumb and Grith,[33] Raw focused on
publishing artists who were virtually unknown, avantgarde cartoonists such as Charles Burns, Lynda Barry,
Chris Ware, Ben Katchor, and Gary Panter, and introduced English-speaking audiences to translations of foreign works by Jos Muoz, Chri Samba, Joost Swarte,
Yoshiharu Tsuge,[24] Jacques Tardi, and others.[41]

Franoise Mouly, an architectural student on a hiatus

from her studies at the Beaux-Arts in Paris, arrived in
New York in 1975. While looking for comics from which
to practice reading English, she came across Arcade.
Avant-garde lmmaker friend Ken Jacobs introduced
Mouly and Spiegelman, when Spiegelman was visiting,
but they did not immediately develop a mutual interest.
Spiegelman moved back to New York later in the year. With the intention of creating a book-length work based
[43]
Occasionally the two ran across each other. After she on his fathers recollections of the Holocaust Spiegelman began to interview his father again in 1978[44] and

4
made a research visit in 1979 to the Auschwitz concentration camp, where his parents had been imprisoned by the
Nazis.[45] The book, Maus, appeared one chapter at a time
as an insert in Raw beginning with the second issue in December 1980.[46] Spiegelmans father did not live to see
its completion; he died on 18 August 1982.[32] Spiegelman learned in 1985 that Steven Spielberg was producing an animated lm about Jewish mice who escape
persecution in Eastern Europe by eeing to the United
States. Spiegelman was sure the lm, An American Tail
(1986), was inspired by Maus and became eager to have
his unnished book come out before the movie to avoid
comparisons.[47] He struggled to nd a publisher[7] until
in 1986, after the publication in The New York Times of a
rave review of the work-in-progress, Pantheon agreed to
release a collection of the rst six chapters. The volume
was titled Maus: A Survivors Tale and subtitled My Father Bleeds History.[48] The book found a large audience,
in part because it was sold in bookstores rather than in
direct-market comic shops, which by the 1980s had become the dominant outlet for comic books.[49]

LIFE AND CAREER

ern Art.[51]
In the wake of the success of the Cabbage Patch Kids series of dolls, Spiegelman created the card series Garbage
Pail Kids for Topps in 1985. Similar to the Wacky Packages series, the gross-out factor of the cards was controversial with parent groups, and its popularity started
a gross-out fad among children.[52] Spiegelman called
Topps his "Medici" for the autonomy and nancial freedom working for the company had given him. The relationship was nevertheless strained over issues of credit
and ownership of the original artwork. In 1989 Topps
auctioned o pieces of art Spiegelman had created rather
than returning them to him, and Spiegelman broke the
relation.[53]
In 1991, Raw Vol. 1, No.3 was published; it was to be
the last issue.[51] The closing chapter of Maus appeared
not in Raw[46] but in the second volume of the graphic
novel, which appeared later that year with the subtitle And
Here My Troubles Began.[51] Maus attracted an unprecedented amount of critical attention for a work of comics,
including an exhibition at New Yorks Museum of Modern Art[54] and a special Pulitzer Prize in 1992.[55]

2.4

The New Yorker (19922001)

Spiegelman and Mouly began working for The New Yorker in

the early 1990s.

Hired by Tina Brown[56] as a contributing artist in 1992,

Spiegelman worked for The New Yorker for ten years.
Spiegelmans rst cover appeared on the February 15,
1993, Valentines Day issue and showed a black West
Indian woman and a Hasidic man kissing. The cover
caused turmoil at The New Yorker oces. Spiegelman
intended it to reference the Crown Heights riot of 1991 in
which racial tensions led to the murder of a Jewish yeshiva
student.[57] Spiegelman had twenty-one New Yorker covers published,[58] and submitted a number which were rejected for being too outrageous.[59]
Spiegelman taught at the School of Visual Arts from 1978 to 1987
alongside his heroes Harvey Kurtzman and Will Eisner (pictured
in 1982).

Spiegelman began teaching at the School of Visual Arts

in New York in 1978, and continued until 1987,[32] teaching alongside his heroes Harvey Kurtzman and Will Eisner.[50] Spiegelman had an essay published in Print entitled Commix: An Idiosyncratic Historical and Aesthetic Overview.[51] In 1990 Spiegelman he had an essay
called High Art Lowdown published in Artforum critiquing the High/Low exhibition at the Museum of Mod-

Within The New Yorker's pages, Spiegelman contributed

strips such as a collaboration titled In the Dumps with
childrens illustrator Maurice Sendak[lower-alpha 1][60] and
an obituary to Charles M. Schulz titled Abstract Thought
is a Warm Puppy.[61] An essay he had published there
on Jack Cole, the creator of Plastic Man, called Forms
Stretched to their Limits was to form the basis for a book
in 2001 about Cole called Jack Cole and Plastic Man:
Forms Stretched to their Limits.[61]
The same year, Voyager Company published a CD-ROM
version of Maus with extensive supplementary material
called The Complete Maus, and Spiegelman illustrated a
1923 poem by Joseph Moncure March called The Wild

2.5

Post-September 11 (2001present)

Party.[62] Spiegelman contributed the essay Getting in

Touch With My Inner Racist in the September 1, 1997
issue of Mother Jones.[62]

The September 11 attacks provoked Spiegelman to create In the

Shadow of No Towers.

Editorial cartoonist Ted Rall begrudged Spiegelmans inuence in

New York cartooning circles.

Spiegelmans inuence and connections in New York cartooning circles drew the ire of political cartoonist Ted
Rall in 1999.[63] In an article titled The King of Comix
in The Village Voice,[64] Rall accused Spiegelman of the
power to make or break a cartoonists career in New
York, while denigrating Spiegelman as a guy with one
great book in him.[63] Cartoonist Danny Hellman responded by sending a forged email under Ralls name
to thirty professionals; the prank escalated until Rall
launched a defamation suit against Hellman for $1.5 million. Hellman published a Legal Action Comics benet
book to cover his legal costs, to which Spiegelman contributed a back-cover cartoon in which he relieves himself
on a Rall-shaped urinal.[64]
In 1997, Spiegelmans had his rst childrens book published: Open Me... I'm a Dog, with a narrator who tries
to convince its readers that it is a dog via pop-ups and
an attached leash.[65] From 2000 to 2003 Spiegelman and
Mouly edited three issues of the childrens comics anthology Little Lit, with contributions from Raw alumni and
childrens book authors and illustrators.[66]

Mouly created a cover for the September 24 issue of The

New Yorker[68] which at rst glance appears to be totally
black, but upon close examination it reveals the silhouettes of the World Trade Center towers in a slightly darker
shade of black. Mouly positioned the silhouettes so that
the North Towers antenna breaks into the W of The
New Yorker 's logo. The towers were printed in black on
a slightly darker black eld employing standard four-color
printing inks with an overprinted clear varnish. In some
situations, the ghost images only became visible when the
magazine was tilted toward a light source.[68] Spiegelman
was critical of the Bush administration and the mass media over their handling of the September 11 attacks.[69]
Spiegelman did not renew his New Yorker contract after
2003.[70] He later quipped that he regretted leaving when
he did, as he could have left in protest when the magazine ran a pro-invasion of Iraq piece later in the year.[71]
Spiegelman said his parting from The New Yorker was
part of his general disappointment with the widespread
conformism of the mass media in the Bush era.[72] He
said he felt like he was in internal exile[69] following
September 11 attacks as the US media had become conservative and timid[69] and did not welcome the provocative art that he felt the need to create.[69] Nevertheless,
Spiegelman asserted he left not over political dierences,
as had been widely reported,[70] but because The New
Yorker was not interested in doing serialized work,[70]
which he wanted to do with his next project.[71]

Spiegelman responded to the September 11 attacks with

In the Shadow of No Towers, commissioned by German
newspaper Die Zeit, where it appeared throughout 2003.
2.5 Post-September 11 (2001present)
The Jewish Daily Forward was the only American pe[69]
The collected work
Spiegelman lived close to the World Trade Center site, riodical to serialize the feature.
[lower-alpha 2]
appeared
in
September
2004
as
an
oversized
which was known as Ground Zero after the September
two-page spreads which had to be turned
11 attacks that destroyed the World Trade Center.[67] Im- board book of [73]
on
end
to
read.
mediately following the attacks Spiegelman and Mouly
rushed to their daughter Nadjas school, where Spiegel- In the June 2006 edition of Harpers Magazine Spiegelmans anxiety served only to increase his daughters man had an article published on the Jyllands-Posten
apprehensiveness over the situation.[58] Spiegelman and Muhammad cartoons controversy; some interpretations

PRIVATE LIFE

The project led to a touring show in 2014 about wordless novels called Wordless! with live music by saxophonist Phillip Johnston.[82] Art Spiegelmans Co-Mix: A
Retrospective dbuted at Angoulme in 2012 and by the
end of 2014 had traveled to Paris, Cologne, Vancouver,
New York, and Toronto.[79] A book complementing the
showed titled Co-Mix: A Retrospective of Comics, Graphics, and Scraps appeared in 2013.[83]

Gargantua, a cartoon critical of King Louis Philippe I, led to

the imprisonment of its author, Honor Daumier.

of Islamic law prohibit the depiction of Muhammad. The

Canadian chain of booksellers Indigo refused to sell the
issue. Called Drawing Blood: Outrageous Cartoons and
the Art of Outrage, the article surveyed the sometimes
dire eect political cartooning has for its creators, ranging from Honor Daumier, who spent time in prison for
his satirical work; to George Grosz, who faced exile. To
Indigo the article seemed to promote the continuance
of racial caricature. An internal memo advised Indigo
sta to tell people: the decision was made based on
the fact that the content about to be published has been
known to ignite demonstrations around the world.[74] In
response to the cartoons, Iranian president Mahmoud Ahmadinejad called for submissions of antisemitic cartoons.
Spiegelman produced a cartoon of a line of prisoners being led to the gas chambers; one stops to look at the
corpses around him and says, Ha! Ha! Ha! Whats really
hilarious is that none of this is actually happening!"[75]

In 2015, after six writers refused to sit on a panel at the

PEN American Center in protest of the planned freedom
of expression courage award for the satirical French periodical Charlie Hebdo following the shooting at its headquarters earlier in the year, Spiegelman agreed to be one
of the replacement hosts,[84] along with other names in
comics such as writer Neil Gaiman. Spiegelman retracted
a cover he had submitted to a Gaimin-edited saying the
unsayable issue of New Statesman when the management
declined to print strip of Spiegelmans. The strip, titled
Notes from a First Amendment Fundamentalist, depicts Muhammad, and Spiegelman believed the rejection
was censorship, though the magazine asserted it never intended to run the cartoon.[85]

3 Private life

To promote literacy in young children, Mouly encouraged publishers to publish comics for children.[76] Disappointed by publishers lack of response, from 2008 she
self-published a line of easy readers called Toon Books,
by artists such as Spiegelman, Rene French, and Rutu
Modan, and promotes the books to teachers and librarians for their educational value.[77] Spiegelmans Jack and
the Box was one of the inaugural books in 2008.[78]
In 2008 Spiegelman reissued Breakdowns in an expanded
edition including Portrait of the Artist as a Young
%@&*!"[79] an autoniographical strip that had been serialized in the Virginia Quarterly Review from 2005.[80]
A volume drawn from Spiegelmans sketchbooks, Be A
Nose, appeared in 2009. In 2011 MetaMaus followeda
book-length analysis of Maus by Spiegelman and Hillary Spiegelman married Franoise Mouly in 1977 (pictured in
Chute with a DVD-ROM update of the earlier CD- 2015).
ROM.[81]
Library of America commissioned Spiegelman to edit the
two-volume Lynd Ward: Six Novels in Woodcuts, which
appeared in 2010, collecting all of Wards wordless novels with an introduction and annotations by Spiegelman.

Spiegelman married Franoise Mouly on July 12,

1977,[86] in a City Hall ceremony.[36] They remarried
later in the year after Mouly converted to Judaism to
please Spiegelmans father.[36] Mouly and Spiegelman

7
have two children together: a daughter Nadja Rachel,
born in 1987,[86] and a son Dashiell Alan, born in
1992.[86]

Style
All comic-strip drawings must function
as diagrams, simplied picture-words that
indicate more than they show.
Art Spiegelman[87]
Wordless woodcut novels like those by Frans Masereel were an
early inuence.

Spiegelman suers from a lazy eye, and thus lacks depth

perception. He says his art style is really a result of [his]
deciencies. His is a style of labored simplicity, with
dense visual motifs which often go unnoticed upon rst
viewing.[88] He sees comics as very condensed thought
structures, more akin to poetry than prose, which need
careful, time-consuming planning that their seeming simplicity belies.[89] Spiegelmans work prominently displays
his concern with form, and pushing the boundaries of
what is and is not comics. Early in the underground comix
era, Spiegelman proclaimed to Robert Crumb, Time is
an illusion that can be shattered in comics! Showing the
same scene from dierent angles freezes it in time by
turning the page into a diagraman orthographic projection!"[90] His comics experiment with time, space,
recursion, and representation. He uses the word decode to express the action of reading comics[91] and sees
comics as functioning best when expressed as diagrams,
icons, or symbols.[87]

man's Krazy Kat,[93] and Bernard Krigstein's short strip

"Master Race".[95]
In the 1960s Spiegelman read in comics fanzines about
graphic artists such as Frans Masereel, who had made
wordless novels in woodcut. The discussions in those
fanzines about making the Great American Novel in
comics later acted as inspiration for him.[43] Justin
Green's comic book Binky Brown Meets the Holy Virgin
Mary (1972) motivated Spiegelman to open up and include autobiographical elements in his comics.[96]

Spiegelman acknowledges Franz Kafka as an early

inuence,[97] whom he says he has read since the age of
12,[98] and lists Vladimir Nabokov, William Faulkner,
Gertrude Stein among the writers whose work stayed
with him.[99] He cites non-narrative avant-garde lmmakers from whom he has drawn heavily, including Ken
Jacobs, Stan Brakhage, and Ernie Gehr, and other lmmakers
such as Charlie Chaplin and the makers of The
Spiegelman has stated he does not see himself primarily
Twilight
Zone.[100]
as a visual artist, one who instinctively sketches or doodles. He has said he approaches his work as a writer as he
lacks condence in his graphic skills. He subjects his dialogue and visuals to constant revisionhe reworked some 5 Beliefs
dialogue balloons in Maus up to forty times.[92] A critic
in The New Republic compared Spiegelmans dialogue Spiegelman is a prominent advocate for the comics
writing to a young Philip Roth in his ability to make medium and comics literacy. He believes the medium
the Jewish speech of several generations sound fresh and echoes the way the human brain processes information.
convincing.[92]
He has toured the US with a lecture called Comix 101,
Spiegelman makes use of both old- and new-fashioned
tools in his work. He prefers at times to work on paper on a drafting table, while at others he draws directly
onto his computer using a digital pen and electronic drawing tablet, or mixes methods, employing scanners and
printers.[89]

4.1

Inuences

Harvey Kurtzman has been Spiegelmans strongest inuence as a cartoonist, editor, and promoter of new
talent.[93] Chief among his other early cartooning inuences include Will Eisner,[94] John Stanley's version of
Little Lulu, Winsor McCay's Little Nemo, George Herri-

examining its history and cultural importance.[101] He

sees comics low status in the late 20th century as having
come down from where it was in the 1930s and 1940s,
when comics tended to appeal to an older audience of
GIs and other adults. Following the advent of the censorious Comics Code Authority in the mid-1950s, Spiegelman sees comics potential as having stagnated until the
rise of underground comix in the late 1960s.[102] He
taught courses in the history and aesthetics of comics at
schools such as the School of Visual Arts in New York.[32]
As co-editor of Raw, he helped propel the careers of
younger cartoonists whom he mentored, such as Chris
Ware,[71] and published the work of his School of Visual
Arts students, such as Kaz, Drew Friedman, and Mark
Newgarden. Some of the work published in Raw was

originally turned in as class assignments.[50]

LEGACY

comics creators Daniel Clowes and Alan Moore.[108] A

European documentary Art Spiegelman, Traits de Mmoire appeared in 2010 and later in English under the
title The Art of Spiegelman,[107] directed by Clara Kuperberg and Joelle Oosterlinck and mainly featuring interviews with Speigelman and those around him.[109]

Spiegelman has described himself politically as rmly

on the left side of the secular-fundamentalist divide and
a "1st Amendment absolutist.[75] As a supporter of free
speech Spiegelman is opposed to hate speech laws. He
wrote a ciritique in Harpers on the controversial Muhammad cartoons in the Jyllands-Posten in 2006; the issue was banned from IndigoChapters stores in Canada. 6.1
Spiegelman criticized American media for refusing to
reprint the cartoons they reported on at the time of the
Charlie Hebdo shooting in 2015.[103]

Awards

Spiegelman is a non-practicing Jew and considers himself

a-Zionistneither pro- nor anti-Zionist; he has called
Israel a sad, failed idea.[70] He told Charles Schulz
he was not religious, but identied with the alienated
diaspora culture of Kafka and Freud ... what Stalin pejoratively called rootless cosmopolitanism[104] a statement Ezra Mendelsohn interpreted as identication with
the Jewish spirit of universalism as championed by the
greatest of Jewrys creative gures.[104]
Maus was the rst graphic novel to win a Pulitzer Prize.

Legacy

Maus looms large not only over Spiegelmans body of

work, but over the comics medium itself. While Spiegelman was far from the rst to do rst-person autobiography in comics, critics such as James Campbell considered Maus to be the work which popularized it.[10] The
bestseller has been widely written about in the popular
press and academiathe quantity of its critical literature far outstrips any other work of comics.[105] It has
been viewed from a great variety of academic viewpoints,
though most often by those who have little understanding
of Maus's context in the history of comics. While Maus
has been credited with lifting comics from popular culture into the world of high art in the public imagination,
criticism has tended to ignore its deep roots in popular
culture, roots that Spiegelman is intimately familiar with
and has devoted considerable time to promote.[106]
Spiegelmans belief that comics are best expressed in a
diagrammatic or iconic manner has had a particular inuence on formalists such as Chris Ware and his former student Scott McCloud.[87] In 2005, the September 11-themed New Yorker cover placed sixth on the top
ten of magazine covers of the previous 40 years by the
American Society of Magazine Editors.[68] Spiegelman
has inspired numerous cartoonists to take up the graphic
novel as a means of expression, including Marjane
Satrapi.[93]
A joint ZDFBBC documentary Art Spiegelmans Maus
was televised in 1987.[107] Spiegelman, Mouly, and many
of the Raw artists appeared in the video documentary
Comic Book Condential in 1988.[51] Spiegelman played
himself in the 2007 episode "Husbands and Knives" of
the animated television series The Simpsons with other

1982: Playboy Editorial Award, Best Comic

Strip[110]
1982: Yellow Kid Award, Lucca, Italy, for Foreign
Author [111][110]
1983: Print, Regional Design Award[110]
1984: Print, Regional Design Award[110]
1985: Print, Regional Design Award[110]
1986: Joel M. Cavior, Jewish Writing[112]
1987: Inkpot Award[110]
1988: Angoulme International Comics Festival,
France, Prize for Best Comic Book, for Maus[51]
1988: Urhunden Prize, Sweden, Best Foreign Album, for Maus[113]
1990: Guggenheim Fellowship.[51]
1990: Max & Moritz Prize, Erlangen, Germany,
Special Prize, for Maus[112]
1992: Pulitzer Prize Letters award, for Maus[114]
1992: Eisner Award, Best Graphic Album (reprint),
for Maus[115]
1992: Harvey Award, Best Graphic Album of Previously Published Work, for Maus[116]
1992: Los Angeles Times, Book Prize for Fiction for
Maus II [117]
1993: Angoulme International Comics Festival,
Prize for Best Comic Book, for Maus II [51]

9
1993: Sproing Award, Norway, Best Foreign Album, for Maus[112]
1993: Urhunden Prize, Best Foreign Album, for
Maus II [113]
1995: Binghamton University (formerly Harpur
College), honorary Doctorate of Letters.[62]
1999: Eisner Award, inducted into the Hall of
Fame[61]
2005: French government, Chevalier of the Ordre
des Arts et des Lettres[61]
2005: Time magazine, one of the "Top 100 Most
Inuential People"[118]
2011: Angoulme International Comics Festival,
Grand Prix[119]
2015: American Academy of Arts and Letters
membership[120]

Raw (with Franoise Mouly, 198091)

City of Glass (graphic novel adaptation by David
Mazzucchelli of the Paul Auster novel, 1994)
The Narrative Corpse (1995)
Little Lit (with Franoise Mouly, 20002003)
The TOON Treasury of Classic Childrens Comics
(with Franoise Mouly, 2009)
Lynd Ward: Six Novels in Woodcuts (2010)

8 Notes
[1] In The New Yorker for September 27, 1993
[2] The book edition of In the Shadow of No Towers measures
10 by 14.5 inches (25 cm 37 cm).[73]

9 References
7

Bibliography

7.1

Author

Breakdowns: From Maus to Now, an Anthology of

Strips (1977)

[1] Spiegelman 2011, p. 18.

[2] Naughtie 2012.
[3] Spiegelman 2011, p. 16.
[4] Teicholz 2008.

Maus (1991)

[5] Hateld 2005, p. 146.

The Wild Party (1994)

[6] Hirsch 2011, p. 37.

Open Me, I'm A Dog (1995)

Jack Cole and Plastic Man: Forms Stretched to Their
Limits (2001)

[7] Kois 2011.

[8] Witek 2007b, p. xvii.
[9] Horowitz 1997, p. 401.

In the Shadow of No Towers (2004)

[10] Campbell 2008, p. 56.

Breakdowns: Portrait of the Artist as a Young

%@&*! (2008)

[11] Horowitz 1997; D'Arcy 2011.

Jack and the Box (2008)

[13] Jamieson 2010, p. 116.

Be a Nose (2009)

[14] Witek 2007b, pp. xviii.

MetaMaus (2011)

[15] Kaplan 2006, p. 102; Campbell 2008, p. 56.

Co-Mix: A Retrospective of Comics, Graphics, and

Scraps (2013)

[16] Fathers 2007, p. 122; Gordon 2004; Horowitz 1997, p.

401.

[12] Witek 2007b, pp. xviixviii.

[17] Horowitz 1997, p. 402.

7.2

Editor

Short Order Comix (197274)

[18] Kaplan 2006, p. 103.

[19] Epel 2007, p. 144.
[20] Witek 1989, p. 103.

Whole Grains: A Book of Quotations (with Bob

Schneider, 1973)
[21] Kaplan 2008, p. 140.
Arcade (with Bill Grith, 197576)

[22] Conan 2011.

10

[23] Witek 1989, p. 98.

[59] Fox 2012.

[24] Chute 2012, p. 413.

[60] Weiss 2012; Witek 2007b, pp. xxxxi.

[25] Smith 1987, p. 85.

[61] Witek 2007b, p. xxii.

[26] Hateld 2012, p. 138.

[62] Witek 2007b, p. xxi.

[27] Hateld 2012, p. 138; Chute 2012, p. 413.

[63] Campbell 2008, p. 58.

[28] Kuskin 2010, p. 68.

[64] Arnold 2001.

[29] Rothberg 2000, p. 214; Witek 2007b, p. xviii.

[65] Publishers Weekly sta 1995.

[30] Grishakova & Ryan 2010, pp. 6768.

[66] Witek 2007b, pp. xxiixxiii.

[31] Buhle 2004, p. 252.

[67] Baskind & Omer-Sherman 2010, p. xxi.

[32] Witek 2007b, p. xix.

[68] ASME sta 2005.

[33] Kaplan 2006, p. 108.

[69] Corriere della Sera sta 2003, p. 264.

[34] Heer 2013, pp. 2630.

[35] Heller 2004, p. 137.
[36] Heer 2013, p. 41.
[37] Heer 2013, pp. 4748.
[38] Heer 2013, pp. 4547.
[39] Heer 2013, p. 49.
[40] Kaplan 2006, pp. 111112.
[41] Kaplan 2006, p. 109.
[42] Reid 2007, p. 225.
[43] Kaplan 2008, p. 171.

[70] Hays 2011.

[71] Campbell 2008, p. 60.
[72] Corriere della Sera sta 2003, p. 263.
[73] Chute 2012, p. 414.
[74] Adams 2006.
[75] Brean 2008.
[76] Heer 2013, p. 115.
[77] Heer 2013, p. 116.
[78] Publishers Weekly sta 2008.
[79] Solomon 2014, p. 1.
[80] Witek 2007b, p. xxiii.

[44] Fathers 2007, p. 125.

[81] Heater 2011.
[45] Blau 2008.
[82] Artsy 2014.
[46] Kaplan 2006, p. 113.
[47] Kaplan 2006, p. 118; Kaplan 2008, p. 172.
[48] Kaplan 2008, p. 171; Kaplan 2006, p. 118.
[49] Kaplan 2006, p. 115.
[50] Kaplan 2006, p. 111.
[51] Witek 2007b, p. xx.
[52] Bellomo 2010, p. 154.
[53] Witek 2007a.
[54] Shandler 2014, p. 338.
[55] Liss 1998, p. 54; Fischer & Fischer 2002; Pulitzer Prizes
sta.
[56] Campbell 2008, p. 59.
[57] Mendelsohn 2003, p. 180; Campbell 2008, p. 59; Witek
2007b, p. xx.
[58] Kaplan 2006, p. 119.

[83] Randle 2013.

[84] Chow 2015.
[85] Krayewski 2015; Heer 2015.
[86] Meyers 2011.
[87] Cates 2010, p. 96.
[88] Campbell 2008, pp. 5657.
[89] Campbell 2008, p. 61.
[90] Chute 2012, p. 412.
[91] Chute 2012, pp. 412413.
[92] Campbell 2008, p. 57.
[93] Zuk 2013, p. 700.
[94] Frahm 2004.
[95] Kannenberg 2001, p. 28.
[96] Chute 2010, p. 18.

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[97] Mulman 2010, p. 86.

[98] Kannenberg 2007, p. 262.
[99] Horowitz 1997, p. 404.
[100] Zuk 2013, pp. 699700.
[101] Kaplan 2006, p. 123.
[102] Campbell 2008, pp. 5859.
[103] Brean 2015.
[104] Mendelsohn 2003, p. 180.
[105] Loman 2010, p. 217.
[106] Loman 2010, p. 212.
[107] Shandler 2014, p. 318.
[108] Keller 2007.
[109] Kensky 2012.
[110] Brennan & Clarage 1999, p. 575.
[111] Traini 1982.
[112] Zuk 2013, p. 699.
[113] Hammarlund 2007.
[114] Pulitzer Prizes sta.
[115] Eisner Awards sta 2012.
[116] Harvey Awards sta 1992.
[117] Colbert 1992.
[118] Time sta 2005; Witek 2007b, p. xxiii.
[119] Cavna 2011.
[120] Artforum sta 2015.

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Witek, Joseph (1989). Comic Books as History:

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10

Further reading

The Topps Company Inc. (2008). Wacky Packages.

Harry N. Abrams. ISBN 978-0-8109-9531-4.
The Topps Company Inc. (2012). Garbage Pail
Kids. Harry N. Abrams. ISBN 978-1-4197-02709.

11

External links

Media related to Art Spiegelman at Wikimedia

Commons
Quotations related to Art Spiegelman at Wikiquote

EXTERNAL LINKS

15

12
12.1

Text and image sources, contributors, and licenses

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12.2

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File:Art_Spiegelman_(2007).jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/86/Art_Spiegelman_%282007%29.jpg

License: CC BY 2.0 Contributors: http://www.flickr.com/photos/mr-kiss-kiss-bang-bang/479512503/ Original artist: Chris Anthony Diaz
File:Art_spiegelman_bbc_radio4_bookclub_05_02_2014_b01bkym0.flac
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commons/e/e5/Art_spiegelman_bbc_radio4_bookclub_05_02_2014_b01bkym0.flac License:
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Contributors: ? Original artist: ?
File:Binginebriateasylum.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/63/Binginebriateasylum.jpg License: Public
domain Contributors: Transferred from en.wikipedia; transferred to Commons by User:Matthiasb using CommonsHelper. Original artist:
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File:Gen_pulitzer.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/22/Gen_pulitzer.jpg License: Public domain Contributors: http://www.pulitzer.org Original artist: Daniel Chester French (1850-1931)
File:Honor_Daumier_-_Gargantua.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/15/Honor%C3%A9_Daumier_
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12.3

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