#art spiegleman's maus: 2 volumes

[deadpanwalking]

You probably get this one a lot, but you (of all people) getting annoyed with your dad for being (of all things) a smartass is so fucking funny. Not judging, my mom and I are also spidermanpoint jpg

Oh, I am well aware. Listen, when I was younger, I underwent an ancient rite of initiation that marked my passage into Jewish life—I am of course talking about being seven and picking up Art Spiegleman's Maus because it had drawings of mice on the cover, like Stuart Little.

Yeah.

And in a sick way, it kind of was like Stuart Little, in that Vladek Spiegleman survived Auschwitz by being resourceful as well as lucky—he knew who to bribe, when to conserve his energy, where to hide, how to secure an extra crust of bread, etc.

Anyway, I'm telling you all this because, even back then, I understood that if it had been my old man in the camps, he wouldn't last a day—he’d literally get iced on the train platform because as soon as they unloaded the cattle car, my dad would find his footing, look at the uniformed ubermensch barking orders, and be like, “Das Führer won't fuck you, bro”.

#he's a physicist which means you can SEE the little equations circling his head as he calculates fuck around/find out probabilities #yeah there's principle in there but like. #SHUT. UP. #if i have any discretion i owe it to my grandma...but she raised his ass too #anonymous #assbox #personal #don't reblog my family ya animals #art spiegleman's maus: 2 volumes #maus except with my dad: pamphlet #i love wisecracks but i don't wanna get got like that

[dreamlandkingdompdf]

Free [download] [epub]^^ Maus II A Survivor's Tale And Here My Troubles Began (Maus  #2) E.B.O.O.K$

Free [download] [epub]^^ Maus II: A Survivor's Tale: And Here My Troubles Began (Maus, #2) *E.B.O.O.K$

Maus II: A Survivor's Tale: And Here My Troubles Began (Maus, #2)

[PDF] Download Maus II: A Survivor's Tale: And Here My Troubles Began (Maus, #2) Ebook | READ ONLINE

Author : Art Spiegelman Publisher : Pantheon Books ISBN : 0679729771 Publication Date : 1992-9- Language : eng Pages : 144

To Download or Read this book, click link below:

http://read.ebookcollection.space/?book=0679729771

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Synopsis : Free [download] [epub]^^ Maus II: A Survivor's Tale: And Here My Troubles Began (Maus, #2) *E.B.O.O.K$

Acclaimed as a quiet triumph and a brutally moving work of art, the first volume of Art Spieglman's Maus introduced readers to Vladek Spiegleman, a Jewish survivor of Hitler's Europe, and his son, a cartoonist trying to come to terms with his father, his father's terrifying story, and History itself. Its form, the cartoon (the Nazis are cats, the Jews mice), succeeds perfectly in shocking us out of any lingering sense of familiararity with the events described, approaching, as it does, the unspeakable through the diminutive.This second volume, subtitled And Here My Troubles Began, moves us from the barracks of Auschwitz to the bungalows of the Catskills. Genuinely tragic and comic by turns, it attains a complexity of theme and a precision of thought new to comics and rare in any medium. Maus ties together two powerful stories: Vladek's harrowing tale of survival against all odds, delineating the paradox of daily life in the death camps, and the author's account of his tortured relationship with his aging father. At every level this is the ultimate survivor's tale - and that too of the children who somehow survive even the survivors.

#readebook

[efgrfthdsfd]

(PDF/Epub) Read Maus II: A Survivor's Tale: And Here My Troubles Began (Maus, #2) - Art Spiegelman

  Read/Download Visit :

https://demion88u8.blogspot.com/?book=0679729771

Book Details :

Author : Art Spiegelman

Pages : 144 pages

Publisher : Pantheon Books

Language : eng

ISBN-10 : 0679729771

ISBN-13 : 9780679729778

Book Synopsis :

Read Online and Download Maus II: A Survivor's Tale: And Here My Troubles Began (Maus, #2) .Acclaimed as a quiet triumph and a brutally moving work of art, the first volume of Art Spieglman's Maus introduced readers to Vladek Spiegleman, a Jewish survivor of Hitler's Europe, and his son, a cartoonist trying to come to terms with his father, his father's terrifying story, and History itself. Its form, the cartoon (the Nazis are cats, the Jews mice), succeeds perfectly in shocking us out of any lingering sense of familiararity with the events described, approaching, as it does, the unspeakable through the diminutive.This second volume, subtitled And Here My Troubles Began, moves us from the barracks of Auschwitz to the bungalows of the Catskills. Genuinely tragic and comic by turns, it attains a complexity of theme and a precision of thought new to comics and rare in any medium. Maus ties together two powerful stories: Vladek's harrowing tale of survival against all odds, delineating the paradox of daily life in the death camps, and the author's account of his tortured .

Art Spiegelman book Maus II: A Survivor's Tale: And Here My Troubles Began (Maus, #2).

 sreading

[seyesnyl]

Comic Books as a Medium and Not a Genre

I remember being an avid reader of comic books when I was younger. The visual narrative of it appealed so much to me and I could not understand why all other books were not in the same format. They would be so much more interesting! Comics and graphic novels provided an engagement to me that ‘text-only’ books lacked. Versaci (2001), explained this notion saying that unlike 'traditional' literature, comic books can literally 'put a human face' on a subject. Comic books blend words and pictures so that, in addition to reading text, readers 'see' the characters through the illustration.

Crutcher (2011) in his article about the complexity of comics cited David Peterson- the creator of Mouse Guard- who put forward the idea that comics are unique to literature and film using texts, fonts, sound elements, images, and more, all to create a unique and sophisticated balance.

If this was how I felt about comics, I wonder why I reduced how much I read them. To be honest, there are many reasons but the most important was I developed the mindset that comics are more juvenile compared to traditional literature. I gravitated towards regular books in my late teenage years, but I continued reading Japanese comics which had a better reputation among adults and I could read them online. 

With recent research, I realize I passed the same wrong judgment most people have about comic books by looking at them as a genre and not a medium. Versaci (2001) makes a case for this concept by asking to imagine meeting someone who disdained all film because he was no longer interested in Disney movies and associated all motion pictures with that one narrow genre. When most people hear the term “comics” they usually either think of childish superheroes or funny newspaper strips and dismiss any further potential it can have. The word ‘comics’ presents problems we're still figuring out because the term doesn't settle comfortably into our grammar; nomenclature remains tricky and open to debate (Chute, 2008)

“The use of the term ‘graphic novel’ in Britain and the US has, partly, been an attempt to rescue comics from their critical neglect, as well as to recognize the emergence of specifically adult comics and book-length works, particularly in the last 20 years”. (Frey and Noys 2002). Graphic novels as a term seem to have helped in giving the more grounded work that uses the visual narrative format a platform to be considered for scholarly appreciation and critical attention. A majority of researchers credit Art Spiegelman’s Maus (1986, 1991) as a milestone for the transformation of this medium. This representation of the Holocaust, through the memories of Spiegelman’s survivor father, demonstrated the potential of the form. Frey and Noys (2002), note that Maus has often been treated as a ‘one-off’ that can be safely treated with little debate.

https://www.colorado.edu/honorsjournal/2018/11/07/maus-art-spiegleman-graphic-novel-shows-power-memoir

Since Maus, there have been a couple of other critically acclaimed works like Joe Sacco’s Palestine, Marjane Satrapi’s Persepolis, Alison Bechdel’s Fun Home (Chute, 2008) to name a few. There has also been an increasing cross-cultural translation of the graphic novel, especially from cultures that do not regard it as an illegitimate form. For example, this is true for Japanese manga (comics) and animé (cartoon films) which have found new popularity over the last two decades globally (Freys and Noys, 2002).            

https://www.themantle.com/international-affairs/book-review-palestine-joe-sacco

https://www.graphicmedicine.org/comic-reviews/fun-home/

The medium has been undoubtedly been elevated; however, it seems like the legitimacy has been spared for only non-fiction work. Some superhero comic books have been adapted to films and have resulted in 5 of the highest-grossing movies globally. They most certainly should not be ignored or looked down on. Crutcher (2011) also has this train of thought and inquired about the definition and validation of the comics medium, not by focusing on historical or biographical work but through a selection of the Batman comics. He found the creators, artists, and writers of these comics provided a unique complexity not found in prose‐based novels or traditional films. “That complexity came through the (a) medium: the way writers, inkers, colorists, and others involved in the production of a graphic novel impose control, create layering, build atmosphere, and highlight artistic craft; (b) stories: how graphic novels work well beyond the superficial, delving into the human condition, political and cultural subversion, psychology, and the duality of persona; and (c) character: creating and sustaining icons that cross myriad temporal, visual, and setting ranges while paradoxically remaining coherent.”

I recently purchased a couple of X-Men comics (X-Men: Red, Volume 1 and 2 and Phoenix Resurrection: The Return of Jean Grey) and was pleasantly surprised and encouraged by the level of depth the stories carried, the art style, the sequential narrative, and the social commentary that the books encompassed. I did a critical analysis of X-Men: Red volumes earlier in this blog, and my thoughts are in more detail there.

Perhaps the reputational problem comics have had has been the meaning inherent in its name or the assumptions of what its audience should be, but holding on to those notions with so many quality works available and derivatives in other media limit the possibility of experiencing literature that could be life-changing or simply entertaining.

References

Chute, H. (2008). Comics as literature? reading graphic narrative. PMLA : Publications of the Modern Language Association of America, 123(2), 452-465. doi:10.1632/pmla.2008.123.2.452Link

Crutcher, P. A. (2011). Complexity in the comic and graphic novel medium: Inquiry through bestselling batman stories: Complexity in the comic and graphic novel medium. Journal of Popular Culture, 44(1), 53-72. doi:10.1111/j.1540-5931.2010.00819.x

Frey, H. & Noys, B. 2002, "Editorial: History in the graphic novel", Rethinking history, vol. 6, no. 3, pp. 255-260.

Versaci, R. (2001). How comic books can change the way our students see literature: One teacher's perspective. English Journal, 91(2), 61-67. doi:10.2307/822347Link