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At the beginning of 1970-x

Spiegelman came to San Francisco, where for several years he was an important figure in the art underground, working with Fritz the Cat comic book author Robert Crumb, Ghost World director Terry Zwigoff and others.

Spiegelman then went to live in New York, where he and his wife founded the counterculture comics magazine Raw. Each of its issues was practically an art object - they either printed it on cardboard, then made a cover out of plastic, or tore random pages so that each issue was unique. Raw prepared the reader for the fact that comics can tell more than just adventure and funny stories; The first excerpts of Maus were also published there.

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Maus is not the first book on the subject, but it is one of the first to place the Holocaust in a pop culture context. The comic book, of course, immediately had a lot of opponents - it was accused of trivializing the tragedy, there were protests against it in Poland, and at first publishing houses were even afraid to print it. The fact that Maus eventually became a classic of works about the Holocaust probably means that the cartoonish and surreal comic is one of the few adequate ways to talk about something that defies any logic or understanding.

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The graphic novel is notable for its art style: Jews are drawn as mice, Germans as cats, Poles as pigs, and Americans as dogs. The characters are depicted as animals to reflect the dehumanization caused by prejudice, war and genocide. The purpose of this style was to demonstrate the absurdity of perceiving peoples according to various templates and clichés, such as national or political ones. As the author himself puts it, “against measuring everyone with the same brush”

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This historical memoir weaves two narratives: one about Spiegelman's Jewish father, who survived World War II in Poland and the Auschwitz concentration camp, and the other about how Spiegelman records his father's story through their contentious relationship.