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Maus

Western civilization ended in Auschwitz. And we are not there yet realized. Including myself, that I'm here sitting, to write and draw my daughter sleep upstairs, as if there was a world after Auschwitz (Art Spiegelman).
This sentence is the explanation of Maus, a comic novel that won the Pulitzer Prize in 1992, a work of rare and valuable, to understand the sense, the subtitle of the first part is: My father bleeds history. Maus is an autobiographical story, a fundamental work for those who love comics, but also for those who want to know the history and the Holocaust, told by his father Vladek author Spegelman Art. Spiegelman intersects the two planes of the story: the memory of the Holocaust, by Trant years after the Second World War, as told by an eyewitness to his son, comic book, and the unresolved relationship between the two, father and son. The two lives that compares the story (that of Vladek, an old Polish jew tired and resentful, indelibly marked by a holocaust in which she lost everything, including her adored son Richieu and that of Art, was born after the war and struggling with a father obsessed and difficult, full of quirks that only in narrative calms down) mark an unbridgeable generational boundary, the distance between two generations in the difficult (impossible?) building a relationship.
As to the masterpieces, nothing is obvious in mice. The characters, played by anthropomorphic animals in which Jews are mice, Germans are cats, Poles pigs, dogs, the Americans and the French frogs (an echo of "If This Is a Man" by Primo Levi?), the graphics choice, with characters from the essential features - at times, almost expressionless - because there is no need to dramatize the story, just the narration of facts, complex landscapes, full of lines, boundaries, barriers, making everything dark and sordid. Some make explicit reference to the German, others (myself among them) there are references to other famous comics, Krazy Kat by George Herriman and Robert Crumb's Fritz the Cat.
Maus contains memorable passages: one in which Jews (mice) make the mask from the Polish (pigs) to escape the raids, the closure of the first chapter, in which art moves away from the house crying, whispering to his father "Murderess" because he destroyed the diaries of his mother Anja, who committed suicide, and the end, touching the Ulimate sticker is a double tombstone to rest next to a ' other parents of the author, who signs on the side, like an epitaph, and the date of the BEGINNING of the end of his work. And again, the extraordinary passages of time between past and present, who deliberately Spiegelman does not show (no, we understand, very well, and then only from the past and future are looking to join). "Maus is a wonderful story, and does not let you take more," wrote Umberto Eco. How to blame him?
"The comic is a popular language which incorporates other, a vital and expressive language that speaks with her hands. A language that is exposed and even interpreted as a Talmudic text " (Art Spiegelman).