Art Spiegelman’s graphic novel about the Holocaust, Maus, recently became the center of controversy when a Tennessee school district removed the book from its curriculum. The first graphic novel to be awarded the Pulitzer Prize, Maus is widely credited with bringing the Holocaust to the attention of a wider audience, particularly younger readers. Yet Spiegelman himself is less well understood. Saul Jay Singer examines the legacy of both the work and its creator:
Over and above Maus, the magnum opus for which, much to his chagrin, he became celebrated, Spiegelman’s work was featured on 21 New Yorker magazine covers. The one that generated the most attention and generated the most controversy was his February 15, 1993, Valentine’s Day cover, which depicted a black West Indian woman and a ḥasidic man kissing, drawn in response to the Crown Heights riot of 1991 in which racial tensions led to the murder of Yankel Rosenbaum.
Spiegelman is a non-practicing Jew who, he says, “has never had a religious bone in my body.” He married Françoise Mouly, a non-Jew, in a 1977 City Hall ceremony but, as he discusses at the beginning of Volume II of Maus, she converted to Judaism only to please his father.
As to Israel, Spiegelman says, “I’m really glad I’m a Diaspora Jew; I don’t identify with Israel.” He claims that “the Holocaust is the broken condom that allowed Israel to be born”; and characterizes Israel as “a sad, failed idea.” He once proposed a New Yorker cover that depicted a beefy armed Israeli soldier guarding a group of ragged Palestinians behind barbed wire who are wearing Jewish stars; the comparison with Jews in concentration camps is both unavoidable and disgusting.
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