Richly illustrated with images from Art Spiegelman’s Maus (“the most affecting and successful narrative ever done about the Holocaust” —The Wall Street Journal), Maus Now includes work from twenty-one leading critics, authors, and academics—including Philip Pullman, Robert Storr, Ruth Franklin, and Adam Gopnik—on the radical achievement and innovation of Maus, more than forty years since the original publication of “the first masterpiece in comic book history” (The New Yorker). Pulitzer Prize-winning cartoonist Art Spiegelman is one of our most influential contemporary artists; it’s hard to overstate his effect on postwar American culture. Maus shaped the fields of literature, history, and art, and has enlivened our collective sense of possibilities for expression. A timeless work in more ways than one, Maus has also often been at the center of debates, as its recent ban by the McMinn County, Tennessee, school board from the district’s English language-arts curriculum demonstrates. Maus Now: Selected Writing collects responses to Spiegelman’s monumental work that confirm its unique and terrain-shifting status. The writers approach Maus from a wide range of viewpoints and traditions, inspired by the material’s complexity across four decades, from 1985 to 2018. The book is organized into three loosely chronological sections— “Contexts,” “Problems of Representation,” and “Legacy”—and offers for the first time translations of important French, Hebrew, and German essays on Maus. Maus is revelatory and generative in profound and long-lasting ways. With this collection, American literary scholar Hillary Chute, an expert on comics and graphic narratives, assembles the world’s best writing on this classic work of graphic testimony.

Focusing on a diversely rich selection of writers, the pieces featured in Unfinalized Moments: Essays in the Development of Contemporary Jewish American Narrative explore the community of Jewish American writers who published their first book after the mid-1980s. It is the first book-length collection of essays on this subject matter with contributions from the leading scholars in the field. The manuscript does not attempt to foreground any one critical agenda, such as Holocaust writing, engagements with Zionism, feminist studies, postmodern influences, or multiculturalism. Instead, it celebrates the presence of a newly robust, diverse, and ever-evolving body of Jewish American fiction. This literature has taken a variety of forms with its negotiations of orthodoxy, its representations of a post-Holocaust world, its reassertion of folkloric tradition, its engagements with postmodernity, its reevaluations of Jewishness, and its alternative delineations of ethnic identity. Discussing the work of authors such as Allegra Goodman, Michael Chabon, Tova Mirvis, Rebecca Goldstein, Pearl Abraham, Jonathan Rosen, Nathan Englander, Melvin Jules Bukiet, Tova Reich, Sarah Schulman, Ruth Knafo Setton, Ben Katchor, and Jonathan Safran Foer, the fifteen contributors in this collection assert the ongoing vitality and ever-growing relevancy of Jewish American fiction.

A pioneering interdisciplinary scholar examines the roles of images in the construction of stereotypes of the Jew’s body in 20th-century art and literature.

Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'. Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit. The volume features illustrations from the works discussed and an extensive annotated bibliography. Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.

In this collection of new essays, Sander Gilman muses on Jewish memory and representation throughout the twentieth-century. Bringing together the worlds of literature, medicine, and popular culture in his characteristic ways, Gilman looks at new, post-diasporic ways of understanding the limits of Jewish identity. Topics include the development of the genre of Holocaust comedy, the imagination of the relationship of the body, disease, and identity, and the place of Jews in today's multicultural society.

Contributions by Georgiana Banita, Colin Beineke, Harriet Earle, Ariela Freedman, Liza Futerman, Shawn Gilmore, Sarah Hamblin, Cara Koehler, Lee Konstantinou, Patrick Lawrence, Philip Smith, and Kent Worcester A carefully curated, wide-ranging edited volume tracing Art Spiegelman’s exceptional trajectory from underground rebellion to mainstream success, Artful Breakdowns: The Comics of Art Spiegelman reveals his key role in the rise of comics as an art form and of the cartoonist as artist. The collection grapples with Spiegelman’s astonishing versatility, from his irreverent underground strips, influential avant-garde magazine RAW, the expressionist style of the comics classic Maus, the illustrations to the Jazz Age poem “The Wild Party,” and his response to the September 11 terrorist attacks to his iconic cover art for the New Yorker, his children’s books, and various cross-media collaborations. The twelve chapters cut across Spiegelman’s career to document continuities and ruptures that the intense focus on Maus has obscured, yielding an array of original readings. Spiegelman’s predilection for collage, improvisation, and the potent protest of silence shows his allegiance to modernist art. His cultural critique and anticapitalist, antimilitary positions shed light on his vocal public persona, while his deft intertextual strategies of mixing media archives, from comics to photography and film, amplify the poignance of his works. Developing new approaches to Spiegelman’s comics—such as the publication history of Maus, the history of immigration and xenophobia, and the cartoonist’s elevation of children’s comics—the collection leaves no doubt that despite the accolades his accessible comics have garnered, we have yet to grasp the full range of Spiegelman’s achievements in the realm of comics and beyond.

A book that looks at both the traditional and the unconventional ways in which the holocaust has been visually represented. The purpose of this volume is to enhance our understanding of the visual representation of the Holocaust - in films, television, photographs, art and museum installations and cultural artifacts - and to examine the ways in which these have shaped our consciousness. The areas covered include the Eichman Trial as covered on American television, the impact of Schindler's List, the Jewish Museum in Berlin, the Isreali Heritage Museums, Women and Holocaust Photography, Interne.