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By July , Krupp was in the process of producing four more Maus hulls, but they were ordered to halt production and scrap these.
Krupp stopped all work on it in August Meanwhile, the V2 prototype started tests in September , fitted with a Daimler-Benz MB diesel engine,  new electric steering system and a Skoda Works designed running gear and tracks.
The working Maus prototypes remained at Kummersdorf after being tested at Böblingen. V2 ended at the Hindenburgplatz, in front of the bunker Maybach I, where it was destroyed by placing charges in the engine and fighting compartments.
Because it had ammunition stowed under the turret, it was damaged more extensively than V1, with the turret being more or less intact.
Maus V1 did not reach this area. After the war, the Soviet Commander of Armored and Mechanized troops ordered the hull of V1 to be mated with the turret of V2.
The Soviets used six German FAMO-built 18t German half-tracks , the largest half-track vehicles that Germany built in the war years, to pull the 55 ton turret off the destroyed hull.
When further testing was completed the vehicle was taken over by the Kubinka Tank Museum for storage where it is now on display.
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Unsourced material may be challenged and removed. June Learn how and when to remove this template message. Retrieved August 31, German armoured fighting vehicles of World War II.
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The couple arrange with smugglers to escape to Hungary, but it is a trick—the Gestapo arrest them on the train as Hungary is invaded and take them to Auschwitz , where they are separated until after the war.
Art asks after Anja's diaries, which Vladek tells him were her account of her Holocaust experiences and the only record of what happened to her after her separation from Vladek at Auschwitz, and which Vladek says she had wanted Art to read.
Vladek comes to admit that he burned them after she killed herself. Art is enraged, and calls Vladek a "murderer". The story jumps to , after the first six chapters of Maus have appeared in a collected edition.
Art is overcome with the unexpected attention the book receives  and finds himself "totally blocked". Art talks about the book with his psychiatrist Paul Pavel, a Czech Holocaust survivor.
Art replies with a quote from Samuel Beckett: Vladek tells of his hardship in the camps, of starvation and abuse, of his resourcefulness, of avoiding the selektionen —the process by which prisoners were selected for further labor or execution.
As the war progresses and the German front is pushed back, the prisoners are marched from Auschwitz in occupied Poland to Gross-Rosen within the Reich, and then to Dachau , where the hardships only increase and Vladek catches typhus.
The war ends, the camp survivors are freed, and Vladek and Anja reunite. The book closes with Vladek turning over in his bed as he finishes his story and telling Art, "I'm tired from talking, Richieu, and it's enough stories for now.
An aunt poisoned their first son Richieu to avoid capture by the Nazis four years before Spiegelman's birth. Spiegelman developed an interest in comics early and began drawing professionally at Shortly after he got out, his mother committed suicide.
Spiegelman said that when he bought himself a German Volkswagen it damaged their already-strained relationship "beyond repair".
The discussions in those fanzines about making the Great American Novel in comics inspired him. Spiegelman became a key figure in the underground comix movement of the s, both as cartoonist and editor.
The tale was narrated to a mouse named " Mickey ". His father gave him further background information, which piqued Spiegelman's interest.
Spiegelman recorded a series of interviews over four days with his father, which was to provide the basis of the longer Maus.
He got detailed information about Sosnowiec from a series of Polish pamphlets published after the war which detailed what happened to the Jews by region.
The same year, he edited a pornographic , psychedelic book of quotations, and dedicated it to his mother. He moved back to New York from San Francisco in , which he admitted to his father only in , by which time he had decided to work on a "very long comic book".
American comic books were big business with a diversity of genres in the s and s,  but had reached a low ebb by the late s. Maus came to prominence when the term " graphic novel " was beginning to gain currency.
Will Eisner popularized the term with the publication in of A Contract with God. The term was used partly to mask the low cultural status that comics had in the English-speaking world, and partly because the term "comic book" was being used to refer to short-form periodicals, leaving no accepted vocabulary with which to talk about book-form comics.
The first chapter of Maus appeared in December in the second issue of Raw  as a small insert; a new chapter appeared in each issue until the magazine came to an end in Every chapter but the last appeared in Raw.
Spiegelman struggled to find a publisher for a book edition of Maus ,  but after a rave New York Times review of the serial in August , Pantheon Books published the first six chapters in a volume  called Maus: Spiegelman was relieved that the book's publication preceded the theatrical release of the animated film An American Tail by three months, as he believed that the film, produced by Steven Spielberg 's Amblin Entertainment , was inspired by Maus and wished to avoid comparisons with it.
The book found a large audience, partly because of its distribution through bookstores rather than the direct market comic shops where comic books were normally sold.
Though Pantheon pushed for the term "graphic novel", Spiegelman was not comfortable with this, as many book-length comics were being referred to as "graphic novels" whether or not they had novelistic qualities.
He suspected the term's use was an attempt to validate the comics form, rather than to describe the content of the books.
Pantheon collected the last five chapters in in a second volume subtitled And Here My Troubles Began. Pantheon later collected the two volumes into soft- and hardcover two-volume boxed sets and single-volume editions.
It also has interviews with Spiegelman's wife and children, sketches, photographs, family trees, assorted artwork, and a DVD with video, audio, photos, and an interactive version of Maus.
Spiegelman dedicated Maus to his brother Richieu and his first daughter Nadja. Penguin Books obtained the rights to publish the initial volume in the Commonwealth in In support of the African National Congress 's cultural boycott in opposition to apartheid , Spiegelman refused to "compromise with fascism"  by allowing publication of his work in South Africa.
By , Maus had been translated into about thirty languages. Three translations were particularly important to Spiegelman: French, as his wife was French, and because of his respect for the sophisticated Franco-Belgian comics tradition; German, given the book's background; and Polish.
Poland was the setting for most of the book and Polish was the language of his parents and his own mother tongue.
The Polish translation encountered difficulties; as early as , when Spiegelman planned a research visit to Poland, the Polish consulate official who approved his visa questioned him about the Poles' depiction as pigs and pointed out how serious an insult it was.
Publishers and commentators refused to deal with the book for fear of protests and boycotts. Demonstrators protested Maus ' s publication and burned the book in front of Gazeta ' s offices.
Bikont's response was to don a pig mask and wave to the protesters from the office windows. A few panels were changed for the Hebrew edition of Maus.
Based on Vladek's memory, Spiegelman portrayed one of the minor characters as a member of the Nazi-installed Jewish Police.
An Israeli descendant objected and threatened to sue for libel. Spiegelman redrew the character with a fedora in place of his original police hat, but appended a note to the volume voicing his objection to this "intrusion".
It had an indifferent or negative reception, and the publisher did not release the second volume. Spiegelman, like many of his critics, worries that "[r]eality is too much for comics It examines the choices Spiegelman made in the retelling of his father's memories, and the artistic choices he had to make—for example, when his French wife converts to Judaism , Spiegelman's character frets over whether to depict her as a frog, a mouse, or another animal.
The book portrays humans with the heads and tails of different species of animals; Jews are drawn as mice and other Germans and Poles as cats and pigs,  among others.
Spiegelman took advantage of the way Nazi propaganda films depicted Jews as vermin,  though he was first struck by the metaphor after attending a presentation where Ken Jacobs showed films of minstrel shows along with early American animated films, abundant with racial caricatures.
Healthy emotions tell every independent young man and every honorable youth that the dirty and filth-covered vermin, the greatest bacteria carrier in the animal kingdom, cannot be the ideal type of animal Away with Jewish brutalization of the people!
Down with Mickey Mouse! Wear the Swastika Cross! Jewish characters try to pass themselves off as ethnic Poles by tying pig masks to their faces, with the strings showing at the back.
Spiegelman shows this Jewishness by having her tail hang out of her disguise. According to art historian Andrea Liss , this may paradoxically enable the reader to identify with the characters as human, preventing the reader from observing racial characteristics based on facial traits, while reminding readers that racist classification is ever present.
In making people of each ethnicity look alike, Spiegelman hoped to show the absurdity of dividing people along such lines. Spiegelman has stated that "these metaphors When asked what animal he would make Israeli Jews , Spiegelman suggests porcupines.
In every respect other than their heads and tails, they act and speak as ordinary humans. To Marianne Hirsch , Spiegelman's life is "dominated by memories that are not his own".
This describes the relation of the children of survivors with the survivors themselves. While these children have not had their parents' experiences, they grow up with their parents' memories—the memory of another's memory—until the stories become so powerful that for these children they become memories in their own right.
The children's proximity creates a "deep personal connection" with the memory, though separated from it by "generational distance".
Art tried to keep his father's story chronological, because otherwise he would "never keep it straight". Hirsch sees Maus in part as an attempt to reconstruct her memory.
Vladek keeps her memory alive with the pictures on his desk, "like a shrine", according to Mala. Spiegelman displays his sense of guilt in many ways.
He suffers anguish over his dead brother, Richieu, who perished in the Holocaust, and whom he feels he can never live up to.
When she berates him, a victim of antisemitism, for his attitude, he replies, "It's not even to compare, the schwartsers and the Jews!
The Germans are depicted with little difference between them, but there is great variety among the Poles and Jews who dominate the story.
Spiegelman shows numerous instances of Poles who risked themselves to aid Jews, and also shows antisemitism as being rife among them. The kapos who run the camps are Poles, and Anja and Vladek are tricked by Polish smugglers into the hands of the Nazis.
Anja and Vladek hear stories that Poles continue to drive off and even kill returning Jews after the war.
Vladek's English is broken in contrast with that of Art's more fluent therapist, Paul Pavel, who is also an immigrant and Holocaust survivor.
He also uses it to befriend a Frenchman, and continues to correspond with him in English after the war.
His recounting of the Holocaust, first to American soldiers, then to his son, is never in his mother tongue,  and English becomes his daily language when he moves to America.
I was very religious, and it wasn't else to do". This unidiomatic expression was used as the subtitle of the second volume. The German word Maus is cognate to the English word "mouse",  and also reminiscent of the German verb mauscheln , which means "to speak like a Jew"  and refers to the way Jews from Eastern Europe spoke German  —a word not etymologically related to Maus , but distantly to Moses.
Spiegelman's perceived audacity in using the Holocaust as his subject was compounded by his telling the story in comics.
The prevailing view in the English-speaking world held comics as inherently trivial,  thus degrading Spiegelman's subject matter, especially as he used animal heads in place of recognizably human ones.
Ostensibly about the Holocaust, the story entwines with the frame tale of Art interviewing and interacting with his father.
Art's "Prisoner on the Hell Planet" is also encompassed by the frame, and stands in visual and thematical contrast with the rest of the book as the characters are in human form  in a surreal , German Expressionist woodcut style inspired by Lynd Ward.
Spiegelman blurs the line between the frame and the world, such as when neurotically trying to deal with what Maus is becoming for him, he says to his wife, "In real life you'd never have let me talk this long without interrupting.
Spiegelman started taking down his interviews with Vladek on paper, but quickly switched to a tape recorder,  face-to-face or over the phone.
Spiegelman worried about the effect that his organizing of Vladek's story would have on its authenticity. In the end, he eschewed a Joycean approach and settled on a linear narrative he thought would be better at "getting things across".
The story is text-driven, with few wordless panels  in its 1, black-and-white panels. Von Machern, für Macher. Schau dir unseren Clip an!
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