What can I say about one of the most widely acclaimed and influential graphic novels ever published? I re-read Maus this month for the first time since the mid-90s, and its combination of sequential art and novelistic storytelling have held up remarkably well over the years.
Maus tells the story of the persecution of Jews in Poland under the reign of the Nazi Third Reich, framed by sequences where the author interviews his father to get the memories that form the basis of the historical narrative. Throw in some detours such as a short comic-inside-the-comic that deals with the author’s mother’s suicide, and a meta-examination of the work where the author deals with his guilt and ambivalence towards the series and visits a therapist. Maus subverts the idea of “funny animal comics” by making the characters animals but telling a story that is tragic and horrifying.
Maus was one of the first books I can recall that gained national—even global—attention for telling a serious story that did not involve any superheroes yet brought an air of literary legitimacy to the term “graphic novel”. These days, any six-issue story arc about a mainstream superhero can be collected into a paperback and labeled a graphic novel for marketing purposes. Maybe the term has become so watered down that we’ve lost the meaningful distinction between graphic novels and comic books.
But I don’t plan on losing any sleep over it. Categorize them however you want! There’s room in the Big Box of Comics for all of them.