<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Art Spiegelman on SummaryShelf</title><link>https://summaryshelf.app/authors/art-spiegelman/</link><description>Recent content in Art Spiegelman on SummaryShelf</description><generator>Hugo</generator><language>en-us</language><lastBuildDate>Wed, 12 Aug 2026 00:00:00 +0000</lastBuildDate><atom:link href="https://summaryshelf.app/authors/art-spiegelman/index.xml" rel="self" type="application/rss+xml"/><item><title>Maus: A Survivor's Tale</title><link>https://summaryshelf.app/maus/</link><pubDate>Wed, 12 Aug 2026 00:00:00 +0000</pubDate><guid>https://summaryshelf.app/maus/</guid><description>&lt;p&gt;The Holocaust reaches you in &lt;em&gt;Maus&lt;/em&gt; the way it reached Art Spiegelman: secondhand, on cassette tape, out of order, from a man who is exhausting to be in a room with. Spiegelman doesn&amp;rsquo;t treat that as a compromise; he builds the book on it. Across both volumes — &lt;em&gt;My Father Bleeds History&lt;/em&gt; (1986) and &lt;em&gt;And Here My Troubles Began&lt;/em&gt; (1991), later collected as &lt;em&gt;The Complete Maus&lt;/em&gt; — you watch a son in Rego Park, Queens prod his father Vladek into remembering Auschwitz, and you watch what it costs them both. The war story and the story of getting the war story are the same story, and neither one resolves.&lt;/p&gt;</description></item></channel></rss>