The Complete Maus: A Survivor's Tale

Book Description

At last! Here is the definitive edition of the book acclaimed as “the most affecting and successful narrative ever done about the Holocaust” (Wall Street Journal) and “the first masterpiece in comic book history” (The New Yorker). It now appears as it was originally envisioned by the author: The Complete Maus.

It is the story of Vladek Spiegelman, a Jewish survivor of Hitler’s Europe, and his son, a cartoonist coming to terms with his father’s story. Maus approaches the unspeakable through the diminutive. Its form, the cartoon (the Nazis are cats, the Jews mice), shocks us out of any lingering sense of familiarity and succeeds in “drawing us closer to the bleak heart of the Holocaust” (The New York Times).

Maus is a haunting tale within a tale. Vladek’s harrowing story of survival is woven into the author’s account of his tortured relationship with his aging father. Against the backdrop of guilt brought by survival, they stage a normal life of small arguments and unhappy visits. This astonishing retelling of our century’s grisliest news is a story of survival, not only of Vladek but of the children who survive even the survivors. Maus studies the bloody pawprints of history and tracks its meaning for all of us.

Customer Reviews:

Excellent read.......2007-09-12

I read Maus I and II back in junior high and thought it was really cool that I was reading a book while also reading a comic. I purchased and re-read the boxed set recently when I stumbled upon it on Amazon. It's excellent. Truly a one-of-a-kind story, told in a way that gets the reader engaged in the details of what went on back in World War II. I love the cleverness of the Jews being portrayed as mice and the Nazi soldiers as cats. The only qualm I have with this series is that Maus II (the second and last book) ends rather abruptly, which is sort of understandable if you read the books. Honestly, I wanted more from the author and the storyline. Either way, it was a good read back when I was age 12 and still a good read at age 25.

DEMEAMING, INSENSITIVE, STEREOTYPING, TOO GRAPHIC - JUST NOT CORRECT.......2007-09-01

I just don't understand, how any type of stereotyping, as maus is loaded with it, can be acceptable. Stereotyping like bigotry, can "never" be justified! The graphic nature of this book is also "disturbing." With so many other books out there, I personally am unable to understand why anyone would use this book that offends "other" (3 million Catholic Poles for starters)holocaust victims. Many, many books out there get the job done, without such dark graphics and offending peoples, who were also victims. There are three books that I feel are truly objective, factual and just not as offensive, as Maus is: "Auschwitz," by Sybile Steinbacher, Richard Lukas' "The Forgotten Holocaust," which "objectively" talks about "everyone's" suffering in the holocaust; and finally, Michael R. Marrus' "The Holocaust in History." On Marrus' book: "An ideal introduction to the subject for any student of the Holocaust, and an authoritative summary for the expert." Yehuda Bauer, The Hebrew University of Jerusalem(back cover). With all the suffering and sensitivity on the Holocaust, "all" victims' feelings should be considered - maus does "not" accomplish this.

Sometimes truth is better than fiction........2007-08-21

I stumbled across this a few days ago in a book shop in Cambodia, of all places. I sat transfixed reading the book until 4 a.m., when my eyes could no longer focus. When I awoke the next day, I finished the book.

We are provided with a narrative by the father, a Holocaust survivor, and a more recent portrayal of the author (the son, who happens to be the artist, also). We see the trials and tribulations of his father and his mother as a young Jewish couple in World War 2 era Poland during the Nazi invasion and subsequent occupation.

We also get to share the experience of being the guilty son of Holocaust survivors. He worries about seeing his father as the stereotypical "miserly old Jew." Can he have judgment about people who have suffered through so much? Can he have a bit of animosity towards his parents, as most people tend to do? The author has to question how his mother could have survived the Nazi regime, but committed suicide when he was 20. He has to question the relationship with his father. Is he annoying or pitiful or admirable?

All these muddled emotions and the true story of a man who lived through the most brutal crime of the 20th century all come into play.

The drawings are great. The format is great. The idea to show different races as different animals is also great. Because, as silly as that sounds- isn't even sillier that people see our own races as different creatures?

Maus.......2007-08-10

As a Polish/american/alsacian I need to say this book is amazing. It captures all cultures together and produces the most authentic representation of WW2 I have ever read.

Immensely sad. Full of pathos. An immense work.......2007-06-13

More than a graphic novel. Rather a powerful moving tale of a son's recovery of a father's experience of the years of the holocaust and how this trickled down into contemporary family life. Reflective and immense in scope. I would recommend this book genuinely to anyone interested in what makes life worth living. The vignettes of Spiegelman's father are harrowing and inspiring, accentuated by a matter of fact story telling style. Spiegelman's insertion of his own family into the narrative serves to contrast the relatively normal travails of a modern family with those of families on the edge of survival and extinction.

Maus I: A Survivor's Tale: My Father Bleeds History

Average customer rating:

Maus: Explores the ineffable with creativity and ease
A Compelling Graphic Novel
Approbation for Maus
Excellent seller!!
DEMEANIG, INSENSITIVE, CRUDE STEREOTYPING, HURTFUL TO "OTHER" HOLOCAUST SURVIVORS

Maus I: A Survivor's Tale: My Father Bleeds History
Art Spiegelman
Manufacturer: Pantheon
ProductGroup: Book
Binding: Paperback

General | Biographies & Memoirs | Subjects | Books

Holocaust | Historical | Biographies & Memoirs | Subjects | Books

Jewish | Ethnic & National | Biographies & Memoirs | Subjects | Books

Memoirs | Biographies & Memoirs | Subjects | Books

General | Comic Strips | Comics & Graphic Novels | Subjects | Books

General | Comics & Graphic Novels | Subjects | Books

General | Graphic Novels | Comics & Graphic Novels | Subjects | Books

General | Europe | History | Subjects | Books

General | World | History | Subjects | Books

Classics | General | Literature & Fiction | Subjects | Books

General | Arts & Photography | Subjects | Books

General | Literature | Children's Books | Subjects | Books

Look Inside Children's Books | Trip | Specialty Stores | Books

Look Inside History Books | Trip | Specialty Stores | Books

Look Inside Fiction Books | Trip | Specialty Stores | Books
Similar Items:

ASIN: 0394747232
Release Date: 1986-08-12

Amazon.com

Some historical events simply beggar any attempt at description--the Holocaust is one of these. Therefore, as it recedes and the people able to bear witness die, it becomes more and more essential that novel, vigorous methods are used to describe the indescribable. Examined in these terms, Art Spiegelman's Maus is a tremendous achievement, from a historical perspective as well as an artistic one.

Spiegelman, a stalwart of the underground comics scene of the 1960s and '70s, interviewed his father, Vladek, a Holocaust survivor living outside New York City, about his experiences. The artist then deftly translated that story into a graphic novel. By portraying a true story of the Holocaust in comic form--the Jews are mice, the Germans cats, the Poles pigs, the French frogs, and the Americans dogs--Spiegelman compels the reader to imagine the action, to fill in the blanks that are so often shied away from. Reading Maus, you are forced to examine the Holocaust anew.

This is neither easy nor pleasant. However, Vladek Spiegelman and his wife Anna are resourceful heroes, and enough acts of kindness and decency appear in the tale to spur the reader onward (we also know that the protagonists survive, else reading would be too painful). This first volume introduces Vladek as a happy young man on the make in pre-war Poland. With outside events growing ever more ominous, we watch his marriage to Anna, his enlistment in the Polish army after the outbreak of hostilities, his and Anna's life in the ghetto, and then their flight into hiding as the Final Solution is put into effect. The ending is stark and terrible, but the worst is yet to come--in the second volume of this Pulitzer Prize-winning set. --Michael Gerber

Book Description

A story of a Jewish survivor of Hitler's Europe and his son, a cartoonist who tries to come to terms with his father's story and history itself.

Customer Reviews:

Maus: Explores the ineffable with creativity and ease.......2007-09-18

The book is adumbrated in the form of a graphic novel, giving a seemingly new perspective on the holocaust. The issue itself is nothing spectactularly new, although it approaches the holocaust in such a way that the most acerbic of events are bearable.
Most simply stated, the visual aid that accompanies the text allows for the reader to fully understand the author's stance, or viewpoint on the touchy issues of the holocaust. One does not need to have any sort of historical acumen, to grasp the concepts and ideas of the story.
The facade, of animals, instead of humans, used by the author also makes the events seem a little less human. However, throughout the novel, the thought doesn't escape your mind, that this was actually happening, to real people.
The reader is also easily captivated by the father-son presentation of the story, as Art (the author), interviews his father. With nothing but acrimony polluting the stories told by his father, a bond is formed between the reader, Art, and his father, as you must approbate anyone who braves these hardships, more specifically, the characters.
Overall, this story makes something new, that has been done so many times. It entertains, as well as informs. However, it isn't something I'd recommend for casual reading, as time must be set aside to truly appreciate the events in this book.

A Compelling Graphic Novel.......2007-09-18

When hearing the words "Graphic Novel" most people do not think of a moving and inspirational story, yet Maus by Art Spiegelman is just that. Firstly I would recommend this novel for its crafty and meaningful graphics. Various groups, such as the Jewish and German, are depicted as numerous animals. In doing so, the author expresses underlying themes, as one judges another's character by how they look, or their origin. Each picture also conveys the deep feeling in each moment. Frighten and sometimes acerbic faces, give the reader acumen on how the characters feel and are reacting. Also, several depictions of maps and drawings, heightening one's understanding of each setting. The second reason I would recommend the novel is because of the compelling story lines it contains. The first is Vladek's poignant account on how he and his wife survived as the Nazis abrogated their rights. From witnessing friends being hanged, to hiding in attics, the reader gains and insight on personal experiences of the Holocaust. The second is of a strained father and son relationship. As the father ages, the interest and reminiscence of a troubled past becomes their last connection. These assiduous characters are connectable for the reader, and acquire my last approbation. Anyone with a stained relationship or even an experience with isolation, can relate to the feelings and manners of the characters. With evocative graphics, gripping story lines, and relatable characters, Maus is a compelling novel which I highly propose.

Approbation for Maus.......2007-09-18

Maus should be greatly encouraged with approbation. The book displays the crude reality of the Holocaust and World War II in a creative, artistic way that makes the book classic and unique. Having Jews displayed as mice and Nazis as cats, Spiegelman uses much acumen in how the book is laid out and the story told. Even without reading, the graphic art adumbrates the story enough to understand.
Artie is a comic book writer who decides to write meaningful stories instead of useless funny ones, and wishes to interview his father about his experiences during the Holocaust. Vladek willingly tells his story to Artie, who seems unchanged by the troubling information his father is offering him. Throughout the story, Vladek becomes almost an anathema to Artie, and Artie finally finds the hate for his father that was always brewing. Although Artie dislikes his father, his father dislikes himself as well. After the war, life was never the same for Vladek. Having never gotten over his wife's death, and feeling antipathy for his new wife, he seemed to abjure all opportunities to enhance his life and adopted a new, somewhat acerbic personality.
Overall, the story told in Maus is an unforgettable one. It brings about several ineffable issues such as the harshness of World War II and how the Nazis arrogated lives with no right to do so. In addition, how these times were difficult even for the high class. The graphic art in the book ties all of the information together and allows a visual interpretation what the book is saying. Although the story is based on World War II and the Holocaust, it is as much about family issues and hidden hate as it is about history. Throughout the whole experience, Artie and Vladek discover where they truly stand with each other and decide that this deleterious relationship is not worth the trouble any longer.

Excellent seller!!.......2007-09-15

Good seller! Highly recommended for all buyers. My item was timely sent and the condition of the item was as described.

DEMEANIG, INSENSITIVE, CRUDE STEREOTYPING, HURTFUL TO "OTHER" HOLOCAUST SURVIVORS.......2007-09-14

This is as bad, as the 1st Maus: Horribly GRAPHIC, EXREMELY CRUDE and INSENSITIVE to the "OTHER" victims of the holocaust. Spiegleman shows absolutely "no" sympathy or sensitivity to the 3 million Polish-Catholics that were killed by the Germans. Adding insult to injury, he portrays the Poles in a very negative and hurtful manner, when in fact the Poles themselves lost everything. Poles, as well as Jews, lost their homes. Poles, as well as Jews, came home to homes that were piles of rubble. There are so many better vechicles out there to teach about this. This is the last one to use, as it seriously offends many innocent students whose parents and grandparents also suffered, died and lost everything in the Forgotten Holocaust. Better books are: Sybille Steinbacher's "Auschwitz. Steinbachers book gets the job done without all the grusome graphics and vulgar demeaning that is in Maus. Richard Lukas' "The Forgoten Holocaust; Poles Under Nazi-Occupation," and "Did The Children Cry: The suffering of Polish & Jewish children in the holocaust." After reading the latter one by Lukas, you'll never go anywhere near a Maus book again! "Did The Children Cry," will be a wake-up call - unless you are inhumane. Lukas, in both book, talks, OBJECTIVLY about "all" who suffered, without the sick graphics and personal attacks that maus has. Michael Marrus' "The Holocaust in History." Marrus, like Steinbacher and Lukas is controlled, scholarly and informative - Spiegleman is not. These 3 books will explain and teach you something, unlike Maus, that only teaches hateful generalizations through stereotyping and is grusomly graphic. Don't be fooled by the hype. Maus gets an F- for humanity. TEACHERS, PLEASE, BE TEACHERS!

Maus II: A Survivor's Tale: And Here My Troubles Began (Maus)

Average customer rating:

Non Fiction
A hauntingly good work.
Astonishing -- a must read
An Incredible Historical Perspective (Part 2)
Spectacular account of the Holocaust

Maus II: A Survivor's Tale: And Here My Troubles Began (Maus)
Art Spiegelman
Manufacturer: Pantheon
ProductGroup: Book
Binding: Paperback

General | Historical | Biographies & Memoirs | Subjects | Books

Holocaust | Historical | Biographies & Memoirs | Subjects | Books

Jewish | Ethnic & National | Biographies & Memoirs | Subjects | Books

General | Comic Strips | Comics & Graphic Novels | Subjects | Books

General | Comics & Graphic Novels | Subjects | Books

General | Graphic Novels | Comics & Graphic Novels | Subjects | Books

Classics | General | Literature & Fiction | Subjects | Books

General | Arts & Photography | Subjects | Books

General | Literature | Children's Books | Subjects | Books

Look Inside Children's Books | Trip | Specialty Stores | Books

Look Inside History Books | Trip | Specialty Stores | Books

Look Inside Fiction Books | Trip | Specialty Stores | Books
Similar Items:

ASIN: 0679729771
Release Date: 1992-09-01

Book Description

MAUS was the first half of the tale of survival of the author's parents, charting their desperate progress from prewar Poland Auschwitz. Here is the continuation, in which the father survives the camp and is at last reunited with his wife.

Customer Reviews:

Non Fiction.......2007-09-03

Spiegelman continues the story of his father's life, through Auschwitz and afterwards, and his feelings about what has happened to him.

The story is told using animal forms for the people within, different classes of people are represented as different animals. Mice, obviously are used to represent the prisoners.

A hauntingly good work........2007-01-11

Haunting, you'll find certain parts that keep coming back to you. Don't let the artwork fool you, this is no children's book. This work is honest, and perhaps because of it, is very emotionally affecting. I've had to read it more than once to really appreciate it.

Astonishing -- a must read.......2006-10-23

I was compelled to read this after finishing Art Spiegelman's astonishingly brilliant "Maus," a graphic novel retelling his father, Vladek's, experiences as a Jew in Poland during WWII. This sequel picks up right where the first left off, with Vladek's separation from wife, Anja, after arriving at Auschwitz. There Vladek must struggle to survive starvation and disease as well as the guards and the ovens, all while trying to get news of his wife from over in Auschwitz's second camp, Birkenau. His horrific time there is expertly rendered as Spiegelman manages to get across a complex range of emotions through his illustrations and words. Even after Auschwitz is abandoned and the Nazi soldiers go on the run, Vladek must still struggle to survive and make his way to safety. His journey home to his wife (from Auschwitz to an abandoned German landscape, through ruined cities and, finally, back to the now unrecognizable city he once called home) is utterly compelling, unforgettable stuff.

Equally compelling is the story of Vladek in later years that is mixed in with his history in both volumes of "Maus", after he has come to America with Anja, had another son (the first, Richieu, did not survive the war), lost Anja to suicide in 1968, remarried, developed a heart condition and a strained relationship with his surviving son, and begins telling his story to 'Artie', who is interested in adapting his father's tale into a comic book). In the WWII segments Spiegelman captures the horrors that took place during that tragic time, and in these father-son moments he explores how surviving an event like that leaves a mark on you forever, and can even pass on the burden of survivor's guilt to a new generation that wasn't even alive when the atrocities took place. Surprisingly, it is during these deeply personal moments that the "Maus" books really hit home the hardest. Spiegelman does a masterful job getting across the complex personalities of his characters and how the past has left a wide, seemingly impassable gulf between him and his father. Really, it is just a beautiful portrait of their relationship and I cannot recommend it enough. Spiegelman's delicate, earnest elegy to his father -- and to all survivors and victims of the Holocaust alike -- is a true triumph of literature and a heartbreaking look at one of history's greatest tragedies.

An Incredible Historical Perspective (Part 2).......2006-10-11

This conclusion of Maus 1 is the conclusion of Holocaust survivor Vladek Spiegelman's story and of the father-son relationship explored throughout the work.

This book tells the story of Vladek's time in Aushwitz, the liberation of the camps and the rebuilding of a new life. There is a lot more in Maus 2 about the relationships and mental trauma of a Holocaust survivor. It's really very moving.

Maus 2 is the second testament to Speigelman's brilliance as a story-teller and artist, Maus 1 being the first. His understanding of the depth of history and how it effects our lives is impressive.

Spectacular account of the Holocaust.......2005-07-09

I first read Maus II when I was in fourth or fifth grade, but, of course, I didn't really grasp the true horror of it all at the time. I decided to buy a copy a couple of months ago and see if it lived up to my memory, and I was not disappointed. Now that I'm nine or ten years older and more attuned to the world and its history, it's that much more poignant. The insanity of the time period is hard to comprehend, but even in a cartoon, Spiegelman is able to give us some small idea of the reality.

I definitely recommend this book to everyone. Even if (like me) you're not a fan of graphic novels, this is still worth the read.

The Best American Nonrequired Reading 2006 (The Best American Series)

Average customer rating:

Find new and interesting authors - expand your horizons
Different brand of humor, but its the kind I like!
worst edition yet
Some of it is more nonrequired than you may think
Good stuff

The Best American Nonrequired Reading 2006 (The Best American Series)

Manufacturer: Houghton Mifflin
ProductGroup: Book
Binding: Paperback

Classics | General | Literature & Fiction | Subjects | Books

Anthologies | Genre Fiction | Literature & Fiction | Subjects | Books

United States | Short Stories | Literature & Fiction | Subjects | Books

Anthologies | Short Stories | Literature & Fiction | Subjects | Books

Look Inside Fiction Books | Trip | Specialty Stores | Books
Similar Items:

ASIN: 0618570519

Book Description

A brilliant collection, The Best American Nonrequired Reading 2006 highlights a bold mix of fiction, nonfiction, screenplays, television writing, and more alternative comics than ever. Compiled by Dave Eggers and students from his San Francisco writing center, contributors include Judy Budnitz, The Onion, The Daily Show, This American Life, and George Packer.

Customer Reviews:

Find new and interesting authors - expand your horizons.......2007-09-14

This is a great book for those who wish to be exposed to new contemporary authors. I especially enjoyed the story on Dubai by George Saunders, "The New Mecca". If you've never read about Dubai (or even if you have), it's a real treat to hear more about the Fantasyland of the Middle East...

Different brand of humor, but its the kind I like!.......2007-09-04

I first became a Dave Eggers fan after getting into McSweeney's thanks to an NPR review. I'm actually not retirement age, listening to NPR, but a 20 year old college student. This book is great because I can read it in short spurts, like before class starts, and not really lose the focus of an intense novel. Also, the stories in this edition are truly riveting- the tale of a "freedom fighter", a future "Body Works" corpse- and yet some just make your face light up- the best fake headlines, courtesy of The Onion, random first lines of books. Overall, this is random, but a great cross section of pop culture. Weird? yes. Nonrequired? It's so good, it should be required.

worst edition yet.......2007-08-24

I've been reading the Nonrequired Reading since its first volume, and it is usually one of my favorites of the series, but, much like this year's essay collection, this is the worst I've seen yet. I love Matt Groening, but his introduction just seemed pointless. Eggers has a new format, with his best new words, band names, fake headlines, etc. basically section one is a waste of trees. In fact, most in this volume is a waste of time and energy and ink. The only things worth reading are the Onion headlines, the excerpt from the military blog, Downey's Rolling Stone piece, "The Insurgent's Tale," which helps to humanize and somewhat better understand jihadist, Michael Lewis's "Wading Toward Home" a piece about New Orleans in the aftermath of Katrina, Murakami's short story, Jeff Parker's short story, Rakoff's story of becoming a citizen, Joe Sacco's comic, Saunders fluff piece on Dubai, Julia Sweeney's "Letting Go of God, and finally, the masterful Kurt Vonnegut. But over half the book isn't worth reading. I hope next year's edition is back up to the standard Eggers set early in the series.

Some of it is more nonrequired than you may think.......2007-08-05

This is a good enough read mostly for the fact that you can skip whatever you don't care enough about and read only what peaks your interest. It's even better if you did like me and got it from the library.

The first section is good with all the Onion articles and Daily Show transcript. Then I also enjoyed Julia Sweeney's essay about letting go of God like he was almost an imaginary friend. Also, The Innocents and one or two of the other comics were good. False Cognate as well, was superbly done. And Kurt Vonnegut, c'mon, the man could find something interesting to say about parting your hair, let alone creative writing, which he did know quite a bit about. The best was the diagram of Kafka.

Too many of the stories unfortunately deal with Iraq and the Middle East in general, however, and this is the part I meant when you are able to skip over uninteresting parts. This is no doubtdue to the selection committee is mostly high school area kids from the Bay Area. You take that impressionable age group and you throw in a democratic selection process so everyone gets a say, you're going to wind up with a message along the lines of "Uh, this is like real important to us, man. Cuz". Yeah, you kiddies mean well, but teenagers, if you're going to attempt vague hippie-esque techniques, don't forget the dope, guns, and f'ing in the streets.

Good stuff.......2007-08-03

The collection of stories was surprisingly good. I'm not much for compilations like this, but I found myself truly enjoying this one.

The New York Trilogy (Penguin Classics Deluxe Edition)

Average customer rating:

"The question is the story itself, and whether or not it means something is not for the story to tell."
Was not impressed
Two extraordinary short novels and an exercise by a supreme storyteller
exceptional
Good? Yes. Engaging? that's a different question...

The New York Trilogy (Penguin Classics Deluxe Edition)
Paul Auster
Manufacturer: Penguin Classics
ProductGroup: Book
Binding: Paperback

Classics | General | Literature & Fiction | Subjects | Books

Contemporary | General | Literature & Fiction | Subjects | Books

Literary | General | Literature & Fiction | Subjects | Books

General | Mystery | Mystery & Thrillers | Subjects | Books

General | Mystery & Thrillers | Subjects | Books
Similar Items:

ASIN: 0143039830

Book Description

Paul Auster's signature work, The New York Trilogy, consists of three interlocking novels: City of Glass, Ghosts, and The Locked Room—haunting and mysterious tales that move at the breathless pace of a thriller.

Customer Reviews:

"The question is the story itself, and whether or not it means something is not for the story to tell." .......2007-06-13

"He had always imagined that the key to good detective work was a close observation of details. The more accurate the scrutiny, the more successful the results. The implication was that human behavior could be understood, that beneath the infinite façade of gestures, tics, and silences, there was finally a coherence, an order, a source of motivation."

Paul Auster's "New York Trilogy," consisting of the novellas "City of Glass," "Ghosts," and "The Locked Room," is an intriguing blend of post-modern fiction, metaphysical philosophy, and detective novels. Through his reliance on the themes and structure of pulp/noir mysteries, Auster delves deeply into questions regarding identity, purpose, obsession, what is real, and examines the often tenuous grip that most people have on their sanity. His exploration is quite compelling and makes for a fascinating read, but it is unfortunate that the quality of the novellas is slightly uneven. The first, "City of Glass," is far too impenetrable and abstruse to be much more than frustrating. While it is clear that its protagonist, Quinn, is desperate to shed his identity in order to escape from the painful loss that has left him paralyzed, it is unclear why he becomes so obsessed with the case that he takes on after doing so. "Ghosts" is a marked improvement, but it is only in the final novella, "The Locked Room," that this trilogy really comes to life. "The Locked Room" is eloquent where its predecessors are vague, pointed when the others are intentionally blurry, and poignant rather than murky. Auster is certainly a great writer, and I will be interested to read more of his works, but "The New York Trilogy" requires a willingness to stick with it in order to get to its heart. But I recommend hanging in there, because that final novella is a true gem, and makes the ride worth your while.

Here's the grade breakdown: "City of Glass": C+, "Ghosts": B, "The Locked Room": A
Average grade: B

Was not impressed.......2007-05-20

I read this book because I loved Paul Aster's Brooklyn Follies. This compilation of 3 short stories may have well been written by a completely different author. They are short detective stories that are slightly intertwined. I did not enjoy this book and do not recommend it.

Two extraordinary short novels and an exercise by a supreme storyteller .......2007-02-08

I do not see this work the way Auster constructed it. To me it is not a 'trilogy' even though there are overlapping themes, and incidents. I see it as a collection of separate pieces. The first and the third are first-rate works of fiction . They are novels which are searches for self. They are -Multiple- identity -mysteries which illustrate Auster's way of seeing life and the world, as unending chance and surprise.
Perhaps the best summary of the Auster credo comes somewhere in the middle of 'The Locked Room' The narrator- best friend of Fanshawe meditates as follows.
" We all want to be told stories and we listen to them in the same way we did when we were young. We imagine the real story inside the words, and to do this we substitute ourselves for the person in the story, pretending that we can understand him because we understand ourselves. This is a deception.We exist for ourselves, perhaps, and at times we even have a glimmer of who we are, but in the end we can never be sure, and as our lives go on, we become more and more opaque to ourselves, more and more aware of our own incoherence. No one can cross the boundary into another-for the simple reason that no one can gain access to himself."
Auster is a supreme storyteller. In these works there are stories within stories of incredible power and beauty. In the first book there is a small story of a mother in the Shoah carrying a baby for whom she at last has the satisfaction of attaining and giving milk. The baby has been dead for days. In the concluding work of the Trilogy Auster tells the story of Lorenzo da Ponte whose life he describes as five or six distinct lives, illustrating a principle of Auster's fiction i.e. we can never know for certain where the story of the life is going to next.
I may not agree with Auster's philosophy of life but find him one of the supreme storytellers writing today . I pick up his work and I want to read and read and read.

exceptional.......2006-11-02

"The New York Trilogy", a volume containing three separate novellas: "The City of Glass", "Ghosts" and " The Locked Room", is an intriguing example of the author's game with the readers and, perhaps, with himself. The motif common for all three stories in the mystery, the solution of which is pursued by the main character, and the place of action, New York City (I do not agree with one of the reviewers who said New York could be here any other urban environment as well; certainly it could not be any European city, NYC gives these stories the distinct character and for anyone who has walked the streets through which the characters wander, it is a setting unmistakable for any other; The City's atmosphere hangs over the characters like a cloud).

"The City of Glass" features Quinn, a solitary man, living quietly after the death of his wife and son, and writing detective stories under a pseudonym. One night, Quinn receives a mysterious phone call from a man demanding the services of a private detective, Paul Auster... Although it is clearly a wrong number, Quinn decides to pretend to be Auster and take the challenge, changing his life forever.

A complete change of life circumstances is also a fate of the protagonist of a second (and the shortest) novella "Ghosts". Blue, who is a professional private detective, receives a task from the disguised client, White, to watch Black. The trouble is, Black never does anything interesting except reading or writing, and bored Blue tries to find out, where the real secret of this investigation lies.

In the last novella "The Locked Room", the main character is involved in the publication of the works of his missing childhood friend, Fanshawe. The books are a great success, he marries Fanshawe's wife and he assumes Fanshawe's identity, happily at the beginning...

These novellas are not, as has been pointed out by many reviewers before me, typical mysteries, where clues lead to conclusions and the reader may amuse himself with finding a correct answer. They are, on one hand, explorations of the soul, of the unknown in us, and, on the other hand, and taken together, a postmodern riddle, with literary jokes, cultural clues. They can be read on various levels, which is what really makes them interesting. For somebody, who expects a mystery story from the beginning to the end this book would be a disappointment, However, it is rewarding for the reader interested in reading itself (sounds absurd, I know, but this may be the truth - books play an enormous role in all the novellas). The introduction of Auster, as a detective, but really a writer in the first story, as opposed to Quinn, the writer, who has to become the detective, is only one of the twists here. The exercise with giving the characters the name of the colors (after all, what, if not "real" names make the reader think of the book characters as real? And are the color names unreal? Such names are common enough...) - is another.

By the way, has anyone been lured into drawing Quinn's walk on the street grid of Manhattan?

Good? Yes. Engaging? that's a different question..........2006-08-19

"The New York Trilogy", by celebrated author Paul Auster, is made up of 3, somewhat interlinked, long stories which were originately published separately at various times around 1985-86.
There is no doubt that Paul Auster is a terrific writer so I won't even get into that aspect of the book.
Let's get down to what's really important by trying to pinpoint the subject matter, i.e., what "the new york trilogy" is really about: in a sense, it's a mystery, in the true sense of the word, because even in the end many questions (most, I dare say) are left unanswered, many stones unturned and many cues are simply left hanging in the air.
The NYT has been described as metaphysical detective fiction and the description might in fact prove apt: each of the 3 stories follows the investigations of one man which always turn into an obsession, making the man completely lose touch with the reality. The NYT is thus much about mental processes, we see each of the 3 main chracters gradually become so absorbed by their quest that they lose all sense of proportion and stop thinking like the rest of us.
It's also a novel about writing because writing, depicted as the greatest obsession of all, always plays a role in the stories.
There is also a definite surreal element in most stories and, quite often, they reminded me of Dino Buzzati's short stories.
The author is obviously very pleased with himself, playing with his own name (much like B.E. Ellis does in his recent "Lunar Park") and toying with the other character's names (which pop up in different stories, alluding to the possibility of a strong link between them all).
Did I like the book? As much as it's clever and well-written, it leaves you with a sense of un-completeness, too much stuff remains only vaguely hinted at (I was never one to fall for open-endings. Plus, everything is open here, much more than necessary) and in the ends, the whole thing sound more like an elaborate intellectual game that engaging fiction. Thus, I give the novel 3 stars although this is in no way diminishes my appreciation of the author's talent.

Dr. Seuss Goes to War: The World War II Editorial Cartoons of Theodor Seuss Geisel

Average customer rating:

Another viewpoint of history
feedback
A different view of the good doctor
Dr. Seuss and His Perception of World War II
The great Doctor as political commentator!

Dr. Seuss Goes to War: The World War II Editorial Cartoons of Theodor Seuss Geisel
Richard H. Minear , and Art Spiegelman
Manufacturer: New Press
ProductGroup: Book
Binding: Paperback

General | Instructional & How-To | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books

Cartooning | Comics & Graphic Novels | Subjects | Books

General | Comic Strips | Comics & Graphic Novels | Subjects | Books

General | Comics & Graphic Novels | Subjects | Books

Political | Humor | Entertainment | Subjects | Books

General | World | History | Subjects | Books

ASIN: 1565847040

Amazon.com

Before Yertle, before the Cat in the Hat, before Little Cindy-Lou Who (but after Mulberry Street), Dr. Seuss (Theodor Geisel) made his living as a political cartoonist for New York newspaper PM. Seuss drew over 400 cartoons in just under two years for the paper, reflecting the daily's New Deal liberal slant. Starting in early 1941, when PM advocated American involvement in World War II, Seuss savaged the fascists with cunning caricatures. He also turned his pen against America's internal enemies--isolationists, hoarders, complainers, anti-Semites, and anti-black racists--and urged Americans to work together to win the war. The cartoons are often funny, peopled with bowler-hatted "everymen" and what author Art Spiegelman calls "Seussian fauna" in his preface. They are also often very disturbing--Seuss draws brutally racist images of the Japanese and even attacks Japanese Americans on numerous occasions. Perhaps most disturbing is the realization that Seuss was just reflecting the wartime zeitgeist.

Dr. Seuss Goes to War marks the first time most of these illustrations have appeared in print since they were first published. Richard H. Minear's introduction and explanatory chapters contextualize the 200 editorial cartoons (some of whose nuances might otherwise be lost on the modern reader). Those who grew up on Seuss will enjoy early glimpses of his later work; history buffs will enjoy this new--if playful and contorted--angle on World War II. --Sunny Delaney

Book Description

The bestselling treasure trove of World War II political cartoons by Dr. Seuss. For decades, readers throughout the world have enjoyed the marvelous stories and illustrations of Theodor Seuss Geisel, better known as Dr. Seuss. But few know the work Geisel did as a political cartoonist during World War II, for the New York daily newspaper PM. In these extraordinarily trenchant cartoons, Geisel presents "a provocative history of wartime politics" (Entertainment Weekly). Dr. Seuss Goes to War features handsome, large-format reproductions of more than two hundred of Geisel's cartoons, alongside "insightful" (Booklist) commentary by the historian Richard H. Minear that places them in the context of the national climate they reflect. Pulitzer Prize-winner Art Spiegelman's introduction places Seuss firmly in the pantheon of the leading political cartoonists of our time. 200 black-and-white illustrations.

Customer Reviews:

Another viewpoint of history .......2007-05-14

This book is an amazing part of history. Few people would have guessed that the famed and loved childrens story teller Dr. Seuss would have been a major force for WWII political cartoons. The books is sectioned by times and people and there is a description (both historical and chronological) for every cartoon. The images are moving and the book is a must for any collector of Seuss or lover of history.

feedback.......2007-02-03

I recieved my book quickly and in excellent condition. I'm very pleased with this service. I will continue to order from amazon.

A different view of the good doctor.......2006-10-08

Long before he started writing children's books, Theodor Geisel did advertising ("Quick Henry, the Flit!"), and even editorial cartooning. This book collects a large number of his WWII cartoon, and offers a fascinating commentary on those cartoons and on the man who drew them.

The militancy of these cartoons stands in stark contrast to the gentle goofiness of, for example, "One Fish, Two Fish." Of course, he took on Hitler, Mussolini, and other Axis leaders, using ridicule as his weapon against them. Other cartoons blast the appeasers and not-our-problem isolationists of the time. Interestingly, other cartoons came out with strongly anti-racist themes - a bit radical for the time, but he treated exclusion of blacks from wartime industry as a form of sabotage or treason. Minear's commentary offers helpful insight into the times in which the cartoons arose, and into some of the controversy they engendred, making its points with clear cross-references to specific cartoons.

It's hard to see these today as serious political statements. Too many of us grew up on The Cat in the Hat and other of Geisel's later work. When we see his distinctive lines and style, they can no longer carry the adult clout that they did in the 1940s. It's hard to see his artwork through the eyes of these cartoons' original readers, and to see the outrage that Seuss both satirized and ignited. It's worth the effort, though. WWII was a very different time than today, and did a lot to shape what today has become. Minear's book examines a unique facet of that time.

//wiredweird

Dr. Seuss and His Perception of World War II.......2006-06-23

Richard H. Minear examines and shows readers another side to Dr. Seuss. The cartoons discussed and shown in DR. SEUSS GOES TO WAR: THE WORLD WAR II EDITORIAL CARTOONS OF THEODOR SEUSS GEISEL portray a somewhat dehumanizing portrait of the axis powers during World War II. They are a 180-degree turn away from Seuss works that have enchanted and delighted many children and adults. However, these WWII era cartoons draw a picture of what fears and persceptions many had during the war. Art Spiegelman comments that these are the "lost" collection of cartoons by Seuss that were drawn for New York's PM newspaper from 1941-1942, and specifically served as a propaganda tool; the cartoons earned a Pulitzer Prize for Dr. Seuss.

However, they are much more controversial to present day standards, and capture the mindset of the time in which they were drawn. And the enemy were portrayed as animal-like, a flock of cats, and fumbling human-like characters with gross depictions, which share similarities of how political cartoons had been drawn during the nineteenth and early twentieth century. These cartoons are yet another collection and historical picture of the past, and cannot be compared to the Sunday funnies.

Minear attempts to keep an objective eye on his examination and commentary of each cartoon. However, Minear's commentaries through out the book have an inkling of being subjective and opinionated when he discusses how the Japanese are portrayed . He is often critical of Seuss's consistency and accuracy of the historical record.

Nonetheless, DR. SEUSS GOES TO WAR should be required reading in any history class that discusses World War perspectives. The issues in the book are historically, politically, and socially significant to World War II, and will help bring an understanding of this particular time in history.

The great Doctor as political commentator!.......2004-07-30

Anyone who has read Dr. Seuss (and, honestly, who hasn't?) knows that his books include a great deal of political and/or social commentary disguised as children's stories. What many people don't know is that Dr. Suess started as an advertising copy writer and, early in World War II, worked as an editorial cartoonist.

This is a collection of some of his best editorial cartoons from that period, together with a detail commentary that helps to place them in their historical context. These cartoons show that Dr. Seuss was bitterly opposed to isolationism, and was clearly way ahead of his time with respect to civil rights. Ironically, however, he demonstrates a distinct bias against the Japanese that almost feels racist.

This is a facinating glimpse into a largely overlooked chapter of a celebrated artist's career, and should be required reading for anyone who wants a better understanding of Dr. Seuss, the man.

Average customer rating:

Masterly and painful
Time to face reality.
Series continues strongly.
The triumph of the human spirit
Powerful

Barefoot Gen Volume Two: The Day After
Keiji Nakazawa , and Art Spiegelman
Manufacturer: Last Gasp
ProductGroup: Book
Binding: Paperback

Cartooning | Comics & Graphic Novels | Subjects | Books

General | Comic Strips | Comics & Graphic Novels | Subjects | Books

General | Comics & Graphic Novels | Subjects | Books

General | Graphic Novels | Comics & Graphic Novels | Subjects | Books

General | Manga | Comics & Graphic Novels | Subjects | Books

Contemporary | General | Literature & Fiction | Subjects | Books

Historical | Genre Fiction | Literature & Fiction | Subjects | Books

General | Arts & Photography | Subjects | Books

Look Inside Fiction Books | Trip | Specialty Stores | Books

Look Inside Teen Books | Trip | Specialty Stores | Books
Similar Items:

ASIN: 086719619X

Book Description

Volume two, The Day After, focuses on the days following the bombing of Hiroshima, as the living victims struggle to survive in the aftermath.

Customer Reviews:

Masterly and painful.......2007-09-10

Barefoot Gen Volume Two picks up where volume one leaves Gen just after the explosion of the atomic bomb over Hiroshima. It a gripping and very painful story of survival in the fist terrible time after the bomb devastated Hiroshima. For those that survived the bomb and the deadly radiation, life has now become a desperate fight for survival in a harsh and brutal world. If you have read Volume One, you cannot skip this one, just as you have to read Volume three and four too.

Time to face reality........2007-06-24

Volume 1 & 2 of Nakazawa's famous comic series about a boy called 'Gen' and his life in Hiroshima during the WWII and soon after the atomic bomb. The first two volumes of this series are probably the most important ones. After I read the first two volumes, I just had to lend them to everyone I knew. If you read this story, you'll realise how silly to hear some popular opiniton 'Dropping two atomic bombs in Japan was necessary to end the war'. Nakazawa says that each and every event is true. You'll see, for example, that two young brothers fight against each other for a little grain of rice. The bombs were dropped onto civilians in the middle of the two cities, and, in Hiroshima alone, 100,000 people, including western prisoners of war, were killed instantly, and the pain they suffered from afterwords was tremendous. The way some of Gen's family members, including a new born baby sister, were slowly dying is simply too sad to look at. But the reality is that it actually took place and was caused by human hands.
I sincerely hope that many people will find an opportunity to read this book at least once in their life-time, and I strongly believe that this book will enlighten the whole world with its message: 'what really happens when a nuclear bomb is dropped onto humanity', which hasn't really been talked about in history books for some reason. But I think it's time to face reality.

Series continues strongly........2006-09-21

Keiji Nakazawa, Barefoot Gen: The Day After (New Society, 1988)

The story of Barefoot Gen, spunky atomic bomb survivor, continues in this second volume of the four-part series. It's not a stretch to predict that how you feel about The Day After will probably reflect how you felt about Barefoot Gen, without much variance.

The Day After (which, in fact, covers the next two days) opens just after the end of Barefoot Gen, and is concerned entirely with the survival of Gen, his mother, and his baby sister Tomoko. Gen's task during this time is to find food for the family, and this quest takes him on a number of small side adventures the present a much larger picture of the greater Hiroshima area after the bomb than the first book provided of Hiroshima before the bomb. Gen meets a number of different people, helps some, and learns that even after the bomb, when everyone around him is shrouded in misery and horror, the banality and prejudice around him doesn't disappear-- in fact, people are worse than they were beforehand. Nakazawa, as is his wont, tells us all this in his stories, and never allows his messages to get in the way of his storytelling. Ironically, Barbara Reynolds' introduction to this edition is a perfect contrast to Nakazawa's story; it's awfully-written, ham-handed, flat-out wrong (Reynolds harps on about American denial of responsibility for Hiroshima, and she's writing ten years or more after the release, and vast popularity, of John Hersey's Hiroshima) polemic whose sole purpose in inclusion, it seems, is to highlight how subtle Nakazawa is. Skip the introduction. Or, if you're a completist, read the book first and come back to the introduction afterwards, so it won't taint you.

This is very good stuff. Well worth your time. *** ½

The triumph of the human spirit.......2003-05-10

Barefoot Gen: The Day After is volume two of a four part series. It tells the story of the day after the atomic bomb was dropped on Hiroshima as seen through the eyes of seven year old Gen Nakaoka. Based on the real-life experiences of the author, Gen, his mother, and his newborn sister face the horrors of the day after the bomb. They have no food or shelter and are surrounded by the dead and dying. Even the soldiers sent in to gather and burn the dead bodies are succumbing to the radiation sickness and dying. No one understands what is happening and there is no one to turn to. Gen goes in search of food for his mother whose breast milk has dried up from malnutrition. Alone he faces the horror of the devastation and the destitution of the people of Hiroshima. This the hardest of the four books to read because the carnage of the day after the bomb is almost beyond belief. Gen's compassion, humanity, and determination makes this an inspiring book about the strength of the human spirit. Although the graphic scenes may turn some people off, this is still an important book for its message on the dangers of nuclear war.

The work has been wonderfully translated from the Japanese original: Hadashi no Gen. It was originally published in serial form in 1972 and 1973 in Shukan Shonen Jampu, the largest weekly comic magazine in Japan, with a circulation of over two million. The drawings are all in black and white. This US edition was published as part of a movement to translate the book into other languages and spread its message. It is a wonderful testimony to the strength of the human spirit and the horrors of nuclear war. There are a few introductory essays at the front of the book that help to put this book into perspective. It is a powerful and tragic story that I highly recommend for anyone interested in the topic.

Powerful.......2002-08-28

I stumbled across this graphic novel in a used bookstore, not having any idea the impression it would make on me. This is an incredibly powerful story, very effectively told through the medium of comic art. It is an affirmation of the power of visual media, and an example of how comics can be used for much more than funnies and fantasies. It is also probably the most effective anti-nuclear material I have ever come across.

Barefoot Gen Volume One: A Cartoon Story of Hiroshima

Average customer rating:

As a Japanese reader...
WE MUST READ THIS BOOK AS WE WONDER WHY OUR WAR DOES NOT ESTABLISH PEACE
Easy way to get a sense of a historical event.
Powerful, though stilted at times
Just like Maus, this is A MUST READ!!!

Barefoot Gen Volume One: A Cartoon Story of Hiroshima
Keiji Nakazawa , and Art Spiegelman
Manufacturer: Last Gasp
ProductGroup: Book
Binding: Paperback

General | Historical | Biographies & Memoirs | Subjects | Books

General | Comic Strips | Comics & Graphic Novels | Subjects | Books

General | Comics & Graphic Novels | Subjects | Books

General | Graphic Novels | Comics & Graphic Novels | Subjects | Books

General | Manga | Comics & Graphic Novels | Subjects | Books

Contemporary | General | Literature & Fiction | Subjects | Books

Historical | Genre Fiction | Literature & Fiction | Subjects | Books

ASIN: 0867196025

Book Description

This harrowing story of Hiroshima was one of the original Japanese manga series. New and unabridged, this is an all-new translation of the author's first-person experiences of Hiroshima and its aftermath, is a reminder of the suffering war brings to innocent people. Its emotions and experiences speak to children and adults everywhere. Volume one of this ten-part series details the events leading up to and immediately following the atomic bombing of Hiroshima.

Customer Reviews:

As a Japanese reader..........2007-06-24

Barefoot Gen - I grew up with this famous comic series by Nakazawa. It's about a boy called 'Gen' and his life in Hiroshima during the WWII and soon after the atomic bomb. Volumes 1 & 2 are probably the most important ones. After I read them in English, I just had to lend them to everyone I knew. If you read this story, you'll realise how silly to hear some popular opiniton 'Dropping two atomic bombs in Japan was necessary to end the war'. The author Nakazawa says that each and every event illustrated here is a true story. You'll see, for example, that two young brothers fight against each other for a little grain of rice. Gen trying to encourage a girl who used to be dreaming about one day becoming a professional dancer, but now her face was badly burnt by the bomb, although she still didn't know it - he refuses to let her see the mirror.

The bombs were dropped onto civilians in the two cities, and, in Hiroshima alone, 100,000 people, including children, elderly people and western prisoners of war, were killed instantly, and the pain they suffered from it was tremendous. The way some of Gen's family members, including a new born baby sister, were slowly dying is simply too sad to look at. But the reality is that it actually took place and was caused by human hands.

I sincerely hope that many people will find the opportunity to read this book at least once in their life-time, and I strongly believe that this book will enlighten the whole world with the message: 'What really happens when a nuclear bomb is dropped onto humanity', which hasn't really been talked about in history books for some reason. But I think it's time to face reality.

WE MUST READ THIS BOOK AS WE WONDER WHY OUR WAR DOES NOT ESTABLISH PEACE.......2007-04-12

In our present time this portal to the topic of Hiroshima and Nagasaki and our nature as the only nation to build and to use nuclear weapons, and against strictly civilian population centers may inform our moral consideration of the present failure of our total war alone against civilians to establish a peaceful and stable and democratic society.

This present volume serves as an excellent introduction to the topic. Centering on Hiroshima, as may supplement this strong introductory reading with the recent study by Prof. Takaki, or the new Racing the Enemy, which explores the lack of military reason for dropping the Bomb against an already defeated Japanese Empire. We may also read on this specific event of crisis the moving Letters from the End of the World, or HIroshima Diary, written as was Gen by eyewitnesses and civilian victims of this our nuclear holocaust. Hershey is also important to read of course, and the reissue of Hiroshima Mon Amour, but I keep returning to this child's eye view in Barefoot Gen.

We are fortunate in this reprinting for the informed and astute introduction by Art Spiegelman, the creator of the Maus series which does a similar though more symbolic treatment of the Nazi Holocaust. Art strongly recomends this first person account of a small boy on the morning of the Bomb, and its immediate effects upon himself and upon his family. Please read this book and remember. Our Popes continue to visit the Peace Park at Ground Zero in Hiroshima, to pray for peace and nonviolence and for the development of peoples.

Easy way to get a sense of a historical event........2006-07-20

The manga form of presentation makes reading about the prelude to this event easy and fast. The book seemed to be reasonably accurate with historical documentation and the visual format allowed the author to include detail that might otherwise have become difficult to work into the story. The clothing, clogs, air raid hoods, etc. that are be depicted add depth of information to a quick read.

Powerful, though stilted at times.......2006-07-19

Keiji Nakazawa, Barefoot Gen (New Society Publishing, 1983)

Keiji Nakazawa's four-volume graphic epic Barefoot Gen has become legendary in the field of graphic literature, and also, in no small way, out of it. While many Japanese artists working in every medium have examined the dropping of the atomic bombs on Hiroshima and Nagasaki and their aftereffects, Nakazawa, who lived in Hiroshima at the time the bombs were dropped, has an understandably closer perspective than most others who have tried it. For sheer power, Barefoot Gen's only rival in the subgenre is the similarly legendary Grave of the Fireflies.

This eponymous first volume takes us through the life of Gen, an elementary school student, and his family in the months before the dropping of the bomb on Hiroshima. Gen's father, while not a pacifist, is notorious in town for his speaking out against the war, which gets him and his family branded traitors. Because of this, they don't have an easy life. The family members try to find various ways to survive in the face of shunning at best, and aggression at worst, from the rest of the townspeople.

Do you need to be told that this is a book that's going to hit you in the face like a sledgehammer with its message? The artistry, or lack of same, in the delivery is the place where Grave of the Fireflies is clearly superior to Barefoot Gen, but while Nakazawa is not above letting his message get in the way of his story on occasion, it never happens for too long a period of time. Nakazawa's characters are well-drawn, and the story spends more time focused on its characters than on its message. There is a lot to be liked here, and a good deal to be mulled over, as well. Well worth your time. ****

Just like Maus, this is A MUST READ!!!.......2006-03-30

There are four books in this series and you MUST get em all!

First book is about a Japanes family near end of WWII whose father was anti war and realistically oriented man and criticism of rich people who plunged nation in war.

Second book is about a guy who walks through bombed Hiroshima and horror that A bomb can bring.

Third book is little more cheerful since it describes urchins who fight for survival and will to live blooming in greatest poverty and inhuman condition.

Fourth is conclusion and has very sad at moment, but is OPTIMISTICALLY ended.

Average customer rating:

A strangely fascinating tale
Damn' good!!
Must have companion piece to The New York Trilogy
Exceptional, Horrific and Beautiful Fiction
a haunting graphic novel...

City of Glass: The Graphic Novel
Paul Auster , Paul Karasik , and D. Mazzucchellil
Manufacturer: Picador
ProductGroup: Book
Binding: Paperback

Contemporary | General | Literature & Fiction | Subjects | Books

General | Mystery | Mystery & Thrillers | Subjects | Books

General | Mystery & Thrillers | Subjects | Books

Look Inside Fiction Books | Trip | Specialty Stores | Books

Look Inside Mystery & Thriller Books | Trip | Specialty Stores | Books
Similar Items:

ASIN: 0312423608

Book Description

Quinn writes mysteries. The Washington Post has described him as a 'post-existentialist private eye.' An unknown voice on the telephone is now begging for his help, drawing him into a world and a mystery far stranger than any he ever created in print. Adapted by Paul Karasik and David Mazzucchelli, with graphics by David Mazzucchelli, Paul Auster's groundbreaking, Edgar Award-nominated masterwork has been astonishingly transformed into a new visual language.

Customer Reviews:

A strangely fascinating tale .......2007-09-23

The art is terrific. The story is a bit hard to describe. I couldn't put this book down, and yet,now that I'm finished, I'm not sure exactly what I read :) This book is akin to poetry. It builds emotions and feelings, nuances that are hard to describe (especially now that I'm trying in this review) with the written word. The blending of pictures and words is an amazing view into the potential of comic art.

Damn' good!!.......2007-02-08

"City of Glass" is not a simple adaptation from the original book, but a real translation, from literature to sequential art. Mazzuchelli's drawings provides a very good trip to Auster's universe, his unusual characters, enlarging at same time the limits of comics language. One of the best comic books ever!

Must have companion piece to The New York Trilogy.......2006-07-14

If you enjoyed (or more likely were haunted by) City of Glass then you owe it to yourself to read this graphic novel. Yes, it is essentially the exact same story as Auster's metaphysical detective novella. However, this is a fascinating and beautifully rendered interpretation of the source work. My only complaint: where are the graphic novels for Ghosts and The Locked Room?

Exceptional, Horrific and Beautiful Fiction.......2006-03-24

City of Glass is the story of Daniel Quinn, a poet turned mystery writer, who is called one night by a person urgently seeking a detective. After several nights of "Sorry, wrong number," Quinn decides to impersonate Paul Auster, the detective the person wants to hire. Accepting the assignment leads to his ultimate ruin.

This story is primarily about Quinn's descent from depression into outright obsession and madness. Horrific abuse based on misinterpreted religion plays a big part in the book, as does the threat of murder. The perceived danger eventually disappears and the case fades away, but Quinn cannot return to his former life, and ends up completely delusional.

City of Glass is a book of unusual subtlety. Much of the tension is implicit, but is sensed through sections of extensive dialogue. The sparse artwork of the book, finally, highlights the dialogue by moving it along and filling it out, rather than distracting the reader from what is being said.

This is an exceptional work of fiction, even for readers unaccustomed to graphic novels.

a haunting graphic novel..........2004-09-23

Reviewed by Elizabeth P. Glixman for Small Spiral Notebook

I never liked comics in any form. I avoided the syndicated Brenda Star and Pogo. I ignored Archie comic books. Batman was never on my reading list. Since I read the graphic novel, City of Glass, the 2004 adaptation of his 1994 story in New York Trilogy, all that has changed.

For those not familiar with this literary form, graphic novels are literary hybrids, a combination of film noir, and comic book. There are the same narrative sequential panels as in comic books, the same stylized images and icons; however, in graphic novels the comic form is no longer only funny. These novels are stories of loss, loneliness, and existential angst. They echo the tone of post world war film noir where suspicion, fear, alienation, and suspense fill the screen.

City of Glass, named one of the 100 best comics of the century, is the story of mystery writer Daniel Quinn. Since his wife and young son died he has become a recluse. One night in his solitude the phone rings. It is the wrong number. The phone rings again. The caller Virginia Stillman is looking for Paul Auster of the Paul Auster Detective Agency. She wants to hire Auster to protect her mentally disturbed husband Peter from his father who will soon be released from prison. Peter received a threatening letter from his father. Peter Stillman Senior was incarcerated for abusing his son (he beat him when he spoke) while using him as part of a linguistic research project. Quinn decides with the encouragement of the fictional detective Max Work, the narrator of his own mystery novels, to take on the case pretending to be the detective Paul Auster.

Quinn finds the senior Stillman. He follows him, waits outside his hotel in an alley to make sure he does not get to the son.

Quinn spends days watching. Stillman never leaves the hotel or does he? Quinn grows disheveled, eats little, loses weight, does not sleep, or bathe. He runs out of money. He finds the real Paul Auster and asks him to cash the check Virginia Stillman gave Quinn at their initial meeting as an advance. But the Auster Quinn finds is not the detective. He is the author Paul Auster. Regardless, he will cash the check. Apropos for a book where reality is hazy.

Eventually Quinn gives up. He learns the senior Stillman killed himself. Virginia and Peter Stillman are nowhere to be found. Quinn returns home to find his apartment has been rented. Quinn's previous life as he knows it disappears; people are now dead or missing. Emptiness prevails. Identities are fragile. The stark graphics echo this disintegration.

The illustrations by Paul Karasik, whose work has been in the "New Yorker" (also former associate editor of "Raw Magazine"), and David Mazzucchelli, internationally known comic book artist, create moods and interior emotions that raise comics to the art of serious fiction for adults.

In this new introduction to City of Glass, Art Spiegelman, the guru of comic book artist and recipient of The Pulitzer Prize for his graphic novel Maus, says Mazzucchelli and Karasik: "have created a strange doppelganger of the original book" and a "a breakthrough work."

Average customer rating:

Dull
Not quite what I expected
"I finally understand why some Jews didn't leave Berlin after Kristallnacht"---Art Spiegelman
Go Shopping and Be Afraid
Deeply moving, but ill-informed

In the Shadow of No Towers
Art Spiegelman
Manufacturer: Pantheon
ProductGroup: Book
Binding: Board book

General | Comic Strips | Comics & Graphic Novels | Subjects | Books

General | Comics & Graphic Novels | Subjects | Books

General | Graphic Novels | Comics & Graphic Novels | Subjects | Books

General | Humor | Entertainment | Subjects | Books

General | Current Events | Nonfiction | Subjects | Books

Public Policy | Government | Nonfiction | Subjects | Books

General | Politics | Nonfiction | Subjects | Books

General | Arts & Photography | Subjects | Books
Similar Items:

ASIN: 0375423079
Release Date: 2004-09-07

Amazon.com

Catastrophic, world-altering events like the September 11 attacks on the United States place the millions of us who experience them on the "fault line where World History and Personal History collide." Most of us, however, cannot document that intersection with the force, compression, and poignancy expressed in Art Spiegelman's In the Shadow of No Towers. As in his Pulitzer Prize-winning Maus, cartoonist Spiegelman presents a highly personalized, political, and confessional diary of his experience of September 11 and its aftermath. In 10 large-scale pages of original, hard hitting material (composed from September 11, 2001 to August 31, 2003), two essays, and 10 old comic strip reproductions from the early 20th century, Spiegelman expresses his feelings of dislocation, grief, anxiety, and outrage over the horror of the attacks---and the subsequent "hijacking" of the event by the Bush administration to serve what he believes is a misguided and immoral political agenda. Readers who agree with Spiegelman's point of view will marvel at the brilliance of his images and the wit and accuracy of his commentary. Others, no doubt, will be jolted by his candor and, perhaps, be challenged to reexamine their position.

The central image in the sequence of original broadsides, which returns as a leitmotif in each strip, is Spiegelman's Impressionistic "vision of disintegration," of the North Tower, its "glowing bones...just before it vaporized." (As downtown New Yorkers, Spiegelman and his family experienced the event firsthand.) But the images and styles in the book are as fragmentary and ever-shifting as Spiegelman's reflections and reactions. The author's closing comment that "The towers have come to loom far larger than life...but they seem to get smaller every day" reflects a larger and more chilling irony that permeates In the Shadow of No Towers. Despite the ephemeral nature of the comic strip form, the old comics at the back of the book have outlasted the seemingly indestructible towers. In the same way, Spiegelman's heartfelt impressions have immortalized the towers that, imponderably, have now vanished. --Silvana Tropea

Book Description

For Art Spiegelman, the Pulitzer Prize-winning author of Maus, the terrorist attacks of September 11, 2001 were both highly personal and intensely political. In the Shadow of No Towers, his first new book of comics since the groundbreaking Maus, is a masterful and moving account of the events and aftermath of that tragic day.
Spiegelman and his family bore witness to the attacks in their lower Manhattan neighborhood: his teenage daughter had started school directly below the towers days earlier, and they had lived in the area for years. But the horrors they survived that morning were only the beginning for Spiegelman, as his anguish was quickly displaced by fury at the U.S. government, which shamelessly co-opted the events for its own preconceived agenda.
He responded in the way he knows best. In an oversized, two-page-spread format that echoes the scale of the earliest newspaper comics (which Spiegelman says brought him solace after the attacks), he relates his experience of the national tragedy in drawings and text that convey—with his singular artistry and his characteristic provocation, outrage, and wit—the unfathomable enormity of the event itself, the obvious and insidious effects it had on his life, and the extraordinary, often hidden changes that have been enacted in the name of post-9/11 national security and that have begun to undermine the very foundation of American democracy.

Customer Reviews:

Dull.......2007-03-09

In a small series of comic strips originally designed to be printed as large, two-page newspaper spreads, Spiegelman illustrates his personal experiences of the attack on the World Trade Center. He focuses mainly upon four themes: his concern over the safety of his daughter who was attending a school right near the towers, his growing paranoia over the government, the funny but disturbing display of blind patriotism that arose amongst the US population and media following the tragedy, and, lastly, how slow he is at producing comic strips.

Given the emotions still surrounding 9/11, it would take extraordinarily bad writing to fail to get any reaction from a reader, and perhaps that is why Spiegelman is so lazy and sloppy here. I'm sure he felt emotions while he was writing this, and he DOES do a good job of making the reader feel some of his anxiety over his daughter's safety, and some of his anecdotes are interesting (his never-used TV interview about how "American" 9/11 made him feel -- it didn't -- is quite humourous). But overall the writing lacks direction, is amateurish and hackneyed, and surprisingly ineffective at eliciting a strong emotional reaction from the reader given the subject matter. It usually wasn't so much Spiegelman's writing that made me feel emotions, but the memories it drew from inside of me (like the images of people falling from the towers). Without those memories, it was just history.

The problem may in part be due to the format of his stories. In each spread we tend to get a glimpse of a storyline, then we get to the next strip and we see basically the same glimpse of a storyline with much repetition and little progression, rendering his storytelling completely choppy. It reminded me of newscasts where they keep repeating the same "coming up" message over and over again, and when they finally get to the story itself, it winds up being even shorter and less informative than any of the multiple previews you sat through. And sometimes he doesn't even go that far. To illustrate, Spiegelman repeatedly tells you how paranoid he felt. But he does not get his feeling of paranoia across. He doesn't make the reader feel any of his paranoia or really show its effects on his life (other than some lost sleep). And it comes across as completely matter-of-fact. He might as well be telling us that he ate a salami sandwich for lunch yesterday without even describing its taste, his hunger, etc.

Some of his artwork is interesting as he draws upon classic strips from the early 20th century for inspiration, but this technique rarely adds any depth to the story's content. It is interesting style, but that's all it is -- style. It makes for pretty pictures, but fails to redeem the text.

Overall, Spiegelman has nothing new to say on the subject of 9/11. It has all been done far more competently and compellingly elsewhere by numbers too great to count. Ultimately lightweight, Shadow is printed on nice, thick boards to create the illusion that it is far more substantial than it is. It includes reprints of several interesting vintage comic strips which are included both to allow the reader less versed in comics to see where Spiegelman drew stylistic inspiration, and to pad out the books extremely small page count.

Not quite what I expected.......2006-04-02

I thought this would be more of a story of the artist's personal experience & less political. I don't disagree with his politics, but it was still somewhat of a disappointment. Spiegelman's artwork is always amazing, often moving & thought provoking. I was really moved by his quote: "I finally understand why some Jews didn't leave Berlin right after Kristallnacht!" I also enjoyed the section on old political cartoons

"I finally understand why some Jews didn't leave Berlin after Kristallnacht"---Art Spiegelman.......2006-02-17

Before this book, I had never picked up a book on 9/11, being that I assumed they are all so politically biased (be it one extreme or another). There are also so many of them, some released very soon after the attack. It is frustrating to look at the "new books" section of the local library and see ½ the shelves filled with 9/11 books. I couldn't help myself with this curio, however. I am a fan of history and comics. Browsing through the large, thick, colorful cardboard panels of "In the Shadow of No Towers", I saw a vintage newspaper page on the shooting of President McKinley (the author doesn't elaborate on why this was used, must be the terrorism theme, in this case anarchism) and what looked like on first glance a vintage comic on the Titanic (it turned out to be an even older comic). I knew this book was right up my alley. Having never read Maus, I wasn't sure what to expect but looked forward to checking it out.

It didn't take long to find the politically-biased stuff I dreaded.. On the very first plate: "In those first few days after 9/11 I got lost constructing conspiracy theories about my government's complicity in what had happened that would have done a Frenchman proud. (My susceptibility for conspiracy goes back a long ways but had reached its previous peak after the 2000 elections)." In fact, in his "...No Towers" comics that make up the first 10 panels of the 18-plate book, the author reveals a preoccupation with the 2000 elections. At one point he calls George W. Bush that "creature in the White House" (7). This book came out before the 2004 elections, so one can only wonder if the author has yet to let 2000 go. On panel 7, he has a red/blue zone look at the 2000 elections "the one that put the loser in office," with what I'm guessing is the percentage of the popular vote showing Gore the winner (of course, it is not the popular vote that determines the winner).

The "...No Towers" strips are very aesthetically interesting with computer images mixed with colorful comic artwork. The author relives his experiences during the tragedy, getting his daughter from the UN school near the towers, a run-in with a predictable crazy lady living on the street, etc. He then goes into his own internal struggles with what had transpired and the aftermath. My favorite line is "sometimes complaining is the only solace" (9). The vintage comics section I found to be the most intriguing as I enjoy (though I don't often understand) that early 20th century humor. Spiegelman chose is 8 comics, it seems, based on themes of buildings and American patriotism. I am grateful he includes an explanation of them, especially the Krazy Kat comic, as I would probably not understand the connection he drew between them and 9/11 otherwise. Actually, I was a little disappointed in the vintage comics used. I thought they'd deal with how comic writers dealt with other tragedies. My favorite vintage comic is the first one used in plate 1 "Etymological Vaudeville" where Happy Hooligan gets ready for bed and takes off one of his shoes that goes "Klomp!" Not wanting to wake his family, he quietly takes off the other shoe and goes to bed only to be awakened by his family cussing and yelling, "Drop the other @*g! shoe so we can go to sleep!".

What strikes me the most is the reoccurring theme that the end of the world is upon us. I think that probably people from every generation felt this away about the tragic events of their time, be it war, famine, plague, etc. Spiegelman makes statements like "I worry whether New York City or I will still be around" (7). I think we all are guilty of taking our time on earth too seriously. We like to think that we witnessed the worst thing to ever happen in the history of man. Horror is all relative of course, but in the scheme of history, as horrible as 9/11 was, it was not the worst thing to happen on earth. Worse things have happened in the past and will happen in the future. Spiegelman himself hints at this at the end of his introduction: "I still believe the world is ending, but I concede that it seems to be ending more slowly than I once thought" (i).

Go Shopping and Be Afraid.......2006-02-04

There's no way this project could be as tremendous as Spiegelman's life's work, "Maus," but it's tough not to make comparisons. This book consists of just ten large-scale comic strips that Spiegelman created to explore his feelings about 9/11 and its aftermath. Spiegelman's personal experience of the disaster – his family lives and works literally next to the World Trade Center – gives his accounts a direct poignancy, with more strength and emotion than the jingoism you get from pundits who weren't there. And as always, Spiegelman's artwork is outstandingly expressive, with his gifts for artistic allegory and surrealism in full eye-popping display. However, things go asunder when Spiegelman extends his comic strips to the political aftermath of 9/11. I don't disagree with the idea that the Bush administration has used the disaster to consolidate votes and bully a fearful public into backing their political agenda, and I won't accuse Spiegelman of conspiracy theorizing as others have. However, Spiegelman's social and political philosophy is rather undeveloped and sketchy, and frankly too weak to stand next to his outstanding artwork. Meanwhile, the second half of this very meager book consists of reprints of old comic strips from the early 1900's, which Spiegelman says have influenced his artwork and his opinions on the post-9/11 American political landscape. These strips are certainly interesting from a historical standpoint, but I'm not really buying Spiegelman's claims of a direct connection to the rest of the book. [~doomsdayer520~]

Deeply moving, but ill-informed.......2005-12-26

With Maus, Spiegelman showed how well he could tug at our emotions and portray a sense of struggling and grasping in the most hopeless scenarios. Here, however Spiegelman tries to weave the same effect based on conspiracies and propaganda, and the result is to cheapen Maus and Spiegelman alike. Readers of Maus are advised to steer clear of this book, as it will destroy the power of Spiegelman's narration by destroying the credibility and the sense of a frank and honest witness to the events.

Books:

Books Index

Books Home

Recommended Books