To Marianne Hirsch, Spiegelman's life is "dominated by memories that are not his own". [98] His work is one not of memory but of postmemory, a term she coined after encountering Maus. 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". [99] In the field of psychology, this is called transgenerational trauma or generational trauma. Common Sense is the nation's leading nonprofit organization dedicated to improving the lives of all kids and families by providing the trustworthy information, education, and independent voice they need to thrive in the 21st century. Una frase que es un intento por respetar la memoria de las víctimas, de las que sobrevivieron, de las que no se suicidaron después de la guerra, como hizo la propia madre de Spiegelman, pero también una forma de ayudar a sus descendientes (la frase aparece en el comic en la boca del terapeuta de Spiegelman). En cualquier caso, el autor, como también hiciera Kertész en su novela, no evita responsabilizar a los judíos por todo aquello que hicieron y que no hicieron por evitar su exterminio, por el precio que tenía todo acto de ayuda prestada, y no solo por parte de alemanes o polacos, sino también por parte de los propios judíos, y como aquellos que tenían con qué pagar y/o menos escrúpulos tuvieron más posibilidades de salvarse. HAILED AS THE GREATEST GRAPHIC NOVEL OF ALL TIME, THIS COMBINED, DEFINITIVE EDITION INCLUDES MAUS I: A SURVIVOR'S TALE AND MAUS II. Hatfield, Charles (2005). Alternative Comics: An Emerging Literature. University Press of Mississippi. ISBN 978-1-57806-719-0.

Lo que es en sí la historia de Vladek, el padre de Art, me ha dejado sin palabras. Conocemos muchas historias del Holocausto, pero ya os digo que ninguna como esta... No solo vemos las consecuencias de este suceso en un envejecido Vladek, sino que vemos cómo vivió paso a paso la invasión de los nazis. Recuerda detalles TAN increíblemente concretos que se me erizaba la piel. De hecho, hay hasta mapas de cómo eran las cámaras de gas, o datos sobre cómo asesinaban los nazis a los judíos en los campos que me dejaron de piedra.Tan, Ed (2001). "The Telling Face in Comic Strip and Graphic Novel". In Baetens, Jan (ed.). The Graphic Novel. Leuven University Press. pp.31–46. ISBN 978-90-5867-109-7. Brown, Joshua (1988). "Of Mice and Memory". Oral History Review. Oral History Association (Spring): 91–109. doi: 10.1093/ohr/16.1.91. ISSN 0094-0798. Abell, Catharine (2012). "Comics and Genre". In Meskin, Aaron; Cook, Roy T (eds.). The Art of Comics: A Philosophical Approach. John Wiley & Sons. ISBN 978-1-4443-3464-7. Bolhafner, J. Stephen (October 1991). "Art for Art's Sake". The Comics Journal. Fantagraphics Books. 348 (145): 96–99. Bibcode: 1990Natur.348..280C. doi: 10.1038/348280d0. ISSN 0194-7869. Harvey, R. C. (1996). The Art of the Comic Book: An Aesthetic History. University Press of Mississippi. ISBN 978-0-87805-758-0.

Levine, Michael G. (2006). The Belated Witness: Literature, Testimony, and the Question of Holocaust Survival. Stanford University Press. ISBN 978-0-8047-5555-9. Park, Hye Su (January 1, 2011). "Art Spiegelman's Maus: A Survivor's Tale: A Bibliographic Essay". Shofar. 29 (2): 146–164. doi: 10.1353/sho.2011.0038. S2CID 54749234 . Retrieved March 1, 2012. Even more disturbing is the 20th century history of Russia and China with numbers between dozens of millions up to 100 million people killed per country. Especially adapted to one country and its history, the Maus concept would have immense potential for opening minds and maybe even something like redemption and a real reappraisal of history besides political correct drivel, bigotry, and empty promises. The crazy and disturbing thing is that it would mean imprisonment or even death for the artists creating such works in many countries that are still developing or already full scale dictatorships, with advanced surveillance technologies making the police states seem too perfectly developed to ever fall. Because resistance and rebellion have become impossible. The first chapter of Maus appeared in December 1980 in the second issue of Raw [45] as a small insert; a new chapter appeared in each issue until the magazine came to an end in 1991. Every chapter but the last appeared in Raw. [62]This was a story about survival and deep love. The love shown between Vladek and Anja mesmerized me and broke my heart seeing them go through so much cruelty and suffering. McGlothlin, Erin Heather (May 2003). "No Time Like the Present: Narrative and Time in Art Spiegelman's Maus". Narrative. 11 (2): 177–198. doi: 10.1353/nar.2003.0007. S2CID 146408018.