But you do analyze it and even argue that this might be one of the ways in which to read the comic as a Jewish text.

Yes.

So the Jewishness of Maus is, again, one of these things that seems really obvious that's actually contested and I think needs to be argued for and not taken as a given.

And that's in part because since he produced Maus, Spiegelman himself has been resisting sort of ascriptions of Jewishness And, you know, as he's recently said in the short comic that he came out with recently, it's a collaboration with the cartoonist Joe Sacco.

he never wanted Maus to be, in his words, a recruitment poster for the Israeli army.

That was sort of his framing.

And so as that sort of comment implies, the part of him that resists thinking about Maus as a Jewish text is the part of him that doesn't want to sort of... make Jewishness into a nationalistic thing affiliation and so what I really was interested in and at the time that I was writing this chapter it was very much on the sort of public imagination as well it's this question of like what does it mean to do Jewishness textually and to have that that heritage and that identity be something that you work out on the page and in sort of familial terms without sort of recourse to the state of Israel or even sort of like broader public formations of historical memory.

So could you maybe discuss a bit those legacies or traces in work that's not Spiegelman or Bechdel?

But you do analyze it and even argue that this might be one of the ways in which to read the comic as a Jewish text.

Yes.

So the Jewishness of Maus is, again, one of these things that seems really obvious that's actually contested and I think needs to be argued for and not taken as a given.

And that's in part because since he produced Maus, Spiegelman himself has been resisting sort of ascriptions of Jewishness And, you know, as he's recently said in the short comic that he came out with recently, it's a collaboration with the cartoonist Joe Sacco.

he never wanted Maus to be, in his words, a recruitment poster for the Israeli army.

That was sort of his framing.

And so as that sort of comment implies, the part of him that resists thinking about Maus as a Jewish text is the part of him that doesn't want to sort of... make Jewishness into a nationalistic thing affiliation and so what I really was interested in and at the time that I was writing this chapter it was very much on the sort of public imagination as well it's this question of like what does it mean to do Jewishness textually and to have that that heritage and that identity be something that you work out on the page and in sort of familial terms without sort of recourse to the state of Israel or even sort of like broader public formations of historical memory.

So could you maybe discuss a bit those legacies or traces in work that's not Spiegelman or Bechdel?

But you do analyze it and even argue that this might be one of the ways in which to read the comic as a Jewish text.

Yes.

So the Jewishness of Maus is, again, one of these things that seems really obvious that's actually contested and I think needs to be argued for and not taken as a given.

And that's in part because since he produced Maus, Spiegelman himself has been resisting sort of ascriptions of Jewishness And, you know, as he's recently said in the short comic that he came out with recently, it's a collaboration with the cartoonist Joe Sacco, he never wanted Mouse to be, in his words, recruitment poster for the Israeli army that was sort of his framing and so as that sort of comment implies the part of him that resists thinking about Maus as a Jewish text is the part of him that doesn't want to sort of make Jewishness into a nationalistic affiliation and so what I really was interested in and at the time that I was writing this chapter it was very much on the sort of public imagination as well it's this question of like what does it mean to do Jewishness textually and to have that that heritage and that identity be something that you work out on the page and in sort of familial terms without sort of recourse to the state of Israel or even sort of like broader public formations of historical memory.

So like the sort of the little air bubble that you can insert between the personal history of your family and the sort of broader history of the Jews as a people.

Like, what does it mean to sort of work through those different layers of inheritance that you have as a Jew? And for me, Enter Boxes, it all sort of began with thinking about several different boxes that show up in Maus.

So there are the boxes that you mentioned that you can't miss because they are the panels of the page.

So

But you do analyze it and even argue that this might be one of the ways in which to read the comic as a Jewish text.

Yes.

So the Jewishness of Maus is, again, one of these things that seems really obvious that's actually contested and I think needs to be argued for and not taken as a given.

And that's in part because since he produced Maus, Spiegelman himself has been resisting sort of ascriptions of Jewishness And, you know, as he's recently said in the short comic that he came out with recently, it's a collaboration with the cartoonist Joe Sacco.

he never wanted Maus to be, in his words, a recruitment poster for the Israeli army.

That was sort of his framing.

And so as that sort of comment implies, the part of him that resists thinking about Maus as a Jewish text is the part of him that doesn't want to sort of... make Jewishness into a nationalistic affiliation.

So could you maybe discuss a bit those legacies or traces in work that's not Spiegelman or Bechdel? Yes, absolutely.