Abstract
Beyond Maus is based on proceedings from a 2019 three-day international conference held at the Center for Jewish Studies at the University of Graz in Austria. It brings together seventeen essays, some of which are new. Clearly, the drive to explore the wide field of what one might consider “Holocaust comics” feels urgent. The medium is now helping to shape contemporary conversations about the role and impact of art and literature. As Kalina Kupczyńska reports in her chapter, in 2009, the Auschwitz-Bikenau Museum even commissioned an educational comics series, Episodes from Auschwitz. Further, research continues to shed light on image-making practices both during and after the Holocaust, by artists, survivors, and non-survivors alike, which capture information and experiences, revealing deep traditions of drawing as a form of witnessing. Examples include Art Spiegelman’s Maus: A Survivor’s Tale, arguably the world’s most famous graphic novel. The series, published in two volumes in 1986 and 1991, won the Pulitzer Prize in 1992.
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