The horror of the Holocaust lies not only in its brutality but in
its scale and logistics; it depended upon the machinery and logic
of a rational, industrialised, and empirically organised modern
society. The central thesis of this book is that Art Spiegelman's
comics all identify deeply-rooted madness in post-Enlightenment
society. Spiegelman maintains, in other words, that the Holocaust
was not an aberration, but an inevitable consequence of
modernisation. In service of this argument, Smith offers a reading
of Spiegelman's comics, with a particular focus on his three main
collections: Breakdowns (1977 and 2008), Maus (1980 and 1991), and
In the Shadow of No Towers (2004). He draws upon a taxonomy of
terms from comic book scholarship, attempts to theorize madness
(including literary portrayals of trauma), and critical works on
Holocaust literature.
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