Audiences crave art that brings them into the story and will make them engage the ride through the story. Art Spiegelman; comic, illustrator, and magazine editor, meets this desire in his novel Maus I and Maus II. Spiegelman reports his work as, “The goal was to get people moving forward, to get my eye and thought organized enough so that one could relatively, seamlessly, be able to become absorbed in the narrative” (Apr 19). Maus is a comic book novel that pulls in the audience into its own whirlwind and sounds a lot like the description provided by Brecht’s.
Spiegelman’s work has not always had the same intention, however. In his early career, the question that moved his art was, “How many obstacles could you put in somebody’s path before the reader just caved in and couldn’t handle it anymore?” (Juno, 8). The purpose was to relief it in its tracks in order to produce active thought, making it catharsis. Spiegelman’s 1972 comic strip, “Skinless Perkins.”, demonstrates a perfect example of tumblin...
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...wn place, in a bad situation, left to solve their own problems? When the plate is cleared, there is no other choice than to start out fresh. Art that is progressive destroys all stereotypes, all former understandings, and it leads to turning to oneself. Everyone will begin to think, relieved by generations or standards and stereotypes created in their minds, this allows them to make changes in the feebleness of the world. Art that is made to create and dominant an ideal society will lose the focus of the audience; but, without these structures of comprehension, the art of catharsis and stereotype lose all of their meanings. The true inquiry is, when the trip is over, do you pack up for another one, or do we go back in our familiar, safe place of understanding? Being daring, never letting the trip end, will make the safe roads cease to vanish forever in our old tracks.
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