Art Spiegelman’s DocuDrama: Digging Deeper Divides?

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In a recent release, I had the pleasure of watching a fascinating documentary about the renowned cartoonist Art Spiegelman, entitled “Disaster is my Muse”. However, some political critiques have suggested that it might lean towards leftist propaganda. For instance, Variety’s review indicates this potential leaning.

Or, in first person:

I recently watched an intriguing documentary about the acclaimed cartoonist Art Spiegelman titled “Disaster is my Muse”. Some political assessments hint that it could skew towards leftist propaganda. For example, Variety’s review seems to indicate this possible bias.

Towards the end of the document, the artist acknowledges the relevance of his work as a powerful anti-fascist symbol against the backdrop of the Trump administration, whose actions – such as book bans and mass deportations of undesirables – eerily echo those during Nazi Germany in World War II. Moreover, being a Jewish man with personal ties to the atrocities perpetrated by the Nazi regime, Spiegelman has recently joined forces with author Joe Sacco on a three-page comic depicting the troubling situation in Gaza. Throughout these events, Spiegelman continues to be driven by his understanding that the end of personal and collective trauma, which has been the foundation of his work, may not be in sight.

The documentary in question seems to subtly criticize right-wing individuals and Israelis, and it’s not surprising that a publication supportive of its message is promoting it. The part concerning book banning is intriguing since during the Biden administration, they stopped observing Dr. Seuss’ day and halted reprints of certain books by Theodore Geisel due to allegedly racist imagery. However, Spiegelman, who was interviewed by the BBC two years before this incident occurred, remains silent on the subject of children’s books being targeted by cancel culture. If Spiegelman has never spoken out about this issue, it raises doubts about the authenticity and selflessness behind his concerns for censored literature, suggesting he may be more focused on himself without a clear motivation. The term “trauma” is used, but Spiegelman appears to obscure the victims of October 7, 2023, and even those from September 11, 2001 by his approach.

Then, in a review at the site dedicated to the late Roger Ebert, they say:

Art Spiegelman, now at the age of 76, is known for being talkative yet endearing. His life’s work, which he considers both fortunate and unfortunate, is the groundbreaking graphic novel, often referred to as Maus. However, calling it a “novel” is misleading, and when these books made The New York Times Best Seller Lists, Spiegelman ensured they were correctly categorized as non-fiction. Maus is an autobiographical two-part work that deals with Spiegelman’s personal journey, as well as his father’s experiences as a Holocaust survivor, and his mother’s story is also interwoven within the Shoah narrative. The book skillfully connects these stories with unflinching honesty, remarkable artistic flair, and occasionally, sharp wit. It gained widespread acclaim, earned him a Pulitzer Prize, but also became a burden, as he found it hard to escape its shadow. Notably, it was the tragic events of 9/11, an event that Spiegelman and his daughter were so closely associated with they narrowly escaped being affected by it, that provided him with a new subject, leading to In The Shadow Of No Towers.

The movie concludes in a somber manner as Spiegelman reflects on the Trump administration, lamenting a resurgence of fascism. He remarks, “We’ve moved from ‘never again’ to ‘never again and again and again.'” It’s clear that he may not be overly enthusiastic about current affairs, but we have faith that he will create something pertinent to the present time.

Here, it’s clear that what he’s referring to bears a strong resemblance to the content Art Spiegelman and Sacco produced for The Guardian in the UK, and his lack of understanding about Islam is deeply troubling. One might wonder if Spiegelman is aware that some Gazans rejoiced over the events of September 11, 2001, and if it has ever crossed his mind how problematic it is to absolve a community that views one of the most violent acts against both the United States and Israel in such a positive light? Regarding Spiegelman’s graphic novel, “In the Shadow of No Towers”, this reviewer raises concerns about:

The book serves not just as a personal account of his time in New York City during the attack, but it’s also a powerful critique of the U.S. government’s response post-attacks. He alleges that the Bush administration exploited the tragedy to further their own plans.

During his presidency, Bush made some controversial decisions, such as facilitating Israel’s withdrawal from Gaza and justifying Islam’s involvement in 9/11 by calling it an “hijacking.” However, this doesn’t explain why cartoonist Spiegelman criticizes Bush. It seems that Spiegelman may believe that the US government should have been more aggressive against Islamic extremism, even if it meant allowing the Taliban to maintain their oppressive regime or taking action against countries like Iran and Saudi Arabia for their potential involvement in 9/11. Critics argue that Spiegelman’s position implies that the US should not have responded to the 9/11 attacks, even though many people died in those tragic events, and the US government’s response was selective and did not hold all responsible parties accountable. Furthermore, Spiegelman has not shown empathy for or engaged with organizations representing 9/11 survivors, which is also concerning to his critics.

The Daily Cartoonist provides further clues where this “documentary” is going:

The title “Disaster serves as my inspiration” encapsulates a common theme in Art’s artistic endeavors. His mother’s suicide paved the way for “Prisoner on the Hell Planet,” a precursor to Maus, a four-page comic published several years before he embarked on the full-length work. His tumultuous relationship with his father significantly influenced the two volumes of Maus. The acclaim from Maus’s success, which made him long for anonymity, opened up the chance to create New Yorker covers, some of which stirred controversy.

After a shift to the right in US media following 9/11, Art produced “In the Shadow of No Towers,” which was published in Germany due to lack of interest from major US publishers. The election of Donald Trump and the resurgence of illiberalism rekindled interest in Maus, making Art a notable critic of emerging fascism in the United States.

It’s important to point out that if right-wingers indeed caused the ban of Maus in Tennessee classrooms, that was undeniably wrong, and it gave leftists without a sense of compassion an opportunity to take advantage. However, absolving left-wingers entirely of any blame is equally unacceptable. It’s concerning that Spiegelman seems to be giving Islamofascism a pass, and this is something no genuine artist should do. In essence, his behavior in this matter tarnishes the label of “auteur” he carries, and I cannot support such actions by purchasing Maus.

Here’s also the Forward’s review:

It’s something that Art Spiegelman has been dealing with for decades: the fact that Maus, the first comic to win a Pulitzer and a cornerstone work in graphic memoir, revolutionized the field. To this day, when he sketches himself, as he did recently for an article about Gaza in The New York Review of Books, he portrays his character in his usual, mouse-like persona, with a cigarette hanging from his mouth. In reality, however, he seems to have switched to a vape pen.

Spiegelman’s 9/11 comic strips, published by The Forward, expressed a skepticism about the U.S. reaction that was too soon for many people to accept.

Is there a possibility that doubts or questions might arise if a government leaning towards the left were in power during these uncertain times? Still, everything remains unclear and confusing.

As I stood onstage receiving a lifetime achievement award from the National Book Awards, I reflected upon my journey as an artist. You see, I had always sworn to myself that I wouldn’t be a Holocaust memoirist, preferring instead to carve out my own niche in the world of comics. However, as comics scholar Hillary Chute points out, in this era of Trump, Maus has become more than just a graphic novel; it’s a text that resonates with people who are actively reacting against and combating fascism – both thematically and aesthetically speaking.

In retrospect, I made a stand against the rise of fascist ideologies in 2019 when I withdrew my introduction from a Marvel comics compendium after editors demanded I remove a comparison between Trump and the supervillain Red Skull.

During Trump’s presidency, it was surprising that Marvel Comics didn’t insert political rants into their stories, especially given the strong opinions of some on the left at the time. If Axel Alonso, then-Editor-in-Chief, were still in charge, it might have been different. However, even now, Marvel unfortunately continues to incorporate questionable left-wing politics into their comics, which is damaging to the legacy of Stan Lee, Joe Simon, and Jack Kirby.

If Art Spiegelman focuses on right-wing issues, that’s what he’ll focus on. His attempt to criticize Trump in a Marvel compilation was unnecessary and out of place. He missed an opportunity to tackle more complex issues. Unfortunately, this is not the kind of content leftists like Spiegelman typically produce.

When a Tennessee school district banned Maus in 2022, the urgency of the work became even clearer.

In a Zoom discussion featured later in the movie, Art Spiegelman expressed surprise at witnessing America, the country that rescued his parents post-war and offered them a fresh beginning, seemingly veering towards a modern type of fascism. During this shift, he noted, book bannings – which expanded to include graphic novels on topics like LGBTQ matters, racism, and an Anne Frank diary illustration – reminded him of a contemporary form of Nazi book burning.

“It’s like destroying memory yet again,” Spiegelman argued.

From one perspective, it’s peculiar that he pins conservatives as the problem during a period when liberals were in power, without any criticisms of Joe Biden’s leadership. Furthermore, it raises questions if he finds it appropriate to educate children about homosexuality and present it positively. On top of this, his concern for book burnings seems inconsistent since he didn’t speak up about a Canadian school incident from a few years ago. If he remained silent on that issue as well, then the authenticity of his concerns is questionable.

A troubling aspect of this documentary that has caught my attention is an interviewee or contributor who hasn’t been explicitly highlighted in many previous reviews, but their involvement has been recognized by The Hollywood Reporter.

The documentary’s virtual timestamp can be determined by the presence of Aline Kominsky-Crumb, who passed away in 2022, and Neil Gaiman, one of its main speakers. Notably, having Neil Gaiman to analyze panels from the early version of Maus as a three-page comic in Funny Aminals magazine was likely a significant coup at the time. However, given that the author is currently absent from public view following allegations of sexual misconduct, his inclusion serves as an unnecessary distraction.

It’s clear that the lack of editing out Neil Gaiman from this documentary, despite his scandal being public knowledge since last July, suggests negligence on the part of the producers of “Disaster is My Muse.” Given that numerous companies severed ties with Gaiman following the revelations, it’s surprising that his appearances in Spiegelman’s documentary are still intact. This incident also brings to mind Gaiman’s involvement in Frank Miller’s recent documentary, “American Genius,” and one can’t help but wonder what Miller thinks now, as Gaiman’s presence could potentially be a distraction there as well.

Man, Spiegelman seems to have an unhealthy obsession, driven by the wrong motivations, and appears quite pessimistic in his work. This perspective significantly diminishes the impactful messages Maus intended to convey. While I enjoy documentaries, this particular one is not worth watching, especially considering its negative impact on the comic book industry.

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2025-03-06 17:31