Best 38 quotes of Art Spiegelman on MyQuotes

A manifesto, a diary, a crumpled suicide note, and a still relevant love letter.

Comics are a gateway drug to literacy.

Comics seem to be cooking these days. It's like being a rock star.

Even on the iPad or the Kindle, when reading a book, you're rewarded for pressing a button - it's almost as if it were a Pavlovian thing. There's a little action that happens. And that there's always a little pump of adrenaline that happens. But that pump is different when you're lifting a page as if it was a curtain in a theater to show you another thing.

he technology that threatens to kill off books as we know them - the "physical book," a new phrase in our language - is also making the physical book capable of being more beautiful than books have been since the middle ages.

I always had more allergies toward the superhero comics than the others. I thought those were aimed more toward the people who would beat me up.

I always have been and will remain someone who loves real, 3D, substantial books. And I don't believe that it's a wistful, nostalgic interest like vinyl collectors. It's not the same thing.

I became a degenerate artist. My parents were shaped by their own experiences, and artists weren't so useful in the death camps.

I became comfortable with what I knew would be the process of trying to pick up the pieces of brain that were in the rubble and tried to make some mosaic out of the pieces and that that would be the trajectory.

If you're going to visit and re-visit a book, it has more reason to be a real book, because of that ability to concentrate and that relationship that you build up with it, as opposed to the relationship that you build up with your screen, rewards replacement.

I know this is insane, but i somehow wish i had been in auschwitz with my parents so i could really know what they lived through! I guess it's some kind of guilt about having had an easier life than they did.

I live in my own bubble. I was looking for an audience that wouldn't necessarily be looking for escapism when they came to my comics.

I'm supposed to be making comics, so I had to do it the best way I knew how, which is what those guys at the beginning of the Twentieth Century were doing.

In reality, childhood is deep and rich. It's vital, mysterious, and profound. I remember my OWN childhood vividly; I knew terrible things, but I knew I mustn't let the adults *know* I knew... it would scare them.

I think a lot of America turned to art and culture after Sept. 11. I know the sales of bibles went shooting up, but so did the sales of poetry. I think in a crisis one looks to one's culture, partially to give validation to why one would want that culture to survive.

I think as soon as I figured out - and this must have been incredibly young - that comic books were made by humans, rather than being natural phenomenon likes trees or rocks, I just wanted to be one of the people who did that. So I was copying all kinds of cartoons that I was reading, comic books, and eventually learned how to draw cartoon books step-by-step and just, I don't know, I'm not an especially quick learner, but I sure was a dedicated one.

It's not an accident that, while bookstores are all in a tizzy, one of the more lively and alive sections is the so-called "graphic novel" section, because those are harder to replace.

I wanted to create comics as soon as a I learned humans were behind them, that they were not natural phenomena like trees and boulders.

I would say that, in the future, the book will be reserved for things that function best as a book. So, if I need a textbook that's going to be out of date because of new technological inventions, you're better off having it where you can download the supplements or the update.

I would say that, in the future, the book will be reserved for things that function best as a book. So, if I need a textbook that's going to be out of date because of new technological inventions, you're better off having it where you can download the supplements or the update. If you're going to read a quick mystery novel to keep you amused while you're traveling, it's fine.

No matter what I accomplish, it doesn't seem like much compared to surviving Auschwitz.

One way of understanding a graphic novel is that it's an ambitious comic and one way or another my comics have had ambitions. I have no problem with escapism. When I get my depressions all I want to do is escape reality.

On September 11 one of the messages on our answering machine was from The New Yorker saying get down here right away for a special issue we'll be doing. That seemed so irrelevant to me, considering the cataclysm. I went to my studio for a while and I was processing the news. Because when we were in the thick of it, it just felt like Mars Attacks!, Is Paris Burning?, and I had no perspective. For a while, I thought I should go down and look for bodies. At the same time, since The New Yorker was looking for images, I thought, "Well, I'm more trained to look for images than for bodies.

Right now anything made for the iPad is like performance art. I'm not interested in performance art. Comics are too hard to make to be done for such a passing blip. When it stabilizes, I'll look at it.

Samuel Beckett once said, "Every word is like an unnecessary stain on silence and nothingness." ...On the other hand, he SAID it.

Some of the reviewers wanted less. Some wanted lots more. Some wanted lots more of something else. But these strips are exactly what they are.

Sometimes I'm drawing onto a computer directly, sometimes I'm drawing on paper , so I can't really talk about drafts. It's just like having soft clay until it hardens. At least as much of the problem has to do with the decisions of what to represent, how to represent that, and how to reduce it down. The words in the balloons aren't particularly poetic necessarily, but it has the same problem as poetry, which is that one has to do great reduction. And if I tried to draw everything, you'd just have a tangled mess of a picture. The stripping down takes much longer than building up.

Style is a capitalist invention. It's a trademark. It's very useful in the world of commerce to have a good trademark, but it wasn't my first concern. I got restless

The book has very specific qualities. Let's say in 2300 they discover the physical book, after having lived with the digital book for several hundred years. They'll be able to say, "Look at all the cool stuff you can have in a real book and how different it is." The differences are manifold.

What's called art now probably has some legitimate things happening in it, but I've become more and more distrustful of a lot of it because it seems like an extension of the fashion trade and the stock market.

What we're losing culturally the fastest, aside from natural resources and oil and the idea of democracy and social justice, is the ability to concentrate.

When a technology is replaced by another technology, the previous technology either becomes art or it dies.

With any work worth its salt, you have to trust the author enough to take its measure. And if you apply too many preconceptions, you are not taking its measure.

Anja? What is to tell? Everywhere I look I'm seeing Anja... From my good eye, from my glass eye, if they're open or they're close, always I'm thinking on Anja.

But here God didn't come. We were all on our own.

If you want to live, it's good to be friendly.

I'm not talking about YOUR book now, but look at how many books have already been written about the Holocaust. What's the point? People haven't changed... Maybe they need a newer, bigger Holocaust.

Yes, life always takes the side of life, and somehow the victims are blamed. But it wasn’t the best people who survived, nor did the best ones die. It was random!