{"version":"1.0","provider_name":"The New York Review of Books","provider_url":"https:\/\/www.nybooks.com","author_name":"Matt Seaton","author_url":"https:\/\/www.nybooks.com\/contributors\/mseatonnybooks-com\/","title":"\u2018Drawing Is Always a Struggle\u2019: An Interview with Art Spiegelman |","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"bU9gVRpvP6\"><a href=\"https:\/\/www.nybooks.com\/online\/2018\/04\/13\/drawing-is-always-a-struggle-an-interview-with-art-spiegelman\/\">\u2018Drawing Is Always a Struggle\u2019: An Interview with Art Spiegelman<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.nybooks.com\/online\/2018\/04\/13\/drawing-is-always-a-struggle-an-interview-with-art-spiegelman\/embed\/#?secret=bU9gVRpvP6\" width=\"600\" height=\"338\" title=\"&#8220;\u2018Drawing Is Always a Struggle\u2019: An Interview with Art Spiegelman&#8221; &#8212; The New York Review of Books\" data-secret=\"bU9gVRpvP6\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.nybooks.com\/wp-content\/uploads\/2025\/03\/sacco-spieg-copy.jpg","thumbnail_width":2074,"thumbnail_height":1071,"description":"Claudia Dreifus: Did creating Maus help you come to terms with the difficulties of growing up as the child of Holocaust survivors? Art Spiegelman: When Maus was first published, in 1986, my answer was, \u201cI\u2019ve had therapy, and I\u2019ve made comics. The comics are cheaper.\u201d That said, I kept ducking in and out of depression. At one point, my therapist told me, \u201cBut you weren\u2019t in Auschwitz. You were in Rego Park.\u201d With that, he was saying, \u201cdeal with your own reality, not your father\u2019s.\u201d I tried to incorporate that into the book. So, to answer your question: working on the book helped with both."}