The Masked Maus

          The shift in time frames is an integral part of Maus, and it is used for many different purposes. In the chapter "Auschwitz (Time Flies), Spiegelman begins a whole new time frame, the one of present day. Here, Art begins to expand on a whole wide range of themes through various techniques. One of the most noticeable is the increase in the presence of masks. The masks are drawn on everybody, including the reporters and the businessmen. The masks, however, are not the same, just like how the animals drawn are not the same. They are of mice, cats, dogs, and pigs; the animals that have been drawn in the story. This stark separation from their original state of full-fledged animals to one of disguises is a sign of difference. Unlike the burned victims laying underneath their feet (who have no masks), this change signals the lies and deception of the people.  They aren't the same as the others. They have concealed motives involving Spiegelman and his story. Whether it be for their own fame or for business practices, their goals don't involve the story, but instead the "selling" of it. 

"Artie, baby. Check out this licensing deal. You get 50% of the profits. We'll make a million. Your dad would be proud!"

           The mask motif, however, isn't just reserved for businessmen and reporters. It is also drawn on the therapist, Pavel, and Spiegelman, himself. In this instance, however, the mask isn't a representation of selfishness and trickery, but instead, one of awareness. 
It is in this conversation, in which the string and the masks are the most visible. The heads and hair of Pavel and Artie are distinctly shown, giving them a much more humanized appearance. Through this present day narrative, Spiegelman shows the reader that one cannot simply be classified by their nationality or religion. That underneath the mask lies something that we all share in common, being human. To unmask what lies beneath the exterior, and to look deeper, that is what truly matters.