Most art and literature about the Holocaust is governed by certain unspoken rules. Among these are the notions that the Holocaust must be portrayed as an utterly unique event; that it must be depicted with scrupulous accuracy, and with the utmost seriousness, so as not to obscure its enormity or dishonor its dead. In what way does Maus obey, violate, or disprove these "rules"?
The graphic text is presented in simple language which is accessible and intelligible. The predominant language used is English though a very few lines of dialogue are delivered in Yiddish or Polish. However, the non-English dialogue is accompanied by an English translation. The non-dialogue portions of the text are delivered in grammatically correct but simple structures. Much of the dialogues is delivered in grammatically incorrect or awkward construction reminiscent of a non-native speaker's use of the language. For example, Vladek's construction is typically difficult—"So... let's stop, please, your tape recorder... I'm tired from talking, Richieu, and it's enough stories for now..." (p. 296).
The graphic illustrations accompanying the relatively simple language allow for a rich and Pulitzer-Prize-winning presentation full of texture and tone which would be extremely difficult, if not impossible, to present in a traditional text-only memoir. The extended allegorical presentation of cultural identification through the use of anthropomorphized animals is one of the text's defining highlights and creates an inferred meaning beyond any possible textual construction. The portrayal of the gallant Vladek as a mouse—a maus—effectively dispels completely the Nazi-inferred inferiority of race and unequivocally dismisses the vile Nazi concept of racial inequality.
