The Age profiles Art Spiegelman’s new work and its reception: “Spiegelman’s role as a staffer at (The New Yorker) became decidedly precarious when the editors saw the working drawings for his new book, In The Shadow of No Towers, which illustrates his emotional and political confusion since September 11.

‘The work is on my feelings towards the hijacking and then the hijacking of the hijacking by the Government. I’m not so sure The New Yorker is being complacent. I’m sure I’d be welcomed back once I had found the right medication.’

Spiegelman’s new book is sure to cause as much, if not more, ruckus as MAUS. It depicts a government out of control, or, more chillingly, totally in control. ‘They had an agenda already on their mind before September 11,’ he says. ‘Drying up funds for health and education and moving the funds upward to the rich, all made more implementable by the war in Iraq.’

Works in progress from The Shadow of No Towers were roundly rejected when he first showed them to publications in New York. They finally found a home in a Jewish newspaper in Manhattan, The Forward.

‘They are a peculiar format,’ he says. ‘They’re broadsheet, colour works.’ MAUS was black and white in paperback format. ‘I’ve finally got them placed in The London Review of Books, Liberation in France, Die Zeit in Germany and La Republica in Italy. So I’ve found my own coalition of the willing.'” [via walker]