a three-page strip for the first issue of Funny . He wanted to do one about racism, and at first considered a story with African-Americans as mice and cats taking on the role of the Ku Klux Klan. Instead, he turned to the Holocaust that his parents had survived. He titled the strip "Maus" and depicted the Jews as mice persecuted by die Katzen, which were Nazis as cats. The narrator related the story to a mouse named "Mickey". With this story Spiegelman felt he had found his voice. Seeing Green's revealingly autobiographical Binky Brown Meets the Holy Virgin Mary while in-progress in 1971 inspired Spiegelman to produce "Prisoner on the Hell Planet", an expressionistic work that dealt with his mother's suicide; it appeared in 1973 in Short Order Comix 1, which he edited. Spiegelman's work thereafter went through a phase of increasing formal experimentation; the Apex Treasury of Underground Comics in 1974 quotes him: "As an art form the comic strip is barely in its infancy. So am I. Maybe we'll grow up together." The often-reprinted "Ace Hole, Midget Detective" of 1974 was a Cubist-style nonlinear parody of hardboiled crime fiction full of non sequiturs. "A Day at the Circuits" of 1975 is a recursive single-page strip about alcoholism and depression in which the reader follows the character through multiple never-ending pathways. "Nervous Rex: The Malpractice Suite" of 1976 is made up of cut-out panels from the soap-opera comic strip Rex Morgan, M.D. refashioned in such a way as to defy coherence. In 1973, Spiegelman edited a pornographic and psychedelic book of quotations and dedicated it to his mother. Co-edited with Bob Schneider, it was called Whole Grains: A Book of Quotations. In 1974–1975, he taught a studio cartooning class at the San Francisco Academy of Art. By the mid-1970s, the underground comix movement was encountering a slowdown. To give cartoonists a safe berth, Spiegelman co-edited the anthology Arcade with Bill Griffith, in 1975 and 1976. Arcade was printed by The Print Mint and lasted seven issues, five of which had covers by Robert Crumb. It stood out from similar publications by having an editorial plan, in which Spiegelman and Griffith attempt to show how comics connect to the broader realms of artistic and literary culture. Spiegelman's own work in Arcade tended to be short and concerned with formal experimentation. Arcade also introduced art from ages past, as well