as contemporary literary pieces by writers such as William S. Burroughs and Charles Bukowski. In 1975, Spiegelman moved back to New York City, which put most of the editorial work for Arcade on the shoulders of Griffith and his cartoonist wife, Diane Noomin. This, combined with distribution problems and retailer indifference, led to the magazine's 1976 demise. Spiegelman swore he would never edit another magazine. Françoise Mouly, an architectural student on a hiatus from her studies at the Beaux-Arts in Paris, arrived in New York in 1974. While looking for comics from which to practice reading English, she came across Arcade. Avant-garde filmmaker friend Ken Jacobs introduced Mouly and Spiegelman, when Spiegelman was visiting, but they did not immediately develop a mutual interest. Spiegelman moved back to New York later in the year. Occasionally the two ran across each other. After she read "Prisoner on the Hell Planet" Mouly felt the urge to contact him. An eight-hour phone call led to a deepening of their relationship. Spiegelman followed her to France when she had to return to fulfill obligations in her architecture course. Spiegelman introduced Mouly to the world of comics and helped her find work as a colorist for Marvel Comics. After returning to the U.S. in 1977, Mouly ran into visa problems, which the couple solved by getting married. The couple began to make yearly trips to Europe to explore the comics scene, and brought back European comics to show to their circle of friends. Mouly assisted in putting together the lavish, oversized collection of Spiegelman's experimental strips Breakdowns in 1977. Raw and Maus (1978–1991) Breakdowns suffered poor distribution and sales, and 30% of the print run was unusable due to printing errors, an experience that motivated Mouly to gain control over the printing process. She took courses in offset printing and bought a printing press for her loft, on which she was to print parts of a new magazine she insisted on launching with Spiegelman. With Mouly as publisher, Spiegelman and Mouly co-edited Raw starting in July 1980. The first issue was subtitled "The Graphix Magazine of Postponed Suicides". While it included work from such established underground cartoonists as Crumb and Griffith, Raw focused on publishing artists who were virtually unknown, avant-garde cartoonists such as Charles Burns, Lynda Barry, Chris Ware, Ben Katchor, and Gary Panter, and introduced English-speaking audiences to translations of foreign works by José