Some context: Art Spiegelman (; born Itzhak Avraham ben Zeev on February 15, 1948) is an American cartoonist, editor, and comics advocate best known for his graphic novel Maus. His work as co-editor on the comics magazines Arcade and Raw has been influential, and from 1992 he spent a decade as contributing artist for The New Yorker, where he made several high-profile and sometimes controversial covers. He is married to designer and editor
Hired by Tina Brown as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years. Spiegelman's first cover appeared on the February 15, 1993, Valentine's Day issue and showed a black West Indian woman and a Hasidic man kissing. The cover caused turmoil at The New Yorker offices. Spiegelman intended it to reference the Crown Heights riot of 1991 in which racial tensions led to the murder of a Jewish yeshiva student. Spiegelman had twenty-one New Yorker covers published, and submitted a number which were rejected for being too outrageous.  Within The New Yorker's pages, Spiegelman contributed strips such as a collaboration titled "In the Dumps" with children's illustrator Maurice Sendak and an obituary to Charles M. Schulz titled "Abstract Thought is a Warm Puppy". An essay he had published there on Jack Cole, the creator of Plastic Man, called "Forms Stretched to their Limits" was to form the basis for a book in 2001 about Cole called Jack Cole and Plastic Man: Forms Stretched to their Limits.  The same year, Voyager Company published a CD-ROM version of Maus with extensive supplementary material called The Complete Maus, and Spiegelman illustrated a 1923 poem by Joseph Moncure March called The Wild Party. Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in the September 1, 1997 issue of Mother Jones.  Spiegelman's influence and connections in New York cartooning circles drew the ire of political cartoonist Ted Rall in 1999. In an article titled "The King of Comix" in The Village Voice, Rall accused Spiegelman of the power to "make or break" a cartoonist's career in New York, while denigrating Spiegelman as "a guy with one great book in him". Cartoonist Danny Hellman responded by sending a forged email under Rall's name to thirty professionals; the prank escalated until Rall launched a defamation suit against Hellman for $1.5 million. Hellman published a "Legal Action Comics" benefit book to cover his legal costs, to which Spiegelman contributed a back-cover cartoon in which he relieves himself on a Rall-shaped urinal.  In 1997, Spiegelman had his first children's book published: Open Me... I'm a Dog, with a narrator who tries to convince its readers that it is a dog via pop-ups and an attached leash. From 2000 to 2003 Spiegelman and Mouly edited three issues of the children's comics anthology Little Lit, with contributions from Raw alumni and children's book authors and illustrators.
Are there any other interesting aspects about this article?
A: In 1997, Spiegelman had his first children's book published:
Some context: Lee de Forest was born in 1873 in Council Bluffs, Iowa, the son of Anna Margaret (nee Robbins) and Henry Swift DeForest. He was a direct descendant of Jesse de Forest, the leader of a group of Walloon Huguenots who fled Europe in the 17th Century due to religious persecution. De Forest's father was a Congregational Church minister who hoped his son would also become a pastor. In 1879 the elder de Forest became president of the American Missionary Association's Talladega College in Talladega, Alabama, a school "open to all of either sex, without regard to sect, race, or color", and which educated primarily African-Americans.
One of de Forest's areas of research at Federal Telegraph was improving the reception of signals, and he came up with the idea of strengthening the audio frequency output from a grid Audion by feeding it into a second tube for additional amplification. He called this a "cascade amplifier", which eventually consisted of chaining together up to three Audions.  At this time the American Telephone and Telegraph Company was researching ways to amplify telephone signals to provide better long-distance service, and it was recognized that de Forest's device had potential as a telephone line repeater. In mid-1912 an associate, John Stone Stone, contacted AT&T to arrange for de Forest to demonstrate his invention. It was found that de Forest's "gassy" version of the Audion could not handle even the relatively low voltages used by telephone lines. (Due to the way he constructed the tubes, de Forest's Audions would cease to operate with too high a vacuum.) However, careful research by Dr. Harold D. Arnold and his team at AT&T's Western Electric subsidiary determined that by improving the tube's design, it could be more fully evacuated, and the high vacuum allowed it to successfully operate at telephone line voltages. With these changes the Audion evolved into a modern electron-discharge vacuum tube, using electron flows rather than ions. (Dr. Irving Langmuir at the General Electric Corporation made similar findings, and both he and Arnold attempted to patent the "high vacuum" construction, but the U.S. Supreme Court ruled in 1931 that this modification could not be patented).  After a delay of ten months, in July 1913 AT&T, through a third party who disguised his link to the telephone company, purchased the wire rights to seven Audion patents for $50,000. De Forest had hoped for a higher payment, but was again in bad financial shape and was unable to bargain for more. In 1915, AT&T used the innovation to conduct the first transcontinental telephone calls, in conjunction with the Panama-Pacific International Exposition at San Francisco.
Did he work alone in his research?
A:
an associate, John Stone Stone,