"This book offers the first multidisciplinary analysis of the "wordless novels" of American woodcut artist and illustrator Lynd Ward (1905-1985), who has been enormously influential in the development of the contemporary graphic novel"--
This book offers the first multidisciplinary analysis of the "wordless novels" of American woodcut artist and illustrator Lynd Ward (19051985), who has been enormously influential in the development of the contemporary graphic novel. The study examines his six pictorial novels, each part of an evolving experiment in a new form of visual narrative that offers a keen intervention in the cultural and sexual politics of the 1930s. The novels form a discrete group much like Beethovens piano sonatas or Keatss great odes in which Ward evolves a unique modernist style (cinematic, expressionist, futurist, realist, documentary) and grapples with significant cultural and political ideas in a moment when the American experiment and capitalism itself hung in the balance. In testing the limits of a new narrative form, Wards novels require a versatile critical framework as sensitive to German Expressionism and Weimar cinema as to labor politics and the new energies of proletarian homosexuality.
This book offers the first multidisciplinary analysis of the "wordless novels" of American woodcut artist and illustrator Lynd Ward (1905-1985), who has been enormously influential in the development of the contemporary graphic novel.
Introduction: Origins
Chapter 1: The Silent Film, the Sketch and the Portrait in Gods Man (1929)
Chapter 2: Colonial Legacy and the Crime of Scholarship in Madmans Drum
(1930)
Chapter 3: Lynching, Labor and Homoeroticism in Wild Pilgrimage (1932)
Chapter 4: Disobedient Persuasions: Prelude to a Million Years (1933)
Chapter 5: The Limits of Allegory: Song Without Words (1936) and Hymn for the
Night (ca. 1940)
Chapter 6: The Duplicity of the Word in Vertigo (1937)
Epilogue: Dance of the Hours; or, Lynd Wards Last Unfinished Wordless Novel
(2001)
Grant F. Scott is a Professor of English at Muhlenberg College in Allentown, Pennsylvania, and author of The Sculpted Word: Keats, Ekphrasis, and the Visual Arts (1994). He has also edited Selected Letters of John Keats (2002), Joseph Severn: Letters and Memoirs (2005) and The Illustrated Letters of Richard Doyle to His Father, 18421843 (2016), and co-edited, with Sue Brown, New Letters from Charles Brown to Joseph Severn (2010).