Gods' man ; Madman's drum ; Wild pilgrimage
著者
書誌事項
Gods' man ; Madman's drum ; Wild pilgrimage
（The library of America, 210）
Library of America, c2010
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注記
"The images constituting Gods' man in the present volume are reproduced from a copy of the 'deluxe edition' published by Cape & Smith in the fall of 1929."--P. 824
"The images constituting Madman's drum in the present volume are reproduced from a copy of the 'deluxe edition' published by Cape & Smith in the fall of 1930."--P. 824
"The images constituting Wild pilgrimage in the present volume are reproduced from a copy of the Smith & Haas edition."--P. 825
Chronology: p. 799-821
内容説明・目次
内容説明
Edited by Art Spiegelman, author of the Pulitzer Prize-winning graphic novel Maus
A wordless novel in woodcuts from Lynd Ward, a pioneering artist/novelist who was "an unmistakable soul-companion to . . . Frank Capra and John Steinbeck, but also Fritz Lang and Franz Kafka" (Jonathan Lethem)
From the Great Depression to WII, America's first great graphic novelist bore witness to the roiling, dizzying national scene as both a master printmaker and a socially committed storyteller.
In this, the first of two volumes collecting all his woodcut novels, The Library of America brings together Lynd Ward's earliest books, published when the artist was still in his twenties. Gods' Man (1929), the audaciously ambitious work that made Ward's reputation, is a modern morality play, an allegory of the deadly bargain a striving young artist often makes with life. Madman's Drum (1930), a multigenerational saga worthy of Faulkner, traces the legacy of violence haunting a family whose stock in trade is human souls. Wild Pilgrimage (1932), perhaps the most accomplished of these early books, is a study in the brutalization of an American factory worker whose heart can still respond to beauty but whose mind is twisted in rage against the system and its shackles.
The images reproduced in this volume are taken from prints pulled from the original woodblocks or first-generation electrotypes. Ward's novels are presented, for the first time since the 1930s, in the format that the artist intended, one image per right-hand page, and are followed by five essays in which he discusses the technical challenges of his craft. Art Spiegelman contributes an introductory essay, "Reading Pictures," that defines Ward's towering achievement in that most demanding of graphic-story forms.
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