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Gods' Man: A Novel in Woodcuts (Dover Fine Art, History of Art), by Lynd Ward
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The most important work of American artist and illustrator Lynd Ward, Gods' Man is a powerfully evocative novel, told entirely through woodcuts. Ward (1905–85), in employing the concept of the wordless pictorial narrative, acknowledged his predecessors the European artists Frans Masereel and Otto Nückel. Released the week of the 1929 stock market crash, Gods' Man was the first of six woodcut novels that Ward produced over the next eight years. It presents the artist's struggles in a world characterized by both innocence and corruptions and can be considered a forerunner of the contemporary graphic novel, popularized by artists such as Daniel Clowes.
Although best known for his "novels in woodcuts," Ward was also a successful illustrator of children's books. In 1953 he won the Caldecott Medal for The Biggest Bear, which he both wrote and illustrated. His illustrations also appeared in numerous books that received the Newbery Medal. Ward's final work was the acclaimed wordless novel The Silver Pony (1973).
Until now, Gods' Man has only been widely available in high-priced original editions. This top-quality, low-cost republication of Ward's masterpiece will be welcomed by collectors of his work as well as by readers new to his achievement.
- Sales Rank: #113023 in Books
- Published on: 2004-03-16
- Released on: 2004-03-16
- Original language: English
- Number of items: 1
- Dimensions: 9.22" h x .32" w x 6.36" l, .59 pounds
- Binding: Paperback
- 160 pages
From the Author
The woodblock, whether cut with a knife or engraved, develops its image by bringing details out of darkness into the light. This seems to give it an advantage over ways of working that start with an empty white area. In a sense, what is happening is already there in the darkness, and cutting the block involves letting only enough light into the field of vision to reveal what is going on. .... The measuring stick, if anyone is making a list of what is or is not a pictorial narrative, is whether the communication of what is and what is happening is accomplished entirely or predominantly in visual terms. .... It has always been a matter of some surprise to me that this process can go on for a considerable period and all take place silently. I hear no sound; there is never a word spoken.
- excerpt from Storyteller Without Words - the Wood Engravings of Lynd Ward 1974, Harry N. Abrams Publisher
From the Back Cover
The most important work of American artist and illustrator Lynd Ward, Gods' Man is a powerfully evocative novel, told entirely through woodcuts. Ward (1905–85), in employing the concept of the wordless pictorial narrative, acknowledged his predecessors the European artists Frans Masereel and Otto Nückel. Released the week of the 1929 stock market crash, Gods' Man was the first of six woodcut novels that Ward produced over the next eight years. It presents the artist's struggles in a world characterized by both innocence and corruptions and can be considered a forerunner of the contemporary graphic novel, popularized by artists such as Daniel Clowes.
Although best known for his "novels in woodcuts," Ward was also a successful illustrator of children's books. In 1953 he won the Caldecott Medal for The Biggest Bear, which he both wrote and illustrated. His illustrations also appeared in numerous books that received the Newbery Medal. Ward's final work was the acclaimed wordless novel The Silver Pony (1973).
Until now, Gods' Man has only been widely available in high-priced original editions. This top-quality, low-cost republication of Ward's masterpiece will be welcomed by collectors of his work as well as by readers new to his achievement.
Dover (2004) unabridged republication of the edition published by Jonathan Cape and Harrison Smith, New York, 1929.
About the Author
LYND WARD (1905-1985) illustrated more than two hundred books for children and adults throughout his prolific career. Winner of the Caldecott Medal for his watercolors in The Biggest Bear, Mr. Ward was also famous for his wood engravings, which are featured in museum collections throughout the United States and abroad.
Most helpful customer reviews
15 of 20 people found the following review helpful.
A Spiritual Journey
By Holley Lantz
A 1930 hard copy edition of God's Man has occupied a very special place in my family's heart and bookshelf for over 50 years. As a young child, I opened this book many times, sometimes moving quickly from woodcut to woodcut, pausing at my favorites and other times moving slowly through each one.
Just last week my grown daughter came into my home office, excited about the concept of scanning pictures and ironing them on t-shirts. She saw God's Man by my computer where I put it to remind me to check its current availability. Her first reaction was excitement, "Oh, these would be great on a t-shirt". But then, as she started going through the book page by page, she quickly reconsidered. "No, I couldn't put any of these on a t-shirt. I grew up with this book and each one is so special to me. They are too sacred to put on a t-shirt."
God's Man has been a significant part of my family's spiritual journey and I am sure it will also be a part of future generation's explorations of the spiritual and the sacred.
Thanks to Eric S. Rosen Publishing for making it available today. I'm going to order several copies for family and friends! Might someone reprint it again in hard copy? I'd buy several hard copies as well!
16 of 18 people found the following review helpful.
Beautiful, if baffling
By wiredweird
It is wonderful to have this book back in print after so many decades. This is a real achievement in visual storytelling, and helped blaze the trail for the modern graphic novel.
The format is starkly simple: one woodcut image per page, black on white. Woodcut isn't a tonal process - grades of light and dark come from alternations of white and black, for which Ward favors fields of parallel lines. His vision tends towards angular, harsh geometries; still, he uses this style in some surprisingly warm ways. "God's Man" is a product of the 1920s Art Deco era, so the combination of hard edges and soft sentiment works well.
Since it's a novel without words, much of the imagery is open to interpretation. Even so, Ward delivers his story clearly enough to leave me wondering: is this his own story, about a young artist fumbling and then finding his way in the world? How literal is that amulet of artistic power in Ward's personal mythology? This woodcut artist wields his knives fluently and with grace, so there may a thinly disguised autobiographical note, about the feeling that his own power comes into him from his chosen tools.
Don't believe it, though. This artist has full control of his medium. It's an early work from a long, successful career, so I can't even say that he was yet at the height of his craft. "God's Man" is the first I've seen of Ward's work, but it's given me the taste for more.
//wiredweird
9 of 10 people found the following review helpful.
it's all about the apostrophe
By J. Perry
This is an amazing wordless novel that somehow speaks volumes. I would just like to point out a mistake that many reviewers have made concerning this classic. Ward used little words in this work at least we should get the title right. The title is "Gods' Man" not "God's Man", this simple placement of the apostrophe makes all the difference and adds another level for which we can read the work. This work can be "read" over and over again, it is amazing and a great statement about the plight of artists in the 20th century.
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