Summaries and Customer Reviews are supplied by Amazon.com

"If you care about graphic novels, you need this book."
- New York Times best-selling author Neil Gaiman

Graphic Witness features rare wordless novels by four great 20th-century woodcut artists European and North American. The stories they tell reflect the political and social issues of their times as well as the broader issues that are still relevant today.

Frans Masereel (1899-1972) was born in Belgium and is considered the father of the wordless graphic novel. Graphic Witness includes the first reprint of his classic work, The Passion of a Man, since its 1918 publication in Munich. American Lynd Ward (1905-85), author of the provocative Wild Pilgrimage, is considered among the most important of wordless novelists. Giacomo Patri (1898-1978) was born in Italy and lived in the United States. His White Collar featured an introduction by Rockwell Kent and was used a promotional piece by the labor movement. Southern Cross by Canadian Laurence Hyde (1914-87) was controversial for its criticism of U.S. H-bomb testing in the South Pacific.

An introduction by George A. Walker places each wordless novel in its context and examines the influence of these works on contemporary culture, including film, comic books and contemporary graphic novels.

Graphic Witness will appeal to readers interested in social issues, printmaking, art history and contemporary culture.

Average Customer Rating:

Pure Gold in Black and White

Customer Rating:

As a long-time collector of woodcut novels, I am overjoyed to see the republishing of these gems. In this one very reasonably priced volume, you get a great introduction to this little known art form. If you have an interest in art history, early-to-mid 20th century political movements, art deco style, or if you simply enjoy good stories, you'll love this book. You really do not need an interest in modern-day graphic novels to appreciate these works (I don't). If you do have an interest in graphic novels, get this book, and learn some family history of the art. Each of these books (four books for the price of one!) takes a slice of the artist's contemporary life and then explores the timeless conditions of humankind. Masereel was profounding affected by World War I and the European chaos between the wars, so his art addresses social conditions, including the urbanization of society, during those years. Ward and Patri were also affected by their times -- so the hardship and civil unrest brought on by the Great Depression and the trade union movement is the background for their stories here. Ward also presciently treats the rise of nazism in his other woodcut novels. Patri's "White Collar" in particular is a real find, because this story is not readily available in any other form, as far as I know. Finally, Hyde's story was printed in 1951, and he addresses the first man-made weapon of mass destruction, the A-bomb, and its effect on the environment of the South Seas. This book also gives a good sampling of the art of the woodcut novel, over time. The earliest is Masereel's work of 1918, and his figures have the least detail, and thus lack an ability to communicate nuance in the characters. Ward's work, is highly detailed, in a distinctive art deco style (akin to the work of Rockwell Kent) and I find more enjoyable. To fully appreciate all these works, you need to spend some time with them on a second and third "read." It takes only a few minutes to go through each story, which is all it takes to get a general understanding of the story. However, upon rereading, and studying the figures, you will probably come to a different understanding of the story. Without words, there is a lack of precision, so your life experience and imagination will fill in the blanks. Congratulations to the publisher (Firefly Books) for preserving this important art form, and making it accessible at a very reasonable price. Kudos!

What relief

Customer Rating:

These four graphic novels cover a range of relief printmaking techniques: woodcut, linocut, and wood engraving. They cover a range of styles, as well: Masereel's Expressionism, Ward's delicate linework on bold figures, Patri's crisp realism, Hyde's detailed primitivism. And, although they cover very different eras and stories, they all end in pessimism about people's treatement of people. Masereel's story is the most ambiguous. His imagery has least in the way of explicit continuity and the most in dramatic contrasts. Masereel makes it clear, however, that the urban world has dozens of ways to chew people up and spit them out. Ward's "Wild Pilgrimage" tries to escape an urban hell, but finds rural America is no better. It includes a lynching early on, an ugly blot from the country's not-so-distant past. Patri's "White Collar" conveys the hopeless of The Depression, a world where no amount of hard work can be enough to make ends meet. Finally, Hyde's "Souther Cross" brings us up to the atomic age, examining one of the human costs of 50s-era nuclear testing in the Pacific. Walker's collection reminds us that the graphic novel, as we know it today, drew from many sources. On one hand, comic strip culture evolved upwards through generations of comics towards today's graphic novels, and now presents very mature works by contemporary writers. In the other direction, fine art printing found itself too constrained by the single image. It needed plots, not just snapshots. As a result, it's easy for today's reader to appreciate these moving graphic series - and maybe easier, when that reader learns about the persecutions and McCarthy-eras black-balling of some of these artists and their works. -- wiredweird