Emotion Picture Projector
Graphic-novel pioneer Lynd Ward sought to reinvent how stories are read.
William T. Vollmann
IF THAT SWEETMEAT of American Revolution agitprop called Johnny Tremain was ever a part of your childhood, then you probably encountered the illustrations of Lynd Ward. In one of them, we see Johnny slouching sadly by a wall, eavesdropping on Boston's commercial life. A man in a cocked hat carries two long planks on his shoulder; a Puritan type strains backward, pulling a reluctant horse; somebody staggers under the symmetrical weight of two buckets. Johnny was a gifted (and arrogant) silversmith's apprentice. Now his hand is crippled. His master has no more use for him. He must find a new place in this cruel world. Ward's illustration, competent and even lively but all the same undistinguished, could never express this on its own. It is appropriate but dispensable.
A rather different revolution was exemplified
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