Will Eisner

William Erwin "Will" Eisner; March 6, 1917;– January 3, 2005) was an American cartoonist, writer, and entrepreneur. He was one of the earliest cartoonists to work in the American comic book industry, and his series The Spirit (1940–1952) was noted for its experiments in content and form. In 1978, he popularized the term "graphic novel" with the publication of his book A Contract with God. He was an early contributor to formal comics studies with his book Comics and Sequential Art (1985). The Eisner Award was named in his honor, and is given to recognize achievements each year in the comics medium; he was one of the three inaugural inductees to the Will Eisner Comic Book Hall of Fame.

Quotes

A Contract With God (2004)

• Born and brought up in New York City and having survived and thrived there, I carry with me a cargo of memories, some painful and some pleasant, which have remained in the hold of my mind. I have an ancient mariner’s need to share my accumulation of experience and observations. Call me, if you will, a graphic witness reporting on life, death, heartbreak and the never-ending struggle to prevail…or at least to survive.
  • XIII, December 2004

• As the story unfolds it is at 55 Dropsie Avenue where Frimme Hersh deals with God; where the street singer fails to grasp his chance for gory. It is on Dropsie Avenue where a diminutive enemy defeats the super, and Willie comes of age. It is in an alley of Dropsie Avenue where Jacob Shtarkah tries to find the meaning of life. It is also on Dropsie Avenue, finally, where I undertake the biography of the street itself, through the physical evolution of the block, the rise and fall of the tenement building at No.55 and the ethnic and social changes of the stream of occupants.
  • XIV-XV, December 2004

• The tenement – the name derives from a fifteenth-century legal term for a multiple dwelling – always seemed to me a “ship afloat in concrete.” After all didn’t the building carry passengers on a voyage through life? No. 55 sat at the corner of Dropsie avenue near the elevated train, or the elevated as we called it in those days. It was a treasure house of stories that illustrated tenement life as I remembered it, stories that needed to be told before they faded from memory. Within its “railroad flats,” with rooms strung together train-like lived low-paid city employees or laborers and their turbulent families. Most were recent immigrants, intent n their own survival. They kept busy raising children and dreaming of the better lie they knew existed “uptown.” Hallways were filled with a rich stew of cooking aromas, sounds of arguments and the tinny wail from Victrolas. What community spirit there was stemmed from the common hostility of tenants to the landlord or his surrogate superintendent. Typically, the buildings tenants came and went with regularity, depending on the vagaries of their fortunes But many remained for a lifetime, imprisoned by poverty or old age. There was no real privacy or anonymity. Everybody knew about everybody. Human dramas, both good and bad, instantly gathered witness like ants swarming around a piece of dropped food. From window to window or on the stoop below, the tenants analyzed, evaluated and critiqued each happening, following an obligatory admission that it was really none of their business.
  • XV-XVI, December 2004

• To anyone growing up in any large city, the immediate neighborhood becomes the world. The street on which one lives provides a kid with local identification somewhat similar to being branded by national origin. Streets have a status. They grow, get old and change in character. In large coastal cities, immigration has an effect on the profile of a street altering it as each new group enters, stays a while, assimilates and then moves away. Streets seem to have a discernible life. Some start out ostentatiously and gradually descend into slums while others begin as poor the disreputable neighborhoods and rise to ostentation through what city planners call gentrification.
  • XIX, December 2004

• My early work in newspaper comics and comic books allowed me to entertain millions of readers weekly, but I always felt there was more to say. I pioneered the use of comics for instructional manuals for American soldiers, covering three major wars, and later used comics to educate grade school children. Both were heady responsibilities that I took very seriously. But I yearned to do still more with the medium. At an age when I could have "retired," I chose instead to create literary comics, than a decidedly oxymoronic term. Acceptance has not always been easy, but I have seen it arrive in my lifetime. It has been most gratifying to see the graphic novel and many of its exceptional creators gradually become an accepted part of the book world. I couldn't find a major publisher to take A Contract With God only a quarter century ago, and now graphic novels represent the book industry's fastest growing genre.
  • XIX-XX, December 2004

About Will Eisner

Miller: It’s mythic New York. And that’s what Will drew. He and I really did share two profound loves: One was for New York, and the other was for beautiful women.

• Frank Miller in "Frank Miller: A 'Spirit'-ed Q&A" by Nisha Goplan, Entertainment Weekly, (April 23, 2008).