male partner joins her and the baby in an image of hope for the future.

Ward employs symbols much as he had in previous works, such as towering buildings representing capitalism. Vermin swarm in the pictures, heightening the expectant mother's fears--nightmare images of vultures, ants crawling over an impaled infant, and rats scattering around a Nazi concentration camp filled with children.

Background

Lynd Ward (1905-1985) was a son of Methodist minister

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