Abstract

Much academic discussion of Jonathan Safran Foer’s illustrated novel “Extremely Loud & Incredibly Close” (2005) centres on the role and pertinence of its visual content to the novel’s thematic exploration of the trauma associated with the catastrophe resultant from the World Trade Centre attacks. With respect to the historical development and characteristics of the illustrated novel genre, this paper explores the mechanics by which Foer’s word and image combinations engender a complex form of meaning-making, establishing “Extremely Loud & Incredibly Close” as an exemplar of visual narrative practice which may be applied in principle to other works of prose literature incorporating the image as an integrated element, contributing meaning over mere ‘gimmickry’.