focuses on the artist's "move from illustrator to artist-author" (146) in a work that proved to be far ahead of its time. Yousif demonstrates how Un autre monde was a further attempt by Granville to assert his autonomy. The author of the text's narrative, Taxile Delord, remained anonymous until the final installment and worked from Grandville's notes for each illustration, thus reversing the traditional subordination of the illustrator to the writer. Yousif examines in detail how the tensions between writers and illustrators were embodied in the opening and closing dialogues between the artist's phallic le crayon (pencil) and the writer's feminized la plume (quill) as well as in Grandville's images, one of which, "le feuilleton," depicted Balzac as a chef. A work of aesthetic experimentation in which Grandville combined caricature and the fantastic, Un autre monde was, however, a commercial and critical failure in its day. In her conclusion, "Cat and Mouse," Yousif analyzes an illustration from Grandville's Cent proverbes (1845) as emblematic of the relationship between the cat/writer and the mouse/illustrator. She then briefly discusses how, during the Second Empire, illustration split into two branches, that of l'édition populaire and that of l'édition de luxe. This bifurcation,
Rocky Mountain Review of Language and Literature – Rocky Mountain Modern Language Association
Published: May 5, 2015
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