\"\" — Expo du 9 décembre 2022 au 30 août 2023

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En bouclant fin 2022, le 4e volume de sa série Spirou – L’Espoir Malgré Tout, Émile Bravo à mis le point final à l’une des séries les plus fortes et les plus réussies de la littérature jeunesse pour parler de la guerre et de la Shoah. À travers le destin de Spirou, Fantasio, Spip et leurs amis, l’auteur questionne la mince frontière entre le bien et le mal, où chacun peut être victime ou bourreau, où un instant peut faire basculer une vie. Découvrir le coup de cœur sur la série, pour en savoir plus, ici.

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Très documentée, mettant en scène de vraies personnalités au milieu des héros de fiction, cette série offrait un corpus riche pour organiser une exposition de grande envergure.

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Le Mémorial de la Shoah propose une expo du 9 décembre 2022 au 30 août 2023 qui met le travail d’Émile Bravo à l’honneur avec des originaux et documents de travail, mais également des oeuvres des peintres Felix Nussbaum & Felka Platek, des documents historiques inédits et un corpus de presse.

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« C’est un Spirou pour les enfants et ce sont les adultes qui en ont peur qui sont immatures.”

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\"\" — Émile Bravo détaillant l’expo aux côtés de Didier Pasamonik

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À l’heure de publier cet article, je lis justement sur les réseaux sociaux que certains lecteurs se plaignent, en découvrant l’annonce de l’expo, que la Shoah n’est pas un sujet pour enfant. C’est l’auteur de cette série, Émile Bravo qui a entendu cette rengaine plusieurs fois depuis son Journal d’un ingénu, qui a pensé à leur répondre lors du vernissage de l’exposition :

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« Contrairement à ce que pensent beaucoup de gens qui disent “la Shoah ce n’est pas pour les enfants”, eh bien si c’est pour les enfants ! Moi je l’ai appris quand j’avais 8-10 ans, c’est très choquant, mais il faut en prendre conscience très tôt. C’est un Spirou pour les enfants, moi je l’ai fait avec mon âme d’enfant, et ce sont les adultes qui en ont peur qui sont immatures.»

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Pour le commissaire scientifique de l’exposition Didier Pasamonik, cette série « est l’oeuvre la plus importante sur la Shoah depuis Maus d’Art Spiegelman ! Il faut bien une punchline pour caractériser cette oeuvre, car elle aborde le sujet avec une empathie unique. C’est aussi une oeuvre extrêmement bien écrite, très bien dessinée, très documentée : il y a même des intuitions qui ont été confirmées par les recherches que l’on a pu faire après. En préparant l’exposition, on a découvert plein de choses que l’on ignorait, notamment sur Jean Doisy. »

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Une exposition voulue par Caroline François, commissaire générale de l’exposition et chargée des expositions du Mémorial de la Shoah, comme une exposition familiale. « Une première pour le Mémorial » souligne-t-elle.

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L’exposition se double d’un parcours jeune public constitué de cartels adaptés dans l’exposition en regard des textes pour les visiteur.teuse.s adultes, avec les personnages qui posent des questions ou commentent ce que l’on voit. Cette démarche est complétée d’un livret jeune public qui permet aux parents d’accompagner les enfants dans l’exposition à travers une série de questions qui reprennent en synthèse les grands thèmes abordés.

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\"\" — Planches originales et dessins d’Émile Bravo

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L’expo met en lumière 3 personnalités historiques méconnues : Felix Nussbaum, Felka Platek et Jean Doisy

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\"\" — Oeuvres de Felix Nussbaum & Felka Platek

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Dans son oeuvre, Émile Bravo intègre plusieurs faits et humains bien réels, certaines distillées dans la fiction comme Jean Doisy ou Suzanne Moons (voir plus bas) et d’autres présentées comme tels, à l’image des artistes juifs Felix et Fleka pour qui Spirou se prend d’amitié.

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Émile Bravo nous explique : « Je traite Felix Nussbaum comme un personnage de bande dessinée au départ. Et à la fin, juste à la fin, je dévoile la chose en montrant ce tableau qui m’avait vraiment impacté, pour faire comprendre que ce personnage est réel. Et c’est là où ça doit créer un petit choc. »

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Pour comprendre les raisons qui ont poussé l’auteur à intégrer Felix et Fleka, les commissaires d’expositions ont intégré des originaux de Felix Nussbaum et Felka Platek, tableaux et esquisses préparatoires pour illustrer le choix d’Émile Bravo : « C’est en tombant sur un tableau, dans un bouquin pour la jeunesse qui s’appelle l’Art à travers l’Histoire qui explique le lien entre l’histoire et tous les mouvements artistiques, et il y a la Shoah où je tombe sur ce tableau qui s’appelle le Triomphe de la mort peint par Felix Nussbaum. Et là, c’est clair : c’est un tableau prenant, assez choquant la première fois où on le voit. C’est un tableau qui nous parle d’Auschwitz, de ce qu’est le nazisme, le totalitarisme… Et quand je vois cette image, je me dis voilà, c’est au travers de ce peintre que je vais parler d’Auschwitz. »

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Dans les bandes dessinées, ces oeuvres apparaissent à plusieurs reprises, en plus d’être à l’origine de l’histoire. Dans l’exposition, une salle leur est dédiée, pour Didier Pasamonik : « Cette idée de faire rencontrer Spirou et des personnages réels —sauf que jusqu’au bout on ne sait pas que ce sont des personnages vrais —c’est absolument exceptionnel. »

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L’autre figure centrale de l’exposition, c’est Jean Doisy. Le rédacteur en chef, scénariste de Valhardi a récemment été remis en lumière par Christelle et Bertrand Pissavy-Yvernault qui ont dévoilé tout un pan de son activité méconnue autour de la résistance et de Spirou.

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Créateur du personnage de Fantasio, il sera à l’origine du « Club des amis de Spirou » (AdS) dès 1938, avec un engagement proche des scouts qui inquiète sérieusement les nazis en 1943 car il compte plus de 50 000 membres. Jean Doisy va rédiger un Code d’honneur, dessiné par Jijé, qui va éduquer les enfants à résister à la propagande nazie et pousser certains à entrer dans la résistance.

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Tandis que les Dupuis refusent l’administrateur allemand et doivent cesser la parution du Journal ainsi que leurs activités, Doisy fournit 1 tonne de papier à la résistance récupéré chez Dupuis et propose une idée aux frères Dupuis : faire vivre les personnages à travers un théâtre de marionnettes itinérant.

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« Le Théâtre du Farfadet », mettant en scène Spirou, animé par André Moons sera un énorme succès et servira le réseau résistant de Jean Doisy qui fera passer des messages, au sens propre comme au figuré, grâce à ce théâtre. La mère du marionnettiste, Suzanne Moons sous le nom de Madame Brigitte, organisera le sauvetage de plusieurs centaines d’enfants juifs tandis que Jean-Jacques Oblin organisera des actions de sabotages dans le sillage du théâtre du Farfadet.

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On découvre dans l’exposition la marionnette originale sculptée par Jijé ainsi que des affiches promotionnelles. Mais l’exposition révèle également un autre document, « le rapport Victor Martin » qui décrit en 1942 les camps de la mort, le ghetto environnant et les conditions du STO. Victor Martin, ce sociologue qui parle parfaitement allemand, sera missionné par Jean Doisy avant qu’il puisse transmettre ce rapport à la résistance belge puis aux services secrets anglais, jouant un rôle clef dans cette période.

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Pour en savoir plus, ce podcast avec Christelle Pissavy-Yvernault en invitée est dispo avec en prime une fiction « Jean Doisy et la guerre de Spirou » de Vincent Hazard qui reprend les grandes lignes de la vie de Doisy.

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\"\" — Marionnettes originales du « Le Théâtre du Farfadet », avec le Spirou sculpté par Jijé

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La presse collabo ou résistante

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Si la bande dessinée belge a connu un tel âge d’or à cette époque, elle le doit en partie à cette guerre. Si les Dupuis refusent et que Spirou s’arrête, le journal Bravo ! de Jean Meewissen lui a collaboré avec les Allemands, et imprime de la propagande allemande sur ses imprimeries.

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Les BD américaines n’arrivent plus à partir de 1942, et l’entrée en guerre en 1941 des USA, et Edgar Pierre Jacobs est sollicité pour finir une histoire de Flash Gordon en cours de publication dans Bravo ! avant d’attaquer une histoire dans la même veine, le Rayon U qui préfigure sa série culte Blake et Mortimer.

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De son côté Hergé continue les aventures de Tintin dans Le Soir jeunesse, qui prend la suite du Petit Vingtième en 1940, met Tintin en vedette avec ses 400 000 lecteurs qui va assoir la notoriété d’Hergé (et porter cette accusation de collaboration puisque le Soir est devenu un journal de propagande nazie).

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Didier Pasamonik nous décrit les pièces présentées en vitrine dans cette partie de l’expo : « On découvre sur ces journaux qu’il y avait un habitus antisémite en Belgique qui était culturel et qu’on retrouve aussi chez Dupuis. On voit un exemplaire du Moustique avec un dessin antisémite en couverture. On retrouve cet humour antisémite courant dans Spirou, Jijé raconte une histoire mettant en scène Spirou qui signe un contrat avec des producteurs de cinéma américains juifs… ce sera le seul dérapage antisémite de Jijé pendant ou après la guerre. »

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\"\" — Documents d’archives & dessins originaux

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On a aussi le journal le Soir sous séquestre allemand, avec un strip de Tintin, L’Étoile mystérieuse dont certaines cases ne sont pas dans l’album final. Avec en vis-à-vis le journal La Patrie, qui est un journal résistant qui sort au moment de la libération, avec une parodie de Tintin & Milou au pays des nazis.

On a aussi un fascicule La Galerie des traîtres qui est en réalité un trombinoscope destiné aux résistants pour identifier « les collabos » à abattre dans la rue. Et on y retrouve Hergé, accusé d’avoir collaboré à travers Le Soir.

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Des pièces exceptionnelles

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En plus des originaux d’Émile Bravo, l’exposition permet de découvrir pas mal de documents d’archives, de photos et de pièces qui permettent de contextualiser et de prolonger les thématiques abordées par la BD. Dont certaines comme le rapport Victor Martin, présenté dans l’expo en intégralité, qui viennent compléter les pistes proposées dans la bande dessinée.

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Parmi les pièces rares à découvrir, il y a la marionnette originale sculptée par Jijé ainsi qu’un dessin original pour en faire la promotion.

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Ainsi que les tableaux & dessins de Felix Nussbaum, et qu’un tableau de Felka Platek prêté par la Felix Nussbaum-Haus.

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\"\" — Dessin original de Jijé retrouvé avec la marionnette

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Quoi lire en attendant ?

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🐿 La saga Spirou – L’Espoir Malgré Tout (4 volumes + le prologue Le Journal d’un ingénu)
Découvrir le coup de cœur sur la série

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🖼 Le catalogue de l’exposition Spirou dans la tourmente de la Shoah

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⚽️ Les amis de Spirou T1 – Un ami de Spirou est franc et droit… de David Evrard, Jean-David Morvan & Ben BK

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🇺🇳 Spirou, Défenseur des Droits de l’Homme, collectif (Émile Bravo, Libon, Nob, Brice Cossu et Olivier Bocquet, Delaf et Dubuc, Batem, Laurent Verron, Yoann et Fabien Vehlmann, Cyprien et Paka, Pascal Jousselin, mais aussi Yves Sente et André Juillard, Derib, Achdé, Philippe Geluck…)

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💡 Toutes les infos sur l’expo ici 💡
Jusqu’au 30 août 2023. Entrée gratuite.

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Illustration principale : Couverture du catalogue de l’exposition Spirou dans la tourmente de la Shoah © Dupuis

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\"\" — L’autrice avec les 3 premiers livres de la collection / Photo © Christelle Pissavy-Yvernault

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Depuis une vingtaine d’années Christelle Pissavy-Yvernault s’est attachée à écrire et co-écrire avec avec Bertrand Pissavy-Yvernault des monographies, des ouvrages biographiques, des articles et préfaces autour d’auteurs qui ont marqué l’histoire de la bande dessinée : Franquin, Jijé, Roba, Yvan Delporte, Rosy, Loisel, Gibrat, Francq, Lambil, Rabate, Dany, Greg, Gazzotti. Cette ancienne libraire a été également en charge du Patrimoine éditorial des éditions Dupuis et de la collection intégrales pendant près de 10 ans ; et en a profité pour mener de front avec Bertrand Pissavy-Yvernault La véritable histoire de Spirou, une imposante somme sur tout un pan de l’école franco-belge.

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Avec Les Cahiers de la bande dessinée, Christelle Pissavy-Yvernault ouvre un nouvel espace de réflexion autour du médium en croisant témoignages et essais dans une collection qui s’inscrit dans l’héritage du fanzine lancé par Jacques Glénat en 1969 sous le nom Schtroumpf puis Schtroumpf : Les Cahiers de la bande dessinée. Un livre sortira, en 2025, sur cet héritage sous le titre Vingt-deux portraits à la plume et au pinceau qui reprendra des archives et articles de l’époque sous la plume de Numa Sadoul qui fut l’un des journalistes et rédacteurs en chef de la revue.

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Mais n’anticipons pas trop et découvrons chaque livre de la collection avec Christelle Pissavy-Yvernault qui nous fait le plaisir de revenir sur les coulisses de cette collection, de ses ambitions et projets à venir.

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Avec ce lancement, on découvre les 3 premiers livres de la collection des Cahiers de la bande dessinée, est-ce que vous pouvez nous parler de comment est née la collection et de son ambition ?

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Christelle Pissavy-Yvernault : Je sors de 15 ans de travaux aux éditions Dupuis où j’étais exclusivement centrée sur Dupuis et j’avais l’envie d’ouvrir mon champ d’action. Mais aussi revenir à ce que l’on faisait avec Bertrand [Pissavy-Yvernault [avec qui elle travaille] avant d’être happés par l’histoire du Journal de Spirou. Et sentant un désintérêt de la part des éditions Dupuis sur leur histoire, je me suis dit que c’était le bon moment pour aller voir ailleurs.

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L’histoire des Cahiers de la bande dessinée est logique, parce que dans nos recherches, on s’est très souvent appuyés sur les fanzines en général : les fanzineux —comme ils s’appellent eux-mêmes— ont eu la chance d’interroger des auteurs de bandes dessinées quand ils étaient en pleine possession de leur art Ils ont livré des témoignages sur lesquels on peut construire une partie de l’histoire, c’est tellement précieux.

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Et à ce titre-là, les Cahiers de la bande dessinée étaient une revue de référence : je crois qu’ils ont été les premiers à faire des numéros spéciaux consacrés à des auteurs. Même sans moyens, sans les bases d’archives que nous avons à disposition aujourd’hui, c’était très complet. Ils ont fait un vrai bon travail, c’était des pionniers.

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En proposant cette collection à Jacques et Marion Glénat, c’était évident qu’elle s’appellerait les Cahiers de la bande dessinée : à la fois pour rendre hommage au travail de Jacques Glénat et en même temps pour s’inscrire dans cette filiation. Ils avaient cette particularité d’être ouverts à toutes les chapelles, de célébrer les auteurs qu’ils aimaient et c’est plus ou moins la vocation de cette collection.

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D’où le choix de ces trois premiers livres, il y a un livre de Frank Pé —un auteur qui n’a jamais publié chez Glénat— un livre sur Franquin et la réédition de mon livre avec Loisel.

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Frank Pé ouvre la collection avec un essai sur le dessin et une réflexion sur son rapport à la bande dessinée —qui n’est ni un manuel ni une monographie— mais qui a l’envie d’ouvrir le débat. Est-ce que ce projet est le fruit d’échanges avec l’auteur ou une proposition ?

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C. P.Y. : C’était une proposition qu’il avait faite aux éditions Dupuis, mais ils n’étaient pas intéressés par ce projet. Je trouvais ça regrettable parce qu’un auteur comme lui qui prend la parole pour défendre le dessin, pour défendre son métier ça mérite d’être écouté, d’être diffusé. Plus encore, quand c’est fait à la façon de Frank Pé avec tellement d’amour et de pertinence.

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C’est un livre écrit en référence au mythique Comment on devient créateur de bande dessinée paru en 1969 et dans lequel Philippe Vandooren interrogeait Franquin et Jijé sur leur métier. Tous les dessinateurs de sa génération l’ont sur leur table à dessin. A son tour, Frank a voulu transmettre ce qu’il avait appris du métier. Et quand je l’ai lu, j’ai trouvé ça formidable, mais je lui ai demandé, « tu es où dans cette histoire ? Raconte-nous ton parcours, tes questionnements face à ta planche » Et ça a été un grand moment pour moi parce que je ne suis pas dessinatrice et je ne comprenais pas certains concepts ; et il me les a expliqués et c’est éclairant.

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Il a fait là un vrai acte politique, c’est le parti pris de Frank Pé, sa façon d’entrevoir le dessin et celle de personne d’autre, un acte d’auteur en prolongement de son acte de dessinateur. À ce titre, il avait sa place dans la collection et même la première place.

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Et en tant que premier livre de la collection, il y a un message, on a une invitation à d’autres auteurs de faire de même.

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\"\" — Vidéo © Christelle Pissavy-Yvernault

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C. P.Y. : Oui, pourquoi pas ? C’est un projet plein d’intelligence, de passion. Ici, Frank Pé s’adresse autant à ses confrères pour partager son expérience et son amour du dessin qu’à de jeunes dessinateurs pour leur ouvrir les portes de la réflexion ou à des des lecteurs qui ne sont pas dessinateurs : ça permet d’entrevoir la difficulté du métier, la subtilité de leurs choix, de leur positionnement…

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C’est vrai qu’il nous fait nous questionner nous-mêmes sur ce que l’on apprécie vraiment.

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C. P.Y. : Oui, c’est ça. Et en introduisant des notions étrangères aux non-dessinateurs, il nous aide à mettre des mots sur des concepts, sur des choses qu’on voyait, mais qu’on ne sait pas bien verbaliser.

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En septembre dernier, Frank a invité Denis Bodart, R-M Guerra, Mathieu Lauffray à venir discuter de dessin. Et ils en parlaient comme jamais je n’avais entendu des auteurs en parler. Et pourtant, comme vous, ça fait un paquet d’années que je questionne des auteurs, que je les écoute, etc. Mais quand ils sont entre eux —dans une espèce de connivence — ils abordent ces sujets avec une profondeur bien plus poussée que ce qu’on peut entendre parfois. C’était très fort comme journée parce qu’ils ont vraiment ouvert les portes de la création.

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Frank, justement, déplore que, quand on parle de bande dessinée —journalistes, chroniqueurs, exégètes…— on parle plus de l’histoire que du dessin, et avec un vocabulaire assez pauvre, mais, en même temps, si les dessinateurs eux-mêmes ne parlent pas de leur métier, comment est-ce qu’on peut savoir ? Comment est-ce qu’on peut avoir les mots ? Il faut donner des clés, il faut qu’ils parlent d’eux, et c’est exactement ce que fait Frank dans Dessine !

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Ça reflète exactement ça, et à part chez Emmanuel Guibert, je n’avais jamais lu une prise de parole comme ça, il n’y a pas vraiment d’équivalent.

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C. P.Y. : Non, il n’y a pas d’équivalent, mais curieusement, j’avais demandé à d’autres auteurs de s’emparer de cet espace de parole pour parler de leur métier — ils le font bien souvent dans des masterclass— comme Régis Loisel, mais il m’a dit qu’il pensait avoir déjà tout dit dans notre livre d’entretiens. C’est vrai qu’il y a plein de manières d’aborder le sujet et de transmettre.

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Justement, c’est le troisième livre de la collection qui vient de sortir. C’est une réédition du livre que vous avez fait ensemble il y a une vingtaine d’années, vous l’avez retravaillé pour cette nouvelle édition ?

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C. P.Y. : Ce livre a toujours été mon chouchou. Depuis 20 ans, j’ai fait d’autres livres, j’ai appris de chacune de ces expériences, mais j’ai une tendresse particulière pour celui-là. Je dis ça de façon tout à fait décomplexée vis-à-vis des autres livres parce qu’à chaque fois que je fais un livre d’entretiens avec un auteur, je suis dans une espèce de sympathie, voire d’empathie avec lui, donc impossible pour moi de travailler avec un auteur qui ne me touche pas. Il faut qu’il y ait l’envie de le questionner, d’aller à sa rencontre. Lambil, Philippe Francq je vous aime, mais avec Régis il s’est passé un truc étrange dans la mesure où il se livre facilement, en toute confiance, —il fait de la psychanalyse sans le savoir— il se met à nu.

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\"\" — Vidéo © Christelle Pissavy-Yvernault

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On a retravaillé le texte. J’avais des regrets d’avoir passé des sujets sous silence ou de ne pas être allé assez loin sur certains points, ou de voir des passages qui traînaient un peu en longueur, etc. Donc on a relu le texte, on a fait le tri, voire un gros élagage, et, en même temps, on a refait une série d’entretiens, 7-8 heures environ, qui ont complété tout ça.

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On a également refait toute la maquette et repensé l’iconographie. J’en étais contente au moment où elle est sortie, mais, 20 ans après, je ne fais plus les choix iconographiques de la même manière, ou même la présentation. Là, on a eu accès à tous les originaux et on a traité ça à la manière d’un art book.

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Justement, est-ce qu’on peut dire un mot sur les très belles maquettes de Philippe Poirier ? Sur la cohérence, sur les idées de jaquettes pliées ?

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C. P.Y. : Philippe Poirier s’est fait connaître du milieu de la bande dessinée par son travail pour les éditions Black and White, qui est un éditeur de livres de luxe. C’est un très bon graphiste et un très bon technicien ; il a l’œil, le souci du détail, le goût et la passion du dessin et des images.

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\"\" — Photo © Christelle Pissavy-Yvernault

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Je sors d’une dizaine d’années d’intégrales chez Dupuis avec des livres qui ont tous la même maquette, le même format, le même papier, et j’avais envie de plus d’ouverture, de liberté. La demande que je lui ai faite était de pouvoir identifier directement la collection sans enfermer la maquette dans trop de contraintes. Et Philippe nous a proposé cette maquette avec une jaquette américaine —imprimée recto verso, qui se déplie, qui prend 80% de la couverture. Elle permet des jeux visuels, une grande liberté, et c’est très plaisant.

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On est actuellement en train de réfléchir aux prochains livres et on imagine d’autres façons de l’utiliser, de jouer entre le texte, le dessin, la photographie, etc.

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La notion de patrimoine en bande dessinée est assez récente, les dossiers et livres qui l’accompagnent aussi, mais les livres sont bien accueillis et trouvent leur public ; comment vous voyez cette évolution, vous qui rencontrez le public autour de ces projets depuis presque 20 ans ?

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C. P.Y. : Les pionniers des Cahiers de la bande dessinée et autres fanzines, dont on parlait tout à l’heure, on fait du patrimoine sans le savoir. C’était en direct. Nous, effectivement, on s’inscrit dans la lignée des travaux des fanzines, de Thierry Martens, de Numa Sadoul —ce n’est pas pour rien que j’ai fait ce livre d’entretiens avec lui, c’est une transmission, un passage de relai entre sa génération et la nôtre. Plus récemment, les universitaires s’y sont mis et s’en sont emparés à leur façon.

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Aujourd’hui il existe plein d’approches différentes : universitaires, historiques ou plus généralistes. Ça foisonne. Même le livre auquel j’ai participé sur les éditions Dupuis [La Véritable histoire des éditions Dupuis, qui vient de sortir en novembre] est très singulier dans le genre. Il y a plein de choses possibles : on peut être créatif en parlant de la création.

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Parlons de Numa Sadoul puisque vous publiez un livre d’entretiens peu de temps après la réédition de son ***Et Franquin créa la gaffe*. C’est le making of du making of ?**

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C. P.Y. : Au départ ce n’était pas du tout ça. On avait déjà échangé au téléphone plusieurs fois, mais à Angoulême en 2023, c’était la première fois qu’on se voyait et c’est parti tout de suite sur les chapeaux de roues : on a parlé de Franquin, on a échangé des infos, des impressions… Et quand on s’est quittés, je lui ai dit que ce serait amusant qu’on fasse un bouquin ensemble, un jour. Je ne savais pas encore quoi, et deux mois après, l’idée est venue : « ça ne te dirait pas qu’on fasse, toi et moi, un bouquin sur Franquin ? Tu as été son ami, tu l’as vraiment côtoyé, moi je n’ai pas ce regard-là, mais on pourrait se compléter. »

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Il était plutôt réticent en disant « ça va faire 20 pages, ça va intéresser qui ? 12 lecteurs… » Moi je ne m’étais pas posé ces questions-là : je fais les livres d’abord pour moi parce que je me positionne en tant que lectrice. Il s’est laissé convaincre, et on a eu la chance que Jacques Glénat accepte de le publier. La collection n’existait pas encore à ce moment-là.

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Au départ, l’idée était d’échanger ce qu’on savait sur Franquin et que le plus simple était de structurer ça autour des entretiens qu’il a menés, que ça ferait une colonne vertébrale. Le fil conducteur serait l’histoire de ce bouquin de légende avec comme vrai sujet : parler de Franquin. De fait, c’est devenu une espèce de making of.

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Il a eu le droit à une nouvelle édition il y a peu de temps, il aurait presque pu intégrer la collection.

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C. P.Y. : Oui ! Et c’est bien dommage parce qu’il aurait aussi mérité d’être le numéro un de la collection. Mais peut-être qu’un jour ça se fera. Tout à l’heure, on parlait de la liberté des formats des bouquins de cette collection, et c’est parce qu’on voulait que les deux fonctionnent en paire que celui-ci a le même format et façonnage que Et Franquin créa la gaffe.

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Je reviens à la collection des Cahiers de la bande dessinée, et est-ce qu’il y aura un album patrimonial pour en regrouper des passages clefs, des archives marquantes ?

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C. P.Y. : Ah, mais vous écoutez nos conversations avec Numa. [rires] On prépare justement pour l’année prochaine un recueil de tous les entretiens de Numa pour les Cahiers de la bande dessinée. Ça s’appellera Vingt-deux portraits à la plume et au pinceau, parce qu’en 1976 Glénat avait sorti un petit recueil qui s’appelait Portraits à la plume et au pinceau qui était une sélection des entretiens de Numa pour les Cahiers de la bande dessinée. 50 ans plus tard, on le ressort en version intégrale, avec des bonus, etc. Ces entretiens ont valeur d’archive et ils sont cultes. C’est une photographie de ce qu’était la bande dessinée à une certaine époque. Il ne faut pas négliger ces petits documents.

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En plus de ce travail d’éditrice, vous travaillez avec Bertrand **sur le 3e tome de La véritable histoire de Spirou. Est-ce que vous pouvez nous donner une idée de votre quotidien d’autrice ?**

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C. P.Y. : Je jongle un peu avec tous ces projets, je passe d’un projet à l’autre. C’est beaucoup d’heures de recherches, d’échanges avec des auteurs, de retranscription, de lectures et de relectures, de rencontres… Par exemple, ce matin, j’ai répondu à des mails, puis j’ai poursuivi la transcription d’un entretien qu’on a eu avec un membre de la famille Dupuis, il y a 10 ans. Cet après-midi, je vais travailler sur le livre d’entretiens de Numa Sadoul. Je vais aussi travailler avec le graphiste pour la couverture de ce bouquin. J’essaye d’être organisée pour dégager du temps pour La véritable histoire de Spirou. Je n’ai pris aucun engagement d’écriture pour l’année à venir, parce que je veux que mon seul travail d’écriture soit celui-là. Il y a urgence à le faire, à le finir. Après, il y aura une espèce de libération morale.

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Est-ce qu’en tant qu’éditrice, c’est difficile de savoir quand arrêter un livre, d’arrêter une pagination, parce que quand on fait de la recherche, des entretiens on a une quantité incroyable de matière ?

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C P.Y. : Le fait d’être éditrice des livres que je fais permet d’avoir pleinement connaissance des vraies contraintes éditoriales : elles sont en délais, et elles sont financières. Après il y a la logique du bouquin, sa construction, la pertinence des choix, et tout ça se discute, mais ces deux contraintes-là, délai et budget, c’est du concret, et on ne peut pas y déroger.

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\"\" — Vidéo © Christelle Pissavy-Yvernault

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La liberté est dans tout ce qui reste et quand je me lance dans un projet, je suis sans limites : tout est possible, je ne m’interdis rien à partir du moment où le projet y gagne. Par exemple, la maquette du livre avec Numa était terminée lorsqu’on est allés chez lui pour sélectionner 2-3 documents, faire des petites vérifications, mais je suis revenue avec 2h d’enregistrements supplémentaires qui n’étaient pas prévus. Seulement la discussion était partie sur une piste intéressante… J’ai négocié avec le graphiste pour reprendre la maquette et intercaler quelques pages. On était encore dans les temps, on l’a fait et c’est vraiment mieux. Être éditrice me permet d’avoir une idée concrète de la production — de savoir ce qu’il est encore possible de faire ou pas. Et ça ne me pose pas de problème, au contraire, car je sais l’investissement que j’y ai mis et que je suis allée au bout de ce que je pouvais. Mais, comme je m’en suis rendu compte avec le livre sur Loisel, 20 ans après, on peut toujours faire mieux. Ça, je l’ai appris de Régis Loisel justement, de l’investissement qu’il faut mettre dans ce que l’on fait. Le livre sur Delporte qui est sorti en 2009, ça fait longtemps qu’avec Bertrand on rêve de le refaire, mais, au moment où il est sorti, il était tel qu’on voulait qu’il soit.

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Pour la pagination, c’est ce qu’on disait avant de démarrer l’interview, en parlant de votre dernier entretien avec Mathieu Lauffray où vous avez pris l’espace, vous vous êtes donné du temps : il faut se donner les moyens. En général je travaille sans contraintes lors de mes entretiens : je fais ce que j’ai à faire et après on voit. On peut toujours jouer sur la quantité d’images s’il y a trop ou pas assez de texte. Le livre sur Roba était prévu pour compter 30 000 signes… et on a écrit à notre rythme. C’est le graphiste qui a trouvé la solution pour faire passer le texte qui était trois fois trop long que prévu.

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Pareil pour La véritable histoire de Spirou, on avait livré 800 000 signes pour le premier tome et là on doit rendre justice à Sergio Honorez —qui était un vrai éditeur intéressé par le patrimoine— et qui nous a proposé deux solutions : comme le livre ne rentrait pas sur 300 pages, soit on coupait le texte, soit on revoyait le découpage des trois tomes, ce qui nous permettait d’aller dans le détail. Je crois que ça fait partie des choses qui ont beaucoup plu aux lecteurs. Se donner les moyens, c’est ça qui fait la différence !

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Vous en avez déjà un peu parlé avec le prochain livre avec Numa Sadoul, mais comment va s’orienter la suite de la collection ?

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C. P.Y. : Les trois premiers livres de la collection sont assez emblématiques de ce qu’on va faire : essayer de trouver un équilibre entre parler de la bande dessinée, du dessin, des auteurs… II y a pas mal de livres qui sont sortis de-ci de-là, mais une collection permet une meilleure visibilité.

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Dans l’histoire des éditions Glénat, il y a beaucoup de grands auteurs à mettre en avant et cette collection va permettre de faire. On a aussi l’idée de lancer une collection d’intégrales documentées. Au fil des décennies, Glénat a composé un catalogue avec des œuvres phares. Il y a plein de choses merveilleuses à traiter. Mais on va faire peu de livres par an, parce que c’est beaucoup de travail.

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Les 3 livres fonctionnent bien ensemble, pour un lancement, on a effectivement une belle promesse.

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C. P.Y. : Merci ! C’était enthousiasmant de le faire. Chez Glénat, ils ont été immédiatement séduits et réactifs, il faut vraiment rendre hommage à cet éditeur qui a du respect pour la bande dessinée, pour son histoire et pour ses auteurs. C’est quelque chose qui n’est pas assez dit. Ils ont à cœur de faire de beaux livres, de parler de la bande dessinée ; et la liberté d’expression n’est pas un vain mot chez eux. On a un vrai espace de liberté de création et de discussions.

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\"\" — Photo © Christelle Pissavy-Yvernault

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J’espère que cette discussion vous a donné envie de découvrir ces premiers livres de cette collection et le travail de Christelle Pissavy-Yvernault, vous pouvez découvrir les 3 premières publications de la collection ici :

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✍️ Dessine ! de Frank Pé

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🎙 Franquin et moi, entretiens entre Christelle Pissavy-Yvernault et Numa Sadoul

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🧚 Loisel, dans l’Ombre de Peter Pan entretiens entre Christelle Pissavy-Yvernault et Régis Loisel

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Toutes les illustrations sont © Glénat / et les auteurices
Image de Une : extrait de la couverture de Dessine ! de Frank Pé ©Frank Pé/Glénat

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En bonus, une nouvelle, \"Le 8e Indice\", et un synopsis inédit signé Alain De Kuyssche, ainsi qu'un récit complet, \"Dossier X\". Le tout présenté dans une préface très complète. Depuis 1965, Jean Valhardi, le grand héros de la première heure du Journal de Spirou, créé par Jean Doisy et Jijé en 1941, n'avait plus donné signe de vie. Jusqu'à ce que René Follet accepte de lui redonner vie, pour deux grandes histoires seulement. Alors que Valhardi représente le grand frère idéal, un peu scout dans les années 1940, puis opposant aux apprentis maîtres du monde sur fond de guerre froide dans les années 1950 avant de flirter ostensiblement avec les yé-yés dans les années 1960, voilà qu'il prend un nouveau virage à l'orée des années 1980 avec cette reprise éphémère de René Follet. Depuis 1965, Jean Valhardi, le grand héros de la première heure du Journal de Spirou, créé par Jean Doisy et Jijé en 1941, n'avait plus donné signe de vie... jusqu'à ce que René Follet accepte de lui redonner vie. 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Soleil est un jeune dresseur qui ne ménage pas ses efforts. Coursier, lanceur de Concombaffe à la mer, il enchaîne les petits boulots. Son but : réussir à économiser 100 millions ! Mais pourquoi a-t-il besoin d’une telle somme… ?",{"_120":3054},[3042,3043],[3024,3025,3026,3027,3028,3029],{"_28":3040,"_106":-5,"_77":3041,"_830":646},{"_28":3038,"_106":-5,"_77":3039,"_830":966},{"_28":3036,"_106":-5,"_77":3037,"_830":509},{"_28":3034,"_106":-5,"_77":3035,"_830":623},{"_28":3032,"_106":-5,"_77":3033,"_830":119},{"_28":3030,"_106":-5,"_77":3031,"_830":1122},"2mSbHbWtrW","pokemon-soleil-et-lune-tome-6","gDAZ7bH7wQ","pokemon-soleil-et-lune-tome-5","EBkalRLJm8","pokemon-soleil-et-lune-tome-4","pnRU0c5fSK","pokemon-soleil-et-lune-tome-3","W7vbkoMdl69Ncj","pokemon-soleil-et-lune-tome-2","pgnCT0krzi","pokemon-soleil-et-lune-tome-1",{"_28":3049,"_77":3050,"_79":3051,"_81":3052,"_83":3053,"_85":-5,"_86":3053},{"_28":3044,"_77":3045,"_79":3046,"_81":3047,"_83":3048,"_85":-5,"_86":3048},"Dyih6ABsL1","satoshi-yamamoto","Satoshi","Yamamoto","Satoshi Yamamoto","p5JleaFk0C","hidenori-kusaka","Hidenori","Kusaka","Hidenori Kusaka",{"_128":3055,"_124":3056},"https://assets.bubblebd.com/img/gilf525px7/niyocf25mh.jpg","https://assets.bubblebd.com/img/gilf525px7/xrr7n083tx.jpg","0GwdYcWODp","Avni","avni-collection-anniversaire","Collection anniversaire","Avni est un petit bonhomme adorable, tout ce qu'il y a de plus normal. Il a une maman qui travaille et un papa à la maison, il adore le chocolat, se fait facilement des amis... Sauf que bien malin qui saura dire à quelle espèce il appartient : dans son école où l'on croise panda, crocodile, poule, flamant rose ou tortue, la question anime les conversations autour de lui... C'est quoi, un « avni » ? Non seulement la réponse reste introuvable, mais Avni lui-même met en oeuvre un talent bien particulier : il peut déformer chaque partie de son corps, faire varier ses couleurs, grandir ou diminuer ses membres... Un vrai petit garçon en pâte à modeler ! Et si « avni » voulait dire en fait « animal vraiment non identifié » ?",{"_120":3139},[3111,3112,3113,3114,3115],[3065,3066,3067,3068,3069,3070,3071,3072,3073,3074,3075,3076],{"_28":3108,"_106":3109,"_77":3110,"_830":646},{"_28":3106,"_106":-5,"_77":3107,"_830":966},{"_28":3104,"_106":-5,"_77":3105,"_830":509},{"_28":3101,"_106":3102,"_77":3103,"_830":623},{"_28":3099,"_106":-5,"_77":3100,"_830":119},{"_28":3096,"_106":3097,"_77":3098,"_830":1122},{"_28":3093,"_106":3094,"_77":3095,"_830":2110},{"_28":3090,"_106":3091,"_77":3092,"_830":1145},{"_28":3087,"_106":3088,"_77":3089,"_830":2437},{"_28":3084,"_106":3085,"_77":3086,"_830":1715},{"_28":3080,"_106":3081,"_77":3082,"_830":3083},{"_28":3077,"_106":3078,"_77":3079,"_830":2276},"j37x6vijQEX2aX","Le roi des surprises","avni-tome-12-le-roi-des-surprises","OgAB3qgtSVPTo5","Extra-marrant !","avni-tome-11-extra-marrant",11,"LQWKmBxRhAqJrD","L'essayer, c'est l'adopter !","avni-tome-10-l-essayer-c-est-l-adopter","GWlPb870PeUnNq","Une Boule d'Énergie","avni-tome-9-une-boule-d-energie","IGFdkBcCXk","ça déménage !","avni-tome-8-ca-demenage","7Uykf0F7dP","Avni, Tome 07","avni-tome-7-avni-tome-07","cuDhW58KWF","La Vie Rose Bonbon !","avni-tome-6-la-vie-rose-bonbon","1YkNckRACi","avni-tome-5","iITaJXGnSP","Avni s'en Mêle","avni-tome-4-avni-s-en-mele","wY0ragriuH","avni-tome-3","CnRpiwmqEs","avni-tome-2","BBkBEinBjw","Animal Vraiment Non Identifié","avni-tome-1-animal-vraiment-non-identifie",{"_28":3134,"_77":3135,"_79":3136,"_81":3137,"_83":3138,"_85":-5,"_86":3138},{"_28":3129,"_77":3130,"_79":3131,"_81":3132,"_83":3133,"_85":-5,"_86":3133},{"_28":3124,"_77":3125,"_79":3126,"_81":3127,"_83":3128,"_85":-5,"_86":3128},{"_28":3121,"_77":3122,"_79":-5,"_81":3123,"_83":3123,"_85":-5,"_86":3123},{"_28":3116,"_77":3117,"_79":3118,"_81":3119,"_83":3120,"_85":-5,"_86":3120},"ILHuRMCcpJ","piera-mazzone","Piera","Mazzone","Piera Mazzone","K88j81rmhk","biblioteca-civica-farnone-centa","Biblioteca civica Farnone-Centa","FbVfchnm2G","mario-ogliaro","Mario","Ogliaro","Mario Ogliaro","2zoJOUfC7h","romain-pujol","Romain","Pujol","Romain Pujol","ptU0DCqmyw","vincent-caut","Vincent","Caut","Vincent Caut",{"_128":3140,"_124":3141},"https://assets.bubblebd.com/img/zn6ralu5ga/mbw0ru0pgn.jpg","https://assets.bubblebd.com/img/zn6ralu5ga/wag3ooyr7b.jpg","0khZbDa30B","Zouk","zouk","Bien que sorcière, bien que désobéissante, Zouk a le coeur sur la main et veut souvent faire le bien. Offrir un abri aux animaux l'hiver, sauvez les arbres qui vont être coupés, rendre riche un SDF, ou encore accueillir le Père Noël dignement (sans le faire fuir)... elle ne recule devant aucune bonne action. Malheureusement, elle ne connaît pas très bien ses formules magiques... Résultat : des situations loufoques et des gaffes en pagailles !",{"_120":3279},[3250,3251,3252,3253,3254],[3149,3150,3151,3152,3153,3154,3155,3156,3157,3158,3159,3160,3161,3162,3163,3164,3165,3166,3167,3168,3169,3170,3171,3172],{"_28":3247,"_106":3248,"_77":3249,"_830":646},{"_28":3244,"_106":3245,"_77":3246,"_830":966},{"_28":3241,"_106":3242,"_77":3243,"_830":509},{"_28":3238,"_106":3239,"_77":3240,"_830":623},{"_28":3235,"_106":3236,"_77":3237,"_830":119},{"_28":3233,"_106":-5,"_77":3234,"_830":1122},{"_28":3230,"_106":3231,"_77":3232,"_830":2110},{"_28":3227,"_106":3228,"_77":3229,"_830":1145},{"_28":3224,"_106":3225,"_77":3226,"_830":2437},{"_28":3221,"_106":3222,"_77":3223,"_830":1715},{"_28":3218,"_106":3219,"_77":3220,"_830":3083},{"_28":3215,"_106":3216,"_77":3217,"_830":2276},{"_28":3211,"_106":3212,"_77":3213,"_830":3214},{"_28":3207,"_106":3208,"_77":3209,"_830":3210},{"_28":3203,"_106":3204,"_77":3205,"_830":3206},{"_28":3199,"_106":3200,"_77":3201,"_830":3202},{"_28":3196,"_106":-5,"_77":3197,"_830":3198},{"_28":3192,"_106":3193,"_77":3194,"_830":3195},{"_28":3188,"_106":3189,"_77":3190,"_830":3191},{"_28":3185,"_106":3186,"_77":3187,"_830":1657},{"_28":3182,"_106":3183,"_77":3184,"_830":2044},{"_28":3179,"_106":3180,"_77":3181,"_830":1226},{"_28":3176,"_106":3177,"_77":3178,"_830":1729},{"_28":3173,"_106":3174,"_77":3175,"_830":1376},"WG2SXAjSioL1z8","Gare aux vilains !","zouk-tome-24-gare-aux-vilains","y7eN5LrNT8OUOl","Boules de neige et sortilèges","zouk-tome-23-boules-de-neige-et-sortileges","BszOKLCeR8GSFO","Zouk Au pays des merveilles","zouk-tome-22-zouk-au-pays-des-merveilles","iAyTRCR89LOcMT","Dans la Grande, très Grande Ville","zouk-tome-21-dans-la-grande-tres-grande-ville","mIgCRm72Na","Zouk, Tome 20","zouk-tome-20-zouk-tome-20","p1wQhKfaQ6","La Potion de Gentillesse","zouk-tome-19-la-potion-de-gentillesse",19,"cnY7tMkBgc","Une Elève Presque Parfaite","zouk-tome-18-une-eleve-presque-parfaite",18,"RiruuLzCGs","zouk-tome-17",17,"RMyxv8TDe2","Super Justicière !","zouk-tome-16-super-justiciere",16,"S5DJ431iDu","Abracadablagues ! ","zouk-tome-15-abracadablagues",15,"tAOFhW3FbI","Zouk, Tome 14: Un Noël ensorcelé","zouk-tome-14-zouk-tome-14-un-noel-ensorcele",14,"s5vWH1jm4s","La sorcière qui aimait les animaux","zouk-tome-13-la-sorciere-qui-aimait-les-animaux",13,"S8UfWfM5Ws","Petite sorcière deviendra grande","zouk-tome-12-petite-sorciere-deviendra-grande","2OD6dgDvqQ","Rencontres Extraordinaires","zouk-tome-11-rencontres-extraordinaires","3zoGUpqEM1","L'Amitié, c'est Magique !","zouk-tome-10-l-amitie-c-est-magique","LP79fnC9eM","Sage comme une Sorcière","zouk-tome-9-sage-comme-une-sorciere","0iuf4HK2XZ","Secrets de Sorcière","zouk-tome-8-secrets-de-sorciere","wssGfGsJFa","Sorcière de Mère en Fille","zouk-tome-7-sorciere-de-mere-en-fille","LeuhafAvyG","zouk-tome-6","cP62OTzVyM","La Sorcière qui Rêvait d'Etre une Princesse","zouk-tome-5-la-sorciere-qui-revait-d-etre-une-princesse","iTsjOZGQ2H","DES VACANCES DE SORCIÈRE","zouk-tome-4-des-vacances-de-sorciere","TsQP0fcirt","Une Sorcière à l'Ecole","zouk-tome-3-une-sorciere-a-l-ecole","2ImfOMgskA","Danger Public","zouk-tome-2-danger-public","PyYvklmuAw","Une Sorcière au Grand Coeur","zouk-tome-1-une-sorciere-au-grand-coeur",{"_28":3274,"_77":3275,"_79":3276,"_81":3277,"_83":3278,"_85":-5,"_86":3278},{"_28":3270,"_77":3271,"_79":284,"_81":3272,"_83":3273,"_85":-5,"_86":3273},{"_28":3265,"_77":3266,"_79":3267,"_81":3268,"_83":3269,"_85":-5,"_86":3269},{"_28":3260,"_77":3261,"_79":3262,"_81":3263,"_83":3264,"_85":-5,"_86":3264},{"_28":3255,"_77":3256,"_79":3257,"_81":3258,"_83":3259,"_85":-5,"_86":3259},"jShrcKdHvW","pascal-regnauld","Pascal","Regnauld","Pascal Regnauld","ohUsrtbaOt","john-diary","John","Diary","John Diary","fD0IlIvba3","boris-mirroir","Boris","Mirroir","Boris Mirroir","1Cj7vS6Kya","serge-bloch","Bloch","Serge Bloch","iwEosrqUCK","nicolas-hubesch","Nicolas","Hubesch","Nicolas Hubesch",{"_128":3280,"_124":3281},"https://assets.bubblebd.com/img/8zaguhmspf/a3bpxnck7n.jpg","https://assets.bubblebd.com/img/8zaguhmspf/gy8ylau6jh.jpg","0lYLqQm9H2","Blueberry","blueberry","Western",{"_120":3356},[3349,3350],[3289,3290,3291,3292,3293,3294,3295,3296,3297,3298,3299,3300,3301,3302,3303],{"_28":3346,"_106":3347,"_77":3348,"_830":646},{"_28":3343,"_106":3344,"_77":3345,"_830":966},{"_28":3340,"_106":3341,"_77":3342,"_830":509},{"_28":3337,"_106":3338,"_77":3339,"_830":623},{"_28":3334,"_106":3335,"_77":3336,"_830":119},{"_28":3331,"_106":3332,"_77":3333,"_830":1122},{"_28":3328,"_106":3329,"_77":3330,"_830":2110},{"_28":3325,"_106":3326,"_77":3327,"_830":1145},{"_28":3322,"_106":3323,"_77":3324,"_830":2437},{"_28":3319,"_106":3320,"_77":3321,"_830":1715},{"_28":3316,"_106":3317,"_77":3318,"_830":3083},{"_28":3313,"_106":3314,"_77":3315,"_830":2276},{"_28":3310,"_106":3311,"_77":3312,"_830":3214},{"_28":3307,"_106":3308,"_77":3309,"_830":3210},{"_28":3304,"_106":3305,"_77":3306,"_830":3206},"qOQM5YAnl3","Dust","blueberry-tome-15-dust","KeM9rhdCsv","Géronimo l'Apache - Ok Corral","blueberry-tome-14-geronimo-l-apache-ok-corral","9AUEfBUxvU","Mister Blueberry - Ombres sur la Tombstone","blueberry-tome-13-mister-blueberry-ombres-sur-la-tombstone","esG8FMiaWK","Le Bout de la Piste - Arizona Love","blueberry-tome-12-le-bout-de-la-piste-arizona-love","fHYMzm9bSO","La Tribu Fantôme - la Dernière Carte","blueberry-tome-11-la-tribu-fantome-la-derniere-carte","tPATcdA6t5","Nez Cassé - la Longue Marche","blueberry-tome-10-nez-casse-la-longue-marche","LFPQaZ4All","Le hors la Loi - Angel Face","blueberry-tome-9-le-hors-la-loi-angel-face","9IuFvhrOHK","Ballade pour un Cercueil","blueberry-tome-8-ballade-pour-un-cercueil","Ha4NQPVjeD","Chihuahua Pearl - l'Homme qui Valait 500.000 Dollars","blueberry-tome-7-chihuahua-pearl-l-homme-qui-valait-500-000-dollars","gu4kRpaQUo","La Mine de l'Allemand Perdu - le Spectre aux Balles d'or","blueberry-tome-6-la-mine-de-l-allemand-perdu-le-spectre-aux-balles-d-or","dW2h0ltdMi","La Piste des Sioux - le Général Tête Jaune","blueberry-tome-5-la-piste-des-sioux-le-general-tete-jaune","OlaMtMOyKP","Le Cheval de Fer - l'Homme aux Poings d'Acier","blueberry-tome-4-le-cheval-de-fer-l-homme-aux-poings-d-acier","e234QlUagZ","La Piste des Navajos - l'Homme à l'Etoile d'Argent","blueberry-tome-3-la-piste-des-navajos-l-homme-a-l-etoile-d-argent","uhi50OPPQV","L'Aigle Solitaire - le Cavalier Perdu","blueberry-tome-2-l-aigle-solitaire-le-cavalier-perdu","GwBb4lH0cu","Fort Navajo - Tonnerre à l'Ouest","blueberry-tome-1-fort-navajo-tonnerre-a-l-ouest",{"_28":3351,"_77":3352,"_79":544,"_81":3353,"_83":3354,"_85":3355,"_86":3355},{"_28":133,"_77":134,"_79":135,"_81":136,"_83":137,"_85":-5,"_86":137},"KE9HoYFq18zc5U","gir","Giraud","Jean Giraud","Gir",{"_128":3357,"_124":3358},"https://assets.bubblebd.com/img/swbhggsqte/42uc3kje2m.jpg","https://assets.bubblebd.com/img/swbhggsqte/rse4ekfxp7.jpg","0f7gryxAhL","Silver Diamond","silver-diamond","Manga Shōjo","Rakan Sawa a beau faire tous les efforts du monde pour avoir l'air d'un lycéen ordinaire, il a bien conscience d'être un peu spécial, et ce n'est pas son talent surnaturel pour faire s'épanouir les plantes qui l'aidera à se convaincre du contraire ! Alors qu'il rentre un soir chez lui, un homme nommé Chigusa apparaît soudain dans son jardin et déclare venir d'un monde désertique et sombre où la végétation est rare. et précieuse. En attendant d'avoir percé le mystère de cet autre monde, qui semble lié au passé de Rakan, ils vont devoir apprendre à vivre ensemble, malgré deux personnalités pas vraiment complémentaires !",{"_120":3474},[3452,3453,3454,3455],[3367,3368,3369,3370,3371,3372,3373,3374,3375,3376,3377,3378,3379,3380,3381,3382,3383,3384,3385,3386,3387,3388,3389,3390,3391,3392,3393],{"_28":3450,"_106":-5,"_77":3451,"_830":646},{"_28":3447,"_106":3448,"_77":3449,"_830":966},{"_28":3445,"_106":-5,"_77":3446,"_830":509},{"_28":3443,"_106":-5,"_77":3444,"_830":623},{"_28":3441,"_106":-5,"_77":3442,"_830":119},{"_28":3439,"_106":-5,"_77":3440,"_830":1122},{"_28":3437,"_106":-5,"_77":3438,"_830":2110},{"_28":3435,"_106":-5,"_77":3436,"_830":1145},{"_28":3432,"_106":3433,"_77":3434,"_830":2437},{"_28":3430,"_106":-5,"_77":3431,"_830":1715},{"_28":3428,"_106":-5,"_77":3429,"_830":3083},{"_28":3426,"_106":-5,"_77":3427,"_830":2276},{"_28":3424,"_106":-5,"_77":3425,"_830":3214},{"_28":3422,"_106":-5,"_77":3423,"_830":3210},{"_28":3420,"_106":-5,"_77":3421,"_830":3206},{"_28":3418,"_106":-5,"_77":3419,"_830":3202},{"_28":3416,"_106":-5,"_77":3417,"_830":3198},{"_28":3414,"_106":-5,"_77":3415,"_830":3195},{"_28":3412,"_106":-5,"_77":3413,"_830":3191},{"_28":3410,"_106":-5,"_77":3411,"_830":1657},{"_28":3408,"_106":-5,"_77":3409,"_830":2044},{"_28":3406,"_106":-5,"_77":3407,"_830":1226},{"_28":3404,"_106":-5,"_77":3405,"_830":1729},{"_28":3402,"_106":-5,"_77":3403,"_830":1376},{"_28":3399,"_106":-5,"_77":3400,"_830":3401},{"_28":3396,"_106":-5,"_77":3397,"_830":3398},{"_28":3394,"_106":-5,"_77":3395,"_830":1298},"BHfAnhquVP","silver-diamond-tome-27","DoGwCtFtzh","silver-diamond-tome-26",26,"86TOQnoakP","silver-diamond-tome-25",25,"ZmV6Za5WqD","silver-diamond-tome-24","cVXuQCFWvJ","silver-diamond-tome-23","bh3EruB8iz","silver-diamond-tome-22","oEF0gDZqcW","silver-diamond-tome-21","jMjiGS4u0B","silver-diamond-tome-20","vIqRwsdHtp","silver-diamond-tome-19","gOkSvR4Zla","silver-diamond-tome-18","5miN9Rg1zC","silver-diamond-tome-17","DcSEhPMwQZ","silver-diamond-tome-16","2VKzVIGfCr","silver-diamond-tome-15","h65W26ZhMe","silver-diamond-tome-14","KAZ5NsjYSn","silver-diamond-tome-13","RD8QO6JAap","silver-diamond-tome-12","6wMwB9WNKu","silver-diamond-tome-11","TJa7F6c66I","silver-diamond-tome-10","SkSjiAtR1W","Le Cimetière aux Clochettes","silver-diamond-tome-9-le-cimetiere-aux-clochettes","GTXnq3WCfd","silver-diamond-tome-8","uzxCL1gLj0","silver-diamond-tome-7","4kdrWT5vKv","silver-diamond-tome-6","nS8KQu2Shx","silver-diamond-tome-5","OPtKUnFAge","silver-diamond-tome-4","nRXu1BsrLw","silver-diamond-tome-3","ahuk0GZXOq","Maître ou Serviteur ?","silver-diamond-tome-2-maitre-ou-serviteur","Ij7mYp3dly","silver-diamond-tome-1",{"_28":3469,"_77":3470,"_79":3471,"_81":3472,"_83":3473,"_85":-5,"_86":3473},{"_28":3464,"_77":3465,"_79":3466,"_81":3467,"_83":3468,"_85":-5,"_86":3468},{"_28":3459,"_77":3460,"_79":3461,"_81":3462,"_83":3463,"_85":-5,"_86":3463},{"_28":3456,"_77":3457,"_79":-5,"_81":3458,"_83":3458,"_85":-5,"_86":3458},"UGe7eiEoji","minh-than","Minh Than","MBaLZcuoCx","marie-saskia-raynal","Marie-Saskia","Raynal","Marie-Saskia Raynal","whzlTfvTKC","christian-binet","Christian","Binet","Christian Binet","BXaoARFlaH","shiho-sugiura","Shiho","Sugiura","Shiho Sugiura",{"_128":3475,"_124":3476},"https://assets.bubblebd.com/img/cgrlj7fsd1/n1zprn8jap.jpg","https://assets.bubblebd.com/img/cgrlj7fsd1/81uc7tkpor.jpg","0RXX2OjiQ9","Planètes","planetes","Manga Seinen & Josei","Deux siècles avant J.C. a été écrite une oeuvre intitulée \"Enanji\". On y découvre un détail très intéressant: le temps, passé, présent et à venir se dit \"Chû\". L'immensité se dit \"U\". Voilà donc l'origine du mot japonais \"Uchu\", l'Espace qui s'étend à l'infini, où la notion même de temps disparaît. La Terre, les humains et notre atmosphère n'en sont qu'une infime partie. Il serait trop triste de penser que l'infini se limite au monde des humains.",{"_120":3509},[3497,3498],[3485,3486,3487,3488],{"_28":3495,"_106":-5,"_77":3496,"_830":646},{"_28":3493,"_106":-5,"_77":3494,"_830":966},{"_28":3491,"_106":-5,"_77":3492,"_830":509},{"_28":3489,"_106":-5,"_77":3490,"_830":623},"Sv01Kiov2w","planetes-tome-4","CnXyyLl3on","planetes-tome-3","DLEHH8KU5D","planetes-tome-2","rzCIpIwd0V","planetes-tome-1",{"_28":3504,"_77":3505,"_79":3506,"_81":3507,"_83":3508,"_85":-5,"_86":3508},{"_28":3499,"_77":3500,"_79":3501,"_81":3502,"_83":3503,"_85":-5,"_86":3503},"hpVBfjR8Q5","makoto-yukimura","Makoto","Yukimura","Makoto Yukimura","hcqU4kkeqS","xaviere-daumarie","Xavière","Daumarie","Xavière Daumarie",{"_128":3510,"_124":3511},"https://assets.bubblebd.com/img/lsjpu4b59n/o4ritwdq1e.jpg","https://assets.bubblebd.com/img/lsjpu4b59n/8cyld93zhg.jpg","0PXW5E9LRZ","Let's Be A Family","let-s-be-a-family","Manga LGBT | Yaoi | Yuri","Un titre qui marque un tournant dans l'histoire du boy's love en mettant en scène, non pas une famille recomposée, mais deux papas élevant «leur» enfant ! En couple depuis huit ans, Kazume et Chiasa vont se voir confier le bébé de leur amie d'enfance, incapable d'assumer sa maternité. Dès lors, une nouvelle vie commence pour nos deux nouveaux papas de substitution. Se découvriront-ils des instincts maternelles ? Une chose est sûre, leur quotidien ne sera plus le même. Les joies de la vie de famille résonneront désormais entre leurs murs !",{"_120":3528},[3522],[3520],{"_28":3521,"_106":-5,"_77":3514,"_830":99},"0nxKG9DvZg",{"_28":3523,"_77":3524,"_79":3525,"_81":3526,"_83":3527,"_85":-5,"_86":3527},"shPXYqQFeX","tomo-kurahashi","Tomo","Kurahashi","Tomo 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là depuis Jerry Spring, Lucky Luke, Blueberry, Les Tuniques Bleues, Comanche ou Durango. Sans cesse renouvelé, revisité de WEST à Gus, de Lincoln à Mondo Reverso. Le western est cyclique en bande dessinée, il revient par vague, car toujours plébiscité.","descriptionLong","TFAuZq6vsq","Science-fiction",{"_2990":3717,"_3713":-5},"L'autre grand pilier de la bande dessinée, la SF est particulièrement exploré en BD à travers ses récits d'anticipation, space opera, uchronies. D'Enki Bilal à Moebius, de Christin & Mézières à Denis Bajram, de Marvano à Leo, la liste des auteurs emblématiques est longue. Sans compter les nouvelles pépites comme Bolchoi arena de Boulet & Aseyn ou Des milliards de miroirs de Robin Cousin.","UDekoQUT7q","Roman graphique",{"_2990":3723,"_3713":-5},{"_2990":3722,"_3713":-5},"Will Eisner introduit le terme de Graphic Novel pour ses nouvelles créations qu'il souhaite distinguer des comics de l'époque. Ce terme est assez vaste, des délires farfelus de Robert Crumb aux constructions minutieuses de Chris Ware. Des réflexions sur la jeunesse et le passage à l'âge adulte de Charles Burns à Daniel Clowes, en passant par Alison Bechdel vous donneront quelques clefs.","Terme adapté de l'anglais Graphic Novel, ce terme désigne beaucoup de choses, entre type de récit et argument commercial. Inspiré par Will Eisner, le terme désigne généralement des albums proches du roman, à la pagination élevée, qui ne sont pas destinés à devenir des séries. Persepolis de Marjane Satrapi ou L'ARABE DU FUTUR de Riad Sattouf sont de bons exemples pour vous faire une idée.","7481SALJPN","Récit historique",{"_2990":3727,"_3713":-5},"Un des genres les plus anciens de la bande dessinée, des grandes épopées aux fictions contextualisées. Des personnages aux moments clefs de l'Histoire, les récits historiques sont légion en BD. D'Alix de Jacques Martin à Murena de Jean Dufaux & Philippe Delaby, de Révolution de Florent Grouazel & Younn Locard à Cinq branches de coton noir d'Yves Sente & Steve Cuzor, la fiction piste le réel quelque soit l'époque ou le lieu.","9JQKgCM2kR",{"_2990":3730,"_3713":-5},"Super-pouvoirs, conquête cosmique ou destins d'exception, vous avez en tête les grands héros de ce genre qui sont les rois actuels du cinéma. De la trinité Superman, Batman, Wonder Woman aux Avengers, des histoires plus atypiques, mais planétaires comme Watchmen, Kick Ass ou Saga… Ce n'est pas Deadpool qui vous déconseillerait de faire un tour ici.","oHGbljefM0","Récit de guerre et d'aviation",{"_2990":3734,"_3713":-5},"Un peu différent du récit historique, le récit de guerre ou récit d'aviation cherche à mettre en scène des héros ou des combattants à un moment clef ou une période en se concentrant sur les personnages et leurs engins. Des albums de Tardi à ceux de Gibrat, de Il était une fois en France à Carnets d'Orient, toutes les périodes et tous les continents sont abordés. Les albums d'aviation constituent à eux seuls, un sous-genre très représenté, des vétérans Buck Danny ou Tanguy & Laverdure aux albums de Romain Hugault.","E5nVT3tcLS","Polar",{"_2990":3742,"_3713":-5},{"_2990":3741,"_3713":-5},{"_2990":3740,"_3713":-5},"Histoires de Yakuza, enquêtes à grande échelle ou espions internationaux, les mangakas sont des maitres dans l'art du suspens. Du classique Détective Conan au récent Inspecteur Kurokochi, de la classe de City Hunter aux mystères de Monster, en passant par les terribles Ushijima et Golgo 13, vous n'avez pas fini de creuser.","Dans le pays qui a vu naitre Chandler et Hammett, le genre policier recoupe plusieurs pans des comics. Des champions du genre comme d'Ed Brubaker & Sean Phillips et leur série Criminal aux nouveaux Tom King & Mitch Gerads et le remarqué Sheriff of Babylon. Du furieux Scalped de Jason Aaron & Danijel Zezelj au canibale Tony chu de John Layman & Rob Guillory… Ne restez pas dos à la porte.","Des enquêtes policières aux récits d'espionnage, des thrillers aux histoires de détectives, le genre est vaste et très peuplé en bande dessinée. XIII et sa mémoire défaillante, Blacksad et son instinct, le Tueur et son flegme ou Jérôme K. Jérôme Bloche et sa naïveté, les personnalités marquantes ne manquent pas.","5iQKqxn2jj","Manhwa | BD coréenne",{"_2990":3746,"_3713":-5},"Désigne la bande dessinée coréenne. Peu d'oeuvres sont publiées en France par rapport à la production coréenne, mais on peut lire les classiques de Kim Dong-hwa comme Histoire couleur terre ou La bicyclette rouge ou le très drôle Oh Yeong Jin et son Visiteur du Sud. Ou des autrices contemporaines comme Ancco et Mauvaises filles ou Yoon-Sun Park avec Sous l'eau, l'obscurité.","lEGNFOAIYK",{"_2990":3749,"_3713":-5},"Manga dont la cible éditoriale est les jeunes garçons. Des indétrônables Dragon Ball d'Akira Toriyama, Naruto de Masashi Kishimoto et One Piece d'Eiichirō Oda. Sans oublier les récents succès de My Hero Academia de Kōhei Horikoshi et l'Attaque des Titans d'Hajime Isayama.","6LiaNrIqMW",{"_2990":3752,"_3713":-5},"Manga dont la cible éditoriale est les jeunes filles. Des débuts avec Princesse Saphir d'Osamu Tezuka ou La Rose de Versailles de Riyoko Ikeda. Aux très récents Orange d'Ichigo Takano et Nodame Cantabile de Tomoko Ninomiya, en passant par les classiques Nana d'Ai Yazawa et Fruit Basket de Natsuki Takaya.","A7F8WTBlvZ",{"_2990":3755,"_3713":-5},"Manga pour adultes, jeune homme ou jeune femme pour seinen et josei, il cible les lecteurs qui passent à des thématiques plus adultes ou complexes que dans les Shonen et Shojos. Avec les emblématiques Akira de Katsuhiro Ōtomo, 20th Century Boys de Naoki Urasawa, Ghost in the Shell de Masamune Shirow, Le pavillon des hommes de Fumi Yoshinaga ou les récits de Moto Hagio.","rkb18l3AAm",{"_2990":3758,"_3713":-5},"À ne pas confondre avec les catégories Ecchi ou Hentai, l'appellation Yaoi et Yuri désigne les histoires qui abordent les thèmes homosexuels, lesbiens, bixesuels ou transgenres. Souvent platoniques, parfois érotiques, ces mangas sont très populaires au Japon.","P9T29hTTEu","Manga jeunesse | Kodomo",{"_2990":3762,"_3713":-5},"L'appellation qui désigne les mangas destinés aux enfants, un peu différentes de ce qu'on désigne comme jeunesse en BD, ici plutôt les jeunes enfants (car les cibles Shonen et Shojo sont destinées aux pré-ado et ado). Le populaire Chi - une vie de chat de Kanata Konami ou le classique Doraemon de Fujiko F. Fujio vous donnent une bonne idée du Kodomo.","wSyPF3FSOK","Manga érotique | Ecchi & Hentai",{"_2990":3766,"_3713":-5},"Mangas réservés à un public averti. L'appellation Ecchi désigne plutôt ce qui est coquin et érotique pour se différencier du Hentai pornographique. De l'iconique série Step up love story de Katsu Aki avec ses conseils sur le couple aux histoires inclassables, cette catégorie croise parfois les genres Yaoi | Yuri.","k9c0ERKVQO","Manga d'auteur | Gekiga",{"_2990":3770,"_3713":-5},"Un genre né au début des années 1960 poussé par Yoshihiro Tatsumi (une naissance qu'il raconte dans Une vie dans les marges), destiné aux adultes et tourné vers le réel. N'hésitant pas à aborder des sujets violents ou tabous. Takao Saitō et son Golgo13 ou Yoshiharu Tsuge avec L'Homme sans talent sont les auteurs emblématiques du genre avec Tatsumi.","iySm4pDM5w","LGBT",{"_2990":3774,"_3713":-5},"Les oeuvres qui abordent les thèmes homosexuels, lesbiens, bixesuels ou transgenres. Des romans graphiques d'Alison Bechdel aux albums d'humour de Ralf Köning en passant par les oeuvres qui ont marqué l'imaginaire collectif comme Strangers in Paradise de Tony Moore ou Le bleu est une couleur chaude de Julie Maroh.","GkqSseEgxY",{"_2990":3777,"_3713":-5},"Albums destinés aux premiers lecteurs ou lectures pour toute la famille, la jeunesse en bande dessinée recoupe souvent les séries classiques et grand public. Mais depuis quelques années, les jeunes ont aussi leurs classiques d'Ariol à Seuls, des Légendaires à Lou!, des Carnets de Cerise à Klaw...","4fG5oKHy41","Humour",{"_2990":3781,"_3713":-5},"Probablement la catégorie la plus difficile à définir tant le champ est vaste et les styles nombreux. Des classiques du Journal de Spirou aux Idées noires de Franquin. Des vieux briscards Reiser, Cabu et Wolinski au Zaï Zaï Zaï Zaï de Fabcaro. Séries de métiers ou albums à la marge, la bande dessinée et l'humour ont une longue histoire.","1t45NQIFjO","Heroïc Fantasy",{"_2990":3785,"_3713":-5},"Une branche de la BD fantastique qui s'est très fortement développée à partir des années 1990 à la suite des grands succès de La Quête de l'Oiseau du temps, Thorgal ou Lanfeust. Avec l'engouement mondial pour Game of Thrones, l'héroïc Fantasy n'a pas fini d'être alimentée en bande dessinée.","hqC8nknJL2","Fantastique",{"_2990":3792,"_3713":-5},{"_2990":3794,"_3713":-5},{"_2990":3793,"_3713":-5},{"_2990":3792,"_3713":-5},"Héritage de la littérature fantastique, les auteurs de BD ont beaucoup exploré le fantastique. Des grandes sagas comme De Cape et de crocs d'Alain Ayroles & Jean-Luc Masbou au. fantastique poétique et inquiétant de Nicolas de Crécy. En passant par le Grand vampire de Joann Sfar ou la Nef des fous de Turf… le fantastique a de multiples facettes.","Un genre délicat à cerner au Japon, tant le fantastique irrigue l'imaginaire de l'archipel. Des univers effrayants de Junji Ito et Kazuo Umezu aux mignoneries des Magical Girls représentées par Sailor Moon de Naoko Takeuchi. Du légendaire Shigeru Mizuki et sa vision des yokaïs aux jeunes challengers Koré Yamazaki et The Ancient Magus Bride ou Kamome Shirahama et son Atelier des Sorciers.","Les Anglo-saxons sont les maîtres du fantastique et de l'étrange depuis les grandes sagas et les légendes. De l'univers étendu d'Hellboy de Mike Mignola au terrible Spawn de Todd McFarlane, en passant par les rockstars Robert Kirkman & Charlie Adlard et leur Walking Dead ou l'onirique Sandman de Neil Gaiman & Cie.","vr084DBjiH","Erotique",{"_2990":3798,"_3713":-5},"Pas besoin de vous faire un dessin ou alors réussi. Une sélection de bandes dessinées destinées à un public averti, des grands maitres italiens Milo Manara et Guido Crepax, aux albums plus légers de Dany ou Les Péchés mignons d'Arthurs de Pins. Sans oublier les histoires vraies illustrées recueillies par Fabien Vehlmann ou la collection d'humour érotique BD cul.","Y14TMCsK6o","BD Documentaire",{"_2990":3802,"_3713":-5},"Un genre très tendance depuis une quinzaine d'années, de la sortie de l'album Le Photographe d'Emmanuel Guibert, Didier Lefèvre & Frédéric Lemercier à la Revue dessinée qui réunit journalisme et bande dessinée, en passant par l'iconique Pyongyang de Guy Delisle. Plusieurs éditeurs ont lancé des collections dédiées aux reportages, témoignages, essais, vulgarisations...","8uQwYfVZEi",{"_2990":3807,"_3713":-5},"jeunesse:",{"_2990":3807,"_3713":-5},"L'aventure est indissociable de la bande dessinée, depuis ses débuts de Töpfer à Hergé et son globe-trotter Tintin, la BD l'a dans les veines. Plus récemment, on pense à des albums d'actions, de voyages et de grandes épopées, mais vous pourriez être surpris.","kBCDC2eV6x","Autour du Manga",{"_2990":3811,"_3713":-5},"Des cours à domicile d'Osamu Tezuka aux magazines pop One Piece : Ouvrages techniques & analyses, biographies & monographies, artbooks & beaux livres autour du comics et de ses créateurs. Pour ceux qui veulent aller plus loin dans la compréhension ou la conception du manga.","mLuL8Pxtvc","Autour du Comics",{"_2990":3815,"_3713":-5},"De l'incontournable Scott McCloud & sa théorie de la BD en BD, aux leçons particulières de Will Eisner : Ouvrages techniques & analyses, biographies & monographies, artbooks & beaux livres autour du comics et de ses créateurs. Pour ceux qui veulent aller plus loin dans la compréhension ou la conception du comics.","oTodFY1YDy",{"_2990":3818,"_3713":-5},"Du théoricien et scénariste Benoit Peeters à la revue Les Cahiers de la bande dessinée : Ouvrages techniques & analyses, biographies & monographies, artbooks & beaux livres autour de la bande dessinée et de ses créateurs. Pour ceux qui veulent aller plus loin dans la compréhension ou la conception de la bande 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BD offrir à un garçon (en sortant des clichés) ?","Flora Noiret","https://i2.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2020/11/hwhvu57nhl-1.jpg?fit=1350%2C675&ssl=1","https://i2.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2020/11/hwhvu57nhl-1.jpg?fit=736%2C368&ssl=1",{"_751":752,"_106":753,"_754":117,"_77":755},"/9emeart/bd/critiques/bd-jeunesse-les-onvi-du-debut-d-annee-2019","https://www.bubblebd.com/9emeart/bd/critiques/bd-jeunesse-les-onvi-du-debut-d-annee-2019","bd-jeunesse-les-onvi-du-debut-d-annee-2019","BD jeunesse — les ONVI du début d'année 2019","Lucie Kosmala","https://i0.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2019/04/fleursDeGrandFrere-couv-1.jpg?fit=899%2C367&ssl=1","https://i0.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2019/04/fleursDeGrandFrere-couv-1.jpg?fit=736%2C301&ssl=1",{"_751":3843,"_106":3844,"_754":117,"_77":3845},"608487239","Critiques","critiques","/9emeart/mangas/incontournables/decouvrir-les-mangas-ep-2-les-shojo-classiques","decouvrir-les-mangas-ep-2-les-shojo-classiques","Découvrir les mangas — ép.2 : Les Shōjo classiques","https://i2.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2019/05/Image-principale.jpg?fit=1088%2C600&ssl=1","https://i2.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2019/05/Image-principale.jpg?fit=736%2C406&ssl=1",{"_751":33,"_106":3852,"_77":3853},"Incontournables","incontournables","/9emeart/mangas/incontournables/decouvrir-les-mangas-ep-1-les-shonen-classiques","decouvrir-les-mangas-ep-1-les-shonen-classiques","Découvrir les 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essentiels","https://i2.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2018/11/Chris-Ware-.png?fit=4048%2C2480&ssl=1","https://i2.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2018/11/Chris-Ware-.png?fit=580%2C355&ssl=1",{"_751":33,"_106":3852,"_77":3853},"/9emeart/comics/incontournables/decouvrir-les-comics-ep-1-les-fondations-du-super-heros-en-10-essentiels","decouvrir-les-comics-ep-1-les-fondations-du-super-heros-en-10-essentiels","Découvrir les comics— ép.1 : les fondations du super-héros en 10 essentiels","https://i2.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2018/03/1eCnbkwUWxcnbO2qBn-ZS0A.png?fit=1535%2C945&ssl=1","https://i2.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2018/03/1eCnbkwUWxcnbO2qBn-ZS0A.png?fit=580%2C357&ssl=1",{"_751":33,"_106":3852,"_77":3853},"/9emeart/bd/edito/bibliotheque-endgame","bibliotheque-endgame","Bibliothèque : endgame","https://i2.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2019/05/LandingWeb@2x.jpg?fit=1088%2C600&ssl=1","https://i2.wp.com/bubblediscovery.wpcomstaging.com/wp-content/uploads/2019/05/LandingWeb@2x.jpg?fit=736%2C406&ssl=1",{"_751":752,"_106":753,"_754":117,"_77":755},"/9emeart/bd/incontournables/decouvrir-la-bande-dessinee-ep-1-les-grands-classiques-en-10-essentiels","decouvrir-la-bande-dessinee-ep-1-les-grands-classiques-en-10-essentiels","Découvrir la bande dessinée — ép.1 : Les grands classiques en 10 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« C’est un Spirou pour les enfants et ce sont les adultes qui en ont peur qui sont immatures.”

L’expo met en lumière 3 personnalités historiques méconnues : Felix Nussbaum, Felka Platek et Jean Doisy

La presse collabo ou résistante

Des pièces exceptionnelles

Quoi lire en attendant ?

💡 Toutes les infos sur l’expo ici 💡Jusqu’au 30 août 2023. Entrée gratuite.

Avec ce lancement, on découvre les 3 premiers livres de la collection des Cahiers de la bande dessinée, est-ce que vous pouvez nous parler de comment est née la collection et de son ambition ?

Frank Pé ouvre la collection avec un essai sur le dessin et une réflexion sur son rapport à la bande dessinée —qui n’est ni un manuel ni une monographie— mais qui a l’envie d’ouvrir le débat. Est-ce que ce projet est le fruit d’échanges avec l’auteur ou une proposition ?

Et en tant que premier livre de la collection, il y a un message, on a une invitation à d’autres auteurs de faire de même.

C’est vrai qu’il nous fait nous questionner nous-mêmes sur ce que l’on apprécie vraiment.

Ça reflète exactement ça, et à part chez Emmanuel Guibert, je n’avais jamais lu une prise de parole comme ça, il n’y a pas vraiment d’équivalent.

Justement, c’est le troisième livre de la collection qui vient de sortir. C’est une réédition du livre que vous avez fait ensemble il y a une vingtaine d’années, vous l’avez retravaillé pour cette nouvelle édition ?

Justement, est-ce qu’on peut dire un mot sur les très belles maquettes de Philippe Poirier ? Sur la cohérence, sur les idées de jaquettes pliées ?

La notion de patrimoine en bande dessinée est assez récente, les dossiers et livres qui l’accompagnent aussi, mais les livres sont bien accueillis et trouvent leur public ; comment vous voyez cette évolution, vous qui rencontrez le public autour de ces projets depuis presque 20 ans ?

Parlons de Numa Sadoul puisque vous publiez un livre d’entretiens peu de temps après la réédition de son Et Franquin créa la gaffe. C’est le making of du making of ?

Il a eu le droit à une nouvelle édition il y a peu de temps, il aurait presque pu intégrer la collection.

Je reviens à la collection des Cahiers de la bande dessinée, et est-ce qu’il y aura un album patrimonial pour en regrouper des passages clefs, des archives marquantes ?

En plus de ce travail d’éditrice, vous travaillez avec Bertrand sur le 3e tome de La véritable histoire de Spirou. Est-ce que vous pouvez nous donner une idée de votre quotidien d’autrice ?

Est-ce qu’en tant qu’éditrice, c’est difficile de savoir quand arrêter un livre, d’arrêter une pagination, parce que quand on fait de la recherche, des entretiens on a une quantité incroyable de matière ?

Vous en avez déjà un peu parlé avec le prochain livre avec Numa Sadoul, mais comment va s’orienter la suite de la collection ?

Les 3 livres fonctionnent bien ensemble, pour un lancement, on a effectivement une belle promesse.

✍️ Dessine ! de Frank Pé

🎙 Franquin et moi, entretiens entre Christelle Pissavy-Yvernault et Numa Sadoul

🧚 Loisel, dans l’Ombre de Peter Pan entretiens entre Christelle Pissavy-Yvernault et Régis Loisel

💡 Toutes les infos sur l’expo ici 💡
Jusqu’au 30 août 2023. Entrée gratuite.

Parlons de Numa Sadoul puisque vous publiez un livre d’entretiens peu de temps après la réédition de son ***Et Franquin créa la gaffe*. C’est le making of du making of ?**

En plus de ce travail d’éditrice, vous travaillez avec Bertrand **sur le 3e tome de La véritable histoire de Spirou. Est-ce que vous pouvez nous donner une idée de votre quotidien d’autrice ?**