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2023 | OriginalPaper | Chapter

8. La Ballade de la mer salée and the Emergence of the European Graphic Novel

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Abstract

Hugo Pratt’s La Ballade de la mer salée marks a turning point in the history of bande dessinée. In publishing these contemplative meanderings stretching over 161 pages as a single book, Casterman brought to a close the cycle opened by Losfeld in 1964—and opened a new one. Like Losfeld a decade earlier, Casterman was simply compiling a strip which had been published as episodes in the Italian and French press. Like Losfeld, Casterman was offering a new apprehension of these disparate episodes, now gathered as a continuous long story in a black-and-white publication which helped to give birth to the graphic novel in France. Except now, it was a top publisher entering the field of mainstream adult comics, providing both commercial muscle and unprecedented respectability. La Ballade came to be the model for the literary aspirations of comics, and the model for the adult bande dessinée as recognised and celebrated in festivals.

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Footnotes
1
Casterman archives, order slips for 1976.
 
2
Rasmus Klump, by Carla and Wilhelm Hansen, a very popular series for young children depicting the peaceful adventures of a bear cub and his friends.
 
3
Hugo Pratt, letter to Pierre Servais, 6 August 1973, Casterman archives, authors files.
 
4
Casterman archives, Casterman BD 1983 catalogue, no page numbers.
 
5
The following discussion of the Dossiers du B.I.D.E. is based entirely on work by Laurent Gerbier, from whom I borrow some of the analysis he devotes to the series in “La Langouste fait un bide”, in Sylvain Lesage & Gert Meesters (eds.), (À Suivre). Archives d’une revue culte, Tours, Presses universitaires François-Rabelais, “Iconotextes”, 2018.
 
6
Tito Topin, quoted in (Dicale 2012).
 
7
Yé-yé, the French transcription of “yeah”, is associated with the introduction of English-language rock-’n’-roll to France in the early 1960s. It was both a musical current and a marketing device, promoted by the magazine Salut les Copains, restructuring youth cultures around the world of rock-’n’-roll. This culminated in a free concert in Paris on 22 June 1963, attended by 150,000–200,000 young people. For all its ambiguity, yé-yé represents the affirmation of a youth public who were more transgressive than the traditionally sober readership of bande dessinée magazines. See Briggs (2015).
 
8
France-Inter, “Radioscopie”, 18 November 1969, quoted in B. Dicale, ibid.
 
9
Amendment to contract no. 2214 of 6 June 1977 for the publication of Ici Même; Casterman archives, Tardi author file.
 
10
Étienne Robial, unpublished interview with the author on 4 March 2013. While Robial presents himself as following in the footsteps of Éric Losfeld, the publisher of Epoxy and of the Saga de Xam, it may be noted that the magazine’s prototypical story was the work of Jean-Claude Forest, who had produced Barbarella for Losfeld, a major turning point in the emergence of adult bande dessinée, before going on to take the reins of the short-lived Chouchou. On this point see Lesage (2019).
 
11
François Schuiten, in Jean-Christophe Barbier (ed.), Métal hurlant, (À Suivre). La bande dessinée fait sa révolution, p. 151.
 
12
Presentation of the first episode in (À Suivre) no. 1, p. 5.
 
13
On this failure, see Crucifix and Lesage, “(À Suivre) Overseas: The Transatlantic Circulation of the French Graphic Novel”.
 
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Metadata
Title
La Ballade de la mer salée and the Emergence of the European Graphic Novel
Author
Sylvain Lesage
Copyright Year
2023
DOI
https://doi.org/10.1007/978-3-031-17001-0_8