In Grandville, the first volume in the series, Talbot brings us a steampunk masterpiece. IIt tells the story of detective Inspector LeBrock of Scotland Yard as he stalks a gang of murderers through the heart of Belle Epoque Paris. In this alternative reality France is the major world power and its capital throngs with steam-driven hansom cabs, automatons and flying machines. The characters are mostly animals, though there is an underclass of humans, often referred to as 'dough faces'. Visually stunning, Grandville is a fantastical and audacious rollercoaster ride that will add to Talbot's reputation as one of the best graphic novelists in the world.

Examining how the rise of book illustration affected the historic hegemony of the word, Keri Yousif explores the complex literary and artistic relationship between the novelist Honoré de Balzac and the illustrator J. J. Grandville during the French July Monarchy (1830-1848). Both collaborators and rivals, these towering figures struggled for dominance in the Parisian book trade at the height of the Romantic revolution and its immediate aftermath. Both men were social portraitists who collaborated on the influential encyclopedic portrayal of nineteenth-century society, Les Français peints par eux-mêmes. However, their collaboration soon turned competitive with Grandville's publication of Scènes de la vie privée et publique des animaux, a visual parody of Balzac's Scènes de la vie privée. Yousif investigates Balzac's and Grandville's individual and joint artistic productions in terms of the larger economic and aesthetic struggles within the nineteenth-century arena of cultural production, showing how writers were forced to position themselves both in terms of the established literary hierarchy and in relation to the rapidly advancing image. As Yousif shows, the industrialization of the illustrated book spawned a triadic relationship between publisher, writer, and illustrator that transformed the book from a product of individual genius to a cooperative and commercial affair. Her study represents a significant contribution to our understanding of literature, art, and their interactions in a new marketplace for publication during the fraught transition from Romanticism to Realism.

Examining how the rise of book illustration affected the historic hegemony of the word, Keri Yousif explores the complex literary and artistic relationship between the novelist Honoré de Balzac and the illustrator J. J. Grandville during the French July Monarchy (1830-1848). Both collaborators and rivals, these towering figures struggled for dominance in the Parisian book trade at the height of the Romantic revolution and its immediate aftermath. Both men were social portraitists who collaborated on the influential encyclopedic portrayal of nineteenth-century society, Les Français peints par eux-mêmes. However, their collaboration soon turned competitive with Grandville's publication of Scènes de la vie privée et publique des animaux, a visual parody of Balzac's Scènes de la vie privée. Yousif investigates Balzac's and Grandville's individual and joint artistic productions in terms of the larger economic and aesthetic struggles within the nineteenth-century arena of cultural production, showing how writers were forced to position themselves both in terms of the established literary hierarchy and in relation to the rapidly advancing image. As Yousif shows, the industrialization of the illustrated book spawned a triadic relationship between publisher, writer, and illustrator that transformed the book from a product of individual genius to a cooperative and commercial affair. Her study represents a significant contribution to our understanding of literature, art, and their interactions in a new marketplace for publication during the fraught transition from Romanticism to Realism.

Le blaireau est de retour! Alone in Grandville, Detective Inspector LeBrock stalks a growing religious cult led by a charismatic unicorn messiah who, along with his con-men partners, are responsible for horrific mass murder. With Paris in the grip of the mysterious crime lord Tiberius Koenig and increasingly violent attacks by human terrorists, can LeBrock stop the inevitable slide into fascism? And could these conditions all be the manipulations of a centuries-old conspiracy to throw the world into war? From the imagination of Bryan Talbot comes Grandville Noël, the fourth installment of the acclaimed steampunk fantasy series.

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12 black-and-white postcards feature a pompous peacock, demure dog, fanciful frog, and other whimsical creatures that satirize human behavior with their comic expressions, poses, and clothing.

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Ancient burial mounds lined the river, known to the native people as the Owashtanong. The first white settlement was built in 1832, and the fur-trading post at the bend in the river, then known as Oakestown, was settled before the city of Grand Rapids with the expectation that Oakestown would be one of the area's larger cities. Plaster mining prospered throughout the area until an accident filled the White Plaster Mill with water, creating the present-day Big Spring Lake. Eventually, farming, lumbering, and a small oil industry replaced plaster mining as the local source of commerce. It was a destination site for shopping, restaurants, and saloons until floods engulfed the city in 1904, forcing an inland relocation.