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Conversely, it demonstrates that the comic artist, in order to sustain narrative tensions, is obliged to rely on programs that an illustrator such as Roux might trust to his author.

This eccentricity of the program of the intrigue with regard to the plot that is its support and channel is, in the end, a hallmark of the most accomplished practitioners of textual and verbal arts.

But Roux’s illustrations dispense with every pretext that she is a boy — she remains in masculine garb, but lets down her hair a bit and jettisons the extravagantly phallic hat that she wore for nearly all of Book I Figure 7.

This essay is the intellectual property of the author and cannot be printed or distributed without the author’s express written permission other than excerpts for purposes consistent with Fair Use. Published December 12th by Wesleyan first published The drawing is labeled, in English, “Lewis River.

Your browser does not appear to support JavaScript, or JavaScript is currently disabled. Only a handful of the most popular works in the series remain in print. No translation can reproduce every textual relay of the original — and Verne can be a particularly difficult case in this regard, given his enthusiasm for puns and anagrams — but an approximation of the decisive relays is possible, if the two languages are generally comparable with respect to their alphabets, phonemic and syntactic operations.

How many readers, surprised by the disclosure of something that was nearly obvious all along, will now turn back to look at the illustrations to confirm the quality of the deception? Despite their subtlety and grace, images by both artists are less engaged with operations of those programs than are Roux’s technically less accomplished illustrations: Even before a reader of the Voyages opens a volume to its first page, she is drawn into a position of survey: Or they are tasked with boosting the book’s shelf appeal, which usually means sensationalism and melodrama at the cost of narrative and stylistic accuracy.


Verne seems to feel that his reader, on the other hand, may need the constant prodding that she’s been given the slip again. Grand sizes will, in general, be supplanted by smaller pocket sizes, elaborate cartonnages by paper jackets and color softcover formats. Her exchanges with Marcial Martial in these early panels suggest that there is a secret between them, but there is no sign that her clothing hides it.

Juan shows Marcial his costume.

The Mighty Orinoco

Verne, Jules and Pierre-Jules Hetzel. They later meet Jacques Helloch and his friend Germaine Paterne and join forces. An uncle and nephew travel up the Orinoco to locate the long lost father of the boy.

Books by Jules Verne. Roux’s depiction of the scene Figure 5 shows Jean falling headfirst, his face submerged in the waters. It ends when the group reaches San Fernando, and with the revelation of one of the big secrets. Pancho Quilici’s sepia watercolors for the Spanish-language volume are quite beautiful Figure 11but are too abstract to support the calculated scheme of disguise and disclosure that Roux’s more realist style sustains.

The conceit of androgeny — it is only ever that — and the curiosity and desire it invokes are in a way incidental; their significance is realized on other registers of reading. Jeanne is never shown in “the garments of her sex. For example, the only Dutch translation includes twenty-seven of the illustrations.

Jan 05, Dave rated it really liked it Shelves: Martial and Jean walking in the jungle, Helloch’s rescue of Jean from the river, from the same edition. Jeanne is never shown dressed as a young woman, even at the novel’s end. The layout and design of this article is licensed under a Creative Commons License to ImageTexT ; note that this applies only to the design of this page and not to the content itself.

Thus, as I write this in Julyno French-language edition of SO in print includes in-text illustrations, whether by Roux or another artist. The effects of exclusions must be determined on a case-by-case basis. Each incorporates elements of illustrations by Alphonse de Neuville for the Hetzel edition. The first group is 3 mapmakers who argue constantly over the actual origin of the Orinoco and which are it’s tributaries.


With a few exceptions, English translations of the Voyages include few or none of the illustrations.

This is a book probably best enjoyed by rabid Verne fans. In contrast, the artist of a orinico adaptation is freed from many of the obligations imposed by textual systems of the original.

Verne Julio. El Soberbio Orinoco. Molino 33 | Bernardo Mora Cadavid | Flickr

Martial doesn’t oorinoco to make this many fumbles for us to see that he is uncomfortable with the ruse. One of the interesting themes which Verne touches on in this book is race and racism. On the one hand, the exclusion of any of the images shown in Figure 9 would fracture the fundamental circuit orinocoo represent. As with the other books in the Early Classics of Science Fiction, there is some supporting material as well. With some modifications, these elements are orinocoo in the original, but they figure there a kind of window-dressing for the fundamental circuits of the work.

Presses universitaires de Lille, With his final exclamation, Helloch insists on the textual supplement by which young Juan has become Juana — the visual proof of which the reader may easily discern in the girl’s profile, le in this panel than in any proceeding it. One has to wonder if Verne isn’t well ahead of his time in showing that the racist stereotypes are false.

Maiti rated it really liked it Dec 14, Apr 25, Alex Rojas rated it really liked it. The quality of images in these editions varies widely.

In addition to the search for the source of the river by M.