Drawn in his unmistakable line that veers in a moment from crude to elegant, blotchy to crisp, horrific to serene, these comics show Blutch searching for new artistic frontiers. What he finds is sometimes surprising, occasionally unsettling, and endlessly fascinating.

Blutch riffs on two quintessentially American art forms — jazz and comics. In this freewheeling collection of short stories and vignettes, the famed French cartoonist examines not only the music, but the nature of the jazz sub-culture. The grumpy festival goer, the curmudgeonly collector, and many other fan “types” are the targets of his unerring gimlet eye. Drawn in a range of styles as improvisational as Coltrane and Mingus ― everything from loose linework to tight pen and ink to gestural pencils ― Blutch captures the excitement of live performance, the lovelorn, and the Great Jazz Detective, who is out but not down.

The story takes place in a near future (more or less). The world is a huge factory, and the factory is the world. This world is presided over by “The Orifice,” the company which revolutionized the working method. You put your hands inside two holes, and you work, without you (or anybody) actually knowing what you’re working on… In the midst of all this is Lantz. Lantz is a comic book author. He’s the one who came up with the New New Testament, the bestseller that the entire economy depends on. Problem is: he’s got writer’s block. Riddled with doubt, he doesn’t know what he wants anymore, and his various frustrations are making him miserable. Lantz reflects the daily life of many among us. Will he be able to find an honorable way out of his psychological battles?

The man known as Blutch is one of the giants of contemporary comics, and Peplum may be his masterpiece: a grand, strange dream of ancient Rome. At the edge of the empire, a gang of bandits discovers the body of a beautiful woman in a cave; she is encased in ice but may still be alive. One of the bandits, bearing a stolen name and with the frozen maiden in tow, makes his way toward Rome - seeking power, or maybe just survival, as the world unravels. Thrilling and hallucinatory, vast in scope yet unnervingly intimate, Peplum weaves together threads from Shakespeare and the Satyricon along with Blutch's own distinctive vision.

What is cinema? What is its effect on us? Why do we love it so much? These are all questions to which Blutch seeks the answers in his considered and humble way, drawing on his prodigious cultural knowledge and his gift for the comic book form. He references Burt Lancaster, Jean Gabin, Michel Piccoli, Luchino Visconti, Claudia Cardinale, Tarzan, Psychose, and many more. As much comic book as graphic essay, this reverie on the narrative art of image marks the advent of one of today's masters of the 9th art.

Modern-day Paris. One night, as she’s leaving rehearsal, Lola, a young dancer, is approached by Renée. She introduces herself as a writer, and asks Lola if she could share her life for a while in order to gather material to write a book about her. Despite not feeling entirely comfortable with the idea, Lola accepts. The very next day, Lola and Renée experience the strangest day of their lives, involving an absent father who reappears at random points throughout the book, a bashful but psychopathic admirer, Omar Shariff, and a huge spider… All this is set against a backdrop of a general power cut, a highly demanding dance class and a very rainy day. In the world of today, where everything goes too quickly, twenty-four hours is sometimes enough to change your life.