Company History

First Second Books is an American publisher of graphic novels, founded in 2006. It operates as an imprint of Roaring Brook Press, part of the Macmillan Children's Publishing Group. The imprint was established by editorial director Mark Siegel), who envisioned a publishing house dedicated to producing high-quality, literary graphic novels that would appeal to a broad readership, from children to adults. Siegel's goal was to create a home for comics that could stand alongside prose literature in bookstores, libraries, and schools.

From its inception, First Second distinguished itself with a diverse and ambitious publishing list. Its first season in 2006 included six titles, showcasing the breadth of its editorial vision, from fantasy and adventure to historical fiction and memoir. One of its earliest and most significant successes was Gene Luen Yang's American Born Chinese (2006), which became the first graphic novel to be nominated for a National Book Award and the first to win the Michael L. Printz Award. This critical acclaim helped cement First Second's reputation and played a crucial role in the growing acceptance of graphic novels as a serious literary form.

Over the years, the publisher has continued to release critically lauded and commercially successful works, including Anya's Ghost by Vera Brosgol, This One Summer by Mariko Tamaki and Jillian Tamaki, and Spinning) by Tillie Walden. The house maintains a strong presence in the young adult and middle-grade markets while also publishing works for adults, championing both established creators and emerging new voices in the comics industry.

Why This Publisher Matters

First Second Books matters because it has been a transformative force in the North American publishing landscape, acting as a crucial bridge between the worlds of comics and mainstream literary culture. By establishing an imprint within a major publishing house like Macmillan dedicated solely to graphic novels, it provided a platform and a vote of confidence for a medium that was often marginalized.

Its significance lies in its consistent curation of quality and its role as a tastemaker. Books like American Born Chinese and This One Summer did not just win awards; they challenged the traditional gatekeepers of literature to take graphic novels seriously. First Second has been instrumental in building the market for young adult and middle-grade graphic novels, which is now one of the most dynamic sectors in publishing. In doing so, it has not only launched the careers of many influential creators but has also cultivated a new generation of readers who see comics as a natural and essential part of their literary diet.

Editorial Philosophy & Impact

First Second Books' editorial philosophy is centered on the belief that comics are a versatile and powerful medium capable of telling any kind of story for any audience. The imprint actively seeks out works that push the boundaries of the form, characterized by strong storytelling, artistic excellence, and emotional depth. They publish a wide array of genres, including fantasy, science fiction, memoir, non-fiction, historical fiction, and contemporary realism.

Its impact on the publishing industry has been profound. First Second was a key player in the movement to bring graphic novels into the mainstream book trade, successfully placing them in major bookstores, libraries, and educational curricula. By curating a list of high-literary-quality graphic novels, the imprint has helped elevate the perception of the medium, demonstrating its capacity for complex narratives and sophisticated art. Their commitment to diversity is also notable, as they consistently publish works by creators from various backgrounds, telling stories that reflect a wide range of human experiences.

Life Overview

Clotilde Dusoulier (born 1979) is a French food writer, author, and blogger, widely recognized for her influential food blog, Chocolate & Zucchini, which she launched in 2003. Born and raised in Paris, she initially pursued a career in software engineering, moving to Silicon Valley, California, in the early 2000s. It was during this time that she started her blog as a creative outlet to share her passion for cooking and French food culture with an English-speaking audience. The blog quickly gained international acclaim for its fresh voice, personal anecdotes, and approachable recipes, positioning Dusoulier as a key figure in the early food blogging movement.

Her success as a blogger led to a full-time career in food writing and the publication of several cookbooks. Her work focuses on fresh, seasonal, and simple French-inspired cuisine, demystifying it for home cooks around the world. In 2009, she took on the role of editor and adapter for the Phaidon Press English-language edition of Ginette Mathiot's culinary bible, Je sais cuisiner, published as I Know How to Cook. In this capacity, she went beyond translation, extensively updating and clarifying the classic text to make it relevant and accessible for a contemporary, international audience. Dusoulier continues to write, develop recipes, and host culinary tours from her home in Montmartre, Paris.

Editorial Methodology & Impact

Clotilde Dusoulier's editorial approach, particularly in her work on I Know How to Cook, is best described as one of cultural translation and modernization. She does not practice traditional textual criticism but rather a form of culinary redaction. Her primary goal is to preserve the spirit and authority of a classic work like Ginette Mathiot's while making it functional for a 21st-century, non-French home cook. This involves clarifying ambiguous instructions, converting metric measurements, suggesting ingredient substitutions, and adding annotations that provide cultural and historical context. Her methodology is interventionist but respectful, aiming to bridge the gap between the original text's era and the modern kitchen. Her impact lies in making canonical French culinary texts accessible and preventing them from becoming historical artifacts, ensuring their continued use and relevance.

Why This Editor Matters

Clotilde Dusoulier matters as a pivotal figure in the democratization of French cuisine for the digital age. Before the rise of food blogs, authentic French home cooking was often perceived as complex and intimidating, dominated by the haute cuisine of chefs like Auguste Escoffier. Through her accessible writing and editorial work, Dusoulier presented a more realistic and achievable vision of everyday French food culture. Her adaptation of Ginette Mathiot's I Know How to Cook was a landmark project that revitalized a national treasure for a global audience. By carefully editing, updating, and annotating the classic text, she ensured its transmission to a new generation of cooks, preserving its heritage while guaranteeing its practical utility. Her work exemplifies how a thoughtful editor can act as a cultural bridge, transmitting knowledge across linguistic and generational divides.

Life Overview

Alexis Siegel is a highly regarded American translator, editor, and publisher, known for his significant contributions to the world of French comics and graphic novels in English translation. He has been a pivotal figure in introducing acclaimed works of bande dessinée to Anglophone audiences, helping to elevate their status as serious literary and artistic forms. While details about his early life and education are not widely publicized, his career is distinguished by a deep understanding of the comics medium and a nuanced approach to translation that respects the interplay between text and image.

Siegel's most prominent role was as an editor for First Second Books, the graphic novel imprint of Macmillan Publishers, where he worked alongside editorial director Mark Siegel). In this capacity, he was instrumental in shaping the publisher's list, acquiring and editing numerous award-winning titles. He was a key figure in the English publication of Marjane Satrapi's Persepolis), a work that became a global phenomenon and a cornerstone of the modern graphic novel canon. As a translator, Siegel is celebrated for his work on Emmanuel Guibert, Didier Lefèvre, and Frédéric Lemercier's The Photographer), a groundbreaking blend of illustration and photography that won an Eisner Award. His other notable translations include the popular children's series Ariol by Emmanuel Guibert and Marc Boutavant, and Joann Sfar's The Rabbi's Cat. His work demonstrates a consistent commitment to quality and cultural fidelity, making him a trusted name for readers seeking the best of international comics.

Translation Philosophy & Impact

Alexis Siegel's translation philosophy is rooted in a deep respect for the unique nature of the comics medium. He approaches translation not merely as a linguistic transfer but as a holistic adaptation that considers the crucial relationship between words and images. For Siegel, the rhythm, pacing, and placement of text within a panel are as important as the literal meaning of the words. This requires a method that goes beyond literal translation, embracing a form of creative adaptation) to ensure that humor, puns, cultural references, and character voices resonate authentically with an English-speaking audience. He works to maintain the original author's tone and intent, ensuring that the translated text complements, rather than competes with, the artwork. His impact has been to set a high standard for comics translation, demonstrating that the process demands both literary skill and a sophisticated understanding of visual storytelling.

Why This Translator Matters

Alexis Siegel matters because he has been a key architect in building the bridge between the rich tradition of Franco-Belgian comics and the burgeoning graphic novel market in the Anglophone world. As both a translator and an influential editor at First Second Books, he has curated and translated works that have not only won critical acclaim but have also expanded the literary and artistic horizons of English-language readers. His translations of seminal works like The Photographer) and Ariol are models of excellence in the field, showcasing how to skillfully navigate the complex interplay of text, art, and culture. By championing and meticulously translating these sophisticated narratives, Siegel has helped to dismantle outdated perceptions of comics as a juvenile medium, solidifying their place as a vital and serious art form for all ages in North America and beyond.

Life Overview

Frédéric Lemercier (born 1969) is a French comic book artist and colorist, renowned for his pivotal role in the creation of the internationally acclaimed graphic novel Le Photographe) (The Photographer). Born in Pontoise, France, Lemercier has established himself as a master of narrative coloring within the Franco-Belgian Bande Dessinée tradition. His career is most notably defined by his collaboration with artist Emmanuel Guibert and photojournalist Didier Lefèvre on The Photographer. This groundbreaking work, published in three volumes between 2003 and 2006, documents Lefèvre's 1986 mission with Médecins Sans Frontières in Afghanistan.

Lemercier's specific and crucial contribution was to apply digital color to Guibert's drawings, which depict the events and memories that Lefèvre did not capture on film. His sensitive and atmospheric color work serves as the narrative and emotional bridge between Lefèvre's stark black-and-white photographs and Guibert's fluid ink drawings. This innovative fusion of media creates a seamless and deeply immersive reading experience. The success of The Photographer, which won numerous awards including an Eisner Award in 2010, solidified Lemercier's reputation as a thoughtful and influential colorist whose work transcends mere decoration to become an integral component of storytelling.

Illustration Philosophy

Frédéric Lemercier's philosophy as a colorist is centered on using color as a powerful narrative and psychological tool. He views color not as an embellishment but as an essential element of the storytelling language, capable of conveying mood, time, and emotional subtext. In his most famous work, The Photographer), his approach was to create a visual and emotional link between two distinct media: photography and drawing. He used a deliberately subdued and unified color palette to ensure that the transition from Didier Lefèvre's documentary photographs to Emmanuel Guibert's drawn memories felt organic and fluid. His colors interpret the narrative, using cool, somber tones for moments of hardship and warmer hues for moments of connection, thereby guiding the reader's emotional response. This demonstrates a deep commitment to narrative fidelity, where the colorist's art is in service to the story's core themes and emotional arc.

Why This Illustrator Matters

Frédéric Lemercier matters because of his integral contribution to The Photographer), a work that redefined the possibilities of graphic nonfiction and mixed-media storytelling in comics. His innovative use of color provided the crucial binding agent that allowed still photography and sequential drawing to coexist harmoniously within a single narrative. This had never been achieved with such emotional resonance and narrative sophistication before. The book's global success demonstrated to the industry a viable and powerful new method for creating documentary comics, influencing a generation of creators exploring hybrid forms of storytelling. Lemercier's work elevated the role of the colorist from a technical finisher to a key narrative author, proving that color could be as vital as words, line art, or photographs in conveying the truth of a story. His contribution is a landmark in the history of the graphic novel as a serious literary and journalistic form.

Life Overview

Didier Lefèvre (1957–2007) was a distinguished French photojournalist and biologist, celebrated for his profound and compassionate documentation of humanitarian work in conflict zones. Born in France, he initially pursued a career in biology before turning to photography, a field where he would make a lasting impact. His most famous work stems from a perilous journey he undertook in July 1986, when he accompanied a team from Médecins Sans Frontières (MSF) on a clandestine medical mission into northern Afghanistan during the height of the Soviet–Afghan War. Traveling on foot and by mule from Pakistan across treacherous mountain passes, Lefèvre documented the brutal realities of the war and the vital work of the MSF doctors providing aid to remote communities.

Lefèvre's photographs from this mission, shot on 35mm film, captured the exhaustion, courage, and humanity of the doctors, their local guides, and the Afghan people they served. For years, this significant body of work remained largely unpublished until Lefèvre collaborated with the acclaimed French comics artist Emmanuel Guibert. Together, they created the groundbreaking graphic novel Le Photographe) (The Photographer), published in three volumes between 2003 and 2006. The book innovatively combines Lefèvre's contact sheets and selected photographs with Guibert's drawings, which fill in the narrative gaps and depict moments Lefèvre could not capture on film. This unique fusion of media created a powerful and immersive narrative, earning widespread critical acclaim, including the Essentials Prize at the Angoulême International Comics Festival in 2007.

Didier Lefèvre passed away from heart failure in 2007 at his home in Morangis, France, shortly after receiving the Angoulême prize. His legacy is defined by his commitment to bearing witness and his pioneering contribution to the genre of narrative nonfiction, leaving behind a powerful testament to the impact of humanitarian action in the midst of war.

Photographic Philosophy

Didier Lefèvre's philosophy was rooted in the principles of engaged photojournalism and the ethical responsibility to bear witness. He viewed photography not as a detached art form but as a tool for documentation and testimony, aimed at conveying the human condition in extreme circumstances. His work in Afghanistan with Médecins Sans Frontières exemplifies his commitment to immersive, long-form documentary projects that go beyond the surface of events to reveal deeper personal and social narratives.

The creation of The Photographer) reveals his innovative approach to storytelling. By agreeing to combine his raw photographic evidence—including contact sheets showing the process of selection—with Emmanuel Guibert's drawings, Lefèvre embraced a multi-layered form of truth-telling. He understood that photography captures moments of reality but cannot convey the full continuity of experience, memory, or emotion. The synthesis with illustration allowed for a more complete and honest narrative, one that respected the integrity of the photographic document while acknowledging its limitations. This approach positioned the photograph as a central pillar of evidence within a broader, more interpretive narrative framework.

Why This Photographer Matters

Didier Lefèvre's primary significance lies in his revolutionary contribution to the language of visual storytelling through the graphic novel The Photographer). This work shattered the conventional boundaries between photojournalism, memoir, and comics, creating a hybrid genre that has since influenced a new generation of nonfiction artists and journalists. By integrating his unretouched photographs and contact sheets directly into the narrative panels drawn by Emmanuel Guibert, Lefèvre pioneered a method for conveying a story's factual basis and the subjective experience of the storyteller simultaneously.

This innovative format provided a new model for documentary work, demonstrating how the perceived objectivity of a photograph can be powerfully contextualized by the subjectivity of illustration and text. His work provided an intimate, ground-level perspective on the Soviet–Afghan War and the complexities of humanitarian intervention, making a distant conflict accessible and deeply human. Today, The Photographer is considered a masterpiece of the graphic novel form and is studied in courses on journalism, photography, and literature worldwide. Lefèvre's legacy is that of an innovator who expanded the possibilities of what a photographically-driven narrative could be.