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It's not quite a. Spiegelman answers the buzzer and he's trim, energetic, immediately full of brainy chitchat about comics and publishing. Wearing a pale blue oxford shirt, suit vest and green slacks, he quickly steers PW toward a coffee bar "first, I need caffeine" , and as we walk and talk on this warm September morning, he lights the first of a steady succession of cigarettes.

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Jumbo coffees in hand, we return to the amiable publishing clutter of their office where we are joined by Mouly, striking and stylish in a black dress. Like Spiegelman, she is full of cheerful and lucid conversation delivered in a French-accented English. Spiegelman and Mouly's Little Lit: Folklore and Fairy Tale Funnies HarperCollins is a large-format collection featuring stories by comics artists and children's illustrators whoprovide an underground comics spin to the children's picture book genre.

Little Lit is the latest in an ongoing publishing series by these two comics and graphic design veterans; it is distinguished by its quirky story telling and extraordinary graphics, and, like any edition of RAW , is replete with surprises, such as Chris Ware's delightfully illustrated board game. Together, Mouly and Spiegelman are the first family of edgy, cosmopolitan comics.

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Spiegelman, born in Switzerland and raised in New York City, is a veteran of the underground comics movement of New York and San Francisco during the s and early s. A prominent figure during the tumultuous period of America's counterculture, social protest, sexual revolution and psychedelia, he was joined by such legendary underground comics artists as Robert Crumb, Bill Griffith, S.

Clay Wilson, Justin Greene and Gilbert Shelton, just a few of the iconoclastic West Coast artists whose works helped to usher in the current American renaissance of alternative comics--idiosyncratic, introspective graphic works self-consciously intended to be received as art, liberating a medium that had been aesthetically suppressed by the anti-comics hysteria of the s and the subsequent commercial domination of mainstream superhero comics.

For the first time, the comics were being done for one's peers and not for money. Exhausted by the effort required to exhort an unruly herd of cartoonists toward deadlines, Spiegelman returned to New York City in , where he met Mouly, a French architecture student who was working as a bilingual secretary, electrician, house painter and cigarette girl to pay the rent on her SoHo loft.

Of course, comics would bring them together. Very much interested in the sophisticated comics of French artists many of whom were also influenced by the American undergrounds and looking to improve her English, Mouly thought she "could learn English by reading comics.