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The Mighty Lalouche: A Heartening Underdog Story Illustrated by the Great Sophie Blackall

What Parisian boxing from the early 1900s has to do with contemporary technoparanoia about robots replacing us.

The more you win, the more you win, the science of the “winner effect” tells us. The same interplay of biochemistry, psychology and performance thus also holds true of the opposite — but perhaps this is why we love a good underdog story, those unlikely tales of assumed “losers” beating the odds to triumph as “winners.” Stories like this are fundamental to our cultural mythology of ambition and anything-is-possible aspiration, and they speak most powerfully to our young and hopeful selves, to our inner underdogs, to the child who dreams of defeating her bully in blazing glory.

That ever-alluring parable is at the heart of The Mighty Lalouche (public library), written by Matthew Olshan, who famously reimagined Twain’s Huckleberry Finn with an all-girl cast of characters, and illustrated by the inimitable Sophie Blackall, one of the most extraordinary book artists working today, who has previously given us such gems as her drawings of Craigslist missed connections and Aldous Huxley’s only children’s book. It tells the heartening story of a humble and lithe early-twentieth-century French postman named Lalouche, his profound affection for his pet finch Geneviève, and his surprising success in the era’s favorite sport of la boxe française, or French boxing.

One day, at the height of Parisians’ infatuation with the novelty of electric cars, Lalouche’s boss at the post office informs him that a new electric autocar is replacing all walking postmen, who are too slow by comparison. Desperate to provide for himself and Geneviève, Lalouche sees a flyer offering cash to any sparring partners willing to fight the champions at the Bastille Boxing Club. Though Lalouche is small and “rather bony,” his hands are nimble and strong from handling weighty packages, and his feet are fast from racing up apartment stairs in his deliveries — so he signs up.

One should never underestimate a man who loves his finch.

Thanks to his agility and love for the birdie, to everyone’s astonishment, he goes on to defeat each of the champions in turn — even the formidable Anaconda, “the biggest, baddest beast the city has ever seen,” infamous for his deadly sleeper hold. But when the postal service chief realizes the autocar is just a gimmick good for nothing and asks whether Lalouche is willing to take his job back, the tiny champ gladly agrees, for his heart is in the joy he brings people as their mail arrives.

Underpinning the simple allegory of unlikely triumph is a deeper reflection on our present-day anxieties about whether or not machines — gadgets, robots, algorithms — will replace us. The story gently assuring us that the most quintessential of human qualities and capacities — courage, integrity, love — will always remain ours and ours alone.

But what makes the book particularly exceptional are the curious archival images uncovered in the research, presented here exclusively alongside the soulful and expressive illustrations Blackall reincarnated them into:

Boxer trading cards, 1895

Boxer pose, 1911

Boxer pose II, early 1900s

Three boxers, early 1900s

Complement The Mighty Lalouche, relentlessly delightful and endearing in its entirety, with an essential reading list celebrating Children’s Book Week and this unmissable interview with Blackall, in which she discusses her brilliant Missed Connections project, the secrets of subversive storytelling, her famous NYC subway art, and working with optimism.

Images courtesy Schwartz & Wade

Published May 14, 2013




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