As always, when Ladouceur challenged himself, he aimed high; reinterpret a well known quebec literary classic. First, he needed to find a formula which would distinguish the book he intended from any earlier prints. He faced a special challenge: by its lserialization on radio and later on television, the story of Seraphin was well known to the general population. Any reference to the show's artists who personified the miser and his entourage was out of question. If their portrayal was not what was expected, a negative reaction might ensue. That is why the idea of depicting places and objects where the action took place proved to be most promising.
Once the seed was planted, the idea germinated. A meticulous reading of the manuscript underlined the texts providing descriptions or even small allusions about the locale, the atmosphere, the objects and furniture surrounding the story protagonists. Translating these words into pictures sometimes meant problems, as, when a room description contradicted another. One such example, when a door and a chimney overlap in two descriptions… It was necessary to take an artistic licence and make sense of the error.
Another challenge was to accurately reflect this historical era. Ladouceur visited for this purpose the Laurentides region called *Les pays d'en Haut* ( The countries from above ), met with close relatives of Claude-Henri Grignon, took photos of landscapes, architecture, familiar objects, tools used in the late nineteenth century.
The magnificient masterpiece resulting from this meticulous research, beautiful watercolors, detailed ink drawings, hand calligraphied text exerpts, received a similar attention from the book editor Alain Stanké. Much care was paid to the production of the final book which was published in two versions, a popular hardcover presentation with dust jacket and a luxury collectors edition, presented in a hand carved woodcase, printed on premium paper stock and bound in custom hand woven woolen cloth.