Selznick, B. (2011). Wonderstruck: A novel in words and
pictures. New York: Scholastic. Waking to a nightmare and seeing how his
life has turned upside down, Brian leaves sets out to find his father. Parallel
to his personal journey is Rose’s, as she sets off to find her way. Set years
apart, each begin their journey to find what they hope to come across, a
non-existing father and a dream of meeting an actress with such mystery.
Selznick provides another of his enormous books filled with
a combination of text and illustrations to convey a story that young readers
will captivate themselves in. The story is detailed in the following two
children as they search for the one thing they long for, finding the absent
parent in hopes of a rekindling, to the fantasy of meeting the obsession. Although
the size of the book can put off young readers, the text is easy to read and
grasps. One impact on the story will have readers wondering and wanting to read
to find out how being deaf interferes with daily interactions.
The
illustrations, filled with numerous shades of whites to deep grays and blacks,
Selznick conveys his story of Rose. His illustrations provide simplistic lines
and formations of the story, that older elementary students are able to
identify the characters and the surroundings, understand what is happening
within the story itself. Even though text is not in the illustrations, they are
done well that children can analyze the images to understand what is happening.
Reviews
Amazon Best Books of the Month, September 2011: In a return to the eye-popping style of his
Caldecott-award winner,The Invention of Hugo Cabret, Brian
Selznick’s latest masterpiece, Wonderstruck, is a vision of imagination
and storytelling . In the first of two alternating stories, Ben is struck deaf
moments after discovering a clue to his father’s identity, but undaunted, he
follows the clue’s trail to the American Museum of Natural History, in New York
City. Flash to Rose’s story, told simultaneously through pictures, who has also
followed the trail of a loved one to the museum--only 50 years before Ben.
Selnick’s beautifully detailed illustrations draw the reader inside the
museum’s myriad curiosities and wonders, following Ben and Rose in their search
for connection. Ultimately, their lives collide in a surprising and inspired
twist that is breathtaking and life-affirming. --Seira Wilson
KIRKUS
REVIEW
Brian
Selznick didn't have to do it.
He
didn't have to return to the groundbreaking pictures-and-text format that
stunned the children's-book world in 2007 and won him an unlikely—though
entirely deserved—Caldecott medal for The Invention of Hugo Cabret.
Weighing in at about two pounds, the 500-plus page tome combined textual and
visual storytelling in a way no one had quite seen before. In a world where the
new becomes old in the blink of an eye, Selznick could have honorably rested on
his laurels and returned to the standard 32-to-48–page picture-book format he
has already mastered. He didn't have to try to top himself.
But
he has. If Hugo Cabret was a risky experiment that succeeded beyond
Selznick and publisher Scholastic’s wildest dreams (well, maybe not
Scholastic’s—they dream big), his follow-up, Wonderstruck, is a far
riskier enterprise. In replicating the storytelling format of Hugo,
Selznick begs comparisons that could easily find Wonderstruck wanting or
just seem stale. Like its predecessor, this self-described "novel in words
and pictures" opens with a cinematic, multi-page, wordless black-and-white
sequence: Two wolves lope through a wooded landscape, the illustrator's
"camera" zooming in to the eye of one till readers are lost in its
pupil. The scene changes abruptly, to Gunflint Lake, Minn., in 1977. Prose
describes how Ben Wilson, age 12, wakes from a nightmare about wolves. He's
three months an orphan, living with his aunt and cousins after his mother's
death in an automobile accident; he never knew his father. Then the scene cuts
again, to Hoboken in 1927. A sequence of Selznick's now-trademark densely
crosshatched black-and-white drawings introduces readers to a girl, clearly
lonely, who lives in an attic room that looks out at New York City and that is
filled with movie-star memorabilia and models—scads of them—of the skyscrapers
of New York. Readers know that the two stories will converge, but Selznick
keeps them guessing, cutting back and forth with expert precision. Both
children leave their unhappy homes and head to New York City, Ben hoping to
find his father and the girl also in search of family. The girl, readers learn,
is deaf; her silent world is brilliantly evoked in wordless sequences, while
Ben’s story unfolds in prose. Both stories are equally immersive and impeccably
paced. The two threads come together at the American Museum of Natural History,
Selznick's words and pictures communicating total exhilaration (and conscious
homage to The Mixed-up Files of Mrs. Basil E. Frankweiler). Hugo
brought the bygone excitement of silent movies to children; Wonderstruck
shows them the thrilling possibilities of museums in a way Night at the
Museum doesn't even bother to.
Visually
stunning, completely compelling, Wonderstruck demonstrates a mastery and
maturity that proves that, yes, lightning can strike twice. (Historical
fiction. 9 & up)
I had a hard time getting into this books, unlike
Selznick’s other novel, The Invention of Hugo Cabret. I enjoy the back
in forth of text and illustrations in Selznick’s novels, but it can seem
overwhelming in its size to a young reader. That being said, I was able to read
it within one sitting.
I would recommend this to my struggling readers who
like to read, but still need the illustrations to view when needing a break.
This novel allows them to continue the story through the illustrations and take
that break many of them need. I could use this for practicing in making
predictions and inferences, comparing the two stories of Ben and Rose, as well
as find the theme of each story and as a whole.