The Invention of Hugo Cabret
1. BIBLIOGRAPHY
Selznick, Brian. The Invention of Hugo Cabret. Ill. by Brian Selznick. New York: Scholastic Press, 2007. ISBN 9780439813785
2. PLOT SUMMARY
In 1930s Paris, Hugo Cabret is suddenly orphaned when he father dies in a fire trying to repair a mysterious automaton. Hugo is forced to live with his drunkard uncle behind the wall of the train station and work for him as the clock keeper’s apprentice. When his uncle disappears, Hugo secretly continues to work in the train station and resorts to stealing in order to survive. He works on the broken automaton in his spare time, using his father’s notebook of drawings and parts he steals from a toy-maker. He is caught stealing, loses his notebook, and is forced to work for the toy-maker, but in the midst of these crises he makes two important friends—Isabelle and Etienne. Hugo is driven to complete his work on the automaton against all odds and uncovers a mystery surrounding the toy-maker, Georges Melies, in the process. This discovery changes both their lives forever. Through Hugo’s investigations into the automaton and with help from Etienne and Isabelle, Georges’s past as a magician and film-maker is discovered and given new life. Hugo is brought into the Melies’ home to live and emerges as a magician himself, Professor Alcofrisbas.
3. CRITICAL ANALYSIS
The illustrations in this graphic novel style picture book are a reflection of the plot. The story revolves around magic and the cinema, and as the introduction suggests, the novel itself is a movie. The novel begins and ends with the same illustrations in reverse order, just as a camera might pan from the moon to the wider scene and back again. Over half of the book’s 525 pages are pictures broken up with a few pages of text in between. Each illustration is like the frame of a motion picture propelling the story forward, building suspense, and enhancing the mystery. The illustrations are as integral to the story as the text itself. Without the pictures, the story would be incomplete.
The main illustrations are pencil drawings which create a life-like contrast of lights and darks, and cause the reader to feel enveloped in the action. This stylistic choice allows for a semblance of movement in the action frames of the story. Readers are able to “hear” dialog and see the emotion in the faces of the characters. That emotional connection intensifies as the illustrations “zoom in” from the character’s face, to an eye, to a reflection in the eye. The other pictures in the novel are a thoughtful choice that enhances the historical aspect and highlights the setting of Paris in the 1930s.
This coming-of-age story addresses both the theme of loss and of finding one’s purpose in life. Within the theme of loss, the book deals with the issues of anger, lying, stealing, and dealing with emotions. Hugo lost his father and his uncle, leaving him alone to fend for himself. For him that required lying and stealing, but it is clear that he finds both to be morally conflicting.
The stereotypical male of the time period is portrayed in both Georges and Hugo as they bottle up their emotions to deal with a loss. Georges anger festers over the years (unbeknownst to Hugo) causing him to appear cold and callus in the eyes of Hugo. His emotions eventually erupt in violence as he tears up his drawings. Hugo, stereotypically bottles up his emotions from the moment his father dies.
Within the theme finding one’s purpose in life, the book presents two characters in need of a purpose. Hugo compares one’s purpose in life to the cogs and gears of a machine—all parts are specific, necessary, and serve a purpose. Through much struggle, Hugo finds his purpose in the end as a magician. Georges, on the other hand, is a character whom the reader learns had a purpose in his earlier life and because he lost it, he now lives as a bitter toy-maker refusing to accept his past failures. By the end of the story, however, he too finds new purpose as a celebrated cinematic forefather and a mentor to both Isabelle and Hugo. Both characters must let go of their past to fully experience the purpose they have found for their lives.
Finally, the title itself is an ironic tribute to the main character’s purpose in the story. While it is Hugo’s invention that eventually reveals the true identity of Georges Melies, it is the process of repairing the automaton and finding out Georges’s secret that re-invents Hugo into who he is meant to be. The “invention” in the title is both a literal invention and a figurative inventing of a young man as he comes of age.
4. REVIEW EXCERPT(S)
2008 Caldecott Medal
National Book Award Finalist
A New York Times Best Illustrated Book of 2007
A Publishers Weekly Best Book of 2007
2007 Quill Award Winner
2007 Borders Original Voices Finalist
2007 #1 Best Book for Kids from Barnes and Noble
Parenting Magazine "Mom–Tested Book of the Year"
Miami Herald Best Kids Book of 2007
Rocky Mountain News Best Book of 2007
San Francisco Chronicle Best Book of 2007
Kansas City Star Top 100 Books of 2007
Columbus Dispatch Best Book of 2007
Los Angeles Times Favorite Children's Book of 2007
Kidsreads.com Best Book of 2007
From BOOKLIST - “Selznick's novel in words and pictures…resuscitates an anemic genre--the illustrated novel--and takes it to a whole new level. The result is somewhat similar to a graphic novel, but experiencing its mix of silvery pencil drawings and narrative interludes is ultimately more akin to watching a silent film.” (Jennifer Mattson Copyright 2007 Booklist)
From BOOKLIST – “[B]ookmaking this ambitious demands and deserves attention-- which it will surely receive from children attracted by a novel in which a complex narrative is equally advanced by things both read and seen.” (Jennifer Mattson Copyright 2007 Booklist)
From THE NEW YORK TIMES - “‘Hugo Cabret’ evokes wonder. At more than 500 pages, its proportions seem Potteresque, yet it makes for quick reading because Selznick’s amazing drawings take up most of the book. While they may lack the virtuosity of Chris Van Allsburg’s work or David Wiesner’s, their slight roughness gives them urgency. The result is a captivating work of fiction that young readers with a taste for complex plots and a touch of magic…can love.” (John Schwartz, March 11, 2007)
5. CONNECTIONS
Gather works alluded to in The Invention of Hugo Cabret:
- Aeschulys. Prometheus Bound. Ill. by Ian Crowe. Trans. by Ian Johnston. ISBN 978-1935238522
- Verne, Jules. Twenty Thousand Leagues Under the Sea. ISBN 978-1499637632
- Verne, Jules. Around the World in 80 Days. ISBN 978-1936594610
- Simon, Seymour. The Moon. ISBN 978-0689835636
- Tocci, Salvador. Experiments with Simple Machines. ISBN 978-0516274683
- Koscielniak, Bruce. About Time: A First Look at Time and Clocks. ISB N 978-0544105126
- Pipe, Jim. You Wouldn't Want to Be an Aristocrat in the French Revolution!: A Horrible Time in Paris You'd Rather Avoid. ISBN 978-0531187456
In science, students will study phases of the moon and its significance in regards to earth. The book also serves as a springboard for science lessons on the automaton including laws of motion, gears, and physics. Read the content specific books listed above: The Moon and Experiments with Simple Machines.
Use math classes in conjunction with the science lessons involving calculations for the automaton. Use the motif of clocks to introduce a lesson on telling time and calculating elapsed time. Read the content specific book listed above: About Time: A First Look at Time and Clocks.
Social studies will use this as an opening to study the country of France, specifically the importance of the city of Paris to both history and culture. Read the content specific book listed above: You Wouldn't Want to Be an Aristocrat in the French Revolution!
Use the illustrations as an introduction to a pencil drawing unit in Art classes and a history of cinema unit in Theater Arts classes.
Let's Say Hi to Friends Who Fly
Willems, Mo. Let’s Say Hi to Friends Who Fly. Ill. by Mo Willems. New York: Harper Collins/ Balzer and Bray, 2010. ISBN 978-0061728426
2. PLOT SUMMARY
This is the story of a Cat the cat and her quest to discover which of her friends can fly. Young readers are introduced to characters they will recognize as ones that fly. The conflict arises when Rhino the rhino enters the picture. The story climaxes when Rhino is introduced to the story. He shows his friends that he, too, can fly – in an airplane. They all join him in flight, including Cat, as they hang on to each other on the back of Rhino’s airplane.
3. CRITICAL ANALYSIS
The illustrations and simple text lend themselves to enjoyment by and engagement of the youngest readers. Each two-page spread has only the necessary illustrations to tell the story. Young readers or listeners are not distracted by an excess of background art, but are presented with a main character, one item from the playground, and a friend that continues on with the main character to the next page. The use of bold lines and bright colors attracts even the youngest, non-readers to this story. Short, simple text holds their interest.
As a read aloud book, parents or teachers can have conversations with listeners to develop skills of identifying characteristics of animals and predicting outcomes. The repetition of the phrase “can you fly,” aids in comprehension as the young reader connects each part of the story to the next. The author’s use of literary devices engages the reader subconsciously through the use of alliteration and onomatopoeia. By using alliteration of the animal names (Cat the cat, Bat the bat), the author creates memorable characters that are easy for young readers to grasp. In addition, the author uses onomatopoeia to describe the sounds each character makes in flight, creating an element of fun for youngsters.
Interestingly, the climax of the story occurs on a page with no words, as Rhino is introduced and the reader anticipates his being asked “can you fly?” It ends with an unexpected, but satisfying conclusion, that although Rhino is different, he can still fly. At this point, possible themes of story may be brought out to the reader/listener, such as “Everyone is different,” or “Expect the unexpected.”
4. REVIEW EXCERPT(S)
From KIRKUS - "The author has achieved another triumph in this new picture-book series, which also has all of the hallmarks of accessible, engaging beginning-reader fare as well."
From BOOKLIST - "Salutations to the enthusiastic and energetic Cat the Cat, the next certain-to-be-iconic character from the creator of multiple Geisel Award– and Caldecott Honor–winning titles."
From HORN BOOK – “Elephant and Piggie, move over! Willems presents a new series for even newer readers…. While the occasional challenging word (such as pleasure) creeps into the text, most of the words are sight words or are easily decoded by the new reader.”
From SCHOOL LIBRARY JOURNAL – “Using a repetitive vocabulary with few new words added in, Willems offers successful reading experiences for the earliest readers, complete with fun-loving, friendly characters and surprise story lines”
5. CONNECTIONS
Gather other Mo Willems books to read from the Cat the Cat series:
- Cat the Cat, Who Is That? ISBN 978-0061728402
- What’s Your Sound, Hound the Hound? ISBN 978-0061728440
Gather Award Winning and Honor books to read:
- Lin, Grace. Ling and Ting: Not Exactly the Same. ISBN 978-0316024532
- Kostecki-Shaw, Jenny Sue. Same, Same But Different. ISBN 978-0805089462
- Hill, Laban Carrick. Dave the Potter: Artist, Poet, Slave. ISBN 978-0316107310
Use the Mo Willems books to introduce an elementary level character building lesson about differences. Open a discussion with students to connect differences between animals to differences between people. Brainstorm ways students in the class are different from each other and discuss how to appreciate those differences. Assign students to work with a partner to draw a picture and write a one sentence caption of ways to appreciate each other’s differences.
Connect the character lesson to an elementary level social studies unit on the difference among people groups. Begin with Ling and Ting: Not Exactly the Same to continue the idea of people differing from each other, even twins. Study the cultural differences of Chinese-Americans apparent in the story. Read Same, Same But Different to make comparisons between American and Indian cultures. Finally, read Dave the Potter: Artist, Poet, Slave to discuss the cultural differences within our own American culture.
As an extension, use these books as a springboard for a unit on bullying. The groundwork of recognizing and appreciating differences will have already been laid. Librarians and teachers work together with the school counselors and technology teachers to develop lessons that specifically address bullying due to perceived differences among the student population at that particular school. Additional picture book resources focused specifically on bullying include:
- Otoshi, Kathryn. One. ISBN 978-0972394642
- Polacco, Patricia. Mr. Lincoln’s Way. ISBN 0399237542
Where the Wild Things Are
Sendak, Maurice. Where the Wild Things Are. Ill. by Maurice Sendak. New York: Harper Collins, 1963. ISBN 978-0064431781
2. PLOT SUMMARY
This is the story of a little boy and his imagination. Max is dressed in a wolf suit and misbehaving in his house. His mother calls him a “wild thing” and sends him to his room without supper. As his stands mischievously in his room, it magically transforms into a forest. He sails away for “almost over a year” on a private boat that takes him to where the wild things are. The wild things are fierce, scary monsters, but Max tames them and becomes their king. He leads them in mischief, and then sends them to bed without supper. Max is homesick and wants to return to where he is loved best, so he sets sail even though the wild things want him to stay. He sails for another year, and when he returns to his room, his supper is waiting for him, and is still hot!
3. CRITICAL ANALYSIS
The theme of anger and not letting it separate us from those we love, and who love us best, is an excellent springboard for discussing emotions with children. Max’s response to being sent to his room clearly shows his anger and that anger metaphorically takes him to where the wild things are. As he pouts and his anger grows, the forest in his room grows. His long journey is a metaphor for the separation that anger causes. The monsters symbolize his anger. He allows his anger to run free and reign over him as he becomes king of the wild things, then chooses to send it away. He comes to the realization that reveling in his own anger and having his own way is not worth being away from his mother.
The illustrations help children make connections between Max’s emotions and their own. As Max moves closer to where the wild things are, the illustrations become busier and take over more and more of the page. They move the plot along by increasing the wildness and frenzy on the page to reflect those feelings in Max. The cross hatching mutes the colors and adds a mysterious and scary quality both the journey and the monsters. Anger is sometimes a scary emotion, just as monsters are scary for children. The sentences and word choices are simple, yet descriptive in order to both build vocabulary and enhance comprehension. The word “mischief,” for example, could easily have been “trouble” or “misbehavior.” The author’s use of a more vivid word builds vocabulary, yet the context and the illustrations help children maintain comprehension of the story. Even though young children may not consciously grasp all the literary nuances in this book, they are still able to make a personal connection to a child being angry about being punished for his behavior. This connection makes the book a valuable tool to use when discussing emotions and behavior with young children. For older children, the concepts of metaphor, symbolism, and theme are easily understood and provide a segue into deeper study of those concepts.
4. REVIEW EXCERPT(S)
1964 CALDECOTT MEDAL
1970 Hans Christian Andersen Awards Illustrators Medal
1982 American Book Award
1983 Laura Ingalls Wilder Medal
New York Public Library’s “One Hundred Titles for Reading”
Reading Rainbow Book
Lewis Carroll Shelf Award
New York Times Best Illustrated Book
Library of Congress Children’s Books
Horn Book Fanfare
ALA Notable Children’s Book
From SCHOOL LIBRARY JOURNAL - "Each word has been carefully chosen and the simplicity of the language is quite deceptive."
From HARPER COLLINS PUBLISHERS - "The clearer reproductions of the original art are vibrant and luminous [in this edition]."
5. CONNECTIONS
Gather other Caldecott Medal books and Honor books to read such as:
- Willems, Mo. Don’t Let the Pigeon Drive the Bus. ISBN 978-0786819881
- Yolen, Jane. Owl Moon. ISBN 0399214577
Gather other Maurice Sendak books to read such as:
- Very Far Away. ISBN 978-0060297237
- Outside Over There. ISBN 978-0064431859
- Where the Wild Things Are (Spanish edition): Donde viven los monstrous: Album clasico. ISBN 978-8420430225
Use Where the Wild Things Are and Don’t Let the Pigeon Drive the Bus as an introduction to an English/Language Arts unit on figurative language. Use the other children’s books listed as separate English/Language Arts lessons focused specifically on similes and metaphors within the figurative language unit.
As an extension of the figurative language unit, read A Chocolate Moose for Dinner and The King Who Rained by Fred Gwynne to understand idioms and discuss the literal and figurative meanings.
- Gwynne, Fred. A Chocolate Moose for Dinner. ISBN 978-0671667412
- Gwynne, Fred. The King Who Rained. ISBN 978-0671667443
No comments:
Post a Comment