| Families -- England -- London -- History -- Juvenile fiction. |
| Actors -- England -- London -- Juvenile fiction. |
| Theater -- England -- London -- Juvenile fiction. |
| London (England) -- History -- Juvenile fiction. |
| Great Britain -- History -- Juvenile fiction. |
| Adventure fiction. |
| Family |
| Families -- Social aspects |
| Families -- Social conditions |
| Family life |
| Family relationships |
| Family structure |
| Relationships, Family |
| Structure, Family |
| Stage actors |
| Theater actors |
| Theatrical actors |
| Dramatics |
| Histrionics |
| Professional theater |
| Stage |
| Theatre |
| England -- History |
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Bound With These Titles
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Summary
Summary
Don't miss Selznick's other novels in words and pictures, The Invention of Hugo Cabret and Wonderstruck , which together with The Marvels , form an extraordinary thematic trilogy! A breathtaking new voyage from Caldecott Medalist Brian Selznick. Two stand-alone stories--the first in nearly 400 pages of continuous pictures, the second in prose--create a beguiling narrative puzzle.The journey begins at sea in 1766, with a boy named Billy Marvel. After surviving a shipwreck, he finds work in a London theatre. There, his family flourishes for generations as brilliant actors until 1900, when young Leontes Marvel is banished from the stage.Nearly a century later, runaway Joseph Jervis seeks refuge with an uncle in London. Albert Nightingale's strange, beautiful house, with its mysterious portraits and ghostly presences, captivates Joseph and leads him on a search for clues about the house, his family, and the past.A gripping adventure and an intriguing invitation to decipher how the two stories connect, The Marvels is a loving tribute to the power of story from an artist at the vanguard of creative innovation.
Reviews (7)
Publisher's Weekly Review
Selznick imagines an alternate backstory for a real English tourist attraction, the Dennis Severs' House: 10 meticulously curated rooms that suggest what life might have been like for a family of Huguenot silk weavers in 18th-century London. The first 500 pages are double-page pencil drawings that (almost) wordlessly tell the story of the Marvel family, beginning with a 1766 shipwreck and following successive generations as they gain fame in London's theater community. As he did in his Caldecott Medal-winning The Invention of Hugo Cabret, Selznick uses a telescoping point of view with great success, bringing the audience effortlessly from the general to the specific, from wide shot to close-up. The next 200 pages are prose, jumping forward to 1990 when a boy named Joseph Jervis has run away from boarding school in search of an uncle he has never met. Uncle Albert, who lives in a home maintained in much the same way as the Dennis Severs' House, has been reclusive ever since losing his "beloved" to AIDS, but Joseph and the neighbor girl he befriends, Frankie, refuse to stay away. Viewed narrowly, it's a love letter to the Dennis Severs' House, but readers won't need preexisting knowledge of the museum to enjoy this powerful story about creating lasting art and finding family in unexpected places. Ages 8-12. (Sept.) © Copyright PWxyz, LLC. All rights reserved.
Horn Book Review
Selznick defined his own format with The Invention of Hugo Cabret (rev. 3/07) and Wonderstruck (rev. 9/11), and this book looks the same, on the outside. But Selznick has created something wholly different here, by introducing one entire narrative in images, followed by another in words, one encapsulating the other. Over the first almost-four-hundred pages, his black-and-white drawings tell a story that readers will gather quickly: there is a storm, a shipwreck, and a rescue in a theater; years pass, and a dynasty is born of sons of sons who love the stage and its stories. One child doesnt fit the (theatrical) mold, and in a fateful night and a firestorm, the story abruptly ends. The next one starts, in text, in 1990. Joseph runs away from his boarding school to find the uncle he hardly knows, in London. Uncle Albert lives in a house that feels strangely from another time, where he seems to serve as caretaker for ghosts: no one else lives there, yet Joseph hears voices; Uncle Albert keeps fires burning in the fireplaces and the rooms furniture and belongings undisturbed. Unwelcome even here, Joseph struggles to understand his uncle and uncovers a truth that he didnt expect, about true family, and true stories. While stilted in some written phrasing and dialogue, this book proves once again that Selznick is regardlessa unique and masterful storyteller, and his story-inside-a-story unfolds an emotional narrative with a drama that will leave readers marveling. nina lindsay(c) Copyright 2015. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Booklist Review
*Starred Review* Caldecott Medalist Selznick has been creating acclaimed illustrated novels for years now, and his latest takes his groundbreaking narrative format to new heights. Whereas The Invention of Hugo Cabret (2007) and Wonderstruck (2011) wove together alternating illustrations and prose, The Marvels opens with a nearly 400-page wordless illustrated story before moving on to words. With his signature close-up, crosshatched pencil drawings and cinematic visual pacing, Selznick opens on a ship at sea, the Kraken, with a young girl tied to the mast and threatened by a vicious monster. Just in the nick of time, an angel appears, ready to save her, but a page turn later, Selznick reveals that the whole scene is a play performed on the ship. Real disaster strikes, however, when a sudden storm tosses the ship, and it sinks into the waves. The girl and the angel really two brothers, Billy and Marcus are the sole survivors, along with Billy's dog, Tar, but Marcus dies on the desert island they've washed up on. Thankfully, Billy is rescued, and after arriving in London, he finds a home among the backstage rigging crew at the Royal Theater. From there, Selznick traces generations of the Marvel family, who all work in the theater in one capacity or another. The final Marvel, Leontes, is a terrible actor and a huge disappointment to his father, so he decides to run away to sea, but just as he's about to depart, he finds the theater engulfed in flames. It's there that the Marvel family saga abruptly ends, and after a few starkly blank pages, the story switches to prose and skips ahead to London in 1990, where Selznick introduces Joseph Jervis, a 13-year-old on the run from his boarding school in England and searching for his estranged uncle, Albert Nightingale. Once he finally finds his uncle's house, he discovers something truly strange: Albert lives in a veritable time capsule. Nineteenth-century furnishings, candlelit chandeliers, ornate paintings of ships, and lush upholstery fill each room. Even stranger, Albert keeps each room in careful disarray, as if a group of people has just left, cleaning and dusting but swapping day-old, half-eaten food and cups of tea with fresh replacements. Curious Joseph can't help but explore, much to the frustration of his grumpy, reserved uncle, and he starts to notice odd things. Pictures of a ship called the Kraken appear all over the house. A picture of a young boy named Leontes with red hair, just like his own is laid out reverentially on a sideboard. Joseph asks his uncle many questions, but Albert's cagey reluctance to answer only solidifies the boy's belief that there's a magnificent (or dreadful) family secret at play. Thanks to the threads of the illustrated tale that are woven throughout the prose story, readers will almost certainly be as convinced as Joseph that there's hidden family history to be discovered. But the reality is both more prosaic and more magical. Just as Selznick's detailed and artfully deliberate illustrations gradually build a moving narrative, so, too, do his carefully wrought words. In unembellished and evocative prose, he slowly shares clues and masterfully misdirects readers' attentions. After Albert reveals the truth, certain slightly odd details from the illustrations, particularly the leitmotifs that link each generation of the Marvels, suddenly take on new significance, and the facts Joseph thinks he has figured out crisply shift into something far more resonant than just a swashbuckling family history. Joseph, who is gently evaluating his sexuality and feeling very different, hopes to find some answers about himself in the secrets Albert is keeping. Meanwhile, lonely, heartbroken Albert, who is facing the troubling reality of being gay in the 1990s, resists attachment of almost every kind. What starts as a quest for a juicy, adventurous legacy sidesteps into an enveloping discovery of home for both Joseph and Albert, neither of whom realized he needed to find one, particularly one as unusual as Albert's. Selznick's warm, affecting family tale is bittersweet, astonishing, and truly marvelous. HIGH-DEMAND BACKSTORY: Any new Selznick novel, but especially one in the same family as The Invention of Hugo Cabret and Wonderstruck, is a red-letter literary event.--Hunter, Sarah Copyright 2015 Booklist
New York Review of Books Review
WHAT'S FICTION MADE of? Do true stories "matter" more than invented ones? These are heady questions for any book to tackle, especially one aimed at young readers. But Brian Selznick's "The Marvels" takes them on and, like the best children's literature, doesn't shy away from complex answers. The book revels in complication, echoes and mirrorings, and peeling back its layers makes for a rich and surprising reading experience. First, let's address the elephant on the shelf. At more than 600 pages, the girth of "The Marvels" might be intimidating, were not more than half those pages illustrations. Readers of Selznick's most recent books, "The Invention of Hugo Cabret" and "Wonderstruck," will recognize the hybrid-novel composition, in which he mixes pages of prose with mostly textless, high-impact pencil drawings. Each black-and-white panel is a wide-format glory that spills across two pages, composed like stills from some lost epic of the silent era. The illustrations of "The Marvels" tell one story, and its prose passages tell another - but where "Wonderstruck" shuffled its narratives, in "The Marvels" they are juxtaposed like two books that happen to share a binding. The illustrated tale comes first. It's the year 1766, and young Billy Marvel is on an American whaling ship. He's performing in a play for the crew when vicious weather sinks the vessel. Rescued and taken to London, Billy falls in with a troupe of stagehands and grows up behind the curtain operating ropes and rigging that echo the workings of his doomed ship. Billy's descendants turn out to be brilliant actors. Generations of Marvels are hailed as geniuses - until Billy's great-great-grandson Leo, a boy with no passion for the theater, breaks the streak. Shunned, he seeks out his hermit grandfather, who regales him with his family's history. Inspired by his ancestor Billy, Leo decides to seek his fortune at sea. After a dramatic twist, the illustrated story abruptly ends. Set over 200 years later, in 1990, the prose story concerns Joseph, another young runaway who could be Leo's twin. He too is escaping an unsatisfying life, fleeing from boarding school in the west of England to find his uncle Albert in London. (Joseph's parents are as distant and cold as Leo's had been, and away on an extended cruise.) Joseph's uncle turns out to be a strange, reclusive grump who dresses in 19th-century finery and lives in a house that seems frozen in time: lighted only by candles, filled with antiques and items that seem to have belonged to the Marvels. There's a model of Billy's ship; a black-and-white photograph of a boy who could be Leo; ghostly sounds. Joseph becomes obsessed with uncovering the story of the Marvels, but Albert won't discuss it. Joseph and a friend follow Albert, discover secret tapes and puzzle over mysterious inscriptions ("You either see it or you don't," a phrase that haunts them). It seems obvious that the Marvels are Joseph's ancestors - but when the story they are discovering comes to an abrupt and unsatisfying end, Joseph demands that Albert tell him the rest. There's a shocking revelation, and Joseph is left feeling betrayed. I won't spoil it; suffice to say, it concerns the sometimes fuzzy line between truth and fiction, and the way stories can ride both sides. "Stories aren't the same as facts!" Joseph shouts. "No," Albert reasons, "but they can both be true." In an afterword that feels like the final act of a magic show, the book hinges open once more to reveal that Uncle Albert and his time-warp house were inspired by a real person and a real house, and a real (invented) family that (fictionally) occupied it. (It's called Dennis Severs' House, and I think it's the most fascinating museum in London.) And so the story is both true and not true, and somehow that makes it matter more than if it had simply been historical fact. Fiction isn't false, but a container of encrypted truths: autobiographical ones, sometimes, and in very good stories, emotional and universal ones too - the sort of truth facts aren't much good at reaching. Fiction is often better at telling the truth than facts, and that's the marvel of it. You either see it or you don't. The story is true and not true, and that makes it matter more than simple historical fact. RANSOM RIGGS is the author of the Peculiar Children trilogy. The third book, "Library of Souls," will be published this month.
School Library Journal Review
Gr 4-6-This brilliant journey through time in words and pictures is also a story of a theatrical family and their fortunes. This heavy tome opens to tell of one family, the Marvels, from 1766 to 1900 as their connection to the Royal Theatre in London begins and perhaps ends. In the first half of the book, all of this complex history is vividly conveyed through illustrations, with minor hints from playbills, cards, and letters that appear as part of the art. Selznick's ability to convey the passing of time and connections among characters is remarkable. Characters appear, shine, and disappear throughout the years, but certain motifs recur no matter where the spotlight is focused. The second portion of the story is conveyed entirely in text, building on the same themes but taking place in 1990 in a very different London, where the echoes from the past are particularly embodied in 13-year-old Joseph, a boarding school runaway searching for his uncle's house. He soon meets Uncle Albert, who seems less interested in getting to know his nephew than in the preservation of an anachronistic Victorian house which is more museum than home. The echoes from the earlier history are haunting, requiring Joseph to delve into the secrets of Uncle Albert and of the house without giving away his own. Selznick ends with a satisfying section of illustrations that embody the maxim of this family, "You either see it or you don't." VERDICT Complex, entertaining, and full of gorgeous art and writing, this is a powerhouse of a book.-Carol A. Edwards, Denver Public Library, CO © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Guardian Review
Selznick's drawings vividly capture the magical adventures of a theatrical family in London and at sea * Brian Selznick's new book The Marvels -- in pictures Illustration today embraces a vast array of new materials, innovative techniques and bewildering digital wizardry. But drawing is where it starts, and we're all familiar with the humble pencil. That familiarity makes this book such an accessible read -- or, more specifically, an accessible experience. For the first 400 of these 650 gold-edged pages, there is nothing to read -- no text, just drawings in HB pencil on textured water colour paper that have been enlarged. The illustrations take you by the hand, and they don't let go. The opening pages of this burnished doorstep of a book show a ship in full sail on a pencilled sea against a scribbly shifting sky. The year is 1776 and young Billy Marvel, at sea on a whaling ship, is among a group of actors entertaining the crew with a thrilling melodrama, when a vicious storm strikes. The ship sinks and the drama intensifies. This, remember, is all conveyed in finely executed drawings. Billy, the sole survivor (dressed for his part as a girl), is washed up on a desert island along with the body of his brother (dressed as an angel). Billy is rescued and eventually finds himself adrift in London, where he gets work building what will become the Theatre Royal, Haymarket. (Sailors, we learn, were good at building theatres because of their fearlessness working high up the rigging.) Selznick's meticulously researched drawings provide an authentic backdrop for his engaging, roistering saga of a legendary theatrical family, the Marvels (Billy's descendants -- the celebrities of their day), and their adventures on and off stage. But in 1900, the youngest Marvel tires of theatre life and runs away to sea. As he leaves, smoke swirls across the London sky -- some dramatic cityscapes, here -- and it's something of a shock when the curtain abruptly comes down on that part of the story. Then it's fast forward to east London in 1990. Here, in an increasingly complex, demanding, multilayered text narrative, which is no longer supported by those all-embracing illustrations, we meet Joseph, a young boy on the run from the boarding school he hates. He seeks refuge with a reclusive uncle in a mysterious old house in Spitalfields -- based on 18 Folgate Street, the house preserved by Dennis Severs as an 18th-century time capsule. Candlelit throughout, the house is otherworldly and anachronistic, the uncle remote and unwelcoming. But Joseph, undeterred, settles in. An endearing character, his lifeline is his eclectic book collection -- Robert Louis Stevenson, Madeline L'Engle, Douglas Adams and Roald Dahl are among the authors whose books inspire and travel with him. He knows his Shakespeare, and he loves poetry -- especially WB Yeats. It's an oft-repeated verse from the latter's "Cloths of Heaven" that magically illuminates this part of the story. Joseph's life in the old house is a richly imagined patchwork. He works tirelessly to unravel the thousand and one stories that hold the key to the arcane secrets of the place as well as his own connections to it. His uncle, curiously reluctant to help, is clearly hiding something. And the truth, when it is revealed, is shocking ... if it is the truth. One thing we learn from the book is to have a healthy respect for the seductive gulf that lies between fact and fiction. The final section of this absorbing story is again all in pictures, showing intriguing interiors, intricate and atmospheric with eloquent interplay of light and shade. With subtle use of perspective, Selznick's pencil cunningly exploits the angles created as each page is turned, giving the illusion of the space beyond. This creates a narrative element that invites, and richly rewards, any amount of exploration and interpretation. If possible, read this book by candlelight. Thus illuminated, the gold edges of the paper catch the light and flicker like stardust as the leaves are turned. * To order The Marvels for [pound]13.59 (RRP [pound]16.99) go to bookshop.theguardian.com or call 0330 333 6846. Free UK p&p over [pound]10, online orders only. Phone orders min p&p of [pound]1.99. - Joanna Carey.
Kirkus Review
In the final volume of a trilogy connected by theme, structural innovation, and exquisite visual storytelling, Selznick challenges readers to see.Starting in 1766, the first portion unfolds in nearly 400 pages of pictures, rendered in pencil. A ship in shadows, a luminous angel, an abandoned baby in a basketthese are among the phenomena affecting five generations of London actors. Disguises and surprises reveal that what one sees is not always what is true. Fast-forwarding to the 1990s, the author describes in prose a runaway who peers longingly into a candlelit dwelling. Joseph is searching for an uncle and something more elusivefamily. Observant readers will recall this recently viewed address. Inspired by the actual Dennis Severs' House (where scent, sound, setting, and the motto "You either see it or you don't" transport visitors to 18th-century London), Selznick provides a sensory equivalent throughout his eloquent and provocative text. The poetry of Yeats and references to The Winter's Tale add luster. Carefully crafted chapters pose puzzles and connect to the prior visual narrative. In poignant scenes, the teen learns about his uncle's beloved, lost to AIDS but present through the truths of the home's staged stories. A powerful visual epilogue weaves threads from both sections, and the final spread presents a heartening awakening to sight.Time, grief, forgiveness, and love intersect in epic theater celebrating mysteries of the heart and spirit. (notes) (Fiction. 10 up) Copyright Kirkus Reviews, used with permission.