| | The Invention of Hugo Cabret (Unabridged) |  | Author: Brian Selznick
Publisher: audible.com
Category: Book
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Avg. Customer Rating:  203 reviews
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ASIN: B000OYE7IS
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Book Description:
Orphan, clock keeper, and thief, Hugo lives in the walls of a busy Paris train station, where his survival depends on secrets and anonymity. But when his world suddenly interlocks with an eccentric, bookish girl and a bitter old man who runs a toy booth in the station, Hugo's undercover life, and his most precious secret, are put in jeopardy. A cryptic drawing, a treasured notebook, a stolen key, a mechanical man, and a hidden message from Hugo's dead father form the backbone of this intricate, tender, and spellbinding mystery.
Amazon.com Exclusive | A Letter from Brian Selznick
 Dear readers, When I was a kid, two of my favorite books were by an amazing man named Remy Charlip. Fortunately and Thirteen fascinated me in part because, in both books, the very act of turning the pages plays a pivotal role in telling the story. Each turn reveals something new in a way that builds on the image on the previous page. Now that Im an illustrator myself, Ive often thought about this dramatic storytelling device and all of its creative possibilities. My new book, The Invention of Hugo Cabret, is a 550 page novel in words and pictures. But unlike most novels, the images in my new book don't just illustrate the story; they help tell it. I've used the lessons I learned from Remy Charlip and other masters of the picture book to create something that is not a exactly a novel, not quite a picture book, not really a graphic novel, or a flip book or a movie, but a combination of all these things. I began thinking about this book ten years ago after seeing some of the magical films of Georges Melies, the father of science-fiction movies. But it wasnt until I read a book called Edison's Eve: The Quest for Mechanical Life by Gaby Woods that my story began to come into focus. I discovered that Melies had a collection of mechanical, wind-up figures (called automata) that were donated to a museum, but which were later destroyed and thrown away. Instantly, I imagined a boy discovering these broken, rusty machines in the garbage, stealing one and attempting to fix it. At that moment, Hugo Cabret was born. A few years ago, I had the honor of meeting Remy Charlip, and I'm proud to say that we've become friends. Last December he was asking me what I was working on, and as I was describing this book to him, I realized that Remy looks exactly like Georges Melies. I excitedly asked him to pose as the character in my book, and fortunately, he said yes. So every time you see Melies in The Invention of Hugo Cabret, the person you are really looking at is my dear friend Remy Charlip, who continues to inspire everyone who has the great pleasure of knowing him or seeing his work. Paris in the 1930's, a thief, a broken machine, a strange girl, a mean old man, and the secrets that tie them all together... Welcome to The Invention of Hugo Cabret. Yours, Brian Selznick |
Amazon.com Exclusive |  Brian Selznick on a "Deleted Scene" from The Invention of Hugo Cabret
This is a finished drawing that I had to cut from The Invention of Hugo Cabret. I was still rewriting the book when I had to begin the final art. There was originally a scene in the story where this character, Etienne, is working in a camera shop. On one of my research trips to Paris I spent an entire day visiting old camera shops and photographing cameras from the 1930's and earlier, as well as the facades of the shops themselves. I researched original French camera posters and made sure that the counter and the shelves were accurate to the time period. I did all the drawings in the book at 1/4 scale, so they were very small and I often had to use a magnifying glass to help me see what I was drawing. After I finished this drawing I continued to rewrite, and for various reasons I realized that I needed to move this scene from the camera shop to the French Film Academy, which meant that I had to cut this picture. I tried really hard to find ANOTHER moment when I could have Etienne in a camera shop, but, as painful as it was, I knew the picture had to go. I'm glad to see it up on the Amazon website because otherwise no one would have ever seen all those tiny cameras I researched and drew so carefully!
--Brian Selznick |
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Product DescriptionOrphan, clock keeper, and thief, Hugo lives in the walls of a busy Paris train station, where his survival depends on secrets and anonymity. But when his world suddenly interlocks with an eccentric, bookish girl and a bitter old man who runs a toy booth in the station, Hugos undercover life and his most precious secret are put in jeopardy. A cryptic drawing, a treasured notebook, a stolen key, a mechanical man, and a hidden message from Hugos dead father form the backbone of this intricate, tender, and spellbinding mystery. |
| Customer Reviews: Read 198 more reviews...
 Curiouser and curiouser February 11, 2007
215 out of 229 found this review helpful
No one can really summarize a book any better than the author proper. So what is, "The Invention of Hugo Cabret" anyway? "... this is not exactly a novel, and it's not quite a picture book, and it's not really a graphic novel, or a flip book, or a movie, but a combination of all these things." In short, what you have is a book that can't really be lumped into a single genre. With the rising popularity of the graphic novel, authors have been looking at how to let the visual elements of a given story complement the text. Some will weave graphic novel elements in and out, panels on one page, text on another. Others prefer a kind of "Captain Underpants" melding with cartoonish pictures. And while all these books are fun reads, none of them have ever really had the (for lack of a better word) gravitas you'd find in a classic text-only children's novel. Until now, that is. "Hugo Cabret" is a risk. A 500+ page book that's told just equally by pictures as it is by text. It is also like nothing you've ever seen before. No other children's book has even come close.
Without Hugo Cabret, none of the clocks in the magnificent Paris train station he lives in would work. Though he's only a kid, Hugo tends to the clocks every day. But there's something even more important in the boy's life than gigantic mechanics. Hugo owns a complex automaton, once his father's, that was damaged in a fire and it is his life's goal to make the little machine work again. To do so, he's been stealing small toys from an old shopkeeper in the station. One day the man catches Hugo in the act, and suddenly the two are thrown together. Coincidences, puzzles, lost keys, and a mystery from the past combine in this complex tale of old and new. The story is told with pictures that act out the action and then several pages of text that describe the plot elements. The final effect is like watching a puzzle work itself into clarity.
Selznick is juggling so many different elements and inspirations in this book that you honestly expect the result to be a muddle. Okay. So you have a story involving old-timey movie-maker Georges Melies (he's the old shopkeeper) whose image in this book was modeled on children's book author Remy Charlip (also an influence). You have an automaton, the history of automatons, and the history of movies themselves. There are photographs of old films mixed in with some bizarre sketches. Then you throw all of this together and add in a story about a boy, a girl, a one-eyed man, toys, keys, and a train station. Boom! Instant book. The fact that this title ISN'T a mess is downright bizarre.
They say that the mark of a good musical depends on how well the songs advance the story's plot. You can't just have your characters burst into song and then act like nothing ever happened. The case could be made too for books like "Hugo Cabret". If there is a picture in this story, it has a purpose. Nothing here was included on a whim. When the book breaks from word to image, it has to be done just right. It has to feel natural. At one point in "Hugo Cabret" our hero is nearly trapped by the Station Inspector. The book reads, "The Station Inspector saw the bandages and loosened his grip, at which point, like a wild animal, Hugo escaped." What follows is a thirty-six page chase sequence that comes across like a black and white film. And the real star of this show, in the end, is Selznick's art. The man is doing things with mood and lighting that give the book just the right mysterious feel. Selznick's pictures are done, for the most part in graphite with plenty of shading involved. At the same time, he knows how to get the viewer involved in what they are seeing. There are moments where the "camera" is zooming in on a particular shot and instantly gets your attention. In the book's opening, we begin with a shot of the moon that pulls back and follows young Hugo. Then suddenly, we see Hugo look over his shoulder and the picture hits you hard. We're on the eighteen or nineteenth page and already we're deeply interested in what we're seeing. We want to know more. Hugo does have some magnificent bags under his eyes at times, and he and the old man's granddaughter Isabelle sometimes look rather similar, but on the whole it's hard to find anything wrong with what Selznick has chosen to place in this book.
Admittedly, not everything works as smoothly as it might. Selznick has to keep everything in this story moving constantly. Nobody wants to see picture after picture of people just sitting around and talking, after all. So really, the downside to this kind of book is that some degree of characterization and description is lost in favor of plot and theme. The kids in this book go from liking one another, to hating, to liking again in a manner that feels a tad awkward. Motivations are sometimes murky, even if they're explained later down the line.
But the allure of this book for kids can't be stressed enough. Selznick is most familiar to children, at this point in time, because of his covers of such Andrew Clements books as "Frindle" and "School Story". When kids see a Selznick cover, they know to grab it. Children who like big thick Harry Potter-sized tomes will pluck the multi-colored "Hugo Cabret" from its shelves without hesitation. Ironically, though, this is a perfect title for reluctant readers. Though the page count will scare off some, those who've been shown the insides will appreciate this unfamiliar form of storytelling. Unlike a graphic novel or a picture book, however, you can't understand "Hugo Cabret" through pictures alone. You can try, I guess, but you end up with a very different tale from the one Selznick has written. The nice thing is that in spite of all the complicated details and influences at work here, the story itself is straightforward and interesting.
Extra kudos for the spine of this title, by the way. Publishing houses too often forget that sometimes the spine of a book is all a customer is ever going to see of a title. And if there were a Best Spine of the Year Award, I think I know who the winner might be. The spine and back are of Hugo's face, lit from the side. Just his left eye and part of his cheek are visible on the spine, with the title, author, and publisher information shoved to the bottom. It's haunting. Does haunting sell? You bet your sweet bippy it does.
It's hard to say whether or not this kind of format would work with any other book. Really, it's the fact that so much of "Hugo Cabret"'s plot revolves around black and white movies that allows this book to jump so easily between image and text. If you did something similar with a story about, oh I dunno, a lion in the jungle, it might feel odd. But given Selznick's subject matter and his careful use of both his own illustrations, movie stills, and sketches, the book holds together. The writing is second to the illustrations, but it's still heads and tales better than most of the crummy kidlit you'll stumble across. Sometimes you hold a book in your hands and it feels like a classic from day one. "The Invention of Hugo Cabret" radiates that feeling.
A rich sensory experience... March 13, 2007
72 out of 73 found this review helpful
The Invention of Hugo Cabret, by Brian Selznick, is a children's novel weighing in at an intimidating 533 pages, but the reader brave enough to dive headlong into its pages will find a multi-layered text that consists of not only a delightfully written tale, but rich illustrations that take over the telling of the story at regular intervals. Selznick's creation navigates the grey area between picture book and graphic novel in what certainly constitutes a visual and narrative achievement and a truly original book.
Hugo is a 12-year-old boy strapped with responsibility beyond that which a child should have to shoulder. After his uncle--a hopeless drunk in charge of tending the station's clocks--disappears, Hugo takes it upon himself to maintain the clocks in hopes that his uncle won't be missed and he can keep his dwelling and enjoy the freedom of coming and going, living within the walls, and repairing an artifact cherished by both Hugo and his late father. The artifact at the center of the tale is a forgotten automaton discovered among the dust and rot of a museum storage room. It is a mechanical man, pen in hand, poised to deliver a message; Hugo feels certain that if he can repair the automaton by using his late father's notes, the mechanical man will write a message from beyond the grave. Hugo resorts to stealing toys from the toy booth in the train station, and soon finds himself working off his debt to the shopkeeper, a man with secrets of his own. What follows involves a stolen notebook, an oddly familiar drawing, unlikely friends, the magic of silent film, and a giant in cinema, Georges Melies (the most recognizable of his films being A Trip to the Moon or Le Voyage dans la Lune, 1902).
While the novel largely defies categorization, it closely resembles a silent film in many respects, and fittingly so. In addition to the novel's rich illustrations, Selznick employs photos and movie stills to show the reader his story as opposed to simply telling it. In the tradition of graphic narrative (or sequential art, whatever your term of choice), the illustrations play as integral a role in the overall story as the text. The use of illustrations is hardly gratuitous, for the pictures quite literally take over and carry out the narrative when the text disappears. And, really, who would care if the illustrations were gratuitous? They're gorgeous.
The Invention of Hugo Cabret is full of magic...for the child reader, for the adult reader, the film lover, the art lover, for anyone willing to give it a go. If you're scared of the size or the concept, don't be. Open your mind, pour Selznick's creation in, and be reminded of the dream of childhood.
Objet d'art February 2, 2007
50 out of 52 found this review helpful
THE INVENTION OF HUGO CABRET is art of a high order. To start with, this book is a beautiful object. The right dust jacket can definitely sell a book. The graphite rendering of Hugo in extreme close-up gracing the book's spine and wrapping around the back cover is what drew me to the bookshelf in the first place. And upon discovering the book's unusual format, I was hooked. The artwork here does not illustrate the text. Rather it advances the plot. It's a little like watching a silent movie and reading title cards...completely appropriate in a story dealing with the origins of cinema.
The story lives up to the promise of the packaging. It is immediately engaging and ultimately touching. Hugo is the orphaned son of a clock-maker, living in the walls behind a Parisian train station, maintaining the station's clocks, stealing bread and milk to survive, stealing nuts, bolts, and gears to complete a project his father was working on when he died. His secret existence is threatened as his life becomes entwined with a bitter, old man and a bookish young girl. It's part graphic novel, part mystery, part coming-of-age. There are echoes of Pinocchio but with a twist as here it is a lonely boy building an automaton father figure.
This is a timeless book about, among other things, time. This is a book for the ages, and a book for all ages. The story, the artwork, the writing style, the overall design, all first rate parts of a greater whole, like the precisely crafted mechanism of a fine Swiss clock.
 Unremarkably unique January 18, 2008
32 out of 43 found this review helpful
Paris 1931 - Twelve-year old Hugo Cabret lives in a secret apartment above a train station, keeping its 27 clocks running smoothly and accurately, just as his uncle taught him before disappearing several months earlier. Stealing food and toy parts to repair an automaton, he is caught and forced to work in a toy maker's shop where he meets the man's goddaughter, Isabelle, also an orphan. But not before the toy maker confiscates Hugo's father's notebook of sketches. Together, although not always harmoniously, the children try to solve the mystery of the device and the drawing it was designed to create. When Hugo becomes too disabled to maintain the clocks properly, it is a race against time for the two to figure things out before the stationmaster does.
Although the "one hundred and fifty-eight different pictures," are unusual in quantity and use, not all are value added. The black framing around the pages is different but distracting, and the book is unnecessarily large due to the fact that many of the pages are only partially filled with text. Wondering what the automaton will produce is the high point, but about halfway through, when that it is revealed, the intrigue falls away as quickly as the pieces of the puzzle fall neatly into place. In addition, the reader is left hanging about the cause of the fire, the fate of Hugo's mother (never even mentioned), and the circumstances surrounding the loss of Etienne's eye (you'd think most children would ask). And except for the fifth, the meaning of these (apparent) clues (from p 299 and 362) are left unexplained: "[a]n empty box, a dry ocean, a lost monster" and "a wingless bird, a burned-up building, a splinter, a fly, a grain of sand." An author thinking, writing and sketching "outside the box" is a welcome change, but neither the drawings nor the plot result in The Inventions of Hugo Cabret being much more than an average story with sketches uniquely used in its telling. Better: J. K. Rowlings' Harry Potter series and Lemony Snicket's A Series of Unfortunate Events series.
 Perfectly Fine, But Not Stunning February 14, 2007
27 out of 50 found this review helpful
The publishers of this children's book (it's intended for ages 9-12) appear to be trying their hardest to present this 500+ page book as boldly innovative. However, the mix of prose and pictorial storytelling didn't strike me as nearly beguiling as they would hope for. The concept for the story is decent enough (if a little overstocked in cliches) -- in post WWI Paris the titular young orphan lives secretly in the walls of a large train station (presumably Gare du Nord), where he keeps the clocks running smoothly (a job his uncle is too drunk to perform). His discovery of an old automaton brings Hugo into contact with an old man who sells small toys in the station, as well as his book-loving daughter, and a few other people. Without giving too much away, Hugo's discovery leads him into the history of early film, and the pioneering creations of George Melies (whose best known work is probably 1902's A Trip to the Moon). Along the way is the usual stuff, platonic boy/girl friendship, the quest for a father figure, a chase scene involving angry adult authorities, and of course, the clever orphan's ultimate elevation to a higher station in life (no pun intended). The story is perfectly inoffensive and can be applauded for its effort to interest young readers in the dawn of cinema, automata, and whatnot. Throughout the book, the prose part of the story is interrupted up by illustrations which advance the story and then redeposit it into prose. This is a perfectly fine technique, however the artwork doesn't really measure up to the prominence given to it. Selznick's drawings are rather flat and static, and I suspect will feel awfully tame to today's graphically-oriented kid. Later in the book, stills from old movies are used, and this is rather more effective and startling. On the whole this is a decent book, but nothing to raise a great hue and cry over.
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