Using The Invention of Hugo Cabret by Brian Selznick as an example, demonstrate how pictures and words can be used to tell a sophisticated story which might be engaging to children as well as adults. Use academic secondary sources where appropriate to support your discussion. These must be properly referenced in APA format, both in-text and in the list of references at the end of your essay.

Adults and children approach a book with different expectations, thus in order for a book to be appealing to all age groups, it must satisfy these requirements. The Invention of Hugo Cabret, by Brian Selznick, is one such book and this is largely due to Selznick’s masterful handling of both texts and pictures.  

Possibly, the most notable aspect of the book is how the visual and textual features work together. The images not only illustrate the book but they also tell the story independently. The reader is compelled to keep switching back and forth between these two mediums, which communicate different information in different ways (Mallan, 1999, p.27). The reader has to interact with both these mediums (Jordan, 1992, p.116) and as Mallan (2002) notes, the more demanding the text and pictures are, the more the reader has to invest in the book. This keeps the story gripping and the reader interested, no matter the age group.

The visual outlay and film techniques used in the novel are another factor of interest.  Each page is thickly bordered, with black and white crosshatched illustrations being used to create a particular effect (Mallan, 1999, p.29) and in this case, it is the evoking of the period that the novel is set in. The book works very much like an early film, which complements the theme of celebrating the silent films of Melias. The text is separate from the pictures. It begins with a series of illustrations that move in from showing the city of Paris, to a close up of a boy in the train station. The action and chase sequences are usually portrayed through the pictures, and the author zooms in on the important focus at crucial points of the story. The book ends with a speech reminiscent of a voiceover in a film. Thus, in Hugo, the pictures tell so much more and “supplies narrative meaning that is not present …. in the written text alone” (Graham, 2005,p. 210). It becomes similar to a good film that all audiences can enjoy.

In addition to this, Hugo also appeals to all ages owing to its complexity.  The text is simple and sparse but it contains a lot of information. There is symbolism, such as the story of Prometheus or the idea of the world as a machine. On surface value, it is the story of a young thief, struggling to survive after losing his family, but if we go deeper, it is about hope, finding family, love, achievement, and creation. There is serious reflection in the novel, and one of the most profound statements is Hugo telling Isabella, “So I figure, if the entire world is a big machine, I have to be here for some reason” (Selznick, 2008, p. 378).  The protagonist is an ‘urban child’ who goes through much hardship to eventually reach a happy ending, which is a psychologically satisfying story (Harris, 2002, p. 63) and one that appeals to all.

To sum up, Selznick has crafted a text that is a merging of the chapter book and picture book formats. Through his innovative use of the textual and visual features, he has been able to create a classic that captures reader regardless of age.

References

Graham, J. (2005). Reading contemporary picture books . In Modern children's literature: An introduction. Basingstoke: Palgrave MacMillan, 209-226.

Harries, M. (2002). Bleak houses and secret cities: Alternative communities in young adult fiction. Children’s Literature in Education, 33(1), 63-76.

Jordan , B. (1992). "Good for any age" - picture books and the experienced reader. In Styles, M. et al (eds) After Alice: exploring children's literature. London : Cassell, pp. 113-125.

Mallan, K. (1999) In the picture: Perspectives on picture book art and artists. Wagga Wagga, NSW: Centre for Information Studies. pp.27-41.

Mallan, K. (2002). Picture books as performative texts: or how to do things with words and pictures. Papers: Explorations into Children’s Literature, 12(2), 26-37.

Zelznick, B., (2007). The Invention of Hugo Cabret. Scholastic press, New York.

DISCUSS THE WAYS IN WHICH YOUR CHOSEN PICTURE BOOK USES A COMBINATION OF VERBAL AND VISUAL TECHNIQUES TO ENGAGE ITS IMPLIED READERSHIP(S) AND COMMUNICATE ITS STORY AND DEEPER MEANINGS. Be specific in your discussion of the text’s main message or values, and make sure you give clear examples of verbal and visual techniques from the text to justify your argument.

Fox by Margaret Wild and Ron Brooks (2000) is a fable that generates endless reflection with its complex themes, vivid illustrations and lyrical language. In this essay, I will attempt to explain the way in which the visual and textual features in Fox  collaborate to hold the reader’s interest while communicating the deeper meanings in the book.

While Fox is a children’s picture book, it is interesting to ask ourselves who the implied readership might be. Based on depth, multiple themes, gripping text and pictures, one could say that the book can be read and enjoyed by multiple audiences (Anstey, 2002) and that there is what Wall (1991) identifies as a dual address, where the author is addressing both children and adults simultaneously. An unsophisticated reader may not perceive all the connotations and references in the book, but will still be enthralled by the pictures and the text.

In Fox, Wild uses an array of literary devices to bring out the themes of the story in an engaging manner. Fox is basically a story about moral dilemmas, friendship and betrayal. One of the most notable aspects of the text is how economically words have been used. Wild does not give us long descriptions of the characters nor of their emotions. However, with a few carefully chosen words, she sketches a vast picture. For example, she does not tell us in many words of the strength of the relationship between Magpie and Dog, nevertheless, the line, “Fly, Dog, fly! I will be your missing eye and you will be my wings!” (Wild, 2000), highlights this perfect collaboration. These two damaged beings imbue each other with hope and positivity. There is optimism despite the darkness. The simple line that Dog utters, “But life is still good,” (Wild, 2000) exhibits a keen insight into his character. He is optimistic and positive. In this way, the reader learns about the characters by being alert and observant.  When Fox enters the story, Wild writes that Magpie ‘trembles’ feeling Fox watching her, but leaves it to the reader to think of a reason for this. The reader needs to be alert to these verbal cues and think for themselves. Nowhere is the reader spoon fed. This active engagement with the story is part of what makes Fox such a satisfying read. Even the ending is left open to discussion; the very ambiguity of whether Magpie makes it back to Dog or whether she perishes on the way gives the reader much to speculate on. Those who want a happy ending can imagine that she reaches Dog. Wild does not impede on the reader’s imagination.

The language in Fox is poetic in that much is said in a few words. Layer after layer can be peeled away, as the reader digs beneath the surface to uncover the hidden meanings. Wild uses the present tense which keeps the story current, and the reader feels as though he is experiencing things together with the characters.  Her choice of words in the line, “He flickers through the trees like a tongue of fire” (Wild, 2000) is poetic in its graphic description and the simile ties together perfectly with the scorched bushland. Even the colour of Fox instils within the reader the concepts of flame and danger (O’Neil, 2011).  Literature generally portrays foxes as cunning, but Wild’s fox is almost diabolical, in his premeditated attempt at severing the ties between the two friends. This association with the devil is given to the reader by Wild’s depiction of Fox as a watchful, soulless, jealous creature who is always alone, always trying to destroy happiness.

There is also a broader reference in Wild’s portrayal of the fox. The book does not directly state that it is Australian, but it implies it through the depiction of the landscape (Bradford, 1995) such as the desert and the bush. From an Australian viewpoint, Fox can be seen as a metaphor of the impact on native animals when invasive species are introduced into non-native contexts. Background knowledge of Australian wildlife would be necessary to understand this allusion. The fox is an introduced species in Australia and is considered an ‘exotic predator’ and a pest that has to be controlled (Kinear, Sumnar & Onus, 2001). Unlike other dog-like animals, it lives in isolation. Wild uses this as a backdrop to her title character’s solitariness.

It seems fitting that a story of raw emotions is illustrated in such a raw and primitive way. Brooks has been able to create atmosphere and depict emotions through the visual grammar and techniques of his illustrations (Schwartz, as cited in O’Neil, 2011). The illustrations look almost as though they have been scratched into the pages, and along with the childish, crude font give a very primitive appearance. The colours are earthy and vivid and the detail is gripping. There seems to be no sophistication in the layout, which is cluttered and the text is non-linear (Goldstone, 2001), a feature of postmodern picture books. From the cover, one of the most important aspects of picture books (Yampbell, 2005), Fox grabs the reader. The reader gets the impression that it is not going to be a “happy” book. There is darkness and danger lurking, and the fox is depicted malevolently, coloured a brilliant orange resembling flames, while the magpie beside it appears vulnerable and insignificant. 

Another chief feature in Fox is the realism of the illustrations. The landscape is emphasised in the drawings but is not portrayed in a beautified manner. The techniques of the illustrations help depict it for what it is, dark and ominous (O’Neil, 2011). Marriot (2002) states that it is uncommon for picture books to portray animals characteristically; furthermore, she contends that it is uncommon that their habitats are depicted realistically and resembling the real world. She cites the example of jungles in picture books, which are often portrayed as just an ‘exotic background’ for a carefree story of anthropomorphised animals. Fox however does not attempt to soften the reality and this partly gives rise to the beauty and power of the pictures. The landscape is also used to portray the character’s emotions and traits. For example, Magpie’s vulnerability is illustrated through the technique of a huge landscape around her (O’Neil, 2011). This realism is what drives home the messages of the story. The reader is held by the gripping detail and realism of the story.

The text and the illustrations in Fox collaborate to create a bigger picture (Nikolajeva & Scott, 2000). The text itself is easy to read and would seem fairly simple at first glance, yet it keeps growing in significance, depth and complexity (Nodelman, 2002) the more one reflects upon it. Wild’s language is haunting and emotive. The narrator is never emotional and narrates the story with almost a detached tone, but the mood evoked in the reader is one of sadness. Through the anthropomorphised animals, the author explores complex human emotions. The illustrations support the text and add supplementary information, thereby supplying “narrative meaning that is not present …. in the written text alone” (Graham, 2005, p. 210). This is an enhancing interaction wherein the text and illustrations contain extra information that the other lacks, thus supporting each other. A good example of this is how the story begins before the text does. As Mallan (1999) suggests, it is the visual component of a picture book which initially grabs the reader’s attention. This is true of Fox. Even before the title page, the raging bushland fires is depicted in the opening double spread, and the reader sees a dog carrying a magpie in his mouth. The reader is instantly curious. Is he attacking the bird? Is he helping her? On the copyright page, the fox is shown watching the dog and the magpie stealthily. Therefore, by the time the text begins, the reader has attained background knowledge and has already been introduced to all the characters and is able to form what attitudes he will take towards the characters. Both words and pictures together tell the story and influence us in forming our ideas and taking our stance towards the characters (Mallan, 2002). The reader is already involved in the story and eagerly anticipates what will happen next.  

Throughout Fox, there are a considerable amount of metaphors and much symbolism, portrayed through both the verbal and visual techniques. Being aware of this is vital (Serafini, 2005) to our understanding of the author’s intentions. It is interesting how the book begins with fire, and how it is fire that has destroyed Magpie’s wing. Fox is metaphorically introduced as a “tongue of fire” which has satanic associations. Magpie is drastically hurt on two occasions; on the second time she is spiritually burned, and not physically. She has been playing with fire figuratively, and the line, “She could feel herself burning into nothingness,” (Wild, 2000) emphasises this. Another Biblical connotation in the book is Magpie’s temptation by Fox. One could argue that this is symbolic of Jesus’ temptation in the wilderness. It also brings to mind Eve’s temptation in the Garden of Eden, where she betrayed Adam and God by succumbing to Satan, and thereby brought about her doom and that of mankind. This inference of Fox compared to Satan is further strengthened by Brooks’ depiction of Fox – he is always portrayed as curled up, gliding or lurking in the pages like a snake.

In conclusion, Wild and Brooks together use the verbal and visual aspects of Fox to create a story that is gripping to all readers. It is a book that is emotionally honest and appealing to all; like a good book should, it gives the reader something to reflect upon and through a localised setting, breathtaking pictures and poetic text expresses universal truths. As a picture book, it is a strong teaching tool (Mickelsen as cited in Brant, Buchanan, Carr, Weiss & Wentz, 2001) that explores moral dilemmas and vital themes and values and, as great literature should, it speaks to both adults and children (Nikolajeva & Scott, 2000).

References

Anstey, M. (2002). Its not all black and white : postmodern picture books and new literacies. Journal of Adolescent and Adult Literacy, 45 (6), 444-418.

Bradford, C. (1995). Exporting Australia: National identity and Australian picture books. Children’s literature association quarterly, 20 (3), 111-115.

Brant, K. J., Buchanan, D. L., Carr, K. S., Weiss, M. L. & Wentz, J. B (2001). Not just for the primary grades: A bibliography of picture books for secondary content teachers. Journal of Adolescent & Adult Literacy. 45 (2), 146.

Goldstone, B. (2001) Whaz up with our books? The Reading Teacher 55, 4, 362-370.

Graham, J. (2005). Reading contemporary picture books . In Modern children's literature: An introduction. Basingstoke: Palgrave MacMillan, 209-226.

Kinnear, J. E., Sumner, N. R. & Onus, M. L. (2002). The red fox in Australia—an exotic   predator turned bio control agent. Biological Conservation, 108 (3), 335–359.

Mallan, K. (1999). Reading(s) beneath the surface: using picture books to foster a critical aesthetics. Journal of language and literacy, 22 (3), 200-211.

Mallan, K. (2002). Picture books as performative texts: or how to do things with words and pictures. Papers: Explorations into Children’s Literature, 12(2), 26-37.

Marriott, S. (2002). Red in tooth and claw? Images of nature in modern picture books. Children’s Literature in Education, 33(3), 175-183.

Nikolajeva, M. & Scott, C. (2000). The Dynamics of picture book communication. Children’s Literature in Education 31, 4, 225-239.

Nodelman, P. (2000) Pleasure and genre: speculations on the characteristics of children's fiction. Children's Literature, 28, 1-14.

O’Neil, K. E. (2011). Reading pictures: developing visual literacy for greater comprehension. The reading teacher, 65 (3)214.

Serafini, F. (2005). Voices in the park, voices in the classroom: Readers responding to postmodern picture books. Reading Research and Instruction, 44 (3), 47-64.

Wall, B. (1991) Introduction . In The Narrator's voice: the dilemma of children's fiction, 1-10. Houndmills (England): Macmillan

Wild, M. & Brooks, R. (2000). Fox. Crows Nest, NSW: Allen and Unwin.

Yampbell, C. (2005). Judging a book by its cover: Publishing trends in young adult literature. The Lion and the Unicorn, 29 (3), 348-372.