(In a 2012 profile for The Atlantic, I described how Selznick used the form-indebted equally to silent film and the “wild rumpus” section of Wild Things-to create new narrative possibilities.) His latest book, The Marvels, opens with 400 pages of mostly wordless illustration, chronicling 150 years of family history-all before the first chapter of prose. Selznick’s books aren’t like anyone else’s: His 500-plus page epics alternate between illustrations and text, rarely featuring both at the same time. Then, he shared how the book inspired a 15-year artistic exploration that culminated with The Invention of Hugo Cabret, Selznick’s Caldecott Medal-winning breakthrough. In our conversation for this series, Selznick gave a brilliant close reading of Maurice Sendak’s classic, explaining how the subtle interplay between text and image enhances and deepens the story. Then Where the Wild Things Are changed his life. Today, his ambitious, immersive picture books become New York Times bestsellers, but years ago, as a young Rhode Island School of Design graduate, Selznick tended to dismiss the entire genre. Brian Selznick, the author of The Marvels, never intended to make books for kids.
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