He's the dork." With the clear, stylish art, the strongly appealing characters and just the right pinch of drama, this book will undoubtedly make readers stand up and cheer. When Greg snubs Callie in the halls and misses her reference to Guys and Dolls, one of her friends assuredly tells her, "Don't worry, Cal. The palpably engaging and whip-smart characterization ensures that the charisma and camaraderie run high among those working on the production. Equally determined to make the best sets possible with a shoestring budget and to get one of the Mendocino boys to notice her, the immensely likable Callie will find this to be an extremely drama-filled experience indeed. Callie's healing heart is quickly captured by Justin and Jesse Mendocino, the two very cute twins who are working on the play with her. Callie's just getting over popular baseball jock and eighth-grader Greg, who crushed her when he left Callie to return to his girlfriend, Bonnie, the stuck-up star of the play. Seventh-grader Callie Marin is over-the-moon to be on stage crew again this year for Eucalyptus Middle School’s production of Moon over Mississippi. Time, grief, forgiveness, and love intersect in epic theater celebrating mysteries of the heart and spirit.įrom award winner Telgemeier ( Smile, 2010), a pitch-perfect graphic novel portrayal of a middle school musical, adroitly capturing the drama both on and offstage. A powerful visual epilogue weaves threads from both sections, and the final spread presents a heartening awakening to sight. 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. Carefully crafted chapters pose puzzles and connect to the prior visual narrative. The poetry of Yeats and references to The Winter’s Tale add luster. 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. Observant readers will recall this recently viewed address. Joseph is searching for an uncle and something more elusive-family. Fast-forwarding to the 1990s, the author describes in prose a runaway who peers longingly into a candlelit dwelling. Disguises and surprises reveal that what one sees is not always what is true.
A ship in shadows, a luminous angel, an abandoned baby in a basket-these are among the phenomena affecting five generations of London actors.
Starting in 1766, the first portion unfolds in nearly 400 pages of pictures, rendered in pencil. In the final volume of a trilogy connected by theme, structural innovation, and exquisite visual storytelling, Selznick challenges readers to see.
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