IBNA- 'Baby Monkey, Private Eye' (2018) a children's humerous book by Brian Selznick and David Serlin described as an inventive, fabulously expressive work has been published in Persian.
A New York Times Bestselling Book and an Amazon Best Book of the Year, 'Baby Monkey, Private Eye' has been translated into Persian by Razi Hirmandi and released by Ofogh Publishing in 200 pages.
Who is Baby Monkey? He is a baby. He is a monkey. He has a job. He is Baby Monkey, Private Eye! Lost jewels? Missing pizza? Stolen spaceship? Baby Monkey can help...if he can put on his pants!
Baby Monkey's adventures come to life in an exciting blend of picture book, beginning reader, and graphic novel. With pithy text and over 120 black and white drawings accented with red, it is ideal for sharing aloud and for emerging readers. Hooray for Baby Monkey!
Brian Selznick grew up in New Jersey and graduated from the Rhode Island School of Art and Design in 1988. He worked for two years after graduation at Eeyore's Books for Children in New York City. His first book was published while he worked there.
Brian has also designed theater sets and worked as a professional puppeteer. His first book, 'The Houdini Box', was inspired by a fascination with the famous magician. He has illustrated both novels and picture books for other writers, including the Sibert Honor books, 'When Marian Sang' by Pam Munoz Ryan and 'Walt Whitman: Words for America' by Barbara Kerley.
His illustrations for Barbara Kerley's 'The Dinosaurs of Waterhouse Hawkins' won a Caldecott Honor Award in 2002; and in 2008, his groundbreaking book 'The Invention of Hugo Cabret' was awarded the Caldecott Medal. It was nominated for a National Book Award and was the basis for Martin Scorsese's Oscar-winning film 'Hugo'.
His follow-up illustrated novel, 'Wonderstruck', debuted at #1 on the New York Times bestseller list. Brian's next book, 'The Marvels, was published in the fall of 2015. Brian divides his time between New York, and San Diego.
David Serlin is associate professor of communication at the University of California, San Diego. He is coeditor of ‘Artificial Parts, Practical Lives: Modern Histories of Prosthetics’.