Publishers Weekly
10/12/2015
Like books about books, crayon stories seem to have become their own subgenre. Hall’s multilayered follow-up to Red: A Crayon Story belongs to both categories. A pencil narrates; it’s directing an all-crayon production of Frankencrayon. The creature—played by Purple, Green, and Orange, stacked precariously to monster height, with Green’s head appropriately sutured—and the other crayons have just discovered bright red notices stamped on the pages: “This picture book has been canceled.” Earlier, the lights went out and an angry red scribble appeared across the page. Who is the book defacer? The crayons’ attempts to cover the scribble only make it worse. Some imaginative crayoning helps the scribble get where it’s going, but the identity of the villain is kept secret until the final page. While the plot twists can get tricky to follow, Hall’s crisp-edged illustrations help keep things straight. Deadpan humor (it’s easy to imagine the costumed crayons saying their lines in flat, expressionless tones) and nested realities (the theatrical production, the world of the crayons, the book as a physical object) make for clever, provocative entertainment. Ages 4–8. Agent: Anna Olswanger, Olswanger Literary. (Jan.)
From the Publisher
A just-for-fun mash-up of monster movie references and schoolroom shenanigans…Hall’s genius application of crayon drawings and cut-paper collage creates a product that any child could see himself making, and that’s how artists and authors are born. A monstrously entertaining read.” — School Library Journal (starred review)
“The bright cut-paper crayons hold a running commentary as a humorous Greek chorus, and the scribble’s appearance against both black and white backgrounds adds striking visuals, effectively supporting the ultimate message of inclusion and creative problem solving.” — Booklist
“Hall fills his story within a story with intrigue, theater, and a whole lot of silly. …The illustrations are compelling, with cut-paper crayons and a variety of textures and typefaces.” — Kirkus Reviews
“This book’s complex plot-within-a-plot structure provides punchy entertainment to keep readers engaged throughout and offers inspiration for thinking about theater, bookmaking, and storytelling.” — The Horn Book
“A lot of fun…it will grab and hold the attention of many little characters who like to play monsters.”” — Boston Globe
“Perfect for all ages…Hall’s tale elevates Frankencrayon above simple entertainment, beginning with a nod to classic literature and slowly delivering a story within a story, with unexpected turns that will guarantee a laugh…this delightfully creative book, populated by its charming ‘scary guys,’ deserves multiple readings.” — BookPage.com
Booklist
The bright cut-paper crayons hold a running commentary as a humorous Greek chorus, and the scribble’s appearance against both black and white backgrounds adds striking visuals, effectively supporting the ultimate message of inclusion and creative problem solving.
The Horn Book
This book’s complex plot-within-a-plot structure provides punchy entertainment to keep readers engaged throughout and offers inspiration for thinking about theater, bookmaking, and storytelling.
BookPage.com
Perfect for all ages…Hall’s tale elevates Frankencrayon above simple entertainment, beginning with a nod to classic literature and slowly delivering a story within a story, with unexpected turns that will guarantee a laugh…this delightfully creative book, populated by its charming ‘scary guys,’ deserves multiple readings.
Boston Globe
A lot of fun…it will grab and hold the attention of many little characters who like to play monsters.”
Booklist
The bright cut-paper crayons hold a running commentary as a humorous Greek chorus, and the scribble’s appearance against both black and white backgrounds adds striking visuals, effectively supporting the ultimate message of inclusion and creative problem solving.
School Library Journal
★ 12/01/2015
PreS-Gr 2—A mysterious red scribble marks the beginning of the end for a picture book, and the story of its cancellation and the ensuing fallout is related from the perspective of a pencil and some crayon characters. Hall has had great success with crayons before. In Red: A Crayon's Story (HarperCollins, 2014), he explored self-acceptance and judgment. This time he writes a just-for-fun mash-up of monster movie references and schoolroom shenanigans, while skewering literary conventions. As the narrator takes readers through the lead-up to the cancelled book (never ask a crayon to do the job of an eraser), there are breaks in the proscenium and characters are sent to later parts of the story to wait for their cues. Frankencrayon himself is three crayon stubs put together: green for the head, orange for the midsection, and purple for the bottom. Hall's genius application of crayon drawings and cut-paper collage creates a product that any child could see himself making, and that's how artists and authors are born. VERDICT A monstrously entertaining read.—Lisa Lehmuller, Paul Cuffee Maritime Charter School, Providence, RI
Kirkus Reviews
2015-10-06
Personified crayons and a pencil, thespians all, re-enact the cancellation of their book, while Hall fills his story within a story with intrigue, theater, and a whole lot of silly. An "official notice" greets readers, urging them to abandon this book, while a cancellation stamp mars the title page. When the cast-member crayons realize a reader is turning the page, the pencil breaks the fourth wall and starts to recount what went wrong with their production of Frankencrayon. It began at rehearsal, with a mysterious scribble, which the crayons try to erase but only make bigger. When the play is canceled, three crayons help the scribble to independence by drawing feet and a face. Reflecting on these events, the crayons and pencil realize lessons learned ("Even a messy scribble can be a lovely thing"), and all ends well...until: "Screeeeeetch!" The villain behind the scribble is revealed! Hall, as usual, plays with both narrative and its visual representation. The illustrations are compelling, with cut-paper crayons and a variety of textures and typefaces. However, the stretch to innovate and interact leads to a story composed of many varied parts, which often complicate rather than clarify. And while different types help identify which character is speaking (and when), the textual busyness on top of this visually reductive story can be confusing. With very careful repeat reads, this challenging tale may pay off, especially if readers choose to put on a play of their own. (dramatis personae) (Picture book. 5-8)
