Frankencrayon. By Michael
Hall. Greenwillow/HarperCollins. $17.99.
Green Lizards vs. Red Rectangles.
By Steve Antony. Scholastic. $16.99.
A book so clever that it
will have young readers turned in circles, tied in knots and laughing both at
the story and at themselves, Frankencrayon
is an absolutely marvelous use of the picture-book medium and of art itself.
Michael Hall, who was brilliant in creating his previous book, Red, is even better in this multi-level,
self-referential mystery that starts with Frankencrayon
being canceled. Yes, readers are told at the start that there is no book here –
but several of the crayon protagonists are already wondering, on the front
flap, how they can be in a book if there is no book. Things get even more
dizzying when the story starts, or rather stops, since the opening pages bear
multiple stamps reading, “This picture book has been canceled.” The crayons
discuss their disappointment at there being no book, but then, when the reader
turns the page, Hall brilliantly breaks the traditional fourth wall of theater
and cartooning by having the crayons be aware that someone is trying to read
the non-book. And things get stranger and more fascinating from there. The
crayons ask the narrator, a pencil, to explain what has happened, and the
pencil talks about assembling crayons of various colors for a story about “a
horrible monster lurking in our midst.” But then, the pencil says, “without
warning, the lights went out,” and suddenly a big red scribble appears across
two full pages. The crayons are aghast: “A scribble can ruin a picture book!”
So the pencil calls in the crayon clean-up crew – but they, being crayons, only
make the scribble worse by adding new colors to it. Eventually the scribble is
so huge that all the crayons flee and someone, apparently the publisher, sends
a notice to the pencil that the book is canceled. But it turns out there is
more to the story: the three-crayon (green/orange/purple) Frankencrayon, who
was told at the start of the tale to go to page 22 and wait to make a scary
entrance, does not know about the cancellation and shows up as planned. So
Frankencrayon encounters the gigantic scribble – and likes it. The three Frankencrayon colors give the scribble an eye
and a mouth, and the scribble asks politely for help getting to “an important
event.” So the helpful crayons provide legs, and the “beautiful scribble” walks
off the page. Well, eventually Frankencrayon finds the other crayons and the
pencil, and everyone learns lessons such as “don’t try to unscribble a scribble
by scribbling on it,” and that is that, except…how
did the original scribble come to be? That
is revealed on the last page, providing a hilarious and perfectly calculated
conclusion to a book that is wonderfully plotted, wonderfully written,
wonderfully drawn, and altogether wonderful. Yet even that is not all: the back
cover is an unstated epilogue that perfectly ties the entire book together,
including the “important event” for which the squiggle was almost late. And my
goodness, yes, a look back at the squiggle after
seeing that astonishing back cover does show that the squiggly thing looks
quite a bit like a certain very famous and very hungry children’s-book
character. Frankencrayon is a work of
range, virtuosity, intelligence and care befitting a first-rate book for
adults, with all its marvels lavished on children lucky enough to have a chance
to see it and read it.
Steve Antony’s Green Lizards vs. Red Rectangles is also very colorfully and
delightfully drawn, although it is not at the very, very lofty level of Hall’s
book. Antony sets up an improbable conflict between green lizards (seen
completely packed together on the inside front cover pages) and red rectangles
(which are all over the inside back cover pages). For no apparent reason, these
characters/shapes are fighting, with each trying to overcome the other in an
amusing way. First, the lizards pile upon each other to topple a rectangle, but
the rectangles are arranged in a circle, like dominoes, so knocking over the
first knocks over a whole collection of them, and the last is clearly going to
fall right on the lizards (although the actual impact is not shown). Then the
rectangles get together into a huge almost-two-page-wide solid block of red,
trying to push the green lizards off the right side of a right-hand page – but
the lizards pile themselves up and push back, forcing the rectangles off the
left side of a left-hand page. The intense but unexplained battle continues as
a lizard questions the whole thing, only to have a rectangle fall right on top
of him – which leads to “THE BIGGEST WAR
EVER” in a two-page drawing of rectangles and lizards all over the place
and all over each other. That is followed by an even bigger battle, drawn at
wider scale with much smaller lizards (implying much larger rectangles). But
then everyone collapses, exhausted, onto everyone else, and at last a tiny
lizard and tiny rectangle move tentatively toward the center of the book to
negotiate a truce. How do they find a way to coexist in peace? Antony’s
solution is elegant, amusing, and perfectly sensible from a geometric point of
view. The expressions on the lizards’ faces are excellently varied in the final
red-and-green drawing, and if rectangles had expressions, they too would no
doubt be ones of relief, happiness, enjoyment, delight, and all the variants
that Antony skillfully shows on lots and lots of lizard faces. Oh – and that
squashed lizard that dared to ask why everyone was fighting turns out to be all
right. He appears on one of the inside back cover pages, the sole lizard on
pages otherwise containing only rectangles, and is seen suitably bandaged and kissing
a leaning-forward rectangle; there is even a pink heart above the lizard’s
head. A touch of Romeo and Juliet, perhaps? Or just a way of cementing what may
become a beautiful interspecies (or inter-object) friendship? Either way, this
is an apt, amusing, cute and clever conclusion for a thoroughly winning book in
which the ultimate victors are not only green lizards and red rectangles but
also the children who encounter all of them.
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