Pair with Cambria Evans’ Bone Soup (2008) or Kazuno Kahora’s Ghosts in the House! (2008) for some fantastic, not-so-scary...



An enjoyable New Orleans tale featuring a most un-frightening ghost.

Fred has the perfect life, for a ghost. He putters around his dusty, dreary, dilapidated New Orleans home, happy with the company of one small cactus. But suddenly, two strangers—a man named Pierre and his daughter Marie—arrive and begin renovations in earnest. They turn the old house into a spic-and-span restaurant ready to serve up fine Cajun and Creole fare. Once the first guests have arrived, Fred tries to drive them away, putting on his most terrible ghostly show, moaning, wailing and tossing food about. To his great disappointment, the diners are not scared off. In fact, they begin to cheer and proclaim the haunted restaurant a resounding success. Frustrated, Fred decides to give up and vacate his home, but Pierre and Marie think the house is big enough to share. Pierre whips up some Powdered Ghost Puffs, much like beignets, for Fred while Maria prepares a special room for him, complete with leaks, dust and squeaky floors. And they live—or at least exist—happily ever after. The interplay among the characters is great: When Marie spots Fred sadly leaving and asks if he is the ghost, he responds, "What did you expect?… A floating sheet?" Castelao’s illustrations have an ethereal, quirky quality that complements the story, and the details she includes help anchor its New Orleans setting.

Pair with Cambria Evans’ Bone Soup (2008) or  Kazuno Kahora’s Ghosts in the House! (2008) for some fantastic, not-so-scary ghostly fun. (author’s note) (Picture book. 4-8)

Pub Date: Sept. 27, 2011

ISBN: 978-0-375-86207-6

Page Count: 32

Publisher: Random House

Review Posted Online: July 20, 2011

Kirkus Reviews Issue: Aug. 1, 2011

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Only for dedicated fans of the series.


From the How to Catch… series

When a kid gets the part of the ninja master in the school play, it finally seems to be the right time to tackle the closet monster.

“I spot my monster right away. / He’s practicing his ROAR. / He almost scares me half to death, / but I won’t be scared anymore!” The monster is a large, fluffy poison-green beast with blue hands and feet and face and a fluffy blue-and-green–striped tail. The kid employs a “bag of tricks” to try to catch the monster: in it are a giant wind-up shark, two cans of silly string, and an elaborate cage-and-robot trap. This last works, but with an unexpected result: the monster looks sad. Turns out he was only scaring the boy to wake him up so they could be friends. The monster greets the boy in the usual monster way: he “rips a massive FART!!” that smells like strawberries and lime, and then they go to the monster’s house to meet his parents and play. The final two spreads show the duo getting ready for bed, which is a rather anticlimactic end to what has otherwise been a rambunctious tale. Elkerton’s bright illustrations have a TV-cartoon aesthetic, and his playful beast is never scary. The narrator is depicted with black eyes and hair and pale skin. Wallace’s limping verses are uninspired at best, and the scansion and meter are frequently off.

Only for dedicated fans of the series. (Picture book. 5-8)

Pub Date: Sept. 1, 2017

ISBN: 978-1-4926-4894-9

Page Count: 40

Publisher: Sourcebooks Jabberwocky

Review Posted Online: July 15, 2017

Kirkus Reviews Issue: Aug. 1, 2017

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Haphazard but jolly enough for one outing; it probably won’t last for more.


From the Creative Creature Catcher series

A flurry of mail addressed to Duncan’s crayons ushers in the Christmas season in this novelty spinoff of the bestselling The Day the Crayons Quit (2013) and The Day the Crayons Came Home (2015).

Actual cards and letters are tucked into envelopelike pouches pasted to the pages; these are joined in some cases by other ephemera for a package that is likely to invite sudden, intense play followed by loss and/or damage that will render the book a disappointment to reread. That’s probably OK, as in contrast to the clever story that kicked this small series off, this outing has a hastily composed feel that lacks cohesion. The first letter is addressed to Peach from Mom and includes a paper doll of the “naked” (de-wrappered) crayon along with a selection of tabbed changes of clothing that includes a top hat and tails and a bikini top and bottom. Peach’s implied gender fluidity does not mitigate the unfortunate association of peach with skin color established in the first book. The sense of narrative improvisation is cemented with an early page turn that takes the crayons from outdoors snow play to “Feeling…suddenly very Christmas-y, the crayons headed inside.” Readers can unpack a box of punch-out decorations; a recipe for gluten-free Christmas cookies that begins “go to store and buy gluten-free cookies”; a punch-out dreidel (turns out Grey is Jewish); a board game (“six-sided die” not included); and a map of Esteban (aka Pea Green) and Neon Red’s travels with Santa.

Haphazard but jolly enough for one outing; it probably won’t last for more. (Novelty. 4-8)

Pub Date: Oct. 15, 2019

ISBN: 978-0-525-51574-6

Page Count: 52

Publisher: Penguin Workshop

Review Posted Online: Aug. 18, 2019

Kirkus Reviews Issue: Sept. 1, 2019

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