Jeremy hatches a plan to cope with his monster’s unexpected return.
In the opening scene, Jeremy’s alone, just as he was at the beginning of Jeremy Draws a Monster (2009). He seems content drawing, hoping not to be disturbed, though McCarty’s tempting view of neighborhood kids outdoors implies a gentle question about whether Jeremy’s isolation is really optimal. A paper airplane flies in the window, instructing Jeremy to draw a compass and telescope. Jeremy peers though the telescope (everything he draws becomes real, as in Harold and the Purple Crayon) and sees his old blue monster, who rings up via telephone to declare, “I’m back. And I’m bored!” This announcement means different things to different readers. Those who’ve read Jeremy Draws know that the monster’s bossy and domineering, so they’ll find Jeremy’s monster-diversion scheme a clever defense; new readers may see the plan as simply sweet and fun. Jeremy invites neighbors into his apartment to draw with the fancy pens that carry conjuring power. Each child draws a new monster to partake in the surprise. Copious white space keeps focus on the monster, with his contained, slightly alarming flowery blue swirls, and on the appealingly buoyant kids, drawn in fine, delicate lines and colored with pleasantly pale watercolor.
It might lack the mild menace of its predecessor, but it satisfies in its supply of companionship all around. (Picture book. 3-6)