K-Gr 2—In this delightfully imaginative take on a beloved childhood activity, a young boy's crayons have had enough. Fed up with their workload and eager to voice their grievances, they pen letters to Duncan detailing their frustrations. Energetic and off-the-wall, the complaints are always wildly funny, from the neurotically neat Purple ("If you DON'T START COLORING INSIDE the lines soon… I'm going to COMPLETELY LOSE IT") to the underappreciated White ("If I didn't have a black outline, you wouldn't even know I was THERE!"). Daywalt has an instinctive understanding of the kind of humor that will resonate with young children, such as Orange and Yellow duking it out over which of them represents the true color of the sun or Peach's lament that ever since its wrapper has fallen off, it feels naked. Though Jeffers's messily scrawled crayon illustrations are appropriately childlike, they're also infused with a sophisticated wit that perfectly accompanies the laugh-out-loud text; for example, a letter from Beige, in which he bemoans being tasked with drawing dull items like turkey dinners, is paired with an image of the crestfallen crayon drooping over beside a blade of wheat. Later on, Pink grumbles about constantly being passed over for less-feminine colors while the opposite page depicts a discomfited-looking pink monster and cowboy being derided by a similarly hued dinosaur. This colorful title should make for an uproarious storytime and may even inspire some equally creative art projects.—
Mahnaz Dar, Library JournalAll Duncan wants to do is color, but when he opens his box of crayons, he finds himself in the midst of a bitter labor dispute. The crayons have gone on strike, and they’ve left Duncan a pile of letters listing their grievances. From undervalued beige and pink to overworked red and blue, each crayon’s letter clearly states a specific request for a change in working conditions. Even the green crayon, who has no complaints on its own behalf, explains that both yellow and orange, who are no longer speaking to each other, feel they should be the color of the sun. (“Please settle this soon because they’re driving the rest of us crazy!”) As drama unfolds among the colors, Jeffers’s spare crayon illustrations pop off the white background, adding movement and momentum to the imaginative narrative. The personified crayons express such emotion in so few crude strokes, particularly the discouraged beige crayon with its furrowed brow and slumped shoulders, standing forlorn next to a single sprig of wheat (the only thing Duncan uses beige for besides turkey dinners). Photographs of the handwritten letters and coloring book pages establish verisimilitude in an otherwise outrageous premise, which amplifies the comedy. The vibrant final spread addressing each color’s concerns leaves all parties with an amicable resolution and readers with a sense of satisfaction. shara l. hardeson
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