Six spooky reads
The ghoulish beings—some of whom are more adorable than creepy—that haunt these books will delight young readers any day of the year.
- by Alice Cary
Sid Sharp’s picture book Bog Myrtle starts as an intriguing fairy tale about two very different sisters: eternally optimistic Beatrice and forever grumpy Magnolia, who live “alone in a hideous, drafty old house” and “are so poor that they ate rats for breakfast and cockroaches for lunch.”
The action starts when Beatrice decides to make a sweater for Magnolia, who gripes about being cold. Since they have no money, Beatrice, who loves nature and crafts, heads to the forest to look for helpful treasures, and eventually encounters a monster named Bog Myrtle. Surprising things happen every step of the way, and Sharp’s sense of humor shines through—for instance, with a knitting store called “Knot in My Back Yarn.”
Bog Myrtle offers Beatrice magic silk, which allows her to knit a truly splendid gift for Magnolia—who immediately sees potential for profit. As Magnolia launches a magic sweater business that becomes increasingly exploitative, Sharp transforms the tale into a sophisticated, humorous fable about sustainability, corporate greed and workers’ rights. Sharp manages to integrate these themes so seamlessly that they never feel strident; readers will simply find themselves cheering when the good guys beat the villain.
Bold, contrasting colors imbue Sharp’s eye-catching illustrations with a modern, energetic vibe. Bog Myrtle offers a fun-filled yet serious look at sustainability and corporate accountability. Who would have even thought that possible? Sharp’s wizardry makes it happen.
- by Alice Cary
John the Skeleton is a wonderfully quirky story about a life-size model skeleton who “retires” from his schoolroom job as an anatomy model to live with an elderly couple on their farm in Estonia. He quickly becomes a part of the family, which includes two young grandchildren who frequently visit. There’s nothing scary or ghoulish here; instead, John’s presence allows Gramps and Grams to begin coming to terms with their eventual deaths. With 64 pages, plenty of illustrations and very short chapters, the book works equally well as a read-aloud for sophisticated younger readers or as a chapter book for solo readers.
The understated humor in Estonian writer Triinu Laan’s prose—as well as Adam Cullen’s translation—is ever present. Gramps makes wooden phalanges for John’s missing finger bones, and gives John his old musty coat “with two medals still pinned to it: one for donating blood and the other for being a good tractor driver.” The family includes John in all of their adventures. They help John make snow angels, and John even takes a bath with the grandkids.
Marja-Liisa Plats’ black-and-white illustrations, often accentuated by well-placed shades of fuchsia (a blushing face, a sled amid the snow), are full of whimsy. Her linework is perfect for this scruffy, lovable couple and their farmhouse world, including their outdoor summer kitchen. One of the book’s many delights is that John never reacts in any way; his entire “personality” is simply what this family imagines it to be. Nonetheless, he comforts them greatly, especially when Gramps and Grams begin to show signs of confusion.
There are particularly touching scenes at the end, when the book confronts death. John the Skeleton is an endearing story that helps normalize death while highlighting the enduring power of love.
- by Alice Cary
With Vikki VanSickle’s compelling rhyming couplets and Jensine Eckwall’s lush, moody illustrations, Into the Goblin Market has all the makings of a modern classic, while giving a delightful nod to European fairy tales. The book is a tribute to Christina Rosetti’s 1859 poem, “Goblin Market,” about sisters Laura and Lizzie. VanSickle has used the original to create a similar tale about two young sisters who seem to live alone in a fairy tale-like world “on a farm, not far from here.” Millie is quiet and bookish, while Mina, with a head full of wild, curly hair, is daring and always ready for adventure. One night, Mina sneaks away to the Goblin Market, even though Millie has warned her, “The Goblin Market isn’t safe. / It’s a tricky, wicked place.”
When Millie awakes and sees that Mina has disappeared, she consults her library and takes several items that end up providing invaluable protection. Eckwall’s intricate, woodcut-inspired art vividly conveys the magic and danger that awaits. Occasional red accents in these black-and-white ink drawings highlight objects such as the hooded cape Millie wears as she sets off, looking just like Red Riding Hood—and, indeed, a shaggy black wolf is the first thing she encounters.
Once she enters the market, “Everywhere that Millie looked / was like a nightmare from her books.” There are strange sights galore, including a multitude of goblins and an evil-looking witch, but there’s no sign of Mina, whom Millie knows is in trouble. The pages are definitely a feast for the imagination (although the very young may find them frightening).
Both sisters use their wits admirably to escape the many dangers, and there’s a wonderful surprise at the end, just when all seems to be lost. Into the Goblin Market is a delicious treat for those yearning for a bit of frightful adventure.
- by Alice Cary
Be careful what you wish for. That’s definitely true for Hannah, the seventh grader whose journal constitutes Remy Lai’s Read at Your Own Risk. Hannah and her friends search for a diversion while “some boring author” comes to their school assembly to “talk about his spooky books, which I bet aren’t even spooky.” Instead of attending, they decide to venture into the school attic and play a Ouija board-style game they call “Spirit of the Coin.” After their session, however, Hannah quickly discovers that she is haunted by an evil spirit, who continues to terrify her, and even writes in her journal in red ink.
The journal format will definitely appeal to middle grade readers, making the story all the more intimate and seemingly real. Nonetheless, be forewarned: As the cover filled with skulls and dripping with blood would suggest, this book is not for the squeamish. While many readers will revel in its thrills and chills, others may be completely terrified, especially by the frequent blood splatters, horrific dental details and the hospitalization of the narrator’s young brother.
Those whom those details don’t scare off may easily find themselves reading it more than once, looking for clues about the evil spirit. Read at Your Own Risk is a dynamic display of scary storytelling and compelling, haunting graphics that challenges readers to create their own journals. Lai leans into the mysterious as she wields her craft, noting, “Telling a story is like piecing together a jigsaw puzzle. Only the storyteller has the box and knows what the whole picture looks like.”
- by Alice Cary
Nadia Ahmed’s The Ghost Who Was Afraid of Everything is not only a charming Halloween tale, but also an excellent year-round story about facing one’s fears. Young Finn is scared of many things, including tree branches, butterflies, the color orange and flying. On Halloween, he stays home in his attic—noisy humans also make him anxious—while his older brother and sister have a grand time careening through the air. However, when they fail to bring back Finn his favorite Halloween treat (chocolate bats), he swears that he will fly to get his own next year.
Ahmed’s prose perfectly captures Finn’s trepidation in just a handful of words that will resonate with young readers: “When Finn is afraid, his stomach swoops, his hands sweat, and he can’t move.” Happily, Finn’s gradual self-regulated program of exposure therapy works! He starts out small, simply touching a leafless branch “for one whole minute.”
Ahmed’s whimsical illustrations are mostly in black and white at the start, except for flashes of that dreaded orange. Despite this limited palette, the pages are wonderfully appealing, never scary or dull. Finn is a simply drawn ghost, but somehow his spirit—pardon the pun—and resolution shine through on every page. As he tackles his fears one by one, color gradually enters his world. The final spread is a glorious ode to Halloween orange, as well as other small splashes of the rainbow. Ghoulishly great, The Ghost Who Was Afraid of Everything will inspire readers sidelined by their own jitters.
- by Alice Cary
Godfather Death is a lively retelling of a Grimm fairy tale about a poor fisherman looking for a godfather for his newborn son. The fisherman rejects God’s offer because he doesn’t feel God treats people fairly, especially since the fisherman and his family live in such poverty. He is smart enough to also reject the devil’s offer—but when Death comes along, he believes he has finally found an honest man. After the christening, Death lets the fisherman in on a scheme that makes him a rich man, but ultimately backfires in a tragic way.
As the fisherman’s captivating quest unfolds, Sally Nicholls weaves in plenty of humor: Christening guests stare at Death—a skeleton with his silver scythe and long black cloak—as “everyone tried very hard to be polite to the baby’s godfather.” When this skeleton figure eats food, “everyone wondered where it went.”
Julia Sarda illustrates the tale in a limited palette of orange, mustard yellow, dark green and black, imbuing the book with an intriguing, stylized vibe reminiscent of old fairy tales. Her eye-catching illustrations will help readers understand that this is a tale meant to impart wisdom. Note that, like the original, the ending is abrupt and not at all happy. Nonetheless, Godfather Death is a memorable story that’s bound to encourage interesting discussions about life, death and honesty.
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