The Crayon Stub

Written and illustrated by Marcus Cutler

G. P. Putnam's Sons (An imprint of Penguin Random House)

979-8-217-00333-4

40 pp.

Ages 3-7

May 2025 

 

Judging by the plethora of artwork on the refrigerator and adoring the walls, Big Cat loves to draw. He draws dinosaurs and robots and unicorns and pizzas and more. But when he's ready to attempt his next masterpiece, he is dismayed to find only a small nub of red crayon left in his box.

From The Crayon Stub, written and illustrated by Marcus Cutler

As he comes unglued, Big Cat looks at his previous works and deliberates about what he'll use his limited resource on. Little Cat, who may or may not be responsible for the lack of crayons, accompanies Big Cat as he ponders and worries and stresses.

From The Crayon Stub, written and illustrated by Marcus Cutler

But then Big Cat tosses his red crayon stub and drawing paper away in frustration and Little Cat grabs them. After a chase ensues, a masterpiece may be created but through extraordinary means.

From The Crayon Stub, written and illustrated by Marcus Cutler

While I have reviewed a number of books which Marcus Cutler has illustrated (e.g., Do Not Turn the Page!, and The Walrus and the Caribou), this is the first picture book of his that I've reviewed that he has both written and illustrated. (Note: he does have an earlier story, I Do Not Eat Children, that I have not read.) And, what I've realized is that there's a difference when he is the author-illustrator. Marcus Cutler's digital artwork has always had a degree of silliness that brings a playful mood to the stories but, when he also writes the text, the funniness is enhanced. Most young readers would recognize the distress of missing all their crayons, but Marcus Cutler gives us an over-the-top reaction in Big Cat's response. And then we've got a younger sibling who gets into an older sibling's things and uses them indiscriminately–wait until readers see what Little Cat does with the crayon stub–and the laughs continue. The art is both straightforward and clever in its simplicity but also filled with little details that captivate. Together Marcus Cutler gives us the funny in the story and the art.

From The Crayon Stub, written and illustrated by Marcus Cutler

There may only be a stub of a red crayon left in Big Cat's box but it's enough to create a tale rich in humour, colour, and character, courtesy of Marcus Cutler.

Do Not Turn the Page!

Written by Jane Blondie

Illustrated by Marcus Cutler

North Winds Press (Scholastic Canada)

978-1-0397-0206-6

32 pp.

Ages 3-8

February 2025 

 

Charlie is outside playing in the sand and dirt when he notices the reader has appeared. And so, begins a one-sided conversation as Charlie speaks to the reader about what he's doing, what he doesn't want to do, and what he expects of the reader. Unfortunately, the reader will do exactly what Charlie does not want and that is to turn the page. (After all, it is a book.)

From Do Not Turn the Page!, written by Jane Blondie, illus. by Marcus Cutler

Listen. Turning the page gets me closer to the bathtub and there will be NO bath for me. Not today. Nopey, nope, nope!

Charlie is adamant that he wants to play in his sand fort and so instructs the reader to close the book and never turn a page again. And yet with each progression in reading, Charlie is disappointed because the reader is not listening to his directives. It just gets worse.

Ugh! You turned the page again.

This. Is. Serious. 

From Do Not Turn the Page!, written by Jane Blondie, illus. by Marcus Cutler

 

With each turning of the page, the reader is chastised by Charlie for leading him from his sand box to inside the house, into the mudroom, through the living room, the kitchen and up the stairs. Accompanied by his cat and pig stuffie, the dirty child is forced by the reader turning the pages to hide from his mother who is already running the bath water. And even though Charlie makes many lingering stops along the way, from having a snack, doing art, and hiding in a toy box, ultimately his fate has been sealed by the reader and their need to turn pages. 

There is absolutely NO WAY you are getting me into that tub.

From Do Not Turn the Page!, written by Jane Blondie, illus. by Marcus Cutler

Well, the reader may get Charlie into his bath but a kajillion bubbles and rubber duckies help keep him there before he has one more routine to try to avoid.

 

I'm impressed by Jane Blondie's ability to write a one-sided dialogue that engages and interacts with the young reader so naturally. They will be delighted with the possibility that they control the story and where it leads, even though the adults may know otherwise. To connect so effortlessly with the reader in her debut picture book is an accomplishment but one that undoubtedly stems from Jane Blondie's teaching experiences. Still, it's the humour of Charlie as he pleads with the reader not to turn the page and then his disgust that they have done otherwise. The annoyance is evident but so is his good nature in understanding that this is how it usually goes i.e., he's going to get a bath no matter what. Charlie may be a little cheeky but he's still polite and more than appreciative to have the young readers along for the ride.

From Do Not Turn the Page!, written by Jane Blondie, illus. by Marcus Cutler

Marcus Cutler, who also illustrated The Walrus and the Caribou which I reviewed a few years back, gives a playful nature to his digital artwork. From a messy play area outside, littered with everything from an empty box to a discarded crown and a toy dump truck to a sticky snack of blueberry jam on crackers–and on his hands, on the table, and on Charlie's clothing–this could be any family home with children. Even the end papers are rife with yarn, muddy handprints and paw prints, bubbles, and more. Marcus Cutler gives a vitality to Charlie at play and in his routines and, rather than appearing to be unruly or ornery, Charlie charms, taking direction from the reader who moves him from outdoors to a bath, recognizing the inevitability of his story.

 

If you're an adult reading this book to some young readers, be prepared for the howls of laughter when they realize the character is conversing with them. They may be able to tell where the story will end up, probably having experienced similar events, but they'll be pleased to have been invited to participate. I foresee many, many readings of Do Not Turn the Page! just so the page can be turned, and children can witness the impact of their actions.

The Walrus and the Caribou

Written by Maika Harper

Illustrated by Marcus Cutler

Inhabit Media

978-1-77227-256-7

32 pp.

Ages 5-7

2019

This traditional Inuit origin story from actress Maika Harper and illustrator Marcus Cutler reminds us of the richness of the storytelling tradition, the source of Maika Harper's tale, and the breadth of its narration on revealing culture, history and people.

From The Walrus and the Caribou by Maika Harper, illus. by Marcus Cutler

When Guk was breathing life into the world, she pondered how the different parts of the animals should be organized. The walrus was generated when Guk blew air into her sealskin parka and added some flippers and wrinkles and antlers. (Yes, antlers.) The caribou was created from breathing life into her sealskin pants. With the addition of some big hooves and hair, a snout and tusks, her caribou was complete.

From The Walrus and the Caribou by Maika Harper, illus. by Marcus Cutler

But Guk's enhancements did not all work. The walrus's antlers were not a good idea. When the walrus swam, its massive antlers would upend the hunters' kayaks. As for the caribou, its tusks were not much appreciated by the hunters.

In a mix-and-match situation, Guk swaps out the tusks and the antlers, creating the familiar walrus and caribou of today's Arctic, with a special touch of punishment for the caribou because of its irritability and brashness.

From The Walrus and the Caribou by Maika Harper, illus. by Marcus Cutler

Though Maika Harper tells a simple tale of how the walrus and the caribou came to exist in their present morphologies, she also explains why the caribou avoids humans and encourages young readers to think about what animals they might create. With illustrator Marcus Cutler's Arctic landscape, depicted in a minimal palette of snowy whites, of earthy sandy browns and taupes, and of blue waters and skies, the walrus and caribou and Guk and the few hunters portrayed are the stars. They rule the landscape, living as they do, and sharing the land and water as tradition expected them to do so.

The Walrus and the Caribou may be a creation story with some tongue-in-cheek humour but it is also a representation of some Inuit traditions and culture, from the Inuit's clothing and hair to their kayaks and hunting techniques.  This tale will definitely inform and satisfy young readers, especially by answering, at least partially, that perennial question about where animals came from.