A hands-on monster collage studio that will delight and inspire Paper Monsters is a hands- on collage studio for young children. Budding artists can create seven collage pictures of monsters in cleverly designed paper pockets in the book. Complete all the pictures to make a monster procession hurrying to the last page, where young readers discover the monsters at monster school with a final collage to complete. The book has step- by- step instructions showing how to make the collages but the collage- making activity is open and free. Each spread features an inspirational collage illustration of a monster and paper pocket with a window cut to the same monster shape. Children can tear and paste the decorated papers included in an envelope at the back of the book, along with any scraps of recycled newspapers and magazines, to make a collage on the piece of card. Slot the piece of collage card into the pocket so it shows through the monster- shaped window, and voila! A wonderful collage monster. Oscar Sabini’s artwork is charming and characterful, inspiring young children to be creative and experiment with form and color.

A breakthrough paper-folding book for kids—paper airplanes meet Origami meets Pokemon. Papertoys, the Internet phenomenon that’s hot among graphic designers and illustrators around the world, now comes to kids in the coolest new book. Created and curated by Brian Castleforte, a graphic designer and papertoy pioneer who rounded up 25 of the hottest papertoy designers from around the world (Indonesia, Japan, Australia, Italy, Croatia, Chile, even Jackson, Tennessee), Papertoy Monsters offers 50 fiendishly original die-cut designs that are ready to pop out, fold, and glue. The book interleaves card stock with paper stock for a unique craft package; the graphics are colorful and hip, combining the edginess of anime with the goofy fun of Uglydolls and other collectibles. Plus each character comes with its own back-story. And the results are delicious: meet Pharaoh Thoth Amon, who once ruled Egypt but is now a mummy who practices dark magic in his sarcophagus. Or Zumbie the Zombie, who loves nothing more than a nice plate of brains and yams. NotSoScary, a little monster so useless at frightening people that he has to wear a scary mask. Yucky Chuck, the lunchbox creature born in the deepest depths of your school bag. Plus Zeke, the monster under your bed, Nom Nom, eater of cities, and Grumpy Gramps, the hairy grandpa monster with his very own moustache collection.

Step-by-step instructions for creating papier-mâché monstrosities and expanding the limits of your imagination, from the author of Paper Mache Dragons Celebrated monster-making master Dan Reeder is at it again—helping others to let out their inner monsters! All that’s needed are a few simple materials and a wild imagination. Reeder guarantees success if the tried-and-tested, goof-proof how-to steps in this humorous read are followed. But there’s more—he’s also giving away all of his secrets for creating ghoulish monster elements such as jaws, claws, horns, scales, webbing, tentacles, eyeballs, fingers, toes, gnarly hands and feet, and even perfect drool! Learn how to make a basic monster and you’ll be well on your way to creating more hideous creatures, beasts, dragons, and whatever else your dark side can think of! “I’m not one to argue that the world doesn’t need more monsters, be they made of papier and/or cloth mâché, as demonstrated in Dan’s entertaining new book, or flesh and blood, as demonstrated by the one standing behind you right now.” —Gary Larson, creator, Far Side “For lovers of the truly grotesque, Reeder provides detailed photo instructions for large figures constructed of clothes hangers, newspaper, and glue. Cloth skin, teeth, and slathered-on paint finish them off. The toothy dragons are particularly effective.” —School Library Journal

Jacob Higgins's teenage rage rarely simmers below the surface for long. He despises his negligent mother and her alcoholic boyfriend, Refrigerator Man, and he's indifferent to school and his friends -- though a little less casual about girls and marijuana. His antics have landed him in a North Virginia detention center, where nihilism, freedom, and redemption all take on unexpected guises. In a voice filled with confusion, yearning, and sardonic humor, Jacob narrates his improbably sweet romance with Andrea, an inmate with whom he shares rare glances, melodramatic conversation, and waxy cookies at rigidly chaperoned "socials." But when David, a mysterious, conniving adolescent, handpicks him to assist in a plot to bring about the center's demise, Jacob has to weigh the frail new optimism of his relationship with Andrea against the allure of destruction, rebellion, and escape. In her pitch-perfect debut, Emma Rathbone adroitly captures the drama, both comic and deadly serious, of growing up.

In Paper Monsters, Samuel Fallon charts the striking rise, at the turn to the seventeenth century, of a new species of textual being: the serial, semifictional persona. When Thomas Nashe introduced his charismatic alter ego Pierce Penilesse in a 1592 text, he described the figure as a "paper monster," not fashioned but "begotten" into something curiously like life. The next decade bore this description out, as Pierce took on a life of his own, inspiring other writers to insert him into their own works. And Pierce was hardly alone: such figures as the polemicist Martin Marprelate, the lovers Philisides and Astrophil, the shepherd-laureate Colin Clout, the prodigal wit Euphues, and, in an odd twist, the historical author Robert Greene all outgrew their fictional origins, moving from text to text and author to author, purporting to speak their own words, even surviving their creators' deaths, and installing themselves in the process as agents at large in the real world of writing, publication, and reception. In seeking to understand these "paper monsters" as a historically specific and rather short-lived phenomenon, Fallon looks to the rapid expansion of the London book trade in the years of their ascendancy. Personae were products of print, the medium that rendered them portable, free-floating figures. But they were also the central fictions of a burgeoning literary field: they embodied that field's negotiations between manuscript and print, and they forged a new form of public, textual selfhood. Sustained by the appropriative rewritings they inspired, personae came to seem like autonomous citizens of the literary public. Fallon argues that their status as collective fictions, passed among writers, publishers, and readers, positioned personae as the animating figures of what we have come to call "print culture."

In Paper Monsters, Samuel Fallon charts the striking rise, at the turn to the seventeenth century, of a new species of textual being: the serial, semifictional persona. When Thomas Nashe introduced his charismatic alter ego Pierce Penilesse in a 1592 text, he described the figure as a "paper monster," not fashioned but "begotten" into something curiously like life. The next decade bore this description out, as Pierce took on a life of his own, inspiring other writers to insert him into their own works. And Pierce was hardly alone: such figures as the polemicist Martin Marprelate, the lovers Philisides and Astrophil, the shepherd-laureate Colin Clout, the prodigal wit Euphues, and, in an odd twist, the historical author Robert Greene all outgrew their fictional origins, moving from text to text and author to author, purporting to speak their own words, even surviving their creators' deaths, and installing themselves in the process as agents at large in the real world of writing, publication, and reception. In seeking to understand these "paper monsters" as a historically specific and rather short-lived phenomenon, Fallon looks to the rapid expansion of the London book trade in the years of their ascendancy. Personae were products of print, the medium that rendered them portable, free-floating figures. But they were also the central fictions of a burgeoning literary field: they embodied that field's negotiations between manuscript and print, and they forged a new form of public, textual selfhood. Sustained by the appropriative rewritings they inspired, personae came to seem like autonomous citizens of the literary public. Fallon argues that their status as collective fictions, passed among writers, publishers, and readers, positioned personae as the animating figures of what we have come to call "print culture."

Paper Toys is a wonderful new series of interactive craft books that allow children to pop out and build their own paper toys. While complimentary, each volume in the series is designed by a different talented artist, lending a stylized look to their fanciful creations. With several themes to choose from including Robots, Monsters, Fantasy Creatures, and Animals, the options for imaginative play are endless. Printed on durable cardstock and die-cut, each toy is easy to assemble with no glue or scissors needed.