You remember Grover. That frantic, fuzzy blue guy who spent an entire book begging you—no, pleading with you—not to turn the page? Jon Stone and Mike Smollin’s 1971 classic The Monster at the End of This Book is arguably the greatest meta-fictional experiment in children’s literature. But people often forget the follow-up. Published in 1996, Another Monster at the End of This Book brought a whole new dynamic to the table by introducing Elmo into Grover’s high-anxiety world.
It's a weirdly brilliant piece of media.
While the original was a solo act of desperation, the sequel is a psychological tug-of-war. You’ve got Grover, who is still traumatized by his first encounter with the "monster" (which, spoiler alert for a 50-year-old book, was just himself), and then you have Elmo. Elmo is the chaos agent. He represents the fearless, curious reader who doesn’t care about Grover's structural integrity or his sanity. He just wants to see what’s next.
The Meta-Narrative of Another Monster at the End of This Book
Most kids' books are passive. You read, you look at the pictures, you go to sleep. Another Monster at the End of This Book is different because it treats the reader as a physical participant in the story. Every time you flip a page, you are actively "hurting" Grover. Or at least, that’s how he sees it.
The sequel ups the ante with the paper-engineering gags. In the 1996 Little Golden Book version, Grover tries to stop you with paper clips, glue, and heavy-duty tape. It’s a masterclass in breaking the fourth wall.
Grover yells. He panics. He tries to use logic.
Elmo, meanwhile, is the one encouraging the reader. This creates a fascinating social dynamic for a toddler. Do you listen to the scared blue guy, or do you follow the enthusiastic red guy? Honestly, most kids choose Elmo every single time. There is a specific kind of glee in watching a fictional character lose their mind because of your actions. It’s the first time many children realize they have agency over a narrative.
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Why the Sequel Actually Worked
Sequels usually suck. We know this. Especially in children's publishing, where a "Part 2" is often just a cynical cash grab to capitalize on a brand name. But Another Monster at the End of This Book feels necessary because it reflects the shift in Sesame Street culture during the mid-90s.
Elmo was the undisputed king of preschool television by 1996. By putting him in a book with Grover—the old guard—the writers created a perfect comedic duo. Grover is the "straight man" (or straight monster), and Elmo is the "instigator."
The Illusion of Control
The brilliance of the writing lies in how it handles the concept of fear. Grover’s fear is irrational, based on a misunderstanding of what a "monster" is. Elmo’s lack of fear is based on his trust in the process. When they finally reach the end, they find... well, they find themselves again.
It’s a recursive joke.
But it’s also a lesson in perspective. To Grover, the end of the book is a looming doom. To Elmo, it’s just the next part of the adventure. This duality is why the book stays in rotation for parents decades after it was released. It isn't just a story; it’s a shared experience. You aren't just reading to your kid; you're playing a game with them.
The Engineering of a Little Golden Book
If you look at the physical construction of the original printings, the artwork by Mike Smollin is doing a lot of the heavy lifting. The way he draws Grover’s eyes—dilated, frantic, staring directly at the reader—is iconic. In Another Monster at the End of This Book, Smollin had to figure out how to fit two distinct personalities into those cramped, rectangular frames.
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The visual gags are more complex here.
- The Paper Clips: A classic visual obstacle that looks like it’s actually holding the pages together.
- The Glue: Smollin uses textures that look sticky, making the reader almost feel the resistance.
- The Brick Wall: It’s a recurring trope from the first book, but Elmo’s reaction to it changes the vibe completely.
Unlike modern digital illustrations that can feel a bit "flat" or clinical, these hand-drawn illustrations have a frantic energy. You can see the brushstrokes. You can see the chaos. It feels lived-in.
What Most People Get Wrong About Grover’s Anxiety
There is a subset of modern parents who think these books are "mean." They see Grover’s genuine distress and wonder if we should be teaching kids to ignore someone's clear boundaries. It’s a valid conversation, but it misses the point of play.
In a developmental sense, Another Monster at the End of This Book is about safe exploration of "scary" things.
The "monster" isn't a predator. It isn't a threat. It’s just an identity. By the time you get to the end, the tension is released through laughter. This is "exposure therapy" for four-year-olds. It teaches them that the things we build up in our heads as terrifying are usually just... us. Or our friends. It turns the unknown into the known.
Collecting and Modern Versions
If you’re looking for a copy today, you have options, but they aren't all created equal. The original 1996 Little Golden Book is the gold standard. It has that specific smell—that nostalgic mix of cheap paper and ink—that defines childhood for a certain generation.
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However, the digital versions are surprisingly good.
There was a high-quality app version released years ago that actually used the voices of Frank Oz and Kevin Clash. Hearing Grover’s voice crack as you swipe the screen adds a layer of "guilt" that the static page can't quite match. But there is something lost when you don't have the tactile feel of the paper.
What to Look For:
- First Editions: Look for the 1996 copyright date without a long string of reprint numbers.
- Condition: These books usually get destroyed. Finding one without "This book belongs to..." scribbled in crayon is a rare win.
- Binding: Little Golden Books are notorious for the gold foil spine peeling. A pristine spine is a collector's dream.
Actionable Insights for Parents and Educators
If you are going to read Another Monster at the End of This Book to a child, don't just read the words. You have to perform it. This is a script, not just a story.
- Vary your voice: Use a high, strained tone for Grover and a bouncy, oblivious tone for Elmo.
- Create resistance: When Grover "glues" the pages, don't just turn them. Struggle with them. Make the child help you "break" the seal.
- Talk about the ending: Ask the child why Grover was scared. Ask them if they were scared. It’s the perfect transition into a conversation about how we perceive things that are "different" or "new."
This book remains a staple because it understands the fundamental relationship between a storyteller and an audience. It isn't a one-way street. It’s a conversation. It’s a struggle. It’s a joke that everyone is in on—except for poor, sweet, frantic Grover.
To get the most out of the experience, try reading the 1971 original first, then wait a day before introducing the sequel. Let the legend of the "Monster" sit in their heads for a bit. When Elmo shows up in the second book to challenge Grover’s trauma, the comedy hits much harder. Use the book as a tool to discuss bravery—not the kind of bravery that means you aren't scared, but the kind that means you keep turning the page anyway.