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"It's funny how ideas are, in a lot of ways they're just like seeds. Both of them start real, real small and then... woop, zoop, sloop... before you can say Jack Robinson, they've gone and grown a lot bigger than you ever thought they could." So figures scrappy 10-year-old philosopher Bud--"not Buddy"--Caldwell, an orphan on the run from abusive foster homes and Hoovervilles in 1930s Michigan. And the idea that's planted itself in his head is that Herman E. Calloway, standup-bass player for the Dusky Devastators of the Depression, is his father.
Guided only by a flier for one of Calloway's shows--a small, blue poster that had mysteriously upset his mother shortly before she died--Bud sets off to track down his supposed dad, a man he's never laid eyes on. And, being 10, Bud-not-Buddy gets into all sorts of trouble along the way, barely escaping a monster-infested woodshed, stealing a vampire's car, and even getting tricked into "busting slob with a real live girl." Christopher Paul Curtis, author of The Watsons Go to Birmingham--1963, once again exhibits his skill for capturing the language and feel of an era and creates an authentic, touching, often hilarious voice in little Bud. (Ages 8 to 12) --Paul Hughes
From Publishers Weekly
As in his Newbery Honor-winning debut, The Watsons Go to BirminghamA1963, Curtis draws on a remarkable and disarming mix of comedy and pathos, this time to describe the travails and adventures of a 10-year-old African-American orphan in Depression-era Michigan. Bud is fed up with the cruel treatment he has received at various foster homes, and after being locked up for the night in a shed with a swarm of angry hornets, he decides to run away. His goal: to reach the man heAon the flimsiest of evidenceAbelieves to be his father, jazz musician Herman E. Calloway. Relying on his own ingenuity and good luck, Bud makes it to Grand Rapids, where his "father" owns a club. Calloway, who is much older and grouchier than Bud imagined, is none too thrilled to meet a boy claiming to be his long-lost son. It is the other members of his bandASteady Eddie, Mr. Jimmy, Doug the Thug, Doo-Doo Bug Cross, Dirty Deed Breed and motherly Miss ThomasAwho make Bud feel like he has finally arrived home. While the grim conditions of the times and the harshness of Bud's circumstances are authentically depicted, Curtis shines on them an aura of hope and optimism. And even when he sets up a daunting scenario, he makes readers laughAfor example, mopping floors for the rejecting Calloway, Bud pretends the mop is "that underwater boat in the book Momma read to me, Twenty Thousand Leaks Under the Sea." Bud's journey, punctuated by Dickensian twists in plot and enlivened by a host of memorable personalities, will keep readers engrossed from first page to last. Ages 9-12. (Sept.) Copyright 1999 Reed Business Information, Inc.
From School Library Journal
Grade 4-7-When 10-year-old Bud Caldwell runs away from his new foster home, he realizes he has nowhere to go but to search for the father he has never known: a legendary jazz musician advertised on some old posters his deceased mother had kept. A friendly stranger picks him up on the road in the middle of the night and deposits him in Grand Rapids, MI, with Herman E. Calloway and his jazz band, but the man Bud was convinced was his father turns out to be old, cold, and cantankerous. Luckily, the band members are more welcoming; they take him in, put him to work, and begin to teach him to play an instrument. In a Victorian ending, Bud uses the rocks he has treasured from his childhood to prove his surprising relationship with Mr. Calloway. The lively humor contrasts with the grim details of the Depression-era setting and the particular difficulties faced by African Americans at that time. Bud is a plucky, engaging protagonist. Other characters are exaggerations: the good ones (the librarian and Pullman car porter who help him on his journey and the band members who embrace him) are totally open and supportive, while the villainous foster family finds particularly imaginative ways to torture their charge. However, readers will be so caught up in the adventure that they won't mind. Curtis has given a fresh, new look to a traditional orphan-finds-a-home story that would be a crackerjack read-aloud.Kathleen Isaacs, Edmund Burke School, Washington, DC Copyright 1999 Reed Business Information, Inc.
From Library Journal
Grade 4-7-Motherless Bud shares his amusingly astute rules of life as he hits the road to find the jazz musician he believes is his father. A medley of characters brings Depression-era Michigan to life. (Sept.) Copyright 1999 Reed Business Information, Inc.
From Parents' Choice®
An orphaned runaway, Bud copes with the adult world with his numbered "Rules and Things." His few treasures from his former life with "Momma," are kept in a battered suitcase. One, a flyer advertising a musical group, leads him on a fantasy journey to an amazing reality. A 1999 Gold Award Winner. Ages 10 and up. (Kemie Nix, Parents' Choice®).
From AudioFile
Bud Caldwell, a 10-year-old vagabond orphan in pursuit of his long lost father from Flint to Grand Rapids, Michigan, is the quintessential endearing hero. Bud's first-person narrative demands an enthusiastic and versatile reader. James Avery is all that and more. His Bud is charming and sincere, and the cast of characters, presented with endless variations in voicing, is authentic and memorable. His zippy reading creates the perfect mood. Add in occasional jazz tunes at chapter changes, as well as Bud Caldwell's Rules and Things for Having a Funner Life and Making a Better Liar out of Yourself, and you just may have the best way to experience this award-winning book. T.B. Winner of AUDIOFILE Earphones Award. © AudioFile 2000, Portland, Maine-- Copyright © AudioFile, Portland, Maine
From Booklist
Bud, 10, is on the run from the orphanage and from yet another mean foster family. His mother died when he was 6, and he wants to find his father. Set in Michigan during the Great Depression, this is an Oliver Twist kind of foundling story, but it's told with affectionate comedy, like the first part of Curtis' The Watsons Go to Birmingham (1995). On his journey, Bud finds danger and violence (most of it treated as farce), but more often, he finds kindness--in the food line, in the library, in the Hooverville squatter camp, on the road--until he discovers who he is and where he belongs. Told in the boy's naive, desperate voice, with lots of examples of his survival tactics ("Rules and Things for Having a Funner Life and Making a Better Liar out of Yourself"), this will make a great read-aloud. Curtis says in an afterword that some of the characters are based on real people, including his own grandfathers, so it's not surprising that the rich blend of tall tale, slapstick, sorrow, and sweetness has the wry, teasing warmth of family folklore. Hazel Rochman
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