Bud, Not Buddy Teacher Guide

Literature Circle Guide:
Bud, Not Buddy

by Kathy Pounds
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Literature Circle Guide: Bud, Not Buddy Scholastic Teaching Resources
Scholastic Inc. grants teachers permission to photocopy the reproducibles from this book for classroom use. No
other part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted
in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without permission
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Guide written by Kathy Pounds
Edited by Sarah Glasscock
Cover design by Niloufar Safavieh
Interior design by Grafica, Inc.
Interior illustrations by Mona Mark
Credits: Cover: Jacket cover for BUD, NOT BUDDY by Christopher Paul Curtis. Used by permission of Random
House Childrens Books, a division of Random House, Inc. Interior: Author photo on page 9 by James
Keyser/Random House Childrens Books.
ISBN 0-439-35534-6
Copyright 2002 by Scholastic Inc.
All rights reserved. Printed in the U.S.A.
1 2 3 4 5 6 7 8 9 10
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08 07 06 05 04 03 02
Contents
To the Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Using the Literature Circle Guides in Your Classroom . . . . . . . . . . . . . . . . . . . . . . 5
Setting Up Literature Response Journals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
The Good Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
About Bud, Not Buddy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
About the Author: Christopher Paul Curtis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Enrichment Readings: The 1930s, Jazz, Pullman Porters . . . . . . . . . . . . . . . . . . . . . . .10
Literature Response Journal Reproducible: Before Reading the Book . . . . . . . . . . . .13
Group Discussion Reproducible: Before Reading the Book . . . . . . . . . . . . . . . . . . . . .14
Literature Response Journal Reproducible: Chapters 1-3 . . . . . . . . . . . . . . . . . . . . .15
Group Discussion Reproducible: Chapters 1-3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Literature Response Journal Reproducible: Chapters 47 . . . . . . . . . . . . . . . . . . . . .17
Group Discussion Reproducible: Chapters 47 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Literature Response Journal Reproducible: Chapter 8 . . . . . . . . . . . . . . . . . . . . . . . .19
Group Discussion Reproducible: Chapter 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Literature Response Journal Reproducible: Chapters 9-10 . . . . . . . . . . . . . . . . . . . .21
Group Discussion Reproducible: Chapters 9-10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Literature Response Journal Reproducible: Chapters 11-12 . . . . . . . . . . . . . . . . . . .23
Group Discussion Reproducible: Chapters 11-12 . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Literature Response Journal Reproducible: Chapter 19 and Afterword . . . . . . . . . . .29
Group Discussion Reproducible: Chapter 19 and Afterword . . . . . . . . . . . . . . . . . . . .30
Reproducible: After Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Reproducible: Individual Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Reproducible: Group Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Literature Discussion Evaluation Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
3
To the Teacher
As a teacher, you naturally want to instill in your
students the habits of confident, critical, independent, and lifelong readers. You hope that even
when students are not in school they will seek out
books on their own, think about and question
what they are reading, and share those ideas with
friends. An excellent way to further this goal is by
using literature circles in your classroom.
A Allow three or four weeks for students to read

each book. Each of Scholastics Literature
Circle Guides has the same number of sections
as well as enrichment activities and projects.
Even if students are reading different books in
the Literature Circle Guide series, they can be
scheduled to finish at the same time.
A Create a daily routine so students can focus
In a literature circle, students select a book to

read as a group. They think and write about it
on their own in a literature response journal, and
then discuss it together. Both journals and
discussions enable students to respond to a book
and develop their insights into it. They also learn
to identify themes and issues, analyze
vocabulary, recognize writing techniques, and
share ideas with each otherall of which are
necessary to meet state and national standards.
on journal writing and discussions.
A Decide whether students will be reading books

in class or for homework. If students do all
their reading for homework, then allot class
time for sharing journals and discussions. You
can also alternate silent reading and writing
days in the classroom with discussion groups.
This guide provides the support materials for

using literature circles with Bud, Not Buddy by
Christopher Paul Curtis. The reading strategies,
discussion questions, projects, and enrichment
readings will also support a whole class reading
of this text or can be given to enhance the
experience of an individual student reading the
book as part of a reading workshop.
Read More About

Literature Circles
Getting the Most from Literature Groups
by Penny Strube (Scholastic Professional
Books, 1996)
Literature Circles by Harvey Daniels
(Stenhouse Publishers, 1994)
Literature Circles
A literature circle consists of several students
(usually three to five) who agree to read a book
together and share their observations, questions,
and interpretations. Groups may be organized
by reading level or choice of book. Often these
groups read more than one book together since,
as students become more comfortable talking
with one another, their observations and
insights deepen.
When planning to use literature circles in your
classroom, it can be helpful to do the following:
A Recommend four or five books from which

students can choose. These books might be
grouped by theme, genre, or author.
4
Using the Literature Circle

Guides in Your Classroom
If everyone in class is reading the same book,

you may present the reading strategy as a minilesson to the entire class. For literature circles,
however, the group of students can read over and
discuss the strategy together at the start of class
and then experiment with the strategy as they
read silently for the rest of the period. You may
want to allow time at the end of class so the
group can talk about what they noticed as they
read. As an alternative, the literature circle can
review the reading strategy for the next section
after they have completed their discussion. That
night, students can try out the reading strategy
as they read on their own so they will be ready
for the next days literature circle discussion.
Each guide contains the following sections:
A background information about the author

and book
A enrichment readings relevant to the book

A Literature Response Journal reproducibles
A Group Discussion reproducibles
A Individual and group projects
A Literature Discussion Evaluation Sheet
Background Information and

Enrichment Readings
Literature Response Journal Topics

A literature response journal allows a reader to
converse with a book. Students write questions,
point out things they notice about the story, recall
personal experiences, and make connections to
other texts in their journals. In other words, they
are using writing to explore what they think about
the book. See page 7 for tips on how to help
students set up their literature response journals.
The background information about the author and

the book and the enrichment readings are designed
to offer information that will enhance students
understanding of the book. You may choose to
assign and discuss these sections before, during,
or after the reading of the book. Because each
enrichment concludes with questions that invite
students to connect it to the book, you can use this
section to inspire them to think and record their
thoughts in the literature response journal.
1. The questions for the literature response

journals have no right or wrong answers but
are designed to help students look beneath the
surface of the plot and develop a richer
connection to the story and its characters.
Literature Response Journal

Reproducibles
2. Students can write in their literature response

journals as soon as they have finished a reading
assignment. Again, you may choose to have
students do this for homework or make time
during class.
Although these reproducibles are designed for

individual students, they should also be used to
stimulate and support discussions in literature
circles. Each page begins with a reading
strategy and follows with several journal topics.
At the bottom of the page, students select a
type of response (prediction, question,
observation, or connection) for free-choice
writing in their response journals.
3. The literature response journals are an excellent

tool for students to use in their literature circles.
They can highlight ideas and thoughts in their
journals that they want to share with the group.
4. When you evaluate students journals,
consider whether they have completed all the
assignments and have responded in depth and
thoughtfully. You may want to check each day
to make sure students are keeping up with the
assignments. You can read and respond to the
journals at a halfway point (after five entries)
and again at the end. Some teachers suggest
that students pick out their five best entries
for a grade.
Reading Strategies
Since the goal of the literature circle is to empower
lifelong readers, a different reading strategy is
introduced in each section. Not only does the
reading strategy allow students to understand this
particular book better, it also instills a habit of
mind that will continue to be useful when they
read other books. A question from the Literature
Response Journal and the Group Discussion pages
is always tied to the reading strategy.
5
4. It can be helpful to have a facilitator for each

discussion. The facilitator can keep students from
interrupting each other, help the conversation get
back on track when it digresses, and encourage
shyer members to contribute. At the end of each
discussion, the facilitator can summarize everyones
contributions and suggest areas for improvement.
Group Discussion Reproducibles

These reproducibles are designed for use in
literature circles. Each page begins with a series
of discussion questions for the group to
consider. A mini-lesson on an aspect of the
writers craft follows the discussion questions.
See page 8 for tips on how to model good
discussions for students.
5. Designate other roles for group members. For

instance, a recorder can take notes and/or list
questions for further discussion. A summarizer
can open each literature circle meeting by
summarizing the chapter(s) the group has just
read. Encourage students to rotate these roles, as
well as that of the facilitator.
Literature Discussion Questions: In a

literature discussion, students experience a book
from different points of view. Each reader brings
her or his own unique observations, questions,
and associations to the text. When students
share their different reading experiences, they
often come to a wider and deeper understanding
than they would have reached on their own.
The Writers Craft: This section encourages

students to look at the writers most important
toolwords. It points out new vocabulary,
writing techniques, and uses of language. One or
two questions invite students to think more
deeply about the book and writing in general.
These questions can either become part of the
literature circle discussion or be written about in
students journals.
The discussion is not an exercise in finding the

right answers nor is it a debate. Its goal is to
explore the many possible meanings of a book.
Be sure to allow enough time for these
conversations to move beyond easy answers
try to schedule 2535 minutes for each one. In
addition, there are important guidelines to
ensure that everyones voice is heard.
Literature Discussion
Evaluation Sheet
1. Let students know that participation in the

literature discussion is an important part of their
grade. You may choose to watch one discussion
and grade it. (You can use the Literature
Discussion Evaluation Sheet on page 33.)
Both you and your students will benefit from

completing these evaluation sheets. You can use
them to assess students performance, and as
mentioned earlier, students can evaluate their own
individual performances, as well as their groups
performance. The Literature Discussion Evaluation
Sheet appears on page 33.
2. Encourage students to evaluate their own

performance in discussions using the Literature
Discussion Evaluation Sheet. They can assess
not only their own level of involvement but also
how the group itself has functioned.
3. Help students learn how to talk to one
another effectively. After a discussion, help them
process what worked and what didnt. Videotape
discussions if possible, and then evaluate them
together. Let one literature circle watch another
and provide feedback to it.
6
Setting Up Literature
Response Journals
Others note the style of an authors writing or

the voice in which the story is told. A student
just starting to read Bud, Not Buddy might write
the following:
Although some students may already keep

literature response journals, others may not
know how to begin. To discourage students from
merely writing elaborate plot summaries and to
encourage them to use their journals in a
meaningful way, help them focus their responses
around the following elements: predictions,
observations, questions, and connections.
Have students take time after each assigned
section to think about and record their responses
in their journals. Sample responses appear below.
I felt sorry for Bud when he said he was

going to his third foster home. He must not
expect it to work because he said, Here we
go again. I was surprised that he tried to
make Jerry feel better. Most people would
just think of themselves.
Questions: Point out that good readers dont

necessarily understand everything they read. To
clarify their uncertainty, they ask questions.
Encourage students to identify passages that
confuse or trouble them and emphasize that they
shouldnt take anything for granted. Share the
following student example:
Predictions: Before students read the book,

have them study the cover and the jacket copy.
Ask if anyone has read another book by
Christopher Paul Curtis. To begin their literature
response journals, tell students to jot down their
impressions about the book. As they read,
students will continue to make predictions about
what a character might do or how the plot might
turn. After finishing the book, students can reassess their initial predictions. Good readers
understand that they must constantly activate
prior knowledge before, during, and after they
read. They adjust their expectations and
predictions; a book that is completely predictable
is not likely to capture anyones interest. A
student about to read Bud, Not Buddy for the
first time might predict the following:
What does Miss Thomas mean when she

tells Bud hes a godsend? Is that good? Why
should he think about that all the time?
Connections: Remind students that one story

often leads to another. When one friend tells a
story, the other friend is often inspired to tell one
too. The same thing happens when someone
reads a book. A character reminds the reader of
a relative, or a situation is similar to something
that happened to him or her. Sometimes a book
makes a reader recall other books or movies.
These connections can be helpful in revealing
some of the deeper meanings or patterns of a
book. The following is an example of a student
connection:
When I looked at the cover, I thought the

boy was dreaming about becoming a musician. Then I read that Bud ran away to look
for his father, so he must have been thinking about his dad. He must be a lot braver
than most ten year olds!
The title makes me think of my friend

Christopher. He doesnt like anybody calling
him Squirt. I used to think he was too
sensitive about it. Now that I think about
it, I wouldnt like anybody making up a
name for meespecially if it felt like people
were using it to make fun of me .
Observations: This activity takes place

immediately after reading begins. In a literature
response journal, the reader recalls fresh
impressions about the characters, setting, and
events. Most readers mention details that stand
out for them even if they are not sure what their
importance is. For example, a reader might list
phrases that describe how a character looks or
the feeling a setting evokes. Many readers note
certain words, phrases, or passages in a book.
7
The Good Discussion
with a discussion so students can try out what

they learned from the first one.
In a good literature discussion, students are

always learning from one another. They listen to
one another and respond to what their peers
have to say. They share their ideas, questions,
and observations. Everyone feels comfortable
about talking, and no one interrupts or puts
down what anyone else says. Students leave a
good literature discussion with a new
understanding of the bookand sometimes with
new questions about it. They almost always feel
more engaged by what they have read.
Assessing Discussions: The following tips
Modeling a Good Discussion: In this era of
3. The group should look at the Literature

Discussion Evaluation Sheet and assess their
performance as a whole. Were most of the
behaviors helpful? Were any behaviors
unhelpful? How could the group improve?
will help students monitor how well their group

is functioning:
1. One person should keep track of all behaviors
by each group member, both helpful and
unhelpful, during the discussion.
2. At the end of the discussion, each individual
should think about how he or she did. How
many helpful and unhelpful checks did he or
she receive?
combative and confessional TV talk shows,

students often dont have any idea of what it
means to talk productively and creatively
together. You can help them have a better idea of
what a good literature discussion is if you let
them experience one. Select a thought-provoking
short story or poem for students to read, and
then choose a small group to model a discussion
of the work for the class.
In good discussions, you will often hear

students say the following:
Explain to participating students that the

objective of the discussion is to explore the text
thoroughly and learn from one another.
Emphasize that it takes time to learn how to
have a good discussion, and that the first
discussion may not achieve everything they hope
it will. Duplicate a copy of the Literature
Discussion Evaluation Sheet for each student.
Go over the helpful and unhelpful contributions
shown on it. Instruct students to fill out the sheet
as they watch the model discussion. Then have
the group of students hold its discussion while
the rest of the class observes. Try not to interrupt
or control the discussion and remind the student
audience not to participate. Its okay if the
discussion falters, as this is a learning experience.
I was wondering if anyone knew . . .

I see what you are saying. That reminds me of
something that happened earlier in the book.
What do you think?
Did anyone notice on page 57 that . . .
I disagree with you because . . .
I agree with you because . . .
This reminds me so much of when . . .
Do you think this could mean . . .
Im not sure I understand what youre saying.
Could you explain it a little more to me?
Allow 1520 minutes for the discussion. When

it is finished, ask each student in the group to
reflect out loud about what worked and what
didnt. Then have the students who observed
share their impressions. What kinds of
comments were helpful? How could the group
have talked to each other more productively?
You may want to let another group experiment
That reminds me of what you were

saying yesterday about . . .
I just dont understand this.
I love the part that says . . .
Here, let me read this paragraph. Its an
example of what Im talking about.
8
About Bud, Not Buddy
Eventually, Curtis found he hated the assembly

line. Reading and writing became his lifeline. He
escaped boredom at work by reading or writing
during breaks. He went to school at night and
worked on his degree. Finally, with the encouragement of his wife, Curtis left his job and began
writing full-time. Later he worked at odd jobs to
earn money for his family and spent mornings
writing in longhand at the Childrens Room of
the Windsor, Ontario, public library.
Winner of the Newbery Medal and the Coretta

Scott King Award, Bud, Not Buddy is the story of
a young boy who lives a kids worst nightmarehes homeless; his mother is dead; and
his fathers identity is uncertain. But Bud is
tough. He handles difficulties with humor and
never runs out of hope and perseverance. Hes
independent, yet accepts the kindness of
strangers. He shows us that although we belong
to the family of man, theres something special
about the family were born into. As Christopher
Paul Curtis put it, When you stop to think about
it, everything is about trying to find somewhere
you belong.
Curtis uses his varied life experiences in his

writing. I get my ideas from things that have
happened to me, things that I find interesting,
things that happen to other people.
Although he wasnt a big reader when he
was young, Mr. Curtis now calls himself a binge
reader and reads anything that has a good story.
When hes not reading or writing, he spends
time with his wife, son, and daughter, helps with
housework, plays basketball three times a week,
and listens to musicoften one of the 2,500
record albums hes collected.
About the
Author:
Christopher
Paul Curtis
What advice does Mr. Curtis have for writers?

Just start the story somewhere. Just think of a
conversation. Think of something that was going
on. Thats what I would do with Bud. Its a long
process. Its like getting to know somebody.
Unlike Bud,
Christopher Paul
Curtis does know
where he belongs. He
grew up in Flint,
Michigan, with parents he describes as great
readers, active in the civil rights movement, and
relatively strict by todays standards. He and his
four brothers and sisters knew the rules they had
to follow, what they had to do, and what was
expected of them.
Write anytime you have the opportunity. Set

up particular times everyday when you write
and stick to the schedule. I think writing is like
any other skill, you have to practice. Its like an
instrument or sport.
Although his parents encouraged him to read

and supported his interest in dramahe acted
in summer theater in Flint as a child and toured
Europe with a theater troupe when he was
eighteenCurtis followed his own mind when
it was time to make decisions about what he
wanted to do. Instead of finishing a college
degree right out of high school, he started
working at the Fisher Body Plant, hanging
eighty-pound car doors on Buicks, ten hours
a day for twelve years.
Other Books by
Christopher Paul Curtis
The Watsons Go to Birmingham1963
9
Enrichment: Life in the 30s
To distract them from their daily concerns during the Depression, families enjoyed inexpensive
entertainment. At home, they played bridge,
chess, card games, and Monopoly. They read.
Home subscriptions to newspapers went down,
but public library use went up. The most popular
books were The Good Earth, Anthony Adverse,
and Gone With the Wind. Kids read comics, such
as Blondie, Dick Tracy, Lil Abner, and Popeye
the Sailor. They listened to radio, an integral part
of the day for millions. They heard President
Roosevelts fireside chats, programs like Amos
and Andy and Amateur Hour, and the music
of Rudy Vallee and Kate Smith. Not surprisingly,
Brother, Can You Spare a Dime? was the song
most often sung. Radio even perked up the earnings of major league baseball. Team revenues
were down until radio stations bought broadcast
rights for games.
The Great Depression that began in 1929

changed life for almost everyone in the United
States. By 1932, nearly 85,000 businesses had
failed, and 5,000 banks had closed. A quarter of
the population was unemployed, and among
those who did have jobs, many only worked
part-time. African Americans were especially
hard hitat least half were unemployed. Society
was segregated, and competition for work was
stiff. In those hard times, African Americans
were often the last hired and first fired.
As the Depression deepened, people of all races
and economic levels had trouble paying their
bills, buying food, and keeping a roof over their
heads. Farmers, who were usually self-sufficient,
suffered from natural disasters and low crop
prices; their income was only one-third what it
was in 1929. The half of the U.S. population
that lived in the cities often couldnt pay for food
grown by the farmers, yet they had no way to
grow their own. By 1933, a million
people were reduced to living in
Hoovervilles, or shantytowns,
and scrounging for their
daily needs. Others called
hoboes took to the roads
or rails looking for work.
Whole families moved
around, as did teenagers
and children, who traveled together in small
groups for safety.
Two of the biggest forms of entertainment outside the home were miniature golf and movies.
For only 15 cents, families might golf at one of
30,000 miniature courses, and for about
the same price, children and adults
could forget their worries at a
movie theater. More than
60 million tickets were sold
each week for movies like
King Kong, Little Women,
and The Thin Man. It
was the heyday of
Shirley Temple, Clark
Gable, Paul Robeson, and
Oscar Micheauxs race
movies that featured all
African-American casts.
In 1936, the year in

which Bud, Not Buddy is
set, people had begun to
have some hope. President
Franklin Delano Roosevelt had
started New Deal programs designed to
ease the suffering of millions. In addition, the
National Labor Relations Act had passed, which
was legislation that allowed workers to form
unions and negotiate for better working conditions and higher pay. While these programs
made life better, the suffering was not over until
the Depression ended with the beginning of
World War II.
These facts provide only a

general impression of life during the Great Depression. What
details are missing? What questions
would you like to ask a person who lived during
this time? Although Bud, Not Buddy is fiction,
what does it add to what you know about the
Depression? How does the book deepen your
understanding of that time?
10
Enrichment: Jazz
bands of the 20th century that became famous

for their mournful funeral dirges. Unlike
European orchestral music, music for these
bands was not written down and players could
improvise; a song would be different every time
it was played.
To understand jazzthe music that was popular

in the 1920s and 1930sit helps to know about
the musical traditions from which jazz grew. Its
earliest roots are in the community music that
was part of African daily life. Moving in time to
the pounding rhythm of drums, members of a
community would dance, sing and clap, improvising and interacting with a leader in what
came to be known as call and response. In
contrast, European music was written down,
involved the blending of complex harmonies,
and was performed by an individual or group for
the rest of the community.
During Prohibition (19201933), Chicago

became the center of the jazz world. Many jazz
musicians moved there from New Orleans to play
at the speakeasies, or clubs that opened because
the ban on alcohol was not enforced as strenuously as in other cities. In Chicago, jazz was
called hot. Long, improvised solos played on
drums, piano, string bass, and saxophone
became important. Louis Armstrong,
famous for his trumpet solos, became
the first to scat sing or use his
voice to make sounds like an instrument. Armstrong also was known for
the play between his trumpet and the
piano, a return to the call and
response of earlier days.
In the United States before the Civil

War, slaves combined the music they
brought from Africa, the Europeanbased music they heard from their
owners, and the music they heard as
they moved from one plantation to
another. After the Civil War, when
African Americans could travel more
freely, the exchange and interweaving
of music intensified.
In the 1930s, a type of jazz called

swing became popular. Big bands
played smooth, rehearsed music
with less improvisation. Words could
be put to this kind of music, and
women singers such as Billie
Holiday frequently accompanied the
bands. Also musicians often played
music written by others. Fletcher
Henderson, a classical musician and
the director of Black Swan, the first
African-American owned record
company, wrote orchestral arrangements for players such as Louis Armstrong and
Benny Goodman.
In New York, early jazz was played

by large dance orchestras with violins,
cellos, mandolins, and pianosinstruments mostly popular with European
orchestras. During World War I, the
best African-American military band
toured Europe, playing jazz there for
the first time. Later, large dance bands
like Duke Ellingtons played at the
Cotton Club and other nightclubs.
African Americans could not attend the nightclubs and instead hosted rent parties, gettogethers for which participants paid a small
admission fee for the services of a good piano
player. Fats Waller was a famous composer and
pianist who got his start this way.
Although the big bands and famous musicians

mostly played in large cities, smaller bands like
Herman E. Calloways in Bud, Not Buddy
brought the sounds of jazz and swing to small
towns across America.
The jazz that developed in New Orleans grew

out of the mix of cultures that settled there
French, Spanish, African, Native American, and
European. Early brass bands brought in by the
French played marches, polkas, and waltzes, and
in time, evolved into the African-American
What do you learn about the life of the small

traveling band in Bud, Not Buddy? What are the
challenges and rewards of such a life? Why do
you think the music and life with the band
appealed to Bud?
11
Enrichment: Pullman Porters
worked 400 hours in a month, yet the company

did not count the hours spent preparing and
cleaning the train before and after each journey.
On average he earned $879 in yearly wages and
$237 in tips, but he had to spend $236 for
suppliesuniforms, clothes brushes and a shoepolishing kit. A porter had to purchase daily
meals from the dining car, expensive even after
a 50% discount, and he was responsible for
anything stolen from the train by passengers.
In the 1930s, when you traveled somewhere far

from home, you would probably take the train.
The Pullman porters on the train would make
your journey comfortable.
Before 1869, overnight train travel wasnt
very pleasant. Twenty-five to forty passengers
would sit on straight-backed, hard wooden
benches in an unheated or unair-conditioned
coach. There were no bathrooms, and no dining
cars or snack bars from which to buy food. The
men who traveled on trains were so rough that
women demanded separate cars. For many
years, some wealthy riders bought private cars
that were then hitched to regular trains.
Because their salaries were low, Pullman

porters were dependent on tips. They had to
please passengers even when the passengers
were abusive, hard to satisfy, or made
demeaning requests. At a time when thousands
of men were looking for jobs, porters
who did not meet company
standards, unreasonable though they
may be, could easily be replaced.
This all changed in 1863 when George

Pullman built an impressive new sleeping
car called the Pioneer. It incorporated
black walnut wood, elegant
chandeliers, comfortable seats,
rich carpeting, good linens,
and marble washstands. After
the end of the Civil War and
the completion of the
transcontinental railroad in
1869, Pullmans cars were in
demand by railroad companies
wanting to expand their
passenger services. He
supplied both the cars and the staff for them.
Pullman built his reputation on luxurious cars
and first-class service.
To improve their salaries and

working conditions, some
porters wanted to organize a
union independent of the
Pullman Company. These men
were spied upon, threatened,
and fired. After the
Brotherhood of Sleeping Car
Porters was finally formed in
1925 under the leadership of
Asa Philip Randolph, it had to
work hard for ten more years to establish its
credibility and gain the support of porters who
feared Pullman Company intimidation. When
the Brotherhood signed a contract with the
company in 1938, it was the first AfricanAmerican union to sign a labor contract with a
major corporation. The Brotherhood had
successfully worked to raise salaries to $175 per
month, reduce monthly hours from 400 to 240,
and ensure job security through the right to a
fair hearing. The porters were no longer
Pullmans men, but their own.
To staff his cars, Pullman hired former slaves

who didnt have many work options after the
Civil War. Initially, Pullman porters were proud of
their jobs and were well-respected members of
their communities. However, by the end of the
1800s, as younger African American men joined
the company and compared their working
conditions to those of other Americans, they
began to see things differently.
How does Mr. Lewis show that hes his own

man? How does he work for the establishment
of the Brotherhood? Explain whether he is a
good role model for Bud.
Younger workers objected to their long hours,

low salaries, and inferior treatment. An average
porter in 1935 worked twice as many hours per
week as an American in a manufacturing job. A
porter could not collect overtime pay until he had
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r e Re sp o n se J o u r n a l
Name ______________________________________ Date _______________________
Bud, Not Buddy
Before Reading the Book

Reading Strategy:
Discovering What You Already Know
Reading books is one way of getting information.
Other ways include looking at photographs and illustrations, watching movies and
television programs, and listening to the radio and to other peoples stories. Think about
what you already know about the Great Depression. How did you learn it? Do you know
how the Depression changed peoples lives? What stories have you heard? Discovering
what you already know is like doing a warm-up stretch before exercise. It will make it
easier for you to understand and appreciate Bud, Not Buddy.
Writing in Your Literature Response Journal

A. Write about one of these topics in your journal. Circle the topic you chose.
1. Have you read other novels set during the Great Depression? How were the
characters in these stories affected by the Depression? What specific problems did
they face? How were their difficulties resolved?
2. Imagine being ten years old and on your own. What problems would you face?
How would you solve them? What skills would you need?
3. How are rules and advice different? What rules are you expected to follow? What
advice have you been given for being successful and getting along with people?
Have you ever made up your own rules or given yourself advice? Give examples.
B. What were your predictions, questions, observations, and connections about the
book? Write about one of them in your journal. Check the response you chose.
Prediction
Question
Observation
Connection
13
Group D iscussion
Name ______________________________________ Date _______________________
Bud, Not Buddy
Before Reading the Book

For Your Discussion Group
A Like novels, television shows and
movies often combine fact and fiction to
tell a story that takes place in the past.
For instance, the movie The Patriot is
set in South Carolina during the Revolutionary War, and the television series
Wishbone is set in different time periods. Make a list of other programs and movies set
in the past.
A Look through your list. Which titles are based on the lives of real people or on real
events? Are audiences looking for information or entertainment when they watch
these programs or movies? What do you think the words docudrama and
infotainment mean?
A Why might writers or directors make changes to a true story that is made into a book,
television show, or movie? Does the writer or director have a responsibility to make
sure that a reader or viewer gets accurate information? Or should the reader or viewer
be responsible for sorting out fact and fiction?
A Why might it be important to know which parts of a story are real and which are
made up? Brainstorm a list of strategies you could use to determine which parts of a
book, movie, or television program are true. Remember that information about health,
science, safety, finance, and cultures, as well as history, might be included.
TIP
When you are brainstorming, remember that the goal is to collect as many different
ideas as possible without commenting on them. Everybodys ideas should be included.
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Bud, Not Buddy
Chapters 13
Reading Strategy:
First Person Point of View
Look at the first few paragraphs of
Chapter 1. Notice that the narrator,
or person telling the story, uses the
words we, me, I, my, and our. When
the narrator of the story uses these
first-person pronouns, the story is told from the first-person point of view. You learn not
only what happens to the character, but also what he or she is thinking and feeling.
Keep in mind as you read that the story might be different if it were told from another
characters point of view.

1. Write about the events of Chapter 2 from Todds point of view. Use first-person
pronouns to tell what Todd would be thinking and feeling. How do your feelings
about him change?
2. Bud packs his suitcase when he gets ready to go to the foster home. In it, he puts
his most valuable belongings. Describe what you would put into a small suitcase
if you were headed on a long trip. Explain how you made your decisions.
3. Reread the passage at the end of Chapter 3 in which Bud says that he is mad at
himself for believing in the vampire and getting trapped in the shed. Why does
he blame himself? Who do you think is responsible for the situation in which he
finds himself?
B. What were your predictions, questions, observations, and connections as you
read? Write about one of them in your journal. Check the response you chose.
Prediction
Question
Observation
Connection
15
Group D iscussion
Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapters 13
A Bud said that six is a rough age to
be because that is when kids start
becoming adults. Brainstorm with
your group to develop a definition
of adult. Is being an adult a
matter of age, life experience, or
wisdom?
A How is being an adult different from being a child? List some typical behaviors of
children and adults. What behaviors might indicate that a teenager is moving beyond
childhood into adulthood? Does every family and culture have the same expectations
for adults and children?
A Has Bud handled the problems hes faced as a child or as an adult? Write your answer
in your journal. Include examples from the story to back up your opinion. Share your
response with the rest of the group.
Writers Craft: Cliffhangers

Look at the last sentences of Chapters 1-3. Notice that each of them leaves you at an
important point in the story and makes you wonder what will happen in the next chapter. Will Bud be happy at his new foster home? What will happen once hes locked in the
shed? How will he get his revenge on the Amoses? Final sentences that leave you hanging, that is, leave you wondering what will happen next, are called cliffhangers. Like
all good writers, Christopher Paul Curtis knows the importance of keeping readers
engaged and eager to find out whats going to happen next. Why do you think he ended
these chapters with cliffhangers? What other questions do these endings bring to mind?
16
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Bud, Not Buddy
Chapters 47
Reading Strategy:
Separating Fact from Fiction
Bud, Not Buddy takes place in the state of
Michigan during the time of the Great
Depression. Although the characters in the story are made up, the way the characters
live and many of the people and events mentioned in the story are real. It is this interweaving of fact and fiction that makes the story convincing. An author has to spend
time researching the past in order to portray historical times, events, and characters
accurately and believably. As you read, stop every now and then to think about which
parts of the story are fact and which are fiction. Jot down your thoughts in your journal.

1. When Bud enters the Amos house in Chapter 4, he notices their icebox and is
surprised that there is hot water running right into the house. What do his
reactions tell you about his life and about life in general during the 1930s? What
other factual details are woven into the story? Are there any 1930s terms you
dont understand or situations you find confusing?
2. Bud takes revenge on Todd, studies the picture of his mother, meets a pretend
family, and goes to the library for help. What do his actions reveal about his
personality? What words describe him best?
3. In Chapter 6, Bud tells how his mom named him. How does his explanation help
us understand why he wants people to call him Bud, not Buddy?
Prediction
Question
Observation
Connection
17
Group D iscussion
Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapters 47
A At the end of Chapter 7, Bud says
the following:
That library door closing after I

walked out was the exact kind of
door Momma had told me about. I knew that since it
had closed the next one was about to open.
Paraphrase, or put into your own words, what Buds mom wanted him to know about
doors opening and closing.
A Is a door closing always a bad thing? Give examples to support your opinion.
A Does Bud know where the next door will lead him? What are his options? Describe his
attitude. Does he seem to be fearful?
Writers Craft: Irony

Sometimes people say exactly the opposite of what they mean. For instance, you might
say, I just love cleaning my room when you actually mean that you dont like to clean
it at all! Such twists in the meaning of words are examples of irony. Writers use irony to
grab the attention of readers. Often irony will cause readers to smile or make them think
in a different way.
Situations can also be ironic. In Chapter 6, when Buds pretend family is waiting in the
food line at the mission, they see a sign that shows a happy, rich, white family riding in
a car. Theres no place like America today! reads the sign. What is ironic about the picture and its caption? Think about the people looking at the sign and their circumstances.
Do they live in the same America that is pictured on the billboard? What other instances
of irony have you noticed in the book?
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Bud, Not Buddy
Chapter 8
Reading Strategy:
Recognizing Clues in the Text
Chapter 8 is the longest chapter in the book. Flip through the chapter until you find the
two breaks or white spaces in the text that break the chapter into three sections. Breaks
in the text are like road signs. They indicate that something in the story is changing
perhaps time has passed, the location has changed, or the point of view is switching to
another character. For instance, the first part of Chapter 8 takes place in the morning
when Bud wakes up; the second part takes place that night when he and Bugs finally
get to Hooverville; and the third part takes place the next morning when the train comes
through. Paying attention to clues in the text prevents confusion!

1. Look closely at the three sections in Chapter 8. Try to ignore the breaks as you
read these parts of the chapter. Are the breaks necessary? What else might the
author have done to indicate the passage of time or a change in location?
2. When Bugs talks about riding the rails on page 62, he says, Theres always fruits
to be picked out west. Literally, he means that they can earn enough money to
live. But what if fruits is read figuratively? What might it symbolize or stand for
about life out west? What might the boys want in a new life?
3. Bud obviously wants to be part of a family. Why do you think he feels this way?
Doesnt he seem to be getting along pretty well by himself? Deza tells Bud, But I
guess youre different, arent you, Bud? I guess you sort of carry your family
around inside of you, huh? Is she right?
Prediction
Question
Observation
Connection
19
Group D iscussion
Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapter 8
A Working with your group, reread the pages of
Chapter 8 that tell about Bugs and Buds visit to Hooverville. What kind of town do
the boys find when they get there? What words and phrases could you use to describe
the town to someone who knew nothing about Hoovervilles?
A Who lives in Hooverville? Why are they there? How do the residents of Hooverville
manage to live together peacefully? How do they treat one another? What are the
rules of the community, both written and unwritten?
A What were your first impressions about life in Hooverville? Did your ideas change by
the time you finished the chapter?
Writers Craft: Dialogue

As youve been reading Bud, Not Buddy, youve probably noticed that the author often
lets the voices of Bud and the people he meets tell the story. Usually their conversations
follow a typical he said-she said pattern, but the conversation between Bud and Bugs
near the beginning of Chapter 8 is different.
I said, Uh-huh, we kind of had a fight. How longs it take to get out west?
Bugs said, Depends on how many trains you got to hop. Was he really two years
older than you?
Uh-huh, he was twelve. Is it fun to hop a train?
Some of the time it is, some of the time its scary. We heard he was kind of big too,
was he?
Two conversations are really going on at once. Bugs wants to find out about the fight,
and Bud wants to know about riding the rails. Find the whole passage in the book, and
read it aloud with a friend. Notice how the author worked out a pattern of questions and
answers that keeps this complicated conversation from becoming confusing. When
youre writing dialogue, ask friends to read it aloud while you listen and edit.
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Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapters 910
Reading Strategy:
Making Predictions
What did you think when Bud made his plans
to walk 120 miles to Grand Rapids? Did you
think something like, Thats too far. Hell
never make it! If you made a prediction,
youve picked up one of the habits of a good
reader. Developing predictions means that you understand the basics of the story and
are thoughtfully evaluating whats going on and why. Always be sure you can supply
evidence from the story to support your predictions.

1. Think about the events so far in the story. What predictions did you make? Did
you expect that Bud would be unhappy in his foster home, that he would take
revenge on Todd in a fairly nice way, or that he would try to escape from the man
by stealing his car? Have your predictions turned out to be correct? Explain why
or why not.
2. Whats the difference between knowledge and wisdom? How do you become
knowledgeable or wise? In what ways is Bud knowledgeable? Is he wise? Use
examples from the story to support your opinion.
3. Bud spends a lot of time in the library. Why does he enjoy it so much? What is
your special place? What do you like about it?
Prediction
Question
Observation
Connection
21
Group D iscussion
Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapters 910
A How did Bud respond when he was
bullied by Billy Burns at the
orphanage? What power did Billy have
over the other kids? What does he
have in common with real-life bullies?
A Although Bud doesnt seem very frightened of Billy, he is frightened by the behavior
of the man who stops and offers him a ride. Why is he scared? Read aloud the
passages that support your ideas. What were your first impressions of the man?
A There are a lot of funny episodes in Bud, Not Buddy. Read aloud your favorites. Talk
about what makes them so enjoyable. Does everyone agree about which passages are
humorous? What makes passages funny to different individuals?
Writers Craft: ComparisonsSimiles and Metaphors

Two kinds of comparisons that help relay complex ideas are similes and metaphors.
You can identify similes easily because they always begin with the words like or as. In
Chapter 8, Deza says, My momma says these poor kids on the road all alone are like
dust in the wind. In Chapter 9, Bud explains why he thinks ideas are like seeds.
A metaphor can be more difficult to identify because it does not use signal words such as
like or as. A metaphor emphasizes the similarities between two different things. For
example, the librarian who helps Bud says, . . . knowledge is a food. What does she
mean by that? In order to understand a metaphor, you have to think beyond obvious differences. Think about how food helps you and what happens if you dont have enough.
Think about how knowledge helps you and what happens if you dont have enough.
What other similes or metaphors can you find in Bud, Not Buddy? Record them in your
journal. Identify them as similes or metaphors.
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Bud, Not Buddy
Chapters 1112
Reading Strategy:
Drawing Conclusions
Authors dont come right out and tell readers the
whole story all at one time. Readers must collect
information, look at the evidence the author presents,
and draw conclusions about whats happening in the
story and why. Sometimes as a story develops,
conclusions turn out to be incorrect and must be
revised. What conclusions have you reached and revised as youve read this book?

1. What conclusions have you been drawing about Buds search for his father? Will
he be successful? Explain your reasoning.
2. Bud collects evidence, but does he always draw the right conclusion? How did he
jump to the wrong conclusion about Mr. Lewis?
3. Does Buds experience with Mr. Lewis remind you of a time when you may have
jumped to a conclusion too quickly? Describe what happened.
Prediction
Question
Observation
Connection
23
Group D iscussion
Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapters 1112
A Bud claims to be a good liar. Is he? Does
he lie more than he has to? What do you
think about his claim that lying to other
kids is different from lying to adults? Is
Bud right about that?
A Compare Kim and Scott Sleet to Todd
Amos. How is the Sleet household
different from the Amos household?
What might account for the differences?
A What was your reaction to Mr. Lewiss car being stopped by the policeman? Was Mr.
Lewiss attitude the same before and after the stop? Why do you think he is willing to
risk carrying the flyers?
A Review the comments Mr. Lewis makes about Herman Calloway. Then discuss what
your first impressions of Mr. Calloway were.
Writers Craft: Character Development

What does Mr. Lewis look like? What kind of man is he? If you reread the passages
about Mr. Lewis, youll notice that the author doesnt give us many details about his
physical appearance. Neither does Christopher Paul Curtis tell exactly what kind of man
Mr. Lewis is. Instead, we see how Mr. Lewis treats Bud and how he interacts with his
daughter and her family. The author gives the characters words and shows his actions,
and readers draw their own conclusions. In your journal, write about what kind of man
you think Mr. Lewis is and what he looks like.
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Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapters 1315
Reading Strategy: Focusing on Details
If you carefully read the descriptions of the girls bedroom at
the beginning and end of Chapter 15, you can probably draw it
from the details the author gives. Details help readers imagine
a characters looks and physical surroundings; they also provide
clues to a characters personality and behavior. What do you
learn about the girl from the description of her room and the
things in it?

1. Think about the three families Bud has met so far in the story, the Amoses,
Deza Malone and her mom, and Mr. Lewis and the Sleets. What are the details
that make these families different from one another? Do all the families seem
like real families?
2. On page 179, Mr. Calloway says to Bud, Youve got the rest of them fooled, but
not me. Theres something about you that I dont like. Does he really mean it?
What do you think it is about Bud that he doesnt like?
3. After being strong all through the story, why does Bud begin to cry at the end of
Chapter 14?
Prediction
Question
Observation
Connection
25
Group D iscussion
Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapters 1315
A Flip through the book and make a list of
Buds Rules and Things. Are his rules
useful? What rules would you add to help
him get along in his present situation?
A Mr. Calloway locked the closet doors in
Buds bedroom. How does that fit in with
Buds theory that when one door closes,
another opens?
A Do the characters seem real, or are they
stereotypes? Are the women all kind and loving like Miss Thomas and the men gruff
and unfeeling like Mr. Calloway?
Writers Craft: Euphemisms

Rules and Things Number 28
Gone = dead!
Sometimes, when the feelings attached to a word are unpleasant or very strong, we
choose to use another word instead. Dead is one of those words. Often you will hear
people say at rest, passed on, expired, or deceased in its place. Other examples of
euphemisms are intoxicated, stout, and senior citizen. Which words do they replace?
Bud seems to have no patience for euphemisms. Explain whether you agree or disagree
with him.
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Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapters 1618
Reading Strategy:
Identifying Confusing Parts
As the story comes to a close, be sure you
understand whats going on. If you get to
a section that confuses you, look back
through the chapter until you find the last section you understood completely. Read
through the confusing section again and try to diagnose the problem. Are there unfamiliar words or phrases? Did you lose track of who was speaking? Are the sentences long
and complex? Often identifying a problem goes a long way towards solving it. If you run
into a confusing passage that really stumps you, discuss it with your group.

1. What causes you to get lost when youre reading? What is your strategy for
getting back into the story? Write about the passages in Bud, Not Buddy youve
found confusing.
2. Do you think Mr. Calloway is mistreating Bud? Why is Bud happy with his
situation? In what ways is his life better than it was before?
3. Youve probably noticed that the band members freely tease and joke with one
another. Whats the tone or feeling of their discussion at the beginning of Chapter
18? How does the segregated society of the time show in their work and their
dealings with one another?
Prediction
Question
Observation
Connection
27
Group D iscussion
Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapters 1618
A Did you expect that Mr. Calloway would turn out to be Buds grandfather? What hints
did the author provide? Clear up any confusion by referring back to Chapters 12-18.
A What does Miss Thomas mean when she tells Bud on page 191, Something tells me
you were a godsend to us, you keep that in mind all of the time, OK? Do you agree
with her? Why should Bud always remember that?
A Buds been very particular about his name. Why do you suppose hes so happy to
have the band give him a nickname?
Writers Craft: Foreshadowing

In Chapter 8, after Bud misses the train that was to take him to the West, he looks at the
blue flyer and notices the similarities between his name, Caldwell, and Calloway, the
name of the man on the flyer. This is an example of foreshadowing, the hints a clever
author gives readers about what might happen later in the story. Sometimes it takes a
second reading to identify clues. Skim through the parts of the story about Buds family
and make note of other details that foreshadow future events in the story.
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Bud, Not Buddy
Chapter 19 and Afterword

Reading Strategy:
Understanding an Authors Purpose
Sometimes you have to read between the lines to figure out
what the author is trying to tell you. But in some books, an
authors message is spelled out in the beginning of a book in a
preface, introduction, or foreword or at the end in an afterword.
What do you learn in the Afterword about Christopher Paul
Curtiss purpose for writing Bud, Not Buddy? How does that
information affect your feelings about the book?

A. Write about one of these topics in your journal.
Circle the topic you chose.
1. Summarize what Christopher Paul Curtis says to his readers in the Afterword. Did
reading about his family and their part in his novel change your feelings about the
story? What was your response to the photographs?
2. Looking at the evidence in the story, describe the relationship between Buds mom
and her father. What might have caused their estrangement? Were they both
happy about the separation? If not, why did it last so long?
3. Despite all that happens to Bud, there only seem to be a few times when he is
uneasy or afraid. How do you account for this?
Prediction
Question
Observation
Connection
29
Group D iscussion
Name ______________________________________ Date _______________________
Bud, Not Buddy
Chapter 19 and Afterword

A Think about where Bud was when the story started and
where he is at the end. What enabled him to survive?
Was it luck, skill, or something else?
A The author tells us in the Afterword that some story
ideas for the novel came from his family and other
parts grew from his imagination and research. Can you
identify which parts of the story came from each
source? Are there parts of the story youre not sure
about? Do the different parts blend successfully?
A Racism plays an essential, but subtle role in this story.
How did it affect you as you were reading? Were you
aware that most of the characters were African American? What would the story be
missing without the element of race in it?
Writers Craft: Developing Story Ideas

Sometimes developing an idea for a story is the hardest part of writing. Next time, do
what Christopher Paul Curtis did. Let your story grow from the people you know.
Interview them about their lives, and do some library research to fill in the details.
Good questions to ask in an interview are open-ended and require an extended answer.
When were you born will only earn a short answer. Tell me about your school years
will draw out more. You can always follow up with specific questions to fill in the gaps.
Take a moment to think of someone who has an interesting life. Write a set of openended questions you might ask him or her.
30
Name ______________________________________ Date _______________________
Bud, Not Buddy
After Reading
An author carries out his or her purpose by developing themes or important ideas in a
story. Reflect on what youve read. What does Christopher Paul Curtis want you to
remember about families, survival, hope, and opportunity?
A Begin by writing your ideas individually. Feel free to go back to the story and check
your journal writings to refresh your memory. As a group, work together to combine
your ideas and develop a statement about each theme.
A Sometimes when you finish reading a novel, there is unfinished business. You might
have a good idea about what happened to the characters before and during the story,
but youre left wondering what might happen to them after the story.
A Think about the following questions:
1. Will Buds life with his grandfather be a happy one? Will Bud actually turn out to be
a godsend to his grandfather as Miss Thomas predicted?
2. What part will the band, Miss Thomas, and music play in Buds new life?
3. How will Herman Calloway feel about having his grandson in his life? How will he
treat Bud?
A How do you think Buds life will be affected by each person or thing in the first
column of the chart? Predict what might happen in a sequel to Bud, Not Buddy.
Reproduce the chart below on a large sheet of paper, and use it to record your
predictions.
Prediction:
Evidence from the story:
Herman E. Calloway
Miss Thomas
The Band
Music
31
Name ______________________________________ Date _______________________
Individual Projects
1. If youve enjoyed reading Bud, Not Buddy, you might also enjoy other awardwinning books about foster children, such as The Pinballs by Betsy Byars and The
Great Gilly Hopkins by Katherine Paterson. Two good novels about doors opening
and closing are A Door in the Wall by Marguerite DAngeli and The Big Bazoohley by
Peter Carey. As you read these books, note how two authors may start with a similar
idea but develop it differently.
2. Start a folder of favorite passages from the books you read. Skim through the
chapters of Bud, Not Buddy that you most enjoyed. Copy three or four sections that
made you think, laugh, or imagine something new. Do the same for other books.
Include the title of the book and page number of each passage.
3. Bud carefully studied the blue flyer and the picture of his mother for clues about his
family. Examine a few photographs of people in your family. What can you learn
about them and the way they lived? What questions come to mind as you study the
pictures? Are there any objects you can study in the same way that Bud looked at his
collections of flyers and rocks?
Name ______________________________________ Date _______________________
Group Projects
1. Check books and Web sites for photographs from the 1930s that could illustrate
scenes from Bud, Not Buddy or show peoples daily lives. Look especially for pictures
of children, Hoovervilles, Big Bands, breadlines and soup kitchens, strikes, and
Pullman porters.
2. Check an encyclopedia for three or four important facts about the people, places and
events mentioned in the storyJohn Brown; Al Capone; George Washington Carver;
Ruth Dandridge; Pretty Boy Floyd; J. Edgar Hoover; Baby Face Nelson; Satchel Paige;
Allen Pinkerton; Flint, Michigan, labor organizations; Pullman porters; Redcaps;
unions; and strikes. Gather your findings into an illustrated booklet that can become
part of your classroom library, or develop a web page or PowerPoint presentation to
share with the rest of your class.
3. Look at the questions in the After Reading section on the previous page. Using one of
the questions as a springboard, write a scene that might appear in a sequel to Bud,
Not Buddy.
32

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Literature Circle Guide:

Bud, Not Buddy

Literature Circle Guide: Bud, Not Buddy Scholastic Teaching Resources

Literature Circle Guide: Bud, Not Buddy Scholastic Teaching Resources

A Allow three or four weeks for students to read

A Create a daily routine so students can focus

In a literature circle, students select a book to

on journal writing and discussions.

A Decide whether students will be reading books

This guide provides the support materials for

Read More About

A Recommend four or five books from which

Using the Literature Circle

If everyone in class is reading the same book,

Each guide contains the following sections:

A background information about the author

A enrichment readings relevant to the book

Background Information and

Literature Response Journal Topics

The background information about the author and

1. The questions for the literature response

Literature Response Journal

2. Students can write in their literature response

Although these reproducibles are designed for

3. The literature response journals are an excellent

4. It can be helpful to have a facilitator for each

Group Discussion Reproducibles

5. Designate other roles for group members. For

Literature Discussion Questions: In a

The Writers Craft: This section encourages

The discussion is not an exercise in finding the

1. Let students know that participation in the

Both you and your students will benefit from

2. Encourage students to evaluate their own

Others note the style of an authors writing or

Although some students may already keep

I felt sorry for Bud when he said he was

Questions: Point out that good readers dont

Predictions: Before students read the book,

What does Miss Thomas mean when she

Connections: Remind students that one story

When I looked at the cover, I thought the

The title makes me think of my friend

Observations: This activity takes place

The Good Discussion

with a discussion so students can try out what

In a good literature discussion, students are

Assessing Discussions: The following tips

Modeling a Good Discussion: In this era of

3. The group should look at the Literature

will help students monitor how well their group

combative and confessional TV talk shows,

In good discussions, you will often hear

Explain to participating students that the

I was wondering if anyone knew . . .

Allow 1520 minutes for the discussion. When

That reminds me of what you were

About Bud, Not Buddy

Eventually, Curtis found he hated the assembly

Winner of the Newbery Medal and the Coretta

Curtis uses his varied life experiences in his

What advice does Mr. Curtis have for writers?

Write anytime you have the opportunity. Set

Although his parents encouraged him to read

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