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The Patchwork Bike

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From School Library Journal

PreS-Gr 2-In this Australian import, three siblings who live in a remote village "at the edge of the no-go desert" in a "mud-for-walls home," make do with what they have to entertain themselves. They like to run, jump, and climb, but their pride and joy is their bike, which they cobbled together out of spare parts and junk. The handlebars are made of branches, and the wood-cut wheels go "winketty wonk" as they ride, a nice onomatopoetic touch. The story by itself is superb, but the artwork elevates it further. Rudd's street art approach is raw yet refined as nearly every brushstroke is visible on the repurposed cardboard backgrounds. Much like Javaka Steptoe's Radiant Child or Jane Yolen's What To Do with a Box, the format shows the incredible creativity of young minds combined with the constraints of poverty. Rudd not only perfectly matches the tone culturally but also works in a few nods to the Black Lives Matter movement, which he explains in his artist's note. VERDICT An excellent story and conversation starter.-Peter Blenski, Greenfield Public Library, WIα(c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Review

Clarke’s poetically compressed language hurtles joyfully along, while Rudd’s illustrations, made on cardboard boxes with spirited swaths of paint, burst with irrepressible life. Dreaming and building, we see, go hand in hand no matter where you live.—The New York Times Book ReviewThe dark, bright, and desert hues create a blazing-hot world readers can almost step right into. Showcasing the fun to be had in a spare world, this book is just what many of us need right now.—Kirkus Reviews (starred review)In her picture book debut, Clarke’s lines sing with sound and rhythm, evoking the “shicketty shake” sound of the bike on sand hills. Street artist Rudd’s textured paint-and-cardboard collages create a strong sense of a place (the blaze and shadow of the desert) and the people who live there...Without minimizing the clear references to economic and racial struggle, the words and images in this snapshot story pulse with resourceful ingenuity, joyful exuberance, and layered meanings.—Publishers Weekly (starred review)There are small mysteries and deep shadows, figurative as well as literal, that stretch among Rudd’s provocative paint-on-corrugated packing box illustrations in this Australian import...With every visual detail a poignant counterpoint to the simple storyline, there are depths here for older children to plumb.—Bulletin of the Center for Children's Books (starred review)The story by itself is superb, but the artwork elevates it further. Rudd’s street art approach is raw yet refined as nearly every brushstroke is visible on the repurposed cardboard backgrounds. Much like Javaka Steptoe’s Radiant Child or Jane Yolen’s What To Do with a Box, the format shows the incredible creativity of young minds combined with the constraints of poverty...An excellent story and conversation starter.—School Library Journal (starred review)Clarke’s spare, mellifluous language dances across the pages, full of vivid imagery and hyphenated turns of poetry (“out in the no-go desert, under the stretching-out sky”), all of it hand- lettered on Rudd’s rough, tactile paintings...These illustration choices reflect the book’s very theme—exposing the harsh reality of life that some people face while acknowledging the resilience that comes from homemade joy.—The Horn Book (starred review)The notes at the end of the book from both the author and illustrator add context and take the reader outside the story into broader themes of the world beyond, including the Black Lives Matter and Occupy Wall Street movements, making this simple yet joyous picture book a potential springboard for discussion, inquiry, and research. Told in free verse from the perspective of a young female narrator, this story speaks to the spirit of children, play, and makers everywhere.—School Library ConnectionWords hum with catchy musicality on edgy acrylic-on-cardboard art that parallels the bouncy story line and makes powerful political points as well...Neither heavy-handed nor Pollyanna, this timely book honors the power of imagination to discover possibility amid hardship.—San Francisco ChronicleThis winning book will make a great read-aloud for primary grades and provides great material for discussions about creativity, the power of play and imagination, and how to best be happy with what you already have.—New York Journal of BooksThe vivid rhythms of Clark's buoyant prose...are perfectly matched by the bold lines and vivid splashes of color of street artist Van Thanh Rudd's marvelous illustrations in this delightful, exuberant, entirely original picture book.—Buffalo NewsIt’s so incredibly beautiful and the art is magnificent.—A Fuse #8 Production (blog)Vibrant, energetic, and wildly original! Who wouldn’t love those imaginative kids . . . and their weary mom?—The Booklist ReaderKids having fun. Being silly. Being adventurous. Having the times of their lives. This book exudes that very joy. It alludes to police brutality, economic disparities, and the Black Lives Matter movement while at the same time showing children having a great time thanks to their own devices.—A Fuse #8 Production (blog)Bold, beautiful acrylic paintings atop recycled cardboard. This is the sort of book that wows you from the front cover on.—100 Scope Notes (blog)

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Product details

Age Range: 6 - 9 years

Grade Level: 1 - 4

Hardcover: 40 pages

Publisher: Candlewick (September 11, 2018)

Language: English

ISBN-10: 153620031X

ISBN-13: 978-1536200317

Product Dimensions:

9.5 x 0.4 x 12.6 inches

Shipping Weight: 1 pounds (View shipping rates and policies)

Average Customer Review:

3.3 out of 5 stars

5 customer reviews

Amazon Best Sellers Rank:

#75,727 in Books (See Top 100 in Books)

I felt it was hyped up online as compare to the content. Wouldnt recommend it for children. Nice coffee table book for adult conversation. To boring for a child

It took a little while, but at some point creators of children’s books realized that cardboard holds an almost supernatural power over the imaginations of small children. It is the ultimate building material. Strong and sturdy, yet malleable. Bonus: You can draw on it. Interestingly, in terms of plotting I’ve seen it mentioned in graphic novels far more often than picture books. Books like “Cardboard” by Doug TenNapel and “Cardboard Kingdom” by Chad Sell may even take it to an extreme level. There are a couple exceptions, of course. “Not a Box” by Antoinette Portis and “What to do With a Box” by Jane Yolen exist, but both emphasize the boxiness rather than the cardboardyness of the materials at hand. It got me to thinking. Can we get a book out there that appreciates less what cardboard does, and more how it acts and looks and feels? “The Patchwork Bike” by Maxine Beneba Clarke and illustrated by Van Thanh Rudd isn’t actually about cardboard at all, really. What it is about is having fun with the things that you make with your own hands. It’s only when you look closely that you see that the art itself is done on cardboard, reinforcing the theme, and giving this book the much needed heft it needs to carry the tale. Picture books are supposed to be a perfect amalgamation of text and image, and thanks to the use of cardboard, you get that in this stellar combination.The setting is simple. This is a village, where home are constructed from mud, sitting on the edge of a vast desert. Our narrator is a sunglasses-clad black girl, who introduces the reader to her crazy brothers and her “fed-up” Muslim mom. The kids have fun climbing the Fiori tree or sliding down the sand mountain they constructed, sure, but the true fun for them comes when they get to ride their bike. It’s a mishmash amalgamation of wooden wheels, tin-can handles, and other parts scavenged around and about. Still, it has everything you’d want. A license plate, painted on lights, “and a bell that used to be Mum’s milk pot”. When these three kids skid around on their bike, they are unstoppable. This thing is theirs.We talk a lot about the need for diversity in children’s literature and I’ve been very happy to see how books for kids in the last few years have shifted a little bit, just a little bit, away from the rote “here is my family” types of tales to stories in which they take their own lives for granted. If that makes any sense. “The Patchwork Bike” is a perfect example of what I’m talking about. One of my favorite two-page spreads shows a woman in a white hijab and dress walking down the street to the description, “and this is our fed-up mum.” In another two-page spread she’s seen again, but from behind, while she watches her three kids zoom by on their bike. They’re nothing more than a blaze and blur of color while she looks interestingly fuzzy to us, like our focus isn’t on her at all but just over her shoulder. The phrase “fed-up mum” is invoked for a second time here. I love that. I love that fed-up moms are universal. I feel like we need to see more of that in our books. Less patient, tireless, saintly parents from other cultures. More irritated, exhausted, fed-up, deeply human parents, please. Something we can relate to a little.As for the quality of the writing itself, I liked very much Ms. Clarke’s use of repetition and the way she describes the kids’ everyday lives and village. “This is the big Fiori tree where we go jumping and climbing, out in the no-go desert, under the stretching-out sky.” When she describes the bike, new words that you instantly understand pop up. “It has a bent bucket seat and handlebar branches that shicketty shake when we ride over sand hills.” Later the wheels “winketty wonk” when they speed. These Seussian terms could strike you as overly precious if you were unready for them, but I liked their spunk. What they really do is give you a feel for the personality of the narrator (who, according to the Author’s Note at the end, is definitely female). You just look at her expression when she’s driving that bike. This is someone who is in control and loving every second of it.Now I’m a mom. I have kids. I’ve drawn on cardboard before because that’s what parents do. And if you’ve ever drawn on it yourself then you’ll know that it’s a strange, unforgiving material. There are unexpected divots and dips to be found. Press too hard and the tip of your marker goes right through a weak spot. Then there’s that odd striation that prevents anyone from making a straight line. It would never in a million years have occurred to me that you could use that buckling and jittery quality as a way of heightening some aspect of a picture book's plot. Rudd has cracked a code I didn’t even know existed, and he did it with acrylics. When he wants to show speed, like on the endpapers, he paints lengthwise, across the creases. The natural breaks in the paint emphasize speed. Later he paints below the image of a broken down police car and the paint looks like the reflection of water, disjointed and pooling into incongruous puddles.I’ve seen a lot of children’s books try to replicate the look of cardboard, rather than use it as a template right from the start. The fact that Rudd is painting on cardboard is cool, but do not let it distract from the fact that the paintings themselves are marvelous, even when they’re being more straightforward than lines of motion. When the main character indicates her “crazy brothers”, you notice that reflected in the lenses of her sunglasses are what look to be mountains and valleys of deep purples and blues. Look too how Mr. Rudd is constantly changing the perspective of the reader. You’re above the kids looking down. No, you’re looking at them straight on. Now they’re just tiny silhouettes on a hill. Now they’re so big the page can only encompass half a face. You could probably write whole essays on the choices the artist makes with this title.At the end of the book is a somewhat unique page containing both an Author’s Note and an Illustrator’s Note, with photos of both of the creators. Because this book was originally released in Australia, the two have a sense of distance and perspective that they’re able to bring to this new American edition. Ms. Clarke discusses the Muslim mother character, how kids have connected to the book since its release, and the landscape of poverty. Mr. Rudd takes a slightly different tactic. Inspired by the Black Lives Matter movement, he took care to make sure that the two brothers in the book invoke both “don’t shoot” hand movements and the ballerina on top of the Wall Street bull sculpture during Occupy Wall Street. When the kids create a bark license place, it reads “BLM”, making this perhaps one of the few picture books out there to invoke the movement multiple times this directly.My kids are always game for a new picture book, so I toted this one out a recent morning to see what their reaction would be. They looked at it with interest. The setting and characters were new to them, but they didn’t find anything difficult to understand. It was only when it ended that my daughter expressed some disappointment. “There’s not much of a story”, she said. She then explained that once we saw the bike we’d get to see the kids engage in some kind of an adventure. Instead, to her mind all we did was see what the bike was and that was it. I can see what she’s saying. There are no heroes or villains in this piece. I’d hoped that she might be inspired a bit by the art, but to be fair she's always thought of cardboard as great stuf. So, there you go. I’ll level with you. Plot forward, it is not. That’s not its purpose or intent but if you have a kid that thinks of books only in terms of advancing a story, best to give them a heads up beforehand that this isn’t that.What this book reminds me of, almost more than anything else, is “Radiant Child” by Javaka Steptoe. In both cases you have an artist taking found materials (discarded wood in one case and cardboard in another), painting on that material, and turning it into something truly beautiful. Of course one of those two books was set in America and this book is set in an unnamed village in an unnamed country. Recently I heard someone note that when you make a booklist and you include the stories of black children, you should make an effort to include some tales that contain, what they called, black joy. Kids having fun. Being silly. Being adventurous. Having the times of their lives. This book exudes that very joy. It alludes to police brutality, economic disparities, and the Black Lives Matter movement while at the same time showing children having a great time thanks to their own devices. Cardboard is a flexible material. This book has flexible uses. Use both wisely and well.

Simple, easy to follow text accompanies great illustrations that are designed to look like they were drawn on corrugated cardboard. They give the story an authentic feeling, since it's set in a rural village that could easily be in Africa or Australia. Three brothers take young readers along as they enjoy the fun and freedom of riding a bike assembled from such varied components as wooden wheels, a bark license plate, tin cans and their mother's milk pot. Colloquial words used to describe the sounds and moves made while enjoying the bike, add to the ethnic flavor. The note by the author and another by the illustrator in the back are extremely useful in helping to understand the message and intent of the book. They should be shared by teachers and parents when the book is read. Overall, it's a simple, yet beautiful slice of life tale that will introduce young children to a different reality, that also points out how universal having fun with just a little can be.

My son received this book from his school library at conferences last week. Why wouldn't a 5-year old pick out the one with the motorcycle on the cover? As I was reading it to him that night in bed, it seemed like an innocent enough story...until I got to the page with the "BLM" license plate artwork. A couple pages later another picture depicted the black kids riding on the bike with a fist in the air. I don't appreciate anti-American propaganda fed to my children through their books. Any legitimacy the book had through it's story was destroyed by the "artwork" appearing to promote the Black Lives Matter movement. A reading of the author/illustrator notes confirmed all my suspicions. The author and artists are both activists who understand well what they are doing. This book is not as much about poverty as it is about someone else's horrible approach of how to deal with it. If you believe that American Capitalism has lifted more people out of poverty than any other economic system in the history of the world, you might want to stay away from this book. If you believe that America is the LEAST racist country on the face of the earth, and BLM exists for the sole purpose of perpetuating a myth, you might want to stay away from this book. Finally, if you care about your kids and think it wise to protect them from subliminal propaganda, you might want to stay away from this book.

THE PATCHWORK BIKE is told in free verse poetry. The book is about some impoverished children in what appears to be Africa and how they go about making a bicycle from all kinds of different parts: pieces of wood, tin cans, a flour sack, and an old milk pot. The book is also about the sense of freedom the bike provides the children. At the end of the book there is half a page of notes from both the author and the illustrator and what they hoped to achieve in writing and illustrating the book.

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