More More More Said the Baby寶貝想要更多 英文原版 [平裝] pdf epub mobi txt 電子書 下載 2025

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☆☆☆☆☆

Vera B. Williams（薇拉·B·威廉姆斯） 著，Vera B. Williams（薇拉·B·威廉姆斯） 繪

圖書標籤:

• Baby
• Board Book
• Early Learning
• Picture Book
• Children's Book
• Toddler
• Repetitive Text
• Language Development
• Interactive
• Bedtime Story

齣版社： HarperCollins US

ISBN：9780688147365

商品編碼：19005137

包裝：平裝

叢書名： A Caldecott Honor Book

齣版時間：1996-04-25

用紙：膠版紙

頁數：40

正文語種：英文

商品尺寸：24.89x0.51x27.94cm

編輯推薦

Amazon.com Review
From beneath the tickles, kisses, and unfettered affection showered on them by grownups, the children in Vera B. Williams' Caldecott Honor Book cry out for "more more more!" The stars of three little love stories--toddlers with nicknames like "Little Pumpkin"--run giggling until they are scooped up by adoring adults to be swung around, kissed, and finally tucked into bed. Quirky watercolor drawings and colorful text feature multiethnic families, and young readers will rejoice in seeing the center of all the attention: the wiggly, chubby, irresistible toddlers. (Baby to preschooler)

From School Library Journal
The spontaneity and delight of play is captured perfectly in this trio of multigenerational, multiracial "love stories" about three pairs of babies and their grown-ups. Told in a natural, colloquial tone, the simple, engaging text is finely honed with a rhythm that is musical. The style is as buoyant and infectious as the actions described: "Little Guy's daddy has to run like anything just to catch that baby up." Williams carries the same basic framework and language through each story, generating the repetition that is so satisfying to very young listeners, while the stories and characters maintain their own distinctions. Just as she celebrates universality within the text, Williams presents diversity with characteristic flair within her illustrations. Little Guy and his father are white, Little Pumpkin is African-American and her grandmother is white, and Little Bird and her mother are both Asian-American. Natural and unforced, Williams' choices are an accurate reflection of American society, but are noteworthy in their representation in books for this age group. Uncluttered, yet filled with movement, the splashy, vibrant paintings in gouache feature vigorous portraits and large, clearly defined objects set against a textured expanse of sweeping brushstrokes. The text appears in rainbow-hued letters within the illustrations, adding to the appealing design. Although it is a fine vehicle for toddler storytimes, the real strength of this book lies in the intimacy achieved when it is shared one-on-one between babies and adults or older siblings. A joyous expression of verbal and physical affection, these are truly love stories for our times. More, more, more . . . --Starr LaTronica, North Berkeley Lib . , CA
Copyright 1990 Reed Business Information, Inc.

內容簡介

Here are Little Guy, Little Pumpkin, and Little Bird. Their grownups love them. So will you.

作者簡介

Vera B. Williams lives in New York City.

In Her Own Words...

"Throughout my childhood I was encouraged to make pictures, tell stories, act, and dance--all of this at a heaven in our New York City neighborhood called the Bronx House.

"Saturdays I painted with a crusading art director, Florence Cane. In her book The Growth of the Child Through Art, I appear under the name Linda. I was sixteen when the book appeared and embarrassed by it. But at age nine I had been totally proud when a painting of mine was exhibited at the Museum of Modern Art and I was later shown in the Movietone News explaining to Eleanor Roosevelt its Yiddish title, "Yentas."

"In 1945 I went to Black Mountain College in North Carolina, a unique educational community. I graduated in 1949 in graphic art, which I studied with Josef Albers. Along the way I planted corn, made butter, worked on the printing press, and helped to build the house in which I lived with Paul Williams, a fellow student I married there.

"I wanted that connection of art and community to continue. And it did at the Gate Hill Cooperative, a community we built with other Black Mountain people, a poet, musicians, and potters. I lived and worked there from 1953-1970 (after which I moved to Canada). My children (Sarah, Jenny, Merce) grew up there. For them, we branched out into a school, part of the Surnmerhill movement. The gingerbread houses that led to my first book for Greenwillow I first made in sticky variety at our school. I have always liked to teach and have taught art, cooking, writing, nature study, for nursery age on.

"At forty-six, no longer married, living in a houseboat on the bay at Vancouver, British Columbia, I did my first book. But before that could happen, the fates decreed a stint of cooking and running a bakery at a small school in the Ontario countryside. My love affair with Canada included also a 500-mile trip on the Yukon River. Many of those adventures I put in Three Days on a River in a Red Canoe.

"I also write and draw for adults-short stories, leaflets, and posters. As a lover of children, I try to do what I can to help save their earth from nuclear disaster. This pursuit, too, has added its excitement to my biography, including, in 1981, a month's stay in the federal penitentiary in Alderson, West Virginia (an outcome of a women's peaceful blockade of the Pentagon). Perhaps this experience will some day appear in one of my books. So far I've found children's books a wonderfully accommodating medium where any of my various activities might pop up."

內頁插圖

精彩書評

"The spontaneity and delight of play is captured perfectly in this trio of multigenerational, multiracial "love stories" about three pairs of babies and their grown-ups. Told in a natural, colloquial tone, the simple, engaging text is finely honed with a rhythm that is musical. The style is as buoyant and infectious as the actions described: "Little Guy's daddy has to run like anything just to catch that baby up." Williams carries the same basic framework and language through each story, generating the repetition that is so satisfying to very young listeners, while the stories and characters maintain their own distinctions. Just as she celebrates universality within the text, Williams presents diversity with characteristic flair within her illustrations. Little Guy and his father are white, Little Pumpkin is African-American and her grandmother is white, and Little Bird and her mother are both Asian-American. Natural and unforced, Williams' choices are an accurate reflection of American society, but are noteworthy in their representation in books for this age group. Uncluttered, yet filled with movement, the splashy, vibrant paintings in gouache feature vigorous portraits and large, clearly defined objects set against a textured expanse of sweeping brushstrokes. The text appears in rainbow-hued letters within the illustrations, adding to the appealing design. Although it is a fine vehicle for toddler storytimes, the real strength of this book lies in the intimacy achieved when it is shared one-on-one between babies and adults or older siblings. A joyous expression of verbal and physical affection, these are truly love stories for our times. More, more, more..."
--School Library Journal

前言/序言

好的，下麵為您呈現一本虛構圖書的詳細簡介，該書與您提到的《More More More Said the Baby寶貝想要更多》無關。 --- 《星辰低語：失落文明的密鑰》 作者：艾莉亞·凡恩 (Elysia Vance) 類型：史詩奇幻/懸疑冒險 頁數：約 680 頁 裝幀：精裝，附有手繪星圖插頁 --- 簡介： 當世界遺忘瞭自己的根基，記憶的碎片便成瞭最強大的武器。 《星辰低語：失落文明的密鑰》是一部宏大敘事、充滿迷人細節的史詩級奇幻小說。它將帶領讀者潛入一個被時間侵蝕、由破碎的魔法和被遺忘的技術構建而成的世界——埃瑟瑞姆（Aetherium）。 故事的核心圍繞著兩位性格迥異的主角展開：卡利姆·維恩 (Kaelum Vane)，一位在臭名昭著的“灰燼之城”普羅剋斯坦（Proxtan）底層掙紮求生的文物走私販，他擁有罕見的“共振感知”能力，能聽見古老器物中殘留的“迴響”；以及瑟拉菲娜·洛剋伍德 (Seraphina Lockwood)，一位來自高聳入雲、象徵秩序與知識的“天空學院”的年輕曆史學傢，她癡迷於探究導緻“大寂靜時代”降臨的禁忌曆史。 世界的背景：破碎的榮光 埃瑟瑞姆大陸曾是高度發達的“源初文明”的所在地。這個文明掌握著操縱星辰能量和構建自洽空間的技術。然而，在一場被稱為“迴響之災”的事件中，源初文明瞬間崩塌，世界被分裂成互相隔絕的碎片。如今，幸存者們生活在由殘存的魔法科技勉強維持平衡的城邦中，對過去的輝煌一無所知，隻在神話中尋找解釋。 卡利姆在一次危險的走私行動中，意外地截獲瞭一件看似普通的黃銅圓盤。這圓盤並非尋常文物，它內部蘊含著一股強大而混亂的能量脈衝，正是卡利姆能力從未觸及過的“純淨迴響”。這個發現立刻將他捲入瞭一個遠超盜竊或走私的巨大陰謀之中。 命運的交織與追逐 瑟拉菲娜博士一直緻力於破解“編年史殘捲”中反復齣現的同一符號——一個被描繪成被三顆星辰環繞的齒輪。當她追蹤到那枚被卡利姆持有的圓盤時，她意識到這並非偶然。圓盤上的圖案，正是傳說中開啓“奧秘之門”的關鍵組件。 兩位主角的命運在普羅剋斯坦的黑市深處相遇，起初充滿瞭猜忌與衝突。卡利姆隻想利用圓盤換取自由和財富，而瑟拉菲娜則不惜一切代價想要保護它免受錯誤的解讀。 然而，追捕他們的勢力遠比他們想象的要復雜和陰險。“靜默兄弟會”，一個根植於各個權力階層，緻力於徹底抹除源初文明所有痕跡的秘密組織，對這枚圓盤垂涎已久。他們相信，重現源初文明的力量將帶來比“迴響之災”更徹底的毀滅。 探索與揭秘：深入“裂隙” 為瞭躲避靜默兄弟會的追殺，卡利姆和瑟拉菲娜被迫結盟，踏上瞭一段穿越埃瑟瑞姆大陸的險峻旅程。他們的目標是前往地圖上被稱為“無聲之地”的禁區——據信是源初文明核心區域的所在地。 小說精心描繪瞭旅途中的獨特景觀： 浮空之墟（The Aerie Ruins）： 漂浮在磁暴雲層之上的古代能量站，充滿瞭被時間扭麯的物理定律和不穩定的力場。 晶化之森（The Crystalline Weald）： 一片由快速生長的、具有感知能力的礦物構成的森林，樹木的“歌聲”可以迷惑心智。 深海燈塔（The Abyssal Beacon）： 一座沉入海底、散發著微弱藍光的古代通訊塔，需要利用卡利姆的共振感知來激活其低語中的導航信息。 隨著他們收集更多的碎片和知識，一個令人不安的真相逐漸浮現：源初文明並非毀滅於外部災難，而是源於一次主動的、極度危險的實驗——他們試圖“同步”整個宇宙的意識流，結果卻引發瞭災難性的“維度撕裂”。 密鑰的本質 圓盤，以及卡利姆的“共振感知”，實際上是源初文明留下的“緊急校準工具”。它不是用來開啓通往輝煌過去的鑰匙，而是用來封印那次實驗遺留下來的、仍在緩慢侵蝕現實的“時空殘響”。 靜默兄弟會的目的並非保護世界，而是試圖利用殘響的力量，重塑一個由他們絕對控製的“新秩序”，即他們所謂的“第二次寜靜”。 高潮與抉擇 故事的最終高潮發生在源初文明的核心控製室——位於“無聲之地”地下的“靜默之廳”。卡利姆和瑟拉菲娜必須在兄弟會成員的圍攻下，在殘響能量達到峰值時，做齣一個艱難的選擇：是選擇完全關閉所有源初科技，讓世界永遠停留在現有的、相對安全的階段；還是冒險激活校準程序，修復時空裂縫，但有可能再次釋放齣失控的、超越人類理解的能量。 本書深入探討瞭知識的重量、曆史的不可靠性、以及個體在麵對超越時代力量時的責任。它不僅僅是一場追逐戰，更是一場關於如何定義“進步”與“遺忘”的哲學辯論。讀者將被艾莉亞·凡恩精妙構建的世界觀、復雜的人物關係以及層層遞進的懸念所深深吸引，直到最後一頁——那個關於星辰最終將如何低語的結局揭示。 --- 《星辰低語：失落文明的密鑰》 是獻給所有熱愛復雜世界構建、深刻角色驅動敘事以及對古代奧秘抱有無限好奇心的讀者的不二之選。準備好，拋棄你已知的曆史觀，踏入一個由破碎星光和低語迴響構築的史詩旅程。

評分☆☆☆☆☆

不得不說，《More More More Said the Baby寶貝想要更多》這本書，在藝術錶現力上達到瞭一個相當的高度。我反復翻閱，總能發現一些新的細節和巧思。書中的角色形象雖然簡單，但卻栩栩如生，尤其是那隻小小的“寶貝”，它的每一個動作，每一次伸展，都充滿瞭無窮的張力。而伴隨著“想要更多”的呼喚，畫麵上的互動也愈發熱烈，從最初的輕輕撫摸，到最後的緊緊擁抱，這種視覺上的遞進感，非常巧妙地呼應瞭文本中的情感變化。我特彆喜歡作者在色彩運用上的大膽和飽和，那些鮮艷的顔色，仿佛自帶一種能夠吸引孩子注意力的魔力，讓他們在不知不覺中沉浸在故事的世界裏。而且，這種重復的結構，在孩子的認知發展中也起到瞭至關重要的作用，他們可以通過反復的模仿和參與，加深對故事情節和語言的理解，同時也能建立起對閱讀的自信心。

評分☆☆☆☆☆

這本繪本簡直是哄睡神器，我傢那位小不點，平時精力旺盛得像隻剛從彈簧裏蹦齣來的兔子，到瞭睡覺時間就開啓“拒絕模式”，各種撒嬌打滾，一刻也不想停歇。自從我發現瞭《More More More Said the Baby寶貝想要更多》，一切都改變瞭。每次翻開，那略顯卡通卻又充滿溫馨的插畫，配閤著重復、簡單又富有節奏感的語言，就像施瞭魔法一樣。寶寶會立刻安靜下來，手指著那些活潑的形象，咿咿呀呀地迴應著。尤其是“想要更多”這個梗，簡直說到孩子心坎裏去瞭，每讀到這裏，他都會跟著用力喊齣“更多”，那種滿足感和快樂溢於言錶。我常常在讀到最後，寶寶已經依偎在我懷裏，眼皮一點點耷拉下來的時候，輕輕地在他耳邊重復那句“寶貝想要更多”，看著他安詳的睡顔，心裏充滿瞭無盡的愛意和成就感。這本書不僅是一本睡前故事，更像是一個連接我和孩子的親密橋梁，在一次次的重復和擁抱中，我們分享著最純粹的快樂。我喜歡它傳遞的那種簡單而又直接的情感錶達，讓孩子明白，被愛和索取愛，都是天經地義的。

評分☆☆☆☆☆

這是一次意料之外的驚喜，我原本隻是被它簡潔的封麵吸引，想著給傢裏的寶貝添一本新書。沒想到，《More More More Said the Baby寶貝想要更多》竟然能帶來如此深刻的閱讀體驗。書中的角色設計非常討喜，那隻小小的“寶貝”仿佛就是所有孩子童真的縮影，它一次又一次地錶達著“更多”的願望，這種直白而又充滿生命力的訴求，讓我這個成年人都為之動容。每一次“更多”的到來，都伴隨著更加熱烈的互動，無論是身體上的依偎、擁抱，還是情感上的迴應，都展現瞭一種親密無間的美好。我特彆欣賞作者在語言上的運用，那種簡單句式和重復詞匯的巧妙組閤，既容易讓年幼的孩子理解和參與，又能在反復吟唱中産生一種獨特的韻律感，仿佛自帶背景音樂，讓整個閱讀過程充滿瞭趣味性。這本書讓我重新審視瞭“想要”和“給予”的關係，它教會孩子勇敢地錶達自己的需求，同時也提醒我們，作為父母，給予是如此自然和快樂的事情。

評分☆☆☆☆☆

在我看來，《More More More Said the Baby寶貝想要更多》這本書，所傳遞的不僅僅是一個簡單的親子互動故事，它更像是一種對情感連接的深刻探討。書中的“寶貝”一次又一次地發齣“想要更多”的信號，而迴應它的，始終是毫不吝嗇的愛和溫暖。這種“給予”和“索取”的循環，在孩子成長的過程中至關重要。它教會孩子如何去錶達自己的需求，如何去體驗被愛的感覺，同時也讓父母意識到，滿足孩子的閤理需求，是一種多麼美好的體驗。我最喜歡的是，這本書並沒有將“更多”描繪成一種無止境的貪婪，而是一種對愛和親密的渴望。它用最純粹的語言和最動人的畫麵，詮釋瞭這種簡單而又深刻的情感。每一次讀完，我都會感到一種由內而外的溫暖和滿足，仿佛自己也經曆瞭一場充滿愛意的洗禮。

評分☆☆☆☆☆

從另一個角度來看，《More More More Said the Baby寶貝想要更多》這本書，簡直就是對孩子成長過程中“索取”這一重要階段的完美寫照。我們都知道，孩子們天生就充滿瞭好奇和欲望，他們渴望探索，渴望體驗，渴望擁有，而“更多”這個詞，恰恰是這種探索欲和擁有欲最直接的錶達。這本書並沒有迴避這種“索取”，反而以一種非常積極和溫暖的方式呈現瞭它。我注意到，每一次“寶貝”提齣“想要更多”的時候，迴應它的都是充滿愛意的擁抱、親吻和陪伴，這讓我感到非常安心。它傳遞瞭一個非常重要的信息：孩子的需求是值得被關注和迴應的，而且在被迴應的過程中，親子之間的聯係也會得到進一步的加強。這本書的藝術風格也極具特色，那種充滿力量感的綫條和明亮的色彩，仿佛能點燃孩子內心的活力，讓他們在閱讀的同時，也能感受到一種蓬勃嚮上的生命力。

評分☆☆☆☆☆

大開本的，我先看再跟小朋友一起看

評分☆☆☆☆☆

經典原版，優惠價格，此時不買，尚待何時呀！

評分☆☆☆☆☆

很大一本 搞活動時買的 很不錯哦

評分☆☆☆☆☆

買來給寶寶啓濛，挺好看的

評分☆☆☆☆☆

孩子非常喜歡，還能找到音頻

評分☆☆☆☆☆

verygood 實惠

評分☆☆☆☆☆

麻煩填寫4-20個字呦麻煩填寫4-20個字呦

評分☆☆☆☆☆

早就想買的書 這次湊單買瞭 沒讓我失望 挺好的

評分☆☆☆☆☆

汪培珽老師強力推薦美國原版進口I canread係列全英文讀物！！ An I Can Read1係列1級為適用於4-7歲孩子做為英文讀物。 從小培養孩子的聽英語的耳朵。以孩子愛聽愛看的故事書入手，生動有 趣，幽默，深省，科學，益智，讓原本單一的英語變得活起來，讓 孩子學習英語不再難。 書中插畫有許多是邀請許多獲奬作者與插畫傢閤作，精美絕倫，可以使 孩子對此書産生足夠的興趣及美的享受！