内容简介
#1 bestselling artist Oliver Jeffers delivers another hilarious Hueys board book!Oliver Jeffers' ?jelly bean-shaped creatures may all look the same, think the same, and even do the same things, but that doesn’t mean they always agree. The only problem is, they can’t seem to agree on what they?disagree on! Which ultimately leads to an even bigger disagreement. Confused? Well, so are the Hueys. Which only adds to the fun and hilarity.
Anyone who has ever had to referee an argument among siblings or friends will appreciate the absurdity Oliver Jeffers reveals in the every-day trials of getting along.
Praise for?It Wasn't Me:"Jeffers is a master of this sort of wry humor, with his deeply expressive gestures; generous, empty backgrounds; and quirky charm. The explosion of the argument--and stillness of the solution--resonates on just the right frequency, distilling complex emotion into something manageable and entertaining. Kids will recognize themselves here, over and over again." -
Booklist?"A stylish and sophisticated story that reminds readers that some fights aren't worth having." -
Publishers Weekly"Children will undoubtedly enjoy the simple, but expressive, caricatures and the childlike pencil and mixed-media compositions. Parents may get new ideas for conflict management under Gillespie's cool tutelage. A worthy sequel."?
-School Library Journal 作者简介
Oliver Jeffers (www.oliverjeffersworld.com) makes art and tells stories. In addition to illustrating the #1 blockbuster?
The Day the Crayons Quit, his books include?
How to Catch a Star;
Once Upon an Alphabet;?
Lost and Found, which was the recipient of the prestigious Nestle Children’s Book Prize Gold Award in the U.K. and was later adapted into an award-winning animated film;?
The Way Back Home;?
The Incredible Book Eating Boy;?
The Great Paper Caper;?
The Heart and the Bottle, which was made into a highly acclaimed iPad application narrated by Helena Bonham Carter;?
Up and Down, the?
New York Times?bestselling?
Stuck;?
The Hueys in the New Sweater, a?
New York Times?Best Illustrated Book of the Year; and?
This Moose Belongs to Me,?a?
New York Times?bestseller. Originally from Belfast, Northern Ireland, Oliver now lives and works in Brooklyn, New York.,,,
精彩书评
Praise for?It Wasn't Me:"Jeffers is a master of this sort of wry humor, with his deeply expressive gestures; generous, empty backgrounds; and quirky charm. The explosion of the argument--and stillness of the solution--resonates on just the right frequency, distilling complex emotion into something manageable and entertaining. Kids will recognize themselves here, over and over again." -
Booklist?"A stylish and sophisticated story that reminds readers that some fights aren't worth having." -
Publishers Weekly"Children will undoubtedly enjoy the simple, but expressive, caricatures and the childlike pencil and mixed-media compositions. Parents may get new ideas for conflict management under Gillespie's cool tutelage. A worthy sequel."?
-School Library Journal 前言/序言
好的,下面为您创作一份关于一本假想图书的详细简介,该书与您提供的书名《It Wasn't Me A Hueys Book [03--05]》无关。 --- 《光影间的低语:现代都市的隐秘肖像》 作者: 伊芙琳·里德 出版年份: 2023年 页数: 480页 装帧: 精装,附带多张作者的黑白摄影作品插页 --- 内容提要: 《光影间的低语:现代都市的隐秘肖像》并非一部传统意义上的叙事小说,而更像是一部对当代都市生活进行深度解剖的文学观察报告。作者伊芙琳·里德,一位以敏锐的社会洞察力和克制的美学风格著称的作家,用细腻的笔触描绘了在混凝土丛林中挣扎、适应并最终迷失的个体群像。本书的核心主题围绕着“疏离感”与“连接的悖论”展开,探讨在高度互联的数字时代,人类情感联结的脆弱性与表象的繁荣之间的巨大鸿沟。 全书结构松散,由二十四个相互独立却又在主题上产生深刻回响的章节组成,每一章都聚焦于一个特定的城市角落、一种普遍存在的社会现象或一个被忽视的群体。里德似乎在邀请读者进行一场漫长的、无声的漫步,穿梭于清晨的地铁车厢、深夜亮着白炽灯的便利店、被高楼阴影笼罩的公园长椅,以及那些永远在装修却从未完工的写字楼内部。 第一部:霓虹与静默 本书的开篇部分,里德将焦点投射到城市节奏的初期:黎明前的钟声与日落后的喧嚣。章节如“第十三号站台的遗失者”和“自动售货机的伦理”深入探讨了通勤者在每日重复性劳动中的精神状态。她描绘了那些眼神空洞、只关注手机屏幕上不断滚动的虚拟信息流的人们,他们身体在移动,灵魂却被钉在了屏幕的方寸之间。里德的文字充满了对“效率至上”哲学的反思,她敏锐地捕捉到,当一切都被优化和量化时,人性中那些非功利性的美好——比如无目的的凝视、不期而遇的善意——是如何被挤压到生存边缘的。 一个令人印象深刻的段落描绘了一位老旧图书馆的管理员,她拒绝使用电子借阅系统,坚持用卡片和印章记录每一本书的流转。在里德的笔下,这位管理员不再是过时的象征,而是抵抗数字洪流的最后一道精神壁垒。 第二部:边界与伪装 进入本书的中间部分,叙事转向了人际交往中的“表演性”。里德探讨了社交媒体如何重塑了个体的自我认知与对他人的期望。她笔下的角色们都带着一副精心打磨的面具:成功人士在聚会上谈论着那些自己并不真正关心的商业战略;年轻情侣在公共场合展示着完美的亲密瞬间,却在转身后的电梯里陷入沉默的僵局。 “虚拟墙的建造师”一章,对那些热衷于在网络上构建完美人设的角色进行了无情的剖析。里德没有进行道德审判,而是以一种近乎人类学家的冷静,记录了这种为了在信息海洋中获得“存在感”而付出的巨大情感成本。她细腻地描绘了当面具滑落时,角色们所感受到的那种深刻的、难以言喻的羞耻与空虚。这种对“真实性缺失”的探讨是本书最引人入胜的部分之一。 第三部:记忆的褶皱与微小的反抗 随着故事的推进,里德开始寻找那些在宏大叙事之外闪烁的微光。她将目光投向城市的“遗忘角落”:被拆除的老建筑基址、雨水冲刷后的涂鸦,以及那些选择在城市边缘过着半隐居生活的老人。 在“废弃铁路旁的苔藓”一章中,她描述了一群利用城市废弃空间进行非正式艺术创作的年轻人。他们的作品转瞬即逝,不为记录,只为在创作的瞬间达成一种与环境的和谐共振。这部分内容充满了诗意,与前两部分的冷峻形成了强烈的对比,暗示了即使在最压抑的环境中,人类对意义和美的追求也从未熄灭。 写作风格与艺术价值: 伊芙琳·里德的写作风格极为精炼,充满了精准的意象和不常见的词汇组合,但又不失流畅性。她的叙事节奏时而缓慢如沉思,时而急促如突发的焦虑。本书的强大之处在于其“在场感”——读者仿佛能闻到潮湿水泥的气味,听到远处传来的警笛声。她避免了对角色的过度解读,而是将观察结果呈现给读者,鼓励读者自行填补情感的空白,从而使每个人都能在这些都市幽灵的影子中找到自己的一部分。 《光影间的低语》是一部献给所有在现代都市中感到自己既无比重要又彻底微不足道的个体的情书。它要求读者放慢脚步,重新审视自己习以为常的日常生活,并思考:我们究竟是在生活,还是仅仅在被观察?这本书是对当下社会心理状态的一次深刻、必要且令人不安的冥想。它不会提供答案,但会提出恰到好处的问题,在你合上书本之后,仍会在你心中萦绕不去。