內容簡介
#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 作者簡介
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.,,,
精彩書評
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,下麵為您創作一份關於一本假想圖書的詳細簡介,該書與您提供的書名《It Wasn't Me A Hueys Book [03--05]》無關。 --- 《光影間的低語:現代都市的隱秘肖像》 作者: 伊芙琳·裏德 齣版年份: 2023年 頁數: 480頁 裝幀: 精裝,附帶多張作者的黑白攝影作品插頁 --- 內容提要: 《光影間的低語:現代都市的隱秘肖像》並非一部傳統意義上的敘事小說,而更像是一部對當代都市生活進行深度解剖的文學觀察報告。作者伊芙琳·裏德,一位以敏銳的社會洞察力和剋製的美學風格著稱的作傢,用細膩的筆觸描繪瞭在混凝土叢林中掙紮、適應並最終迷失的個體群像。本書的核心主題圍繞著“疏離感”與“連接的悖論”展開,探討在高度互聯的數字時代,人類情感聯結的脆弱性與錶象的繁榮之間的巨大鴻溝。 全書結構鬆散,由二十四個相互獨立卻又在主題上産生深刻迴響的章節組成,每一章都聚焦於一個特定的城市角落、一種普遍存在的社會現象或一個被忽視的群體。裏德似乎在邀請讀者進行一場漫長的、無聲的漫步,穿梭於清晨的地鐵車廂、深夜亮著白熾燈的便利店、被高樓陰影籠罩的公園長椅,以及那些永遠在裝修卻從未完工的寫字樓內部。 第一部:霓虹與靜默 本書的開篇部分,裏德將焦點投射到城市節奏的初期:黎明前的鍾聲與日落後的喧囂。章節如“第十三號站颱的遺失者”和“自動售貨機的倫理”深入探討瞭通勤者在每日重復性勞動中的精神狀態。她描繪瞭那些眼神空洞、隻關注手機屏幕上不斷滾動的虛擬信息流的人們,他們身體在移動,靈魂卻被釘在瞭屏幕的方寸之間。裏德的文字充滿瞭對“效率至上”哲學的反思,她敏銳地捕捉到,當一切都被優化和量化時,人性中那些非功利性的美好——比如無目的的凝視、不期而遇的善意——是如何被擠壓到生存邊緣的。 一個令人印象深刻的段落描繪瞭一位老舊圖書館的管理員,她拒絕使用電子藉閱係統,堅持用卡片和印章記錄每一本書的流轉。在裏德的筆下,這位管理員不再是過時的象徵,而是抵抗數字洪流的最後一道精神壁壘。 第二部:邊界與僞裝 進入本書的中間部分,敘事轉嚮瞭人際交往中的“錶演性”。裏德探討瞭社交媒體如何重塑瞭個體的自我認知與對他人的期望。她筆下的角色們都帶著一副精心打磨的麵具:成功人士在聚會上談論著那些自己並不真正關心的商業戰略;年輕情侶在公共場閤展示著完美的親密瞬間,卻在轉身後的電梯裏陷入沉默的僵局。 “虛擬牆的建造師”一章,對那些熱衷於在網絡上構建完美人設的角色進行瞭無情的剖析。裏德沒有進行道德審判,而是以一種近乎人類學傢的冷靜,記錄瞭這種為瞭在信息海洋中獲得“存在感”而付齣的巨大情感成本。她細膩地描繪瞭當麵具滑落時,角色們所感受到的那種深刻的、難以言喻的羞恥與空虛。這種對“真實性缺失”的探討是本書最引人入勝的部分之一。 第三部:記憶的褶皺與微小的反抗 隨著故事的推進,裏德開始尋找那些在宏大敘事之外閃爍的微光。她將目光投嚮城市的“遺忘角落”:被拆除的老建築基址、雨水衝刷後的塗鴉,以及那些選擇在城市邊緣過著半隱居生活的老人。 在“廢棄鐵路旁的苔蘚”一章中,她描述瞭一群利用城市廢棄空間進行非正式藝術創作的年輕人。他們的作品轉瞬即逝,不為記錄,隻為在創作的瞬間達成一種與環境的和諧共振。這部分內容充滿瞭詩意,與前兩部分的冷峻形成瞭強烈的對比,暗示瞭即使在最壓抑的環境中,人類對意義和美的追求也從未熄滅。 寫作風格與藝術價值: 伊芙琳·裏德的寫作風格極為精煉,充滿瞭精準的意象和不常見的詞匯組閤,但又不失流暢性。她的敘事節奏時而緩慢如沉思,時而急促如突發的焦慮。本書的強大之處在於其“在場感”——讀者仿佛能聞到潮濕水泥的氣味,聽到遠處傳來的警笛聲。她避免瞭對角色的過度解讀,而是將觀察結果呈現給讀者,鼓勵讀者自行填補情感的空白,從而使每個人都能在這些都市幽靈的影子中找到自己的一部分。 《光影間的低語》是一部獻給所有在現代都市中感到自己既無比重要又徹底微不足道的個體的情書。它要求讀者放慢腳步,重新審視自己習以為常的日常生活,並思考:我們究竟是在生活,還是僅僅在被觀察?這本書是對當下社會心理狀態的一次深刻、必要且令人不安的冥想。它不會提供答案,但會提齣恰到好處的問題,在你閤上書本之後,仍會在你心中縈繞不去。