...And Now Miguel 牧童曆險記 [平裝] [8歲及以上] pdf epub mobi txt 電子書 下載 2026

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☆☆☆☆☆

Joseph Krumgold（約瑟夫·葛魯姆哥德） 著

圖書標籤:

• 冒險
• 兒童文學
• 成長
• 友誼
• 勇氣
• 牧童
• 西班牙
• 文化
• 平裝本
• 8歲+

齣版社： HarperCollins US

ISBN：9780064401432

商品編碼：19004847

包裝：平裝

齣版時間：1984-04-04

用紙：膠版紙

頁數：256

正文語種：英文

商品尺寸：19.3x12.95x1.27cm

內容簡介

He wanted to be treated like a man, not a child.

Every summer the men of the Chavez family go on a long and difficult sheep drive to the mountains. All the men, that is, except for Miguel. All year long, twelve-year-old Miguel tries to prove that he, too, is up to the challenge'that he, too, is up to the challenge'that he, too is ready to take the sheep into his beloved Sangre de Cristo Mountains.

When his deeds go unnoticed, he prays to San Ysidro, the saint for farmers everywhere. And his prayer is answered . . . but with devastating consequences.

When you act like an adult but get treated like a child, what else can you do but keep your wishes secret and pray that they'll come true.

This is the story of a twelve-year-old Miguel Chavez, who yearns in his heart to go with the men of his family on a long and hard sheep drive to the Sangre de Cristo Mountains--until his prayer is finally answered, with a disturbing and dangerous exchange.

作者簡介

Joseph Krumgold received the Newbery Medal for ...And Now Miguel. One of the few people to receive the medal twice, he was subsequently awarded it for his novel Onion John,also available in a Harper Trophy edition.

內頁插圖

精彩書評

"A memorable and deeply moving story of a family of New Mexican sheepherders, in which Miguel, neither child nor man, tells of his great longing to accompany men and sheep to summer pasture, and expresses his need to be recognized as a maturing individual."
-- BL.

精彩書摘

CHAPTER ONE
It was love at first sight and I was astonished that it should be happening to me because the first sight had nothing in the least alluring about it. The roads from airports to cities rarely do. I was like a man who bewilders his friends by becoming infatuated with a particularly unprepossessing woman-warts and a squint and a harelip. 'What on earth does he see in her?' I've often wondered myself. What did I see in that dreary road which was taking me to Paris?
This sudden incomprehensible love affair might have been a little less mysterious if I had arrived in France with gooseflesh anticipations of romantic garrets and dangerous liaisons in them, the Latin Quarter and champagne at five francs a bottle, and artists' studios-all the preposterous sentimental paraphernalia from absinthe to midinettes. But I had not included any of these notions in my meagre luggage, I had no preliminary yearnings towards the country. Rather the contrary. In Australia I had spent much of my time with a young woman who had visited France just before the war and had gone down with a bad attack of what someone called 'French flu'. She babbled so fervently and persistently about France and Paris that she infected me with a perverse loathing for both.
The fact nonetheless inexplicably remains. A hundred yards from the airport we passed a café ('Le Looping', with the two o's aerobatically askew to make the point clear) and puppy love overwhelmed me-puppy love from which this old dog has not yet shaken himself free. 'Le Looping' and the handful of unremarkable customers sipping their drinks on the terrace instantaneously bewitched me.
I knew, with no rational justification, that I was in a country which for me was unlike any other country. It was as though some indigenous evangelist had caused me to be 'born again'.
One life abruptly ended and another began. There and then I shed my twenty-five years. To this day, in my own head and heart I am twenty-five years younger than the miserable reality.
The passengers in the airport bus were a drab lot. It was only eighteen months since the war had ended. There had not been much time to spruce up. In my besotted state, they seemed to me as fabulous as troubadours. The houses along the road were dismal little pavilions badly in need of a coat of paint. I gaped at them as if each one were the Chateau de Versailles. And in the distance the Eiffel Tower looked so impossibly like itself as depicted on a thousand postcards and a thousand amateur paintings that the sense of unreality which I had been feeling deepened still further.
What had brought me to Paris was my eagerness to visit a writer I had admired since my school days. He and his wife were to become two of my closest friends. We saw a great deal of each other in the years ahead-in Paris, in the South of France, in the Loire Valley. Of all the countless occasions on which we laughed together, argued, drank wine, loafed on a Mediterranean beach, listened to music, none was as sheerly magical as that first evening in Paris.
Our relationship took shape from the very beginning. We were already friends by the time we left their studio and strolled together down the Boulevard de Montparnasse. For some reason, twilight in Parts, then at least, was not like twilight in any other city. It enveloped you in a wonderful blue and golden luminosity and it had its own special unidentifiable perfume. That one-and-only twilight dreamily descending on us was so unlike anything I had known that I had my first vague glimpse of a mystery which was to become more and more apparent as time went by: Parts was the city of the unexpected. You always felt as though something extraordinary were about to happen. Sometimes it did, sometimes not; but the expectation never diminished. One went on waiting.
Twilight aside, most things were in short supply in 1947. Fortunately, the writer had been familiar with Paris for thirty years or more. He was already on the right sort of terms with the proprietor of an unassuming restaurant in one of the side streets. So we were served with a mixture of raw vegetables, a sorrel omelette (I can still recall the metallic taste of that sorrel) and, thanks to the proprietor's peasant brother, some wild duck. The wine was a muscular red with a powerful rasp to it but (a symptom of French flu?) I thought I had never drunk anything so delicious. It was served in cups as if we were in the prohibition speakeasy era because otherwise less privileged customers would have been clamouring for some and there wasn't any too much to be had.
Afterwards we walked back along the boulevard towards the studio. We stopped midway for a glass of brandy at the D?me. Tourists had not yet ventured to return to Paris. The other customers on the terrace were all French, completely nondescript but fascinating because they were French. There were practically no cars on the roads. Those there were either had great charcoal-burning furnaces fixed to the back or carried dirigible-like bags of gas on their roofs. Every so often a fiacre went clip-clopping past. The air was almost startling pure. The stars were sharply visible in a translucent sky. I turned to the man at the next table and asked him for a light-speaking French for the first time in my life. I managed to make three ludicrous grammatical blunders in the course of that one short sentence. If he was amused by my linguistic ineptitude he was too polite to show it. La politesse francaise-that still existed, too.

前言/序言

穿越時空的信箋：老船長的航海日誌（精裝版） 書名： 穿越時空的信箋：老船長的航海日誌 作者： 伊萊亞斯·範德林德 裝幀： 精裝 適讀年齡： 10歲及以上 --- 內容簡介： 《穿越時空的信箋：老船長的航海日誌》並非講述一個簡單的尋寶故事，它是一部關於時間、記憶與人性堅韌的宏大史詩。本書以十八世紀末，大航海時代餘暉籠罩下的世界為背景，通過一位名叫阿瑟·芬奇的老船長留下的、跨越四十餘年的航海日誌和數十封未曾寄齣的信件，編織瞭一張復雜而引人入勝的時間之網。 阿瑟·芬奇，人稱“鐵錨”，一生追逐著傳說中“永恒之島”的蹤跡。但這趟旅程的核心，並非地理上的發現，而是他對過去錯誤的救贖，以及對逝去愛情的無盡懷念。日誌的開篇，記錄著他年輕時作為見習水手，初次踏上“海妖之歌”號時的意氣風發。那時的他，眼中隻有風浪和榮譽，對陸地上的責任與承諾嗤之以鼻。 第一部分：風暴與誓言（1788-1795） 日誌的前半部分，詳盡地描繪瞭芬奇早年在北大西洋的艱苦生活。他不僅記錄瞭如何躲避英法衝突的戰艦，如何在冰山群中艱難航行，還細緻地描繪瞭船員們的生活百態——從卑微的夥夫到心懷鬼胎的軍官。特彆引人注目的是他對加勒比海盜活動的深入觀察。芬奇在一次與西班牙大帆船的遭遇中，展現瞭非凡的戰術頭腦，但也因此錯過瞭返迴故土的最後時機。 在這些關於航海技術的精確描述背後，是芬奇對故鄉一位名叫伊莎貝爾的織布女的深刻思念。信件部分主要集中在這一時期，字裏行間充滿瞭熱切的承諾與無法兌現的抱歉。他告訴伊莎貝爾，他會帶著足夠的財富和榮耀迴來娶她，但每一次“下一次”都變成瞭遙遠的未來。這段描寫細膩地展現瞭青年人對“遠方”的浪漫化想象與現實殘酷之間的巨大落差。 第二部分：失落的坐標與時間之謎（1796-1810） 航程進入瞭更神秘的領域。芬奇帶領船隊深入南太平洋，試圖追尋一幅由一位瀕死探險傢留下的、聲稱能指嚮“永恒之島”的星圖。然而，這次航行標誌著芬奇人生的轉摺點。在一次突如其來的、持續瞭七晝夜的奇異磁暴中，“海妖之歌”號似乎偏離瞭正常的時空軌跡。 日誌記錄變得越來越怪誕和哲學化。芬奇開始描述一些“不該存在”的現象：海麵上反射齣從未見過的星座；船員們有時會迴憶起尚未發生的事情；甚至在某次停靠的小島上，他們發現瞭一座古老文明的遺跡，其建築風格糅閤瞭後世纔齣現的幾何學原理。 芬奇堅信，永恒之島並非一個地理上的終點，而是一個“時間上的錨點”。他開始在日誌中穿插對曆史事件的預言式記錄，這些記錄與他所處的時代背景形成瞭令人不安的對照。例如，他準確描述瞭拿破侖戰爭中某次關鍵戰役的結局，但這些文字寫於戰役發生前數年。 第三部分：孤獨的守護者與最終的信（1811-1830） 接下來的篇章，芬奇成瞭一位孤獨的守護者。他失去瞭大部分船員，船隻殘破不堪，但他仍在堅持航行。他不再尋求財富，而是試圖逆轉他早期航行中犯下的錯誤——特彆是他無意中乾預瞭某個偏遠部落的興衰，並因此失去瞭伊莎貝爾的音信。 這一階段的日誌，充滿瞭對“時間悖論”的沉思。芬奇開始懷疑，他所經曆的一切，是否隻是為瞭在某個特定的時刻，將這本日誌和信件集閤，交付給一個特定的接收者。他用盡最後的資源，將日誌和信件用防水的鯨油皮革仔細包裹，藏入一個特殊的、由他親手雕刻的黃銅箱中。 最後一封信，寫給一個他從未謀麵、但名字經常齣現在他夢中的“繼承人”。信中，芬奇終於承認瞭年輕時的傲慢與怯懦，並懇請接收者——“記住，榮耀並非來自你發現的新大陸，而是你選擇如何對待你離開的舊世界。” 主題與深度： 《穿越時空的信箋》不僅僅是海盜、探險和浪漫的組閤。它深入探討瞭： 1. 時間的相對性： 探討瞭記憶與現實如何被個人經曆扭麯，以及“永恒”在不同心境下的意義。 2. 責任的代價： 芬奇的一生是對“承諾”這一主題的深刻反思。他用數十年的漂泊證明，任何偉大的徵服都無法彌補對親近之人失職的遺憾。 3. 知識的重量： 芬奇對星象、製圖學和古老文明的癡迷，反映瞭人類對未知世界永不滿足的探索欲，但他也警告，有些知識可能過於沉重，不適閤人類的心靈負荷。 本書的敘事結構精妙，通過不同時間點的日誌和信件交錯，要求讀者像解密者一樣，將芬奇破碎的時間綫重新拼湊起來。最終，讀者將跟隨老船長的目光，看到的不是黃金，而是時間洪流中，人性中不變的光芒與陰影。這本精裝日誌，是獻給所有在迷霧中尋找方嚮的水手和迷失在生活中的探險傢們的一份珍貴遺産。

評分☆☆☆☆☆

Every summer the men of the Chavez family go on a long and difficult sheep drive to the mountains. All the men, that is, except for Miguel. All year long, twelve-year-old Miguel tries to prove that he, too, is up to the challenge'that he, too, is up to the challenge'that he, too is ready to take the sheep into his beloved Sangre de Cristo Mountains.

評分☆☆☆☆☆

陳傢一夥是江浙一代做仙人跳的，流竄到瞭錢塘。以蕭傢巨富為餌，讓他們閤作不費吹灰之力。莫熙簡單改頭換麵，便以貼身丫頭的身份，由陳蘭帶著光明正大入瞭蕭府。

評分☆☆☆☆☆

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評分☆☆☆☆☆

次日，艷陽高照。

評分☆☆☆☆☆

孩子學英語，不是在學一種道理，也不必長期參加培訓班，而是生活在英語的生活裏。換句話說，傢長、老師要盡量幫助孩子，養成天天用英語的習慣。 我見到很多孩子，很喜歡看書，隻不過原版書是英文寫的，孩子暫時還不能“心領神會”，所以孩子就不愛看。我見到有的傢長給 10 歲左右的孩子買過幾本簡單的原版書，但是孩子沒看幾天就不看瞭，因為閱讀很吃力。孩子閱讀吃力的時候，最需要的是幫助，而不是眼睜睜看著孩子就這麼放棄。障礙不解決，就永遠是障礙。況且，孩子是能把這本書讀下去的。我們可以參考香港小學一些好的教法。 香港特彆重視小學英語課外活動。10 年前，香港第一任行政長官董建華先生，在 2001 年《政府施政報告》第5部分，嚮市民承諾“從 2002 年開始，政府將采取措施，加強小學的英語教學”。怎麼加強呢？有一種做法，就是督促學校在課外開展廣泛的英語閱讀活動。香港教育當局很重視推廣閱讀風氣，他們下發給小學的指導文件裏，反復提到：“英語閱讀能力，是孩子終身必備的學習能力。” 香港一些小學，每天放學之後，有一個小時英語閱讀活動，他們稱之為 reading workshop ，有點類似咱們的托管班，放學後的孩子，聚在老師身邊讀英語書。在香港著名的聖保羅學校附屬小學，有一位老師，給2年級孩子分彆用英語和粵語，講讀 Charlotte's Web，老師帶著學生從頭講到尾，一邊講，一邊讓學生用熒光筆在原版書上作記號。 這位老師不給孩子講語法術語，也沒必要給孩子講語法術語。這位老師利用熒光筆，利用孩子天生對色彩的敏感，把重要的英語結構，自然而然印在孩子心裏，讓孩子不知不覺，學到很多東西。 老師把整整一本書，給孩子認認真真講一遍，從頭到尾，沒有一句遺漏，這很關鍵。如果老師隻是簡單串講一個故事梗概，意義就不大瞭。我們有的孩子看英語書，就有一點走馬觀花，碰到文字稍微睏難的地方，就跳過去不看瞭；還有的孩子看英語，碰到不懂的地方，就直接去看中文翻譯，這實際上是在讀故事，英語的提高很有限。 老師給孩子講讀原版書，不是為瞭講故事。老師的教學意圖，是讓孩子以後能夠獨立閱讀；是讓孩子掌握閱讀策略，提高閱讀速度；是藉用各種色彩，幫孩子熟悉英文語法；是以附帶習得的方式，擴大孩子的單詞量...... 香港很多 10 歲的小學生，每天自己看原版書，並非孩子聰明過人，而是老師已經帶著孩子們認認真真讀過幾本原版書瞭，經過細水長流的教學鋪墊，孩子的英語纔能飛躍。 學英語，不能斷斷續續，孩子需要天天沉潛在英語裏。我舉颱灣地區的例子，近些年颱灣教育當局強調英語學習與國際接軌，颱灣一些重點小學，開傢長會的時候，英語老師會給傢長推薦一份原版書的書單，並對傢長說：“英語學習與國際接軌不是一句口號，而是具體的生活方式，讓孩子每天睡覺前，讀半小時原版書。” 讓英文原版書，成為孩子的好朋友。有閱讀原版書習慣的孩子，學英語所收獲的，不是一朵小花，而是一個春天。

評分☆☆☆☆☆

給孩子提高英語學習興趣。

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Miguel Chavez has dreamed of visiting the Sangre de Cristo Mountains since he was very little. This summer, he is going to work hard and pray until his father and grandfather realize that he is ready to take the trip with the rest of the older men.

評分☆☆☆☆☆

大奬小說。樂高的經典書，有很多圖例是需要專門的係類纔能搭建。《樂高全書:樂高的故事+樂高迷你人仔(套裝共2冊)》內容簡介：樂高積木已經走過50多年瞭，但他依然年輕。為什麼樂高積木能不斷的激發全世界的小孩子和大人們的創造靈感。它每天都是個新玩具。樂高積木的疊加方式是無窮無盡的，隻需要僅僅六塊同顔色的樂高積木就能搭建齣不止九億一韆五百萬個造型。所以樂高玩法師永無止境的。樂高積木不僅僅隻是個玩具，它還有培養瞭閤作與社交技能的能力。如果你把不同國籍的孩子召集在一起，他們不懂彼此的語言，隻要給他們樂高積木，他們就會自然而然的一起玩起來。樂高積木是世界通用的好玩兒的玩具！所有這些都會在《樂高的故事》裏一一為你展現……什麼樣的人偶玩具能讓無數人為之瘋狂？50年經久不衰的玩具公司，製作齣瞭風靡全球30年的木頭人仔，它究竟有什麼神奇之處？長得多高纔能創造曆史？那些耳熟能詳的經典套係：樂高城市、海盜船長、星球大戰、哈利•波特、NBA、機械戰士……囊括瞭時尚與流行、傳統與經典的所有精華的玩具——樂高，第一次為中國樂高迷呈現的完成套係典藏目錄。將所有已齣的套裝人物一一列舉並闡釋曆史、講述故事。

評分☆☆☆☆☆

莫熙丟下兩串錢齣來，掂瞭掂手中的墨，滿意地一笑，雇瞭一輛驢車，往城門去瞭。