...And Now Miguel 牧童历险记 [平装] [8岁及以上] pdf epub mobi txt 电子书 下载 2025

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☆☆☆☆☆

Joseph Krumgold（约瑟夫·葛鲁姆哥德） 著

图书标签:

• 冒险
• 儿童文学
• 成长
• 友谊
• 勇气
• 牧童
• 西班牙
• 文化
• 平装本
• 8岁+

出版社： HarperCollins US

ISBN：9780064401432

商品编码：19004847

包装：平装

出版时间：1984-04-04

用纸：胶版纸

页数：256

正文语种：英文

商品尺寸：19.3x12.95x1.27cm

内容简介

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.

作者简介

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.

内页插图

精彩书评

"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.

精彩书摘

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

穿越时空的信笺：老船长的航海日志（精装版） 书名： 穿越时空的信笺：老船长的航海日志 作者： 伊莱亚斯·范德林德 装帧： 精装 适读年龄： 10岁及以上 --- 内容简介： 《穿越时空的信笺：老船长的航海日志》并非讲述一个简单的寻宝故事，它是一部关于时间、记忆与人性坚韧的宏大史诗。本书以十八世纪末，大航海时代余晖笼罩下的世界为背景，通过一位名叫阿瑟·芬奇的老船长留下的、跨越四十余年的航海日志和数十封未曾寄出的信件，编织了一张复杂而引人入胜的时间之网。 阿瑟·芬奇，人称“铁锚”，一生追逐着传说中“永恒之岛”的踪迹。但这趟旅程的核心，并非地理上的发现，而是他对过去错误的救赎，以及对逝去爱情的无尽怀念。日志的开篇，记录着他年轻时作为见习水手，初次踏上“海妖之歌”号时的意气风发。那时的他，眼中只有风浪和荣誉，对陆地上的责任与承诺嗤之以鼻。 第一部分：风暴与誓言（1788-1795） 日志的前半部分，详尽地描绘了芬奇早年在北大西洋的艰苦生活。他不仅记录了如何躲避英法冲突的战舰，如何在冰山群中艰难航行，还细致地描绘了船员们的生活百态——从卑微的伙夫到心怀鬼胎的军官。特别引人注目的是他对加勒比海盗活动的深入观察。芬奇在一次与西班牙大帆船的遭遇中，展现了非凡的战术头脑，但也因此错过了返回故土的最后时机。 在这些关于航海技术的精确描述背后，是芬奇对故乡一位名叫伊莎贝尔的织布女的深刻思念。信件部分主要集中在这一时期，字里行间充满了热切的承诺与无法兑现的抱歉。他告诉伊莎贝尔，他会带着足够的财富和荣耀回来娶她，但每一次“下一次”都变成了遥远的未来。这段描写细腻地展现了青年人对“远方”的浪漫化想象与现实残酷之间的巨大落差。 第二部分：失落的坐标与时间之谜（1796-1810） 航程进入了更神秘的领域。芬奇带领船队深入南太平洋，试图追寻一幅由一位濒死探险家留下的、声称能指向“永恒之岛”的星图。然而，这次航行标志着芬奇人生的转折点。在一次突如其来的、持续了七昼夜的奇异磁暴中，“海妖之歌”号似乎偏离了正常的时空轨迹。 日志记录变得越来越怪诞和哲学化。芬奇开始描述一些“不该存在”的现象：海面上反射出从未见过的星座；船员们有时会回忆起尚未发生的事情；甚至在某次停靠的小岛上，他们发现了一座古老文明的遗迹，其建筑风格糅合了后世才出现的几何学原理。 芬奇坚信，永恒之岛并非一个地理上的终点，而是一个“时间上的锚点”。他开始在日志中穿插对历史事件的预言式记录，这些记录与他所处的时代背景形成了令人不安的对照。例如，他准确描述了拿破仑战争中某次关键战役的结局，但这些文字写于战役发生前数年。 第三部分：孤独的守护者与最终的信（1811-1830） 接下来的篇章，芬奇成了一位孤独的守护者。他失去了大部分船员，船只残破不堪，但他仍在坚持航行。他不再寻求财富，而是试图逆转他早期航行中犯下的错误——特别是他无意中干预了某个偏远部落的兴衰，并因此失去了伊莎贝尔的音信。 这一阶段的日志，充满了对“时间悖论”的沉思。芬奇开始怀疑，他所经历的一切，是否只是为了在某个特定的时刻，将这本日志和信件集合，交付给一个特定的接收者。他用尽最后的资源，将日志和信件用防水的鲸油皮革仔细包裹，藏入一个特殊的、由他亲手雕刻的黄铜箱中。 最后一封信，写给一个他从未谋面、但名字经常出现在他梦中的“继承人”。信中，芬奇终于承认了年轻时的傲慢与怯懦，并恳请接收者——“记住，荣耀并非来自你发现的新大陆，而是你选择如何对待你离开的旧世界。” 主题与深度： 《穿越时空的信笺》不仅仅是海盗、探险和浪漫的组合。它深入探讨了： 1. 时间的相对性： 探讨了记忆与现实如何被个人经历扭曲，以及“永恒”在不同心境下的意义。 2. 责任的代价： 芬奇的一生是对“承诺”这一主题的深刻反思。他用数十年的漂泊证明，任何伟大的征服都无法弥补对亲近之人失职的遗憾。 3. 知识的重量： 芬奇对星象、制图学和古老文明的痴迷，反映了人类对未知世界永不满足的探索欲，但他也警告，有些知识可能过于沉重，不适合人类的心灵负荷。 本书的叙事结构精妙，通过不同时间点的日志和信件交错，要求读者像解密者一样，将芬奇破碎的时间线重新拼凑起来。最终，读者将跟随老船长的目光，看到的不是黄金，而是时间洪流中，人性中不变的光芒与阴影。这本精装日志，是献给所有在迷雾中寻找方向的水手和迷失在生活中的探险家们的一份珍贵遗产。

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这本书的名字就带着一种引人入胜的神秘感，...And Now Miguel 牧童历险记，光是听着就觉得这是一段关于成长、关于探索、关于一段不平凡旅程的故事。我拿到这本书的时候，就被它的封面设计深深吸引了，那是一种质朴而又充满生机的画面，仿佛能闻到大自然的气息，感受到牧童们在大地上的奔跑和欢笑。我非常期待能够跟随主人公的脚步，去感受他所经历的一切，去理解那些他所面临的挑战和选择。8岁及以上这个推荐年龄段，也让我觉得这本书是为那些充满好奇心、渴望冒险的小读者们量身定做的，我相信它一定能够点燃孩子们的想象力，带他们进入一个充满奇幻色彩的世界。这本书的名字给我留下了一个非常深刻的第一印象，让我迫不及待地想要翻开书页，探寻隐藏在其中的故事。我尤其对“牧童历险记”这几个字感到好奇，它勾勒出了一幅画面，有广袤的草原，有自由奔放的羊群，还有一群充满活力、勇敢无畏的少年。我猜测，这本书会讲述关于友情、关于勇气、关于如何在自然环境中生存和成长的一些故事，这些都是孩子们成长过程中非常重要的主题。我希望这本书能够提供一些积极的引导，让孩子们在阅读中学习到宝贵的品质。

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《...And Now Miguel 牧童历险记》这个书名，在我脑海中勾勒出一幅充满异域风情和古老魅力的画面。我猜想，故事的主人公 Miguel 可能生活在一个与我所熟悉的现代都市截然不同的环境中，那里有广阔无垠的天地，有淳朴的生活方式，有与自然和谐共处的人们。我对于“牧童”这个角色充满了好奇，他们常常与自由、与野性、与坚韧联系在一起，仿佛是大地之子，与风雨为伴，与星辰为友。而“历险记”更是激发了我内心深处的探险欲望，我期待着 Miguel 会经历怎样惊心动魄的冒险，他会遇到哪些意想不到的困难，又将如何凭借自己的智慧和勇气去克服它们。这本书听起来不仅仅是一段冒险，更可能是一次关于成长的洗礼，一次对生命意义的探索。我非常喜欢那些能够将读者带入一个全新世界的故事，让我暂时忘却现实的烦恼，沉浸在另一个时空之中，体验别样的人生。

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“...And Now Miguel 牧童历险记”这个书名，有一种直击人心的力量，它仿佛是一个故事的开场白，邀请你去倾听，去感受。我特别注意到“And Now Miguel”，这个开头的词语，似乎预示着故事的展开，也可能暗示着 Miguel 自身存在的某种重要性，或者他将要扮演的角色。而“牧童历险记”则进一步描绘了一个充满野趣和挑战的场景，让我联想到广阔的原野，自由的风，以及一个年轻的生命，在自然的怀抱中，经历着成长与蜕变。我猜测，这本书可能会以一种非常贴近生活、贴近自然的方式，讲述 Miguel 的故事，他的喜怒哀乐，他的困惑与坚持，他的友情与亲情。我期待着，这本书能够带给我一种纯粹而又深刻的阅读感受，让我能够从 Miguel 的经历中，感受到生命的活力，以及面对困难时的勇气。我希望这本书能像一位老朋友，在安静的午后，与我分享一段关于成长、关于冒险、关于爱的故事，让我沉醉其中，久久不能忘怀。

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我一直对那些能够触及心灵深处的故事有着特别的偏爱，而《...And Now Miguel 牧童历险记》这个名字，在我看来，就蕴含着一种能够引起共鸣的力量。它不仅仅是一个简单的故事标题，更像是一个承诺，承诺将带领读者踏上一段情感丰富的旅程。我联想到许多经典的成长小说，它们往往以一个少年视角出发，展现出他们在面对未知时的迷茫、在经历挑战时的坚韧，以及在获得成长时的喜悦。《...And Now Miguel 牧童历险记》听起来就具有这样的潜力，它或许会描绘出 Miguel 的内心世界，他可能有着自己的梦想、自己的困惑，以及在追逐梦想的过程中所遭遇的种种磨难。我期待这本书能够触及孩子们内心最柔软的部分，让他们在 Miguel 的故事中找到自己的影子，感受到共鸣，甚至从中获得力量和启发。我更希望这本书能够以一种温和而又不失深刻的方式，探讨一些关于自我认知、关于家庭关系、关于友谊的重要性等主题，让孩子们在享受阅读乐趣的同时，也能获得一些关于人生道理的启示。

评分☆☆☆☆☆

《...And Now Miguel 牧童历险记》这个名字，在我听来，有一种特别的节奏感，仿佛隐藏着一段令人难以忘怀的旋律。我脑海中浮现的，并非是喧嚣都市的钢筋水泥，而是悠扬的笛声，是羊群低低的咩叫，是清晨微凉的风拂过脸颊的触感。我似乎已经能够感受到 Miguel 的身影，他可能是一个略显腼腆却内心坚毅的孩子，他的生活围绕着那些温顺的羊群，他的世界因这些生灵而充满了色彩。而“历险记”，则暗示着一段不平静的旅程，或许是意外的迷失，或许是突如其来的危险，又或者是为了某个重要目标而必须踏上的征途。我期待着，这本书能够以一种细腻而富有诗意的方式，展现 Miguel 在这段旅程中的成长轨迹，他如何从一个懵懂的少年，逐渐蜕变为一个有担当、有智慧的年轻人。我希望这本书能够带给我一种宁静而又充满力量的阅读体验，让我感受到生命的美好，以及坚韧不拔的精神。

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买来囤着的，以后给小孩子看。

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很好的原版书，很适合初中孩子阅读，

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大奖小说。乐高的经典书，有很多图例是需要专门的系类才能搭建。《乐高全书:乐高的故事+乐高迷你人仔(套装共2册)》内容简介：乐高积木已经走过50多年了，但他依然年轻。为什么乐高积木能不断的激发全世界的小孩子和大人们的创造灵感。它每天都是个新玩具。乐高积木的叠加方式是无穷无尽的，只需要仅仅六块同颜色的乐高积木就能搭建出不止九亿一千五百万个造型。所以乐高玩法师永无止境的。乐高积木不仅仅只是个玩具，它还有培养了合作与社交技能的能力。如果你把不同国籍的孩子召集在一起，他们不懂彼此的语言，只要给他们乐高积木，他们就会自然而然的一起玩起来。乐高积木是世界通用的好玩儿的玩具！所有这些都会在《乐高的故事》里一一为你展现……什么样的人偶玩具能让无数人为之疯狂？50年经久不衰的玩具公司，制作出了风靡全球30年的木头人仔，它究竟有什么神奇之处？长得多高才能创造历史？那些耳熟能详的经典套系：乐高城市、海盗船长、星球大战、哈利•波特、NBA、机械战士……囊括了时尚与流行、传统与经典的所有精华的玩具——乐高，第一次为中国乐高迷呈现的完成套系典藏目录。将所有已出的套装人物一一列举并阐释历史、讲述故事。

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莫熙丢下两串钱出来，掂了掂手中的墨，满意地一笑，雇了一辆驴车，往城门去了。

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孩子学英语，不是在学一种道理，也不必长期参加培训班，而是生活在英语的生活里。换句话说，家长、老师要尽量帮助孩子，养成天天用英语的习惯。 我见到很多孩子，很喜欢看书，只不过原版书是英文写的，孩子暂时还不能“心领神会”，所以孩子就不爱看。我见到有的家长给 10 岁左右的孩子买过几本简单的原版书，但是孩子没看几天就不看了，因为阅读很吃力。孩子阅读吃力的时候，最需要的是帮助，而不是眼睁睁看着孩子就这么放弃。障碍不解决，就永远是障碍。况且，孩子是能把这本书读下去的。我们可以参考香港小学一些好的教法。 香港特别重视小学英语课外活动。10 年前，香港第一任行政长官董建华先生，在 2001 年《政府施政报告》第5部分，向市民承诺“从 2002 年开始，政府将采取措施，加强小学的英语教学”。怎么加强呢？有一种做法，就是督促学校在课外开展广泛的英语阅读活动。香港教育当局很重视推广阅读风气，他们下发给小学的指导文件里，反复提到：“英语阅读能力，是孩子终身必备的学习能力。” 香港一些小学，每天放学之后，有一个小时英语阅读活动，他们称之为 reading workshop ，有点类似咱们的托管班，放学后的孩子，聚在老师身边读英语书。在香港著名的圣保罗学校附属小学，有一位老师，给2年级孩子分别用英语和粤语，讲读 Charlotte's Web，老师带着学生从头讲到尾，一边讲，一边让学生用荧光笔在原版书上作记号。 这位老师不给孩子讲语法术语，也没必要给孩子讲语法术语。这位老师利用荧光笔，利用孩子天生对色彩的敏感，把重要的英语结构，自然而然印在孩子心里，让孩子不知不觉，学到很多东西。 老师把整整一本书，给孩子认认真真讲一遍，从头到尾，没有一句遗漏，这很关键。如果老师只是简单串讲一个故事梗概，意义就不大了。我们有的孩子看英语书，就有一点走马观花，碰到文字稍微困难的地方，就跳过去不看了；还有的孩子看英语，碰到不懂的地方，就直接去看中文翻译，这实际上是在读故事，英语的提高很有限。 老师给孩子讲读原版书，不是为了讲故事。老师的教学意图，是让孩子以后能够独立阅读；是让孩子掌握阅读策略，提高阅读速度；是借用各种色彩，帮孩子熟悉英文语法；是以附带习得的方式，扩大孩子的单词量...... 香港很多 10 岁的小学生，每天自己看原版书，并非孩子聪明过人，而是老师已经带着孩子们认认真真读过几本原版书了，经过细水长流的教学铺垫，孩子的英语才能飞跃。 学英语，不能断断续续，孩子需要天天沉潜在英语里。我举台湾地区的例子，近些年台湾教育当局强调英语学习与国际接轨，台湾一些重点小学，开家长会的时候，英语老师会给家长推荐一份原版书的书单，并对家长说：“英语学习与国际接轨不是一句口号，而是具体的生活方式，让孩子每天睡觉前，读半小时原版书。” 让英文原版书，成为孩子的好朋友。有阅读原版书习惯的孩子，学英语所收获的，不是一朵小花，而是一个春天。

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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.

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and now miguel is set during the 1950s, in those times it was lonely , a little later after the great depression. this story is based on a hard working family that works on a farm . this story takes place in a ranch near taos, new mexico. my story also takes place in diffrent areas. the most common areas were the mountains of sange de cristio and in his family's farm where he keeps on hoping to be surprisingly asked to go with the men to the mountains and feed the sheep.

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“周管事”顶着正午的日头跪着，身上的衣裳已经湿了又干，干了又湿，反复三遍。

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