"More More More,"Said the Baby [Paperback]宝贝想要更多(凯迪克银奖，平装) ISBN9780688147365pdf/txt下载_在线阅读全文

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"More More More," Said the Baby [Paperback]宝贝想要更多(凯迪克银奖，平装)

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内容简介

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

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.

作者简介

Williams,Vera B.的主要作品《妈妈的红沙发》、《宝贝想要更多》先后荣获凯迪克银奖。

In Her Own Words...

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

<p><span lang="EN-US"><a target="_blank" href=
"http://search.dangdang.com/book/search_pub.php?category=01&key2=Williams&order=sort_xtime_desc">
<span style=
"color: windowtext; text-decoration: none; text-underline: none;"><span style="font-size: small;">
Williams</span></span></a><span style="color: #000000;">,</span>
<a target="_blank" href=
"http://search.dangdang.com/book/search_pub.php?category=01&key2=Vera&order=sort_xtime_desc">
<span style=
"color: windowtext; text-decoration: none; text-underline: none;"><span style="font-size: small;">
Vera</span></span></a> <span style=
"color: #000000;">B.</span></span><span style=
"font-family: 宋体; font-size: 10.5pt; mso-bidi-font-family: Calibri; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;"><span style="color: #000000;">的主要作品《妈妈的红沙发》、《宝贝想要更多》先后荣获凯迪克银奖。</span></span></p>
<p>Vera B. Williams lives in New York City.<br />
<br />
In Her Own Words...<br />
<br />
"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.<br />
<br />
"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."<br />
<br />
"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.<br />
<br />
"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.<br />
<br />
"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.<br />
<br />
"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."</p>

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媒体评论

　　"The spontaneity and delight of play is captured perfectly inthis trio of multigenerational, multiracial "love stories" aboutthree pairs of babies and their grown-ups. Told in a natural,colloquial tone, the simple, engaging text is finely honed with arhythm that is musical. The style is as buoyant and infectious asthe actions described: "Little Guy's daddy has to run like anythingjust to catch that baby up." Williams carries the same basicframework and language through each story, generating therepetition that is so satisfying to very young listeners, while thestories and characters maintain their own distinctions. Just as shecelebrates universality within the text, Williams presentsdiversity with characteristic flair within her illustrations.Little Guy and his father are white, Little Pumpkin isAfrican-American and her grandmother is white, and Little Bird andher mother are both Asian-American. Natural and unforced, Williams'choices are an accurate reflection of American society, but arenoteworthy in their representation in books for this age group.Uncluttered, yet filled with movement, the splashy, vibrantpaintings in gouache feature vigorous portraits and large, clearlydefined objects set against a textured expanse of sweepingbrushstrokes. The text appears in rainbow-hued letters within theillustrations, adding to the appealing design. Although it is afine vehicle for toddler storytimes, the real strength of this booklies in the intimacy achieved when it is shared one-on-one betweenbabies and adults or older siblings. A joyous expression of verbaland physical affection, these are truly love stories for our times.More, more, more..."

<p>　　"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..."<br />
　　--School Library Journal</p>

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