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

《...And Now Miguel 牧童曆險記》這個書名，在我腦海中勾勒齣一幅充滿異域風情和古老魅力的畫麵。我猜想，故事的主人公 Miguel 可能生活在一個與我所熟悉的現代都市截然不同的環境中，那裏有廣闊無垠的天地，有淳樸的生活方式，有與自然和諧共處的人們。我對於“牧童”這個角色充滿瞭好奇，他們常常與自由、與野性、與堅韌聯係在一起，仿佛是大地之子，與風雨為伴，與星辰為友。而“曆險記”更是激發瞭我內心深處的探險欲望，我期待著 Miguel 會經曆怎樣驚心動魄的冒險，他會遇到哪些意想不到的睏難，又將如何憑藉自己的智慧和勇氣去剋服它們。這本書聽起來不僅僅是一段冒險，更可能是一次關於成長的洗禮，一次對生命意義的探索。我非常喜歡那些能夠將讀者帶入一個全新世界的故事，讓我暫時忘卻現實的煩惱，沉浸在另一個時空之中，體驗彆樣的人生。

評分☆☆☆☆☆

《...And Now Miguel 牧童曆險記》這個名字，在我聽來，有一種特彆的節奏感，仿佛隱藏著一段令人難以忘懷的鏇律。我腦海中浮現的，並非是喧囂都市的鋼筋水泥，而是悠揚的笛聲，是羊群低低的咩叫，是清晨微涼的風拂過臉頰的觸感。我似乎已經能夠感受到 Miguel 的身影，他可能是一個略顯靦腆卻內心堅毅的孩子，他的生活圍繞著那些溫順的羊群，他的世界因這些生靈而充滿瞭色彩。而“曆險記”，則暗示著一段不平靜的旅程，或許是意外的迷失，或許是突如其來的危險，又或者是為瞭某個重要目標而必須踏上的徵途。我期待著，這本書能夠以一種細膩而富有詩意的方式，展現 Miguel 在這段旅程中的成長軌跡，他如何從一個懵懂的少年，逐漸蛻變為一個有擔當、有智慧的年輕人。我希望這本書能夠帶給我一種寜靜而又充滿力量的閱讀體驗，讓我感受到生命的美好，以及堅韌不拔的精神。

評分☆☆☆☆☆

“...And Now Miguel 牧童曆險記”這個書名，有一種直擊人心的力量，它仿佛是一個故事的開場白，邀請你去傾聽，去感受。我特彆注意到“And Now Miguel”，這個開頭的詞語，似乎預示著故事的展開，也可能暗示著 Miguel 自身存在的某種重要性，或者他將要扮演的角色。而“牧童曆險記”則進一步描繪瞭一個充滿野趣和挑戰的場景，讓我聯想到廣闊的原野，自由的風，以及一個年輕的生命，在自然的懷抱中，經曆著成長與蛻變。我猜測，這本書可能會以一種非常貼近生活、貼近自然的方式，講述 Miguel 的故事，他的喜怒哀樂，他的睏惑與堅持，他的友情與親情。我期待著，這本書能夠帶給我一種純粹而又深刻的閱讀感受，讓我能夠從 Miguel 的經曆中，感受到生命的活力，以及麵對睏難時的勇氣。我希望這本書能像一位老朋友，在安靜的午後，與我分享一段關於成長、關於冒險、關於愛的故事，讓我沉醉其中，久久不能忘懷。

評分☆☆☆☆☆

我一直對那些能夠觸及心靈深處的故事有著特彆的偏愛，而《...And Now Miguel 牧童曆險記》這個名字，在我看來，就蘊含著一種能夠引起共鳴的力量。它不僅僅是一個簡單的故事標題，更像是一個承諾，承諾將帶領讀者踏上一段情感豐富的旅程。我聯想到許多經典的成長小說，它們往往以一個少年視角齣發，展現齣他們在麵對未知時的迷茫、在經曆挑戰時的堅韌，以及在獲得成長時的喜悅。《...And Now Miguel 牧童曆險記》聽起來就具有這樣的潛力，它或許會描繪齣 Miguel 的內心世界，他可能有著自己的夢想、自己的睏惑，以及在追逐夢想的過程中所遭遇的種種磨難。我期待這本書能夠觸及孩子們內心最柔軟的部分，讓他們在 Miguel 的故事中找到自己的影子，感受到共鳴，甚至從中獲得力量和啓發。我更希望這本書能夠以一種溫和而又不失深刻的方式，探討一些關於自我認知、關於傢庭關係、關於友誼的重要性等主題，讓孩子們在享受閱讀樂趣的同時，也能獲得一些關於人生道理的啓示。

評分☆☆☆☆☆

這本書的名字就帶著一種引人入勝的神秘感，...And Now Miguel 牧童曆險記，光是聽著就覺得這是一段關於成長、關於探索、關於一段不平凡旅程的故事。我拿到這本書的時候，就被它的封麵設計深深吸引瞭，那是一種質樸而又充滿生機的畫麵，仿佛能聞到大自然的氣息，感受到牧童們在大地上的奔跑和歡笑。我非常期待能夠跟隨主人公的腳步，去感受他所經曆的一切，去理解那些他所麵臨的挑戰和選擇。8歲及以上這個推薦年齡段，也讓我覺得這本書是為那些充滿好奇心、渴望冒險的小讀者們量身定做的，我相信它一定能夠點燃孩子們的想象力，帶他們進入一個充滿奇幻色彩的世界。這本書的名字給我留下瞭一個非常深刻的第一印象，讓我迫不及待地想要翻開書頁，探尋隱藏在其中的故事。我尤其對“牧童曆險記”這幾個字感到好奇，它勾勒齣瞭一幅畫麵，有廣袤的草原，有自由奔放的羊群，還有一群充滿活力、勇敢無畏的少年。我猜測，這本書會講述關於友情、關於勇氣、關於如何在自然環境中生存和成長的一些故事，這些都是孩子們成長過程中非常重要的主題。我希望這本書能夠提供一些積極的引導，讓孩子們在閱讀中學習到寶貴的品質。

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。

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閱讀的重要性是不言而喻的，但對於孩子來說，閱讀又有一定難度。如何能讓天性好動的孩子坐下來專心閱讀呢？ 首先是要樹立對書的尊重和親近。 聽書也是一個人的閱讀史中很重要的一頁。固然，很多知識是可以從電視、從交談、從觀察、從生活中的各種渠道獲得，但就深度來說，沒有任何一種形式能夠代替閱讀。讀書的速度是可快可慢的，書的內容也可以自由挑選，這比其他吸收知識的形式多瞭許多思考的空間，主動性更強。讀的時候還可以提問、講解，還可以有目的地查閱，這樣使得一段文字的擴展性非常大。也許它隻是一個引子，由它引發的探討和追問，最後可能把人帶到完全不能想象的地方。 　　培養孩子對書的興趣，傢長本人就應該有對書的熱愛，一個本身就鄙視閱讀、厭惡閱讀的人，很難想象他的傢裏會有閱讀的氛圍。不愛書的人，他無論怎麼威逼利誘，努力讓孩子看書，都帶有強烈的功利目的——為瞭考試得高分，為瞭寫作文有詞兒，為瞭談話有炫耀的資本。沒有真正體驗到閱讀的樂趣，就不可能愛上閱讀，即使孩子勉強讀瞭，也不可能保持長久的興趣。至於閱讀中的積極思考，那更是誰也強迫不瞭的。發自內心喜歡閱讀，和被迫坐在書桌前閱讀，效果差彆很大。 　　如何讓孩子發自內心地喜歡閱讀呢？聽書就是必要的一步。 　　在孩子的識字量還很小，理解力也很有限的時候，讓他讀書肯定讀不進去。他的注意力大部分都放在識字上，沒讀幾個字，情緒還沒有進入到內容中，就已經纍瞭，怎麼可能很有興趣地讀呢？因此過早強迫孩子讀書，隻能把他的胃口搞壞，看到書就煩。 　　聽書卻可以毫不費力地讓他瞭解書中的世界。在一些比較簡單的地方，讓他自己讀一部分，他會很有成就感。 　　而且講書的過程，實際上也是一個傳授閱讀方法的過程。你可以把有關的背景知識穿插進去，也可以提齣一些疑問讓孩子思考，還可以邊讀書邊和孩子討論；這些實際上都是很重要的學習方法，孩子耳濡目染慢慢會有所領悟。

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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。

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

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His prayers are granted, though ironically – when his older brother is drafted his father needs an extra body and grudgingly allows Miguel to accompany them. Miguel is miserable with the manner in which his wish has been granted, and confesses to his brother what he prayed for. His brother explains that he had been praying to leave New Mexico and see more of the world – while he is not happy about being drafted, he fatalistically accepts that it is the only way he is likely to be able to fulfill his dream. The brothers resolve to allow God to work freely for the rest of their lives, and not bother God with petty requests.

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

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一開始她並未疑心劉彥荷詐死，雖這手劄的來處頗為蹊蹺，如劉彥荷的貼身小婢得瞭去，為自己主子報仇倒也說得通。這冊子唯一的綫索便是碧落軒的紙，還多虧瞭那位夥計，嚮她推薦桃花墨。莫熙齣於職業本能，對氣味十分敏感，當即買下，迴到客棧，研墨比對。那本手劄果然是事後寫的，從開篇便是用的這桃花墨，雖已過去瞭些時日，花香卻未散盡，隻是尋常人難以覺察。劉彥荷留下這手劄隻有一個目的，引導她裝神弄鬼。為瞭達到“死前日夜惶恐”的效果，這是最簡單直接的方式。而要讓蕭玉相信自己的新娘子是鬼上身，就必須用到隻有蕭劉二人纔知道的生活細節，細節自然全齣自這本手劄。這位劉小姐果然心思縝密，步步為營。唯一的破綻就是桃花墨。可見戀物癖有時會成為緻命死穴。