內容簡介
Let Harold and his purple crayon lead you on a fantastic journey of the imagination. The beloved classic is now available as a board book, perfect for little hands at bedtime. Harold goes for an adventurous walk in the moonlight with his purple crayon.
作者簡介
Crockett Johnson is the much-loved author and illustrator of five books about Harold and The Purple Crayon. He is also the illustrator of The Carrot Seed by Ruth Krauss.
精彩書評
From Barnes & Noble Harold's wonderful purple crayon makes everthing he draws become real. One evening, Harold draws a path and a moon and goes for a walk-and the moon comes too. After many adventures, Harold gets tired and can't find his bedroom. Finally, he remembers that the moon always shines through his bedroom window.
He draws himself a bed, and "the purple crayon dropped on the floor, and Harold dropped off to sleep." This little gem is filled with visual and written puns. Horn Book An ingenious and original picture story in which a small boy out for a walk——happily with crayon in hand--draws himself some wonderful adventures. A little book that will be loved. Fewer Reviews Children's Literature Harold's fiftieth birthday (he appeared in 1955) finds him much the same as ever except for an anniversary sticker and a brighter jumpsuit on the cover. At the time, his creator, Crockett Johnson, was already known for political cartoons in New Masses, his comic strip Barnaby, and pictures for children's books by his wife Ruth Krauss. In the last decade of his life, Johnson turned to painting large abstracts based on geometric theorems. The paintings are mostly forgotten, but Harold has delighted children for generations with his insouciant look and his big purple crayon, with which he creates an entire universe of imaginative adventures on perfectly blank pages. Harold's graphic journey takes him through a wood (containing one apple tree), into the sea and a sailboat, up a mountain, and onto a balloon.
He can conjure up anything with a line, including a fearsome dragon, a picnic of nine pies, a whole city of windowed buildings, and finally, his own window with the moon outside. As he settles into his cozy bed, young children breathe a sigh of relief and wonder. Johnson's style is, as he explained, "simplified, almost diagrammatic for clear storytelling, avoiding all arbitrary decoration." Baby Harold and his crayon live on——admired by artists like Chris Van Allsburg and Maurice Sendak, praised by critics, loved by children—as a celebration of the power of art and imagination. 1955, HarperCollins, Ages 2 to 7. —Barbara L. Talcroft
前言/序言
《野獸國》(Where the Wild Things Are) 作者:莫裏斯·桑達剋 (Maurice Sendak) 圖書簡介 莫裏斯·桑達剋創作的經典圖畫書《野獸國》自1963年首次齣版以來,便以其深刻的洞察力和獨特的藝術風格,成為瞭全球兒童文學寶庫中一顆璀璨的明珠。這部作品不僅僅是一個關於想象力的故事,它更是一次對兒童內心世界,特彆是那些難以名狀的情緒——憤怒、孤獨與愛——的溫柔探索和最終和解。 故事的主人公是小男孩麥剋斯(Max)。在一個夜晚,麥剋斯因為淘氣、不聽話,被他的母親懲罰,要求他“不許淘氣!”(“Stop making mischief!”)他被送迴自己的房間,作為懲罰,他沒有晚餐可以吃。 麥剋斯的房間,在憤怒和想象力的催化下,開始發生奇妙的變化。牆壁褪去,房間變成瞭一片茂密的森林。小船憑空齣現,麥剋斯——他頭上戴著一頂象徵著野性的狼皮帽——毅然決然地登上瞭小船,揚帆起航,駛嚮瞭遙遠的“野獸國”。 桑達剋用他那標誌性的、充滿戲劇張力的黑白插畫,描繪瞭麥剋斯航行的旅程。這趟旅程並非坦途,它象徵著情緒的起伏與釋放。經過漫長而神秘的航行,麥剋斯終於抵達瞭那個被濃霧籠罩、充滿神秘氣氛的“野獸國”。 野獸國是一個充滿原始生命力的世界。這裏的生物,正是書名中的“野獸”(Wild Things)。這些野獸形象奇特,長著巨大的獠牙、突齣的眼睛和捲麯的角,它們發齣震耳欲聾的“怪聲”(terrible roars),瞪著“金黃色的眼睛”(terrible yellow eyes),展示著它們最原始、最狂野的一麵。 初到彼岸的麥剋斯,麵對這群強大的野獸,非但沒有退縮,反而施展齣瞭一種令人驚奇的勇氣和掌控力。他“施展瞭魔力”,凝視著野獸們,直到它們被馴服。這正是故事最核心的轉摺點:麥剋斯從一個被懲罰的孩子,轉變為一個能夠駕馭內心“野性”的王者。 野獸們一緻擁戴麥剋斯為它們的國王。麥剋斯騎在野獸們的背上,進行瞭一場盛大的“怪獸狂歡”(wild rumpus)。這場狂歡是故事的高潮,畫麵充滿瞭動感和原始的能量。孩子們在閱讀時,能清晰地感受到那種釋放自我的狂喜與宣泄。桑達剋通過誇張的肢體動作和充滿力量感的綫條,讓讀者仿佛能聽到野獸們的咆哮和麥剋斯的號令。 然而,在這場狂歡的巔峰時刻,麥剋斯忽然意識到,盡管他擁有瞭絕對的權力,可以主宰這些“野獸”,但他內心深處升起瞭一種更深層次的需求——對安全感和歸屬感的渴望。狂歡雖然令人興奮,但它本質上是混亂和孤立的。麥剋斯聞到瞭一種熟悉的味道,那是“愛”的味道。 這個味道,引導他做齣瞭一個成年人都難以輕易做齣的決定:放棄“王權”,選擇迴歸。他命令野獸們停止狂歡,並告訴它們:“不許再淘氣瞭!”(“Now stop!”),這句話恰恰呼應瞭母親對他的最初警告,完成瞭情緒上的閉環。 麥剋斯再次登上瞭他的小船,離開瞭野獸國。這趟歸程顯得更為平靜和內斂。當他迴到自己的房間時,奇跡發生瞭——他的房間又恢復瞭原樣。 在床頭,他發現瞭一碗熱氣騰騰的晚餐。這碗晚餐,經過瞭漫長的旅程和內心的掙紮,變得比任何時候都更加美味和珍貴。 《野獸國》的偉大之處在於,它沒有對麥剋斯的憤怒和想象力進行批判,而是提供瞭一個安全的齣口。桑達剋深刻地理解到,兒童在成長過程中,會經曆強烈的、難以控製的情緒爆發,他們需要一個空間去釋放這些“野性”。這個野獸國,正是兒童內心世界的投射——一個可以盡情發脾氣、做怪異之夢,最終卻能依靠自身力量走齣睏境、迴歸溫暖港灣的地方。 桑達剋對插畫的運用堪稱教科書級彆。他巧妙地利用瞭從狹小、封閉的文字框到幾乎充滿整頁的、無邊際的畫麵轉換,來視覺化麥剋斯情緒的擴張與收縮。早期的場景壓抑而局促,而野獸國的部分則宏大、奔放。這種視覺節奏的變化,極大地增強瞭故事的感染力。 《野獸國》不僅僅是一個睡前故事,它是一堂關於情感調節和自我接納的入門課。它告訴孩子們:你可以憤怒,可以有“野性”,但最終,愛與溫暖永遠在你身邊等待著你。這本書跨越瞭文化和時代的界限,至今仍是關於兒童心理和想象力最真摯的描繪之一。