Book Description
The highest standards in editing and production have been applied to the Wordsworth Children's Classics, while the low price makes them affordable for everyone. Wordsworth's list covers a range of the best-loved stories for children, from nursery tales, classic fables, and fairy tales to stories that will appeal to older children and adults alike. Many of these volumes have contemporary illustrations, and while they are ideal for shared family reading, their attractive format will also encourage children to read for themselves. Like all Wordsworth Editions, these children's books represent unbeatable value.
This edition of Lear's work contains all the verse and stories of "The Book of Nonsense", "More Nonsense", "Nonsense Songs", "Nonsense Stories and Nonsense Alphabets" and "Nonsense Cookery".
Amazon.com
"He reads but he cannot speak Spanish, / He cannot abide ginger-beer; / Ere the days of his pilgrimage vanish, / How pleasant to know Mr. Lear!" writes the 19th-century English poet Edward Lear in "Self Portrait of the Laureate of Nonsense." When The Book of Nonsense was first published in 1845, under Lear's pseudonym, Derry Down Derry, it was a success--some say it turned the once stodgy, didactic world of children's literature on its head.
This rollicking poetic romp begins with "A Book of Nonsense" (1846), a slew of more-odd-than-bawdy limericks about the Young Lady of Wales, the Old Man of Vienna, and many, many more, all accompanied by the spare, whimsical ink drawings done by Lear himself. Part two urges readers to leap into "Nonsense Songs, Stories, Botany and Alphabets" (1871), including the classic "The Owl and the Pussy-cat" and "The Jumblies" (who "went to sea in a Sieve"), along with equally rib-tickling but lesser known selections such as "The Nutcrackers and the Sugar-Tongs." In this section, you'll also discover instructions for how to make Crumbobblious Cutlets, a "Nonsense Botany" guide featuring the Bottlephorkia spoonifolia and the Manypeeplia upsidownia, and "Nonsense Alphabets," strange little poems about quills, rattlesnakes, screws, and other words beginning with letters.
Part three merrily inflicts "More Nonsense Pictures, Rhymes, Botany, &c." (1877) on readers with the well-known plant Washtubbia circularis and more wacky limericks such as "There was an old person of Bar, / Who passed all her life in a jar, / Which she painted pea-green, to appear more serene, / That placid old person of Bar." As icing on a very strange cake, the last section offers "Laughable Lyrics, A Fourth Book of Nonsense Poems, Songs, Botany, Music, &c." (1877), notably including "The Pobble Who Has No Toes." Lear's quirky sense of humor infuses every line of his ever skillful verse, which is often alliterative, and always very silly. Lear, the Laureate of Nonsense, frolics frivolously, and no one should ever go to sea in a Sieve without a copy of this book in tow. (All ages)
--Karin Snelson
About Author
Edward Lear (1812-1888) Born in London, Edward Lear was the youngest of twenty-one children. He made his reputation as a water-colorist, and invented himself as an Old Man with a Beard.
Book Dimension :
length: (cm)17.8 width:(cm)11
评分
评分
评分
评分
我必须承认,我对这本书的期望值管理方面做得非常差。我预设了它至少会有一条可以被追踪的线索,哪怕只是一条关于时间旅行的模糊脚注也好。然而,这更像是一本被遗忘在某个旧货店阁楼里、由不同人撕碎了重组而成的笔记的集合。它的“情节”——如果可以称之为情节的话——是完全不可预测的。比如,在某处,一个角色可能正在尝试用勺子挖穿地球的核心,而紧接着的下一段,笔锋一转,变成了对十九世纪家具制作工艺的详尽分析,中间没有“转场”或者“场景切换”的标志,就像是有人在阅读时随意地撕下了另一本书的内页塞了进去。我甚至怀疑作者是否使用了某种算法来生成文本,因为它的重复性和随机性达到了一个令人不安的平衡点。我尝试用“反向工程”的思路去解析它,试图找出隐藏在表象下的作者意图,但最终发现,这本书最大的“主题”可能就是“无主题”。它像是一个无限循环的莫比乌斯环,你越是深入,就越是回到起点,只是起点看起来稍微有点不一样了。
评分对于那些寻求传统叙事体验的读者来说,这本书绝对是一个避雷针。我甚至不确定它是否应该被归类为“小说”或“散文”。它的语言风格充满了令人费解的倒装句和大量使用被弃用的古词汇,这使得阅读过程异常缓慢,仿佛每读一个词都需要先查阅一遍牛津词典。最令人费解的是,作者似乎对“感官描述”有着一种病态的执着,但他描述的都是一些不存在的感官体验。比如,“我听到了蓝色的味道,它有着尖锐的、类似玻璃破碎的声音。” 这种描述彻底切断了文字与现实世界之间的联系。我尝试大声朗读其中一段,希望通过声音的韵律来捕捉到作者的意图,结果我的家人都过来询问我是否正在进行某种行为艺术表演。这本书就像是一张精心制作的地图,但它标示的地理位置完全位于虚构的维度,你无法导航,也无法到达任何地方。它成功地用文字构建了一个密不透风的迷宫,但这个迷宫里没有任何宝藏,只有更多的墙壁和循环的走廊。
评分说实话,我拿到这本书的时候,是冲着作者在圈内流传的那些关于“纯粹形式美学”的传闻来的。大家都说他能用最少的文字构建最复杂的意象。结果,我被塞了一肚子“空”。这本书的排版本身就很诡异,有些页面几乎是全白的,只有中间孤零零地印着一个斜体的问号,仿佛作者在问我:“你真的在读这个吗?” 而另一些页面,则被密密麻麻的、看似从不同语言的字典里随机抓取的名词和动词挤占得喘不过气。我注意到作者非常钟爱使用“紫色的、带着湿气的、沉默的”这类形容词组合,但它们组合在一起时,产生的画面感是极其抽离和令人困惑的。我试着将它当作一本“氛围诗集”来阅读,期望能捕捉到某种情绪的碎片,但即便是情绪,也是飘忽不定的——前一秒还在为一只想象中的海鸥哀悼,下一秒就开始热烈讨论如何烘焙完美的苏打饼干,中间没有任何过渡。这本书的“内容”似乎是建立在一个绝对的、非人类的视角之上的,它拒绝与读者的既有经验产生任何交集。读完它,我感觉自己好像刚刚参加了一场由一群外星人在开普勒-186f行星上举办的即兴演讲,内容深刻,但我完全听不懂。
评分从装帧工艺的角度来看,这本书的纸张手感相当不错,厚实且略带粗糙的纹理,这种触感原本应该衬托出内容的厚重感,但结果却适得其反,让那些空洞的句子显得更加突兀。这本书的“结构”非常反传统,它抛弃了章节划分,取而代之的是一系列编号为“A.1.3.i”,“B.7.gamma”之类的复杂标签,这些标签本身似乎也毫无规律可循。我花了大量时间试图破解这些标签背后的意义,是否代表了某种数学序列或者音乐的调性,但最终发现,它们似乎只是随机生成的字符组合。书中偶尔会出现一些看起来像是引用的文字,比如“正如维特根斯坦所言:…”紧接着的却是“…我们应该用更坚硬的橡胶来制作轮胎。” 这种将严肃的哲学引用与日常琐事并置的手法,如果处理得当,可以产生幽默的效果,但在本书中,它只制造了一种令人疲惫的智力上的错位感。读完这本书,我没有获得任何知识,也没有得到任何启示,我只是感觉我的眼睛扫描了大量的墨水,然后我的大脑被强行要求处理了一堆互不相干的概念。
评分这本书的封面设计真是让人眼前一亮,那种极简的黑白对比,加上一个看起来像是用拙劣涂鸦画上去的笑脸,立刻就抓住了我的注意力。我原本以为这会是一本充满后现代解构主义意味的哲学思辨集,或者至少是某种对当代社会荒谬性的辛辣讽刺。然而,当我翻开第一页,期望值就开始像泄了气的皮球一样慢慢瘪下去。它没有宏大的叙事,没有清晰的论点,甚至连最基本的逻辑连贯性都像是被橡皮擦反复擦拭过一样模糊不清。我尝试着去理解那些句子之间的关联,它们像是一串串随机掉落的珠子,形状、颜色各不相同,却无法串成任何有意义的项链。比如说,有一章谈论“论袜子与宇宙膨胀的关系”,作者似乎花费了大量的篇幅去描述一只丢失在洗衣机里的右脚袜子,如何通过量子纠缠影响了遥远星系的引力常数。这种跳跃感并非那种令人拍案叫绝的荒诞,而更像是一种纯粹的、毫无目的的词语堆砌。我花了近一个小时试图解读其中一段关于“番茄酱如何在梦中变成月球的引力源”的描述,最终放弃了,可能是我的理解能力跟不上作者那奔放不羁的思维路径。总体来说,这是一次挑战阅读极限的体验,如果你的目标是寻找清晰的意义,那么你可能需要带上指南针,并准备好在迷雾中迷失方向。
评分就是这本书,我回忆了好久!感谢 the doctor, 感谢阿嘉莎
评分definitely complete nonsense…
评分sensible nonsense~ funny limerick ~ 最爱那个长鼻子~哈哈~ 可是猫头居然笑不出来~ 难道我这真的是冷幽默~
评分Only comic matters.
评分不咋能欣赏
本站所有内容均为互联网搜索引擎提供的公开搜索信息,本站不存储任何数据与内容,任何内容与数据均与本站无关,如有需要请联系相关搜索引擎包括但不限于百度,google,bing,sogou 等
© 2026 book.quotespace.org All Rights Reserved. 小美书屋 版权所有