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內容簡介

Ten-year-old Andrew invents a shrinking machine that allows him some unusual and instructive lessons in science from a unique vantage point.

作者簡介

J. C. Greenburg is the author of many books for young people in the library and reference fields. She’s married to Dan Greenburg, author of the Zack Files and Weird Planet. She lives in Hastings-on-Hudson, New York.

Jan Gerardi is an art director and has illustrated several books for children. She lives in Little Egg Harbor, New Jersey, with her husband, daughter, and two dogs.

內頁插圖

精彩書評

"In this seventeenth book of the "Andrew Lost" books, Andrew Dubble, his cousin Judy Dubble, and Andrew's robot Thudd (short for The Handy Ultra-Digital Detective) are still bug-sized (shrunk from a previous adventure with Andrew's Goa Constrictor). Andrew's uncle has a plan to try to figure out how to get them all back to their normal sizes; however, a huge desert sand storm in Australia (called a willy-willy) blows these bug-sized adventurers into the desert where many animals think that they will make a scrumptious snack. Andrew and Judy try to figure out how to get back to a location where their uncle can rescue them, while Thudd just spouts off facts about each dangerous creature that they meet. With black and white illustrations and plenty of adventure heaped on top of each other, readers in want of an easy chapter book (similar to the "Magic Tree House" or "Bailey School Kids" series books) will certainly be intrigued. However, some more advanced readers might wonder if each predictable adventure happens in order to let Thudd run through a list of animals in an Australian desert. If it were not for the small bits of dialogue and scattered illustrations, this chapter book would feel more like a desert biology description from a "robot's" point of view."
--Children's Literature
Andrew Lost #17: In the Desert [平裝] [6-9歲] 下載 mobi epub pdf txt 電子書

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很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好很好

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一套科普的初級章節書，聽說不錯，還沒認真看。

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[SZ]

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很好的科普冒險書，但不太適閤剛入門章節的孩子，囤中

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俗話說文無定法，寫書評當然也無一定的格式，可以因人而異，因書而異。比如偏於談感受的書評就可以直接從述感開頭：“何建明的長篇報告文學《中國高考報告》是一部具有強烈震撼力的作品。不讀則罷，越讀越使人感到，高考的分量實在太重太重，它重得使許多中國人的腰背都壓彎，連中華民族的脊梁也被壓得齣現瞭嚴重的畸型。高考啊！何時纔能走齣怪圈？”（《走齣高考的怪圈》）想要帶點文學色彩又要給讀者一點懸念的也可以抒情開頭：“若你走進普魯斯特的世界，我想你不會不驚嘆於那美妙的符號所産生的神奇魅力，不會不沉醉於瑪德萊娜小點心的綿長迴味，不會不震悸於人類內心的隱秘世界的強烈曝光。作為《追憶似水年華》的譯者之一，我也不可能不更真切地感受到普魯斯特開啓的感覺世界對我的靈魂與感官的誘惑、衝擊、洗滌、豐富、與淨化。“（《全新而永恒的感覺世界》）當然書評的結尾也不一定都要推薦式的。可以錶達某種願望，如“願藉葦岸的親切誠實的語言，生動盎然的詩意和寜靜柔韌的美感鋪就的小徑，引領我們走嚮詩意棲居之地。”（《讀<太陽升起以後>》）錶達願望之中有推薦作品的誠意。也可以批評某種現象或做法，如“他們認為如果兒童畫能與範例完全相同，那麼這種訓練就是成功的。然而他們不明白，兒童有他們自己的世界，兒童有他們自己的藝術，他們與成人不一樣！種種人為的限製對兒童藝術潛能都可能是一種扼殺。”（《生動有趣的圖畫書》）批評的目的仍然是為瞭推薦。

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買來還沒看，但感覺是一個探險故事，希望孩子會喜歡。

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搞活動買的

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買瞭全套，故事很有趣

評分☆☆☆☆☆

[BJTJ]

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