Professor X and his dog, Y, teach kids how to count exponentially by powers of 10 (1, 10, 100, 1,000, 10,000, etc.), beginning at 1 and working all the way up to a googol (a 1 followed by 100 zeros) and beyond. Children fascinated by large numbers will be amazed how quickly they can count to really BIG numbers, and they’ll also find answers to questions like “What comes after a trillion?” or “What’s the biggest number in the world?” Real-life examples provide plenty of fun facts, such as how much popcorn Americans eat in one year, or how many hairs are on a square inch of a person’s head. Along with the fun comes some powerful learning, as this unique counting book helps kids understand our number system, which is based on multiples of 10.
Gr 2-4-Schwartz helps youngsters conceptualize enormous numbers by introducing them to counting by powers of ten. Professor X, along with his dog Y, comes to the rescue of some children with an out-of-control popcorn popper as they futilely attempt to count the kernels. The Professor begins to "power count," rapidly reaching large numbers through the addition of zeros. The scenes change as the Professor counts from 1 to 10 to 100 to 1,000 , from a camp out in the woods, to the seashore, rain forest, north pole . All the while, the children echo his explanations of the counting process. Each double-page spread is illustrated with watercolors in lively cartoon fashion with lots of detail. Sidebars include one section where Y shows how exponents can be manipulated, and another section entitled "Did You Know?" The factoids presented show the prevalence of things in large number: "Every day 37,000,000 (thirty-seven million) Tootsie Rolls come rolling out of the factory." Yet, they bear no relationship to power counting, and may even serve as a distraction. And while the children do reach large numbers counting this way, they never actually count the popcorn. Also, exponents are generally not introduced until fifth or sixth grade, where this picture book will have less appeal. However, for the most part it works as an introduction to the subject, and fans of Schwartz's How Much Is a Million (1985) and If You Made a Million (1989, both Lothrop) will probably enjoy it.-Grace Oliff, Ann Blanche Smith School, Hillsdale, NJ Copyright 1999 Cahners Business Information.
"Makes math awesome and yet accessible-even for those of us who are scared of all those zeros." -- "Booklist"
"Schwartz helps youngsters conceptualize enormous numbers by introducing them to counting by powers of 10." -- "School Library Journal"
This "math journey" progresses exponentially as kids try to keep up with the yield of an out-of-control popcorn machine. Professor X teaches them to count by powers of 10, demonstrating up to a googol (10100) and beyond, as the kids provide a running commentary. While they don't seem much closer to knowing how many kernels of popcorn they have, they do learn a lot of big numbers and entertain each other with such nonsense names as "splendillion" and "elephantillion." Schwartz (Magic of a Million Activity Book) originally used bags of popcorn to demonstrate powers of 10 in school presentations. However, here the hands-on technique of counting the kernels is never explained; the value of the popcorn example is less clear in book form. Sidebars rattle off numerical trivia, adding zeros on every spread (e.g., "One little brown bat can snap up 600 mosquitoes per hour"; "There are 40,000 different characters in Chinese"). These ever-larger numbers inspire Meisel's (The Fixits) lively cartoon illustrations of 105 bees and five billion (or 5 x 109) people in the world. While readers' minds will be reeling with zeroes, they will be buoyed by Schwartz's and Meisel's infinite enthusiasm for their subject. Ages 6-10. (Sept.) Copyright 1999 Cahners Business Information.
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角色的塑造是这部作品中最令人困惑的部分,他们仿佛不是真实存在的人,而是某种抽象概念的载体,缺乏血肉和可信度。你很难对他们产生任何形式的共情,因为他们的行为逻辑完全建立在一套我无法理解的内在规则之上。主角的动机变化得比天气预报还要快,上一章还在坚定不移地追求某个目标,下一章就轻易地放弃了,而且这种转变完全没有铺垫,更没有内心的挣扎或自我辩解,仿佛作者只是为了推进下一个情节节点而随意地拔动了角色的开关。更令人费解的是,配角们更是沦为了纯粹的背景板,他们出场的作用似乎只是为了向主角抛出一个精心设计的、充满哲学意味的问题,然后立刻退场,连名字都懒得记住。我试图去寻找他们身上哪怕一丝一毫的人性弱点或闪光点,但都徒劳无功。他们太完美,或者说,太刻板地服务于作者的宏大叙事,以至于我甚至不确定他们是不是真正拥有自由意志。读完之后,合上书本,我无法想起任何一个角色的具体形象,他们就像一群穿着不同戏服、念着同一本台词的木偶,只是被作者在不同的场景里移动了一下位置,仅此而已。
评分这本书的叙事节奏简直是令人窒息的慢,仿佛作者在用蜗牛爬行的速度描绘每一个场景。我翻阅这本书时,有那么几次,我不得不停下来,喝口水,清醒一下,因为那种缓慢推进的情节,真的需要极大的耐心去适应。每一个角色的内心独白都被拉伸得无限长,每一个环境的细微变化都要被详尽地描述一番,导致故事的主线几乎要被淹没在那些冗余的细节之中。说实话,我一度怀疑作者是不是故意要挑战读者的忍耐极限,用这种近乎折磨人的方式来讲述一个也许本来并不复杂的故事。比如,描述一次简单的散步,就能用上三页纸的篇幅,从光线的角度、地面的材质,到空气中尘埃的漂浮轨迹,无一不被细致入微地刻画,让人感觉自己不是在阅读,而是在接受一场关于“如何观察一粒沙子”的冗长研讨会。这种对细节的过度痴迷,让阅读体验变得异常沉重,仿佛拖着铅块在文字的泥沼里艰难前行,每一次翻页都像完成了一项艰巨的任务。我能理解追求深度和沉浸感,但这种程度的详尽,已经远远超出了“沉浸”的范畴,更像是一种叙事上的自我放纵,让人不禁想问:这一切的铺陈,究竟是为了烘托一个怎样的核心主题?然而,直到合上书页,那个核心似乎依然躲在迷雾之中,被过多的“环境”和“感受”所遮蔽,留给读者的,更多的是一种阅读疲劳感,而非意犹未尽的满足。
评分这本书的语言风格,用“晦涩”来形容可能都显得过于温柔了,简直就是一场文字迷宫的探险,而且地图还是手绘的,充满了涂改和不明所以的符号。我发现自己频繁地停下来查阅字典,有些词汇组合在一起,产生的意义甚至让我怀疑我所理解的中文是不是已经过时了。作者似乎有一种执念,非要用最生僻、最古老的表达方式来构建句子结构,使得原本可能直白的观点,硬生生地被扭曲成了需要多重解码才能理解的密码。阅读过程中,我常常感到一种强烈的挫败感,好像我正在努力破解一篇用我并不熟悉的语言写成的哲学论文,而不是一本小说。句子之间缺乏清晰的逻辑连接,跳跃感极强,一个段落前还在谈论星辰的运行,后一句可能就突然转向了某个不知名角色童年时的一块糖果,中间没有任何过渡,全靠读者自己去脑补其中的深层联系。这种结构上的破碎感,让整个阅读体验像是在看一部被剪辑得支离破碎的默片,画面和声音严重不同步,让人抓不住重点。我花了大量的时间去揣摩作者到底想通过这种看似无序的排列传达什么深意,最终得出的结论是,或许,根本就没有深意,这只是一种文字游戏的炫技,而买单的,却是我们这些试图从中汲取养分的读者。
评分故事的整体结构松散得像一团毫无章法的棉絮,缺乏一个明确的张力点或者一个令人期待的高潮。这本书似乎拒绝了传统叙事中“起承转合”的基本要求,它更像是一连串独立小品文的随意堆砌,彼此之间勉强用一个共同的主题词联系着,但实质上并无内在的因果关联。你永远不知道下一分钟情节会导向何方,不是因为剧情出人意料的巧妙,而是因为作者似乎根本就没有规划好方向。我读到一半的时候,甚至开始怀疑是不是我的阅读顺序搞错了,会不会有些章节应该提前阅读?但很快我就明白,这不是我的问题,而是文本本身的缺陷。它更像是作者早期的创意草稿集,而不是一部经过精心打磨的最终作品。在这样的结构下,读者很难建立起阅读的期待感和投入感,因为你知道,无论当前发生什么戏剧性的事件,它都极有可能在下一章就被完全抛诸脑后,没有任何长远的影响。这种“即时性”的叙事策略,在某些实验性文学中或许可以被接受,但在这部作品中,它带来的只有迷失感和对时间流逝的深深遗憾,感觉自己被困在一个没有出口的圆形剧场里,看着永不落幕的、却又毫无意义的表演。
评分这本书所营造的氛围,与其说是“引人入胜”,不如说是“令人不安”,但这种不安并非源于悬念或冲突,而是一种弥漫在字里行间的、近乎病态的疏离感。作者似乎对人类情感的温暖面完全不感兴趣,整个文本笼罩在一层冷灰色的滤镜之下,即便是描写亲密关系,也充满了机械的、计算性的互动,缺乏任何真诚的温度。我感觉自己像一个被放置在显微镜下的观察者,看着玻璃皿里那些被精心安排的“生命体”进行着各种复杂的、但毫无生气的活动。世界观的构建也充满了这种令人毛骨悚然的完美主义,所有的一切都运作得过于精确,少了一份混乱、少了一份突如其来的善意或恶意,让这个虚构的世界显得无比虚假和空洞。这种极度的、刻意的“去人性化”,使得阅读体验变成了一种智力上的练习,而不是情感上的共鸣。你可能会被它的复杂性所吸引,但绝不会被它的故事所打动。当我放下书时,脑海中浮现的不是角色们的命运,而是作者那套冰冷的、近乎暴君式的叙事控制欲。这本书成功地展示了一种可能性:文学可以如此精巧,却又如此缺乏灵魂,它是一件技术上的杰作,却是一场情感上的灾难。
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