May 24, 2014

[Book] Inch by Inch

Inch by Inch 
Author, Illustrator: Leo Lionni

這一本Inch by Inch是最近女兒很喜歡聽的書。
In this classic book, a winsome, 
winning inchworm is proud of his ability to measure anything under the sun. 
To keep from being eaten, an inchworm measures a robin's tail, a flamingo's neck, 
a toucan's beak, a heron's legs, and a nightingale's song.

Inchworm 說:
Don't eat me. I'm an inchworm. I am useful. I measure things.

好酷的inch worm。

知更鳥說: "那你幫我量我的尾巴"
"Just think, my tail is five inches long!"


女兒問: "heron很兇嗎"
女兒說: "heron很兇,牠嘴巴很尖,牠會把inch worm吃掉"


要怎麼量夜鶯的歌聲呢? 如果不會量,就會被夜鶯吃掉當作早餐。
還好inchworm很聰明。 :))

我發現我真的超級喜歡Leo Lionni的書,
(以前紀錄過一本 Fish is Fish)


Leo Lionni wrote and illustrated more than 40 highly acclaimed children's books. He received the 1984 American Institute of Graphic Arts Gold Medal and was a four-time Caldecott Honor Winner--for Inch by Inch, Frederick, Swimmy, and Alexander and the Wind-Up Mouse. Leo Lionni died in October of 1999 at his home in Tuscany, Italy, at the age of 89.

"Of all the questions I have been asked as an author of children's books, the most frequent one, without doubt, has been 'How do you get your ideas?' Most people seem to think that getting an idea is both mysterious and simple. Mysterious, because inspiration must come from a particular state of grace with which only the most gifted souls are blessed. Simple, because ideas are expected to drop into one's mind in words and pictures, ready to be transcribed and copied in the form of a book, complete with endpapers and cover." 

"It is true that, from time to time, from the endless flow of our mental imagery, there emerges unexpectedly something that, vague though it may be, seems to carry the promise of a form, a meaning, and, more important, an irresistible poetic charge. "

"The sense of instant recognition with which we pull this image into the full light of our consciousness is the initial impulse of all creative acts. But, though it is important, it produces no more than the germ of an idea. "

"Each book, at the birth of its creative history, has such a moment. Some are fortunate enough to have, from the outset, a strongly identified hero, one with an inescapable destiny. Others are blessed with a promising beginning, or perhaps with the vision of an ending (which means working backwards to a surprise opening). Others stem from a clearly articulated conflict situation. "

"Sometimes, I must admit, the motivations of a book may be found in a sudden, unreasonable urge to draw a certain kind of crocodile. And it may even happen that in the dark of our minds there appears, out of nowhere, a constellation of words that has the bright, arrogant solidity of a title. Only last night I was jolted out of a near-slumber by the words the mouse that didn't exist. I am sure that, temporarily tucked away in my memory, they will eventually become the title of a story for which as yet I have no idea."

"To shape and sharpen the logic of a story, to tighten the flow of events, ultimately to define the idea in its totality, is much like a game of chess. In the light of overall strategy, each move is the result of doubts, proposals, and rejections, which inevitably bring to mind the successes or failures of previous experiences."

"Inspirational raptures may happen, but most books are shaped through hard, disciplined work. Creative work, to be sure, because its ingredients come from the sphere of the imaginary. But the manipulation of these ingredients requires much more than mere inclination or talent. It is an intricate process in which the idea slowly takes form, by trial and error, through detours and side roads, which, were it not for the guidance of professional rigor, would lead the author into an inextricable labyrinth of alternatives."

"And so, to the question 'How do you get your ideas?' I am tempted to answer, unromantic though it may sound, 'Hard work.' "

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