「美國書卷獎」得獎之作，「美國國家書評獎」決選作品。 最有成就的黑人音樂評論家針對震撼全世界的流行文化現象所做的權威剖析。──《華盛頓郵報》書評 少有嘻哈文化的記錄者像尼爾遜．喬治一般頭腦清晰、態度客觀。《嘻哈美國》交織評論與報導，成為極具可讀性的饒舌音樂及其文化震撼性的調查報告。──《費城詢問報》 引人入勝、資料豐富。它給嘻哈追隨者一個完整架構與歷史，給了畏懼嘻哈者詳盡解釋與理解途徑。──《休士頓記事報》 充滿知識、堅持己見，迷人……對嘻哈的熱情讓此書充滿生氣。──Michiko Kakutani，《紐約時報》 《嘻哈美國》一書裡，尼爾遜．喬治（舉世最具洞見的嘻哈文化作家──《滾石雜誌》語）以第一人稱帶領我們進行一場嘻哈歷史之旅。從它的七０年代源頭到它竄起成為一股文化力量，再到今日它的影響力顯現在電影、時裝、廣告與運動各領域裡。它探索黑人...(展开全部)

Winner of the Caldecott Medal Once, all the stories in the world belonged to Nyame, the Sky God. He kept them in a box beside his throne. But Ananse, the Spider man, wanted them -- and caught three sly creatures to get them. This story of how we got our own stories to tell is adapted from an African folktale.

Winner of the Caldecott Medal Once, all the stories in the world belonged to Nyame, the Sky God. He kept them in a box beside his throne. But Ananse, the Spider man, wanted them -- and caught three sly creatures to get them. This story of how we got our own stories to tell is adapted from an African folktale.

Recounts how most African folk tales came to be called Spider Stories .

Many African stories, whether or not they are about Kwaku Ananse the "spider man," are called, "Spider Stories." This book is about how that came to be. The African storyteller begins: "We do not really mean, we do not really mean that what we are about to say is true. A Story, a story; let it come, let it go." And it tells that long, long ago there were no stories on earth f...(展开全部)

Recounts how most African folk tales came to be called Spider Stories .

Many African stories, whether or not they are about Kwaku Ananse the "spider man," are called, "Spider Stories." This book is about how that came to be. The African storyteller begins: "We do not really mean, we do not really mean that what we are about to say is true. A Story, a story; let it come, let it go." And it tells that long, long ago there were no stories on earth f...(展开全部)

華語世界第一本台灣饒舌專書 30年台灣饒舌故事 × 10位台灣饒舌人物 大支、小人、熊仔、蛋堡、李英宏、夜貓組、草屯囝仔、BCW、熱狗、頑童MJ116 ──最真實的Real Talk 「我想讓這些嘻哈人述說自己的故事，談談在台灣當饒舌歌手怎麼生活，如何以生活為創作養份，又怎樣赤手空拳到橫掃整個樂壇。這是一群台灣小孩喜愛嘻哈並活在其中的故事，他們叫做嘻哈囝。」──顏社?迪拉 1987年，「饒舌」兩字首次現身台灣，2018年，金曲獎高唱台灣早就有嘻哈。台灣饒舌從地下次文化躍上主流小巨蛋，期間經歷開天闢地的上古時代、黑暗與希望並存的中古時代，到如今眾聲喧嘩的新時代。 本書分成Side A與Side B兩輯，前者記錄台灣饒舌三十年故事，後者則為十位台灣當代饒舌人物的第一手訪談；那些風雲人物、精采作品與關鍵事件，共同成就了這些年台灣饒舌的精采。 這本書，獻給台...(展开全部)

‘I too wanted to forget that girl. Really forget her, that is, stop yearning to write about her. Stop thinking that I have to write about the girl and her desire and madness, her idiocy and pride, her hunger and her blood that ceased to flow. I have never managed to do so.’ In A Girl’s Story, Annie Ernaux revisits the summer of 1958, her first away from home, when she worked as...(展开全部)

Upon her mother’s death from Alzheimer’s, Ernaux embarks on a daunting journey back through time, as she seeks to "capture the real woman, the one who existed independently from me, born on the outskirts of a small Normandy town, and who died in the geriatric ward of a hospital in the suburbs of Paris." She explores the bond between mother and daughter, tenuous and unshakable a...(展开全部)