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书名：The Graveyard Book 坟场之书
难度：Lexile蓝思阅读指数820L
作者：Neil Gaiman尼尔·盖曼
出版社名称：HarperCollins
出版时间：2010
语种：英文
ISBN：9780060530945
商品尺寸：13 x 2.3 x 19.4 cm
包装：平装
页数：320（以实物为准）

The Graveyard Book《坟场之书》是奇幻大师尼尔·盖曼（《美国众神》作者）的又一佳作，自2008年出版后陆续获得了世界儿童文学纽伯瑞大奖（2009）、世界幻想文学雨果奖（2009）、英国卡内基文学奖等多项大奖。
《坟场之书》讲述了一个孩子的传奇故事。在一场杀戮之后，唯一的幸存者——一个十八个月大的婴孩收到冥冥之中的指引，躲开杀手爬进一座坟场，被里面的幽灵收养了，并获得了一个新名字诺伯蒂（Nobody），一场人生历险由此展开。在这篇诡异的世界里，诺伯蒂遇到了许多奇妙的人，经历了许多有趣的故事，小说透过诺伯蒂的双眼向读者展示了一个尼尔·盖曼式的奇想世界。

推荐理由：
1.纽伯瑞金奖、雨果奖、卡内基文学奖作品，儿童青少年必读好书；
2. 插画版，插图作者为英国著名漫画家戴夫•麦基恩（Dave McKean）；
3. 英文原版，内容完整无删减，字体合适，纸质护眼。
精彩书评：
“对尼尔·盖曼这样的作家，读者总会抱有极高的期待。《坟场之书》完全满足了这些期待，而且远远超出。这部作品充分展示了盖曼高超的叙事能力、完美的悬念设置能力，还有那种既阴郁又优雅的幽默感。”——［美］乔·希尔（《心形盒子》作者）
“在坟场中养大一个孩子。看着这位主人公如何在荒僻的墓地渐渐成长，如何与那些活着、死去的朋友交往，这是阅读本书的很大乐趣。《坟场之书》是尼尔·盖曼奉献给读者的又一个惊喜。”——［美］奥德丽·尼芬格（《时间旅行者的妻子》作者）
“《坟场之书》成功地将爵士风格与吉卜林的丛林冒险小说融合起来，它就像一颗小小的珍珠，而目是一颗里面比外表大得多的珍珠。”——［美］彼得·S·毕格（《最后的独角兽》作者）
“盖曼是个装满故事的宝库，这样的作家是我们的幸运。”——［美］斯蒂芬·金（《肖申克的救赎》作者）
The original paperback edition of a perennial favorite, The Graveyard Book by Neil Gaiman, which has sold more than one million copies and is the only novel to win both the Newbery Medal and the Carnegie Medal.
Bod is an unusual boy who inhabits an unusual place—he's the only living resident of a graveyard. Raised from infancy by the ghosts, werewolves, and other cemetery denizens, Bod has learned the antiquated customs of his guardians' time as well as their ghostly teachings—such as the ability to Fade so mere mortals cannot see him.
Can a boy raised by ghosts face the wonders and terrors of the worlds of both the living and the dead?
The Graveyard Book is the winner of the Newbery Medal, the Carnegie Medal, the Hugo Award for best novel, the Locus Award for Young Adult novel, the American Bookseller Association’s “Best Indie Young Adult Buzz Book,” a Horn Book Honor, and Audio Book of the Year.

It takes a graveyard to raise a child.
Nobody Owens, known as Bod, is a normal boy. He would be completely normal if he didn't live in a graveyard, being raised by ghosts, with a guardian who belongs to neither the world of the living nor the dead. There are adventures in the graveyard for a boy—an ancient Indigo Man, a gateway to the abandoned city of ghouls, the strange and terrible Sleer. But if Bod leaves the graveyard, he will be in danger from the man Jack—who has already killed Bod's family.
一个婴儿。一座坟场。一次刺杀的结束，一个传奇的开始。在墓园里。有幽灵。有食尸鬼。还有神秘的守护者。连死神也亲自出马。（不用担心。她是一位和蔼的女士。）在人世间，有骗子，有恶棍，也有普通的老百姓。还有一位天真烂漫的小姑娘。
成长故事，法术修炼。冒险经历，少年初恋。贯穿全书的是刺杀与复仇的较量。
墓地的阴森反衬出鬼魂的温情。喧嚣的人世却冷漠无情。但最终，坟场里成长的少年仍将告别往昔。走向社会。走向成年……

Neil Gaiman is an English author of short fiction, novels, comic books, graphic novels, audio theatre, and films. His notable works include the comic book series The Sandman and novelsStardust,American Gods,Coraline, andThe Graveyard Book. He has won numerous awards, including the Hugo, Nebula, and Bram Stoker awards, as well as the Newbery and Carnegie medals. He is the first author to win both the Newbery and the Carnegie medals for the same work,The Graveyard Book (2008). In 2013,The Ocean at the End of the Lane was voted Book of the Year in the British National Book Awards.
Dave McKean is best known for his work on Neil Gaiman's Sandman series of graphic novels and for his CD covers for musicians from Tori Amos to Alice Cooper. He also illustrated Neil Gaiman's picture books The Day I Swapped My Dad for Two Goldfish, The Wolves in the Walls, and Crazy Hair. He is a cult figure in the comic book world, and is also a photographer. 

尼尔·盖曼（Neil Gaiman，1960—）是近十年来欧美文坛崛起的耀眼的明星，被视为新一代幻想文学的代表。其创作领域横跨幻想小说、科幻小说、恐怖小说、儿童小说、漫画以及歌词。他的作品不但部部畅销，更获奖无数。《文学传记辞典》将他列为十大后现代作家之一。代表作有《睡魔》《鬼妈妈》《美国众神》等。
戴夫·麦基恩为Ray Bradbury，SF Said，David Almond，Heston Blumenthal，JohnCale，Stephen King和Neil Gaiman等众多作者的获奖图书和连环画做过插图和设计，他为《鬼妈妈》（Coraline）和《坟场故事》（The Graveyard Book）（获Newbery和Carnegie奖）画过插图。他自己创作的Cages赢得过很多漫画奖。他设计过数百种画册、漫画和图书封面，为两部《哈利波特》电影设计过人物形象。他还导演过故事片《镜面具》（Mirror Mask）和《月亮》（Luna）。

How Nobody Came to the Graveyard
There was a hand in the darkness, and it held a knife.
The knife had a handle of polished black bone, and a blade finer and sharper than any razor. If it sliced you, you might not even know you had been cut, not immediately.
The knife had done almost everything it was brought to that house to do, and both the blade and the handle were wet.
The street door was still open, just a little, where the knife and the man who held it had slipped in, and wisps of nighttime mist slithered and twined into the house through the open door.
The man Jack paused on the landing. With his left hand he pulled a large white handkerchief from the pocket of his black coat, and with it he wiped off the knife and his gloved right hand which had been holding it; then he put the handkerchief away. The hunt was almost over. He had left the woman in her bed, the man on the bedroom floor, the older child in her brightly colored bedroom, surrounded by toys and half-finished models. That only left the little one, a baby barely a toddler, to take care of. One more and his task would be done.
He flexed his fingers. The man Jack was, above all things, a professional, or so he told himself, and he would not allow himself to smile until the job was completed.
His hair was dark and his eyes were dark and he wore black leather gloves of the thinnest lambskin.
The toddler's room was at the very top of the house. The man Jack walked up the stairs, his feet silent on the carpeting. Then he pushed open the attic door, and he walked in. His shoes were black leather, and they were polished to such a shine that they looked like dark mirrors: you could see the moon reflected in them, tiny and half full.
The real moon shone through the casement window. Its light was not bright, and it was diffused by the mist, but the man Jack would not need much light. The moonlight was enough. It would do.
He could make out the shape of the child in the crib, head and limbs and torso.