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阅读内置词典和词汇练习的分级读物。

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242 本书
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英语52西班牙语40法语32德语20俄语17意大利语16葡萄牙语13丹麦语8瑞典语8荷兰语8
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A1初级68A2入门58B1中级58B2中高级58
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电子书平装本有声书

242 本书

分级读物为何有效

研究证实，泛读是积累词汇和提高流利度的最有效方法之一。分级读物根据您的 CEFR 级别匹配文本难度，因此每一页都具有足够的挑战性以供学习，同时又足够简单以供享受。每本书都包含文本旁词典、章节练习和在线词汇练习——您所需的一切都集中在一个包中。

格式：电子书、平装本和超级有声书

我们的分级读物提供多种格式。文本、CEFR 级别和词汇表在各个格式中完全相同——不同的只是阅读方式。您可以按自己的一天来选择：通勤路上用手机读电子书，坐在书桌前拿着纸笔读纸质书，或者在想一边读一边听的时候打开超级有声书。

电子书（EPUB 和 PDF）。购买后即可下载两种文件，在电子阅读器、手机、平板或电脑上阅读。难词的翻译放在弹出注释里：轻点一下，就能回到故事中，无需查词典。每章结尾都有词汇练习，还有一个链接带您进入使用同一批单词的免费在线练习。

平装本。经典的软封面图书，按需印刷，邮寄送达。词汇表印在页边，紧挨着它所解释的单词，无需来回翻页。各章结尾有填字游戏和词汇练习，扫描二维码即可用手机进入在线练习。如果您喜欢在书上做笔记，或想让眼睛离开屏幕休息一下，这是很好的选择。

本列表中的格式（242 本书）：电子书：242 · 平装本：231 · 超级有声书：68。

超级有声书：同时阅读、聆听并查看词义

超级有声书是卡拉OK形式的有声书。朗读者大声朗读整本书，您眼前是同一段文字，一个标记随着朗读逐词前进。您始终知道正在听到的是哪个词，因此不会跟丢——即使朗读者的语速比您的阅读速度更快。耳朵告诉眼睛一个写出来的词怎么读，眼睛告诉耳朵听到的词怎么写——两条路径同时巩固同一批单词。

真正的区别出现在遇到生词的时候。在普通有声书里，生词一闪而过；在超级有声书里，它始终触手可及：词汇表中的单词以颜色标出，长按即可看到它在您母语中的翻译。查完词义，继续听，故事线索不会中断。您可以用滑块把朗读速度调在 0.5× 到 1.5× 之间——开始时放慢，听清每个音节，之后逐渐加快到自然语速。阅读中遇到的单词之后会出现在应用里的简短练习中，例如迷你填字游戏或用字母拼出单词。

边读边听有扎实的研究支持。在 Lightbown 及其同事（2002）描述的一个加拿大项目中，一些孩子三年里只用这种方式学习英语——一边读书，一边听书的录音——结果他们对英语的理解与接受传统教学的同龄人一样好，甚至更好。Waring 和 Takaki（2003）的研究表明，一个单词至少要遇到八次，三个月后才有一半的把握认出它。重听一章，恰好能让您与同一批单词多次相遇，而无需阅读新文本。

在 A1 和 A2 级别，超级有声书帮助您把拼写和发音联系起来——对于读音与拼写不一致、或使用其他文字的语言尤其有用。在 B1 和 B2 级别，它带着您跟上真实语速，让您习惯流畅地听，不再每句话都停下来。高级读者往往并不需要朗读——所以何时打开朗读、何时默读，由您自己决定。

超级有声书可在 Pentecost 应用或浏览器中使用——手机、平板和电脑都可以。您可以把它加到电子书上：在图书页面的电子书卡片中勾选“添加有声书”；如果您已经拥有这本电子书，也可以单独购买录音。开通无限畅读后，您可以不限次数地收听所有已录制的超级有声书，并且每月可以为一本尚无录音的书解锁录音——录音会专门为您制作，完成后应用会通知您。有声书筛选会显示带录音的书目，无需注册即可收听免费试听。

关于作者和译者

此列表首先列出经典作家；Pentecost 编辑改编这些分级读物的名单紧随其后。

  • Antoine de Saint-Exupéry: Antoine de Saint-Exupéry (1900–1944) was a French writer and aviator who drew on his own flying adventures. In 1944 his plane vanished over the Mediterranean during a reconnaissance flight, and the wreckage was only found more than half a century later.
  • Arthur Conan Doyle: Arthur Conan Doyle (1859–1930) was a Scottish physician and writer, the creator of Sherlock Holmes. The brilliant detective was modelled on his university teacher, Dr. Joseph Bell, famous for his razor-sharp powers of observation.
  • George Orwell: George Orwell (1903–1950) was the pen name of Eric Arthur Blair, an English writer who fought in the Spanish Civil War. He coined terms such as "Big Brother" and "Newspeak," and his name gave us the adjective "Orwellian."
  • Jane Austen: Jane Austen (1775–1817) was an English novelist whose books were published anonymously in her lifetime, signed only "By a Lady." She completed just six novels, and today her portrait appears on the British £10 note.
  • Jules Verne: Jules Verne (1828–1905) was a French writer known as the father of science fiction and one of the most translated authors in the world. In his novels he foresaw submarines and space travel long before they existed.
  • Lewis Carroll: Lewis Carroll (1832–1898) was the pen name of Charles Dodgson, an Oxford mathematician and logician. He invented the story of Alice during a boat trip, to entertain a real little girl named Alice Liddell.
  • Louisa May Alcott: Louisa May Alcott (1832–1888) was an American writer who grew up among the Transcendentalists — Ralph Waldo Emerson and Henry David Thoreau were family friends. She served as a nurse during the Civil War and, before her fame, published sensational thrillers under the male pen name A. M. Barnard.
  • Lucy Maud Montgomery: Lucy Maud Montgomery (1874–1942) was a Canadian writer from Prince Edward Island who set her novels in the landscapes of her childhood. Thanks to Anne of Green Gables, the island became a place of pilgrimage for readers from around the world.

译者和编辑

Pentecost 编辑会调整词汇和注释，以确保故事内容在您的水平上清晰易懂。

  • Aino Snow: Aino Snow adapts Finnish fiction for English-speaking readers in the graded-reader series. Finnish cases and consonant gradation get short, reusable glosses instead of a grammar essay on every page. She prefers footnotes that point forward—hinting that a form will return—so readers start to recognise patterns.
  • Angela Borderkeeper: Angela Borderkeeper adapts German-language stories for English readers who are building vocabulary through extensive reading. She balances literal clarity with readable English, especially where German stacks nouns or uses modal particles that do not map neatly. Her side notes focus on collocations learners will meet again in real newspapers and podcasts.
  • Aniela Pogranicznik: Aniela Pogranicznik przygotowuje polskie opracowania tekstów niemieckich w serii dla samouków. Zwraca uwagę na to, by zdania były krótkie tam, gdzie trzeba, ale żeby nie straciły naturalnego szyku — szczególnie w scenach dialogowych. Często wraca do swoich notatek z kursów dla nauczycieli, gdy układa glosariusze i przypisy do trudniejszych zwrotów.
  • Anne Frank: Anne Frank edits English support text for Dutch originals in the series. She is careful with false friends between Dutch and English and flags them early in the glossary. When a joke depends on word order, she looks for an English equivalent that keeps the beat of the scene instead of explaining the punchline away.
  • Catherine Thief: Catherine Thief edits English support layers for Portuguese originals, comparing European and Brazilian variants when the source mixes them. She prefers one clear editorial choice per title rather than hedging in every footnote. She reads aloud to catch phrasing that still sounds like translationese.
  • Christine Guardian: Christine Guardian edits graded-reader adaptations of French fiction for English-speaking adults. She keeps an eye on register—literary French can sound stiff in English if you translate every clause—and prefers footnotes that support the scene rather than pause it. She still reads long-form journalism in French to stay close to how people actually write today.
  • Clara Fieldlove: Clara Fieldlove edits English-language scaffolding around Spanish narratives for the extensive-reading list. She steers clear of over-literal cognates that mislead beginners and prefers short glosses tied to the immediate context. She has a soft spot for dialogue-heavy chapters where rhythm matters as much as vocabulary.
  • Edwina Finbow: Edwina Finbow edits English-facing material for Icelandic fiction in the graded-reader programme. Icelandic inflection and compound formation get one clear gloss at first occurrence, then lighter reminders. She likes crime and family drama where everyday vocabulary does most of the storytelling work.
  • Grace Earthland: Grace Earthland prepares English commentary for Norwegian texts in the graded-reader programme. Norwegian’s compact clauses can read abrupt in English; she smooths the seams while keeping the emotional temperature of the scene. She coordinates closely with whoever writes the chapter exercises so examples match the chapter’s new items.
  • Greta Thunderhill: Greta Thunderhill adapts Swedish fiction for English-speaking learners using the Pentecost graded format. She keeps an eye on compound words that look long but are common in Swedish, and explains them once where they recur. She likes endings where the payoff is emotional rather than lexical—those need the lightest touch in the notes.
  • Helen Rainbow: Helen Rainbow prepares the English support layer for Hawaiian texts in the graded-reader programme. The ʻokina and the kahakō change what a word means, so she keeps them in every gloss instead of tidying them away. She watches the a-class and o-class possessives, where English “my” hides a distinction Hawaiian insists on.
  • Inga Clay: Inga Clay prepares English-facing materials for Danish fiction in the graded-reader line. Danish often drops subjects; she makes sure the English scaffolding still feels natural while the original stays visible on the facing page or in the margin notes. She enjoys working on small-town settings where everyday vocabulary carries most of the plot.
  • Katarzyna Złodziej: Katarzyna Złodziej przygotowuje polskie teksty towarzyszące portugalskojęzycznej beletrystyce w serii na różne poziomy CEFR. Bacznie rozróżnia wariant europejski i brazylijski, gdy w oryginale ma to znaczenie. W pracy redakcyjnej woli jedną jasną decyzję niż pięć kompromisów, które rozmywają głos narratora.
  • Klara Linden: Klara Linden adapts Czech fiction for English-speaking readers in the Pentecost graded line. Seven cases and verb aspect carry what English does with prepositions and auxiliaries; she glosses an aspect pair once and lets the story repeat it. She points out where Czech word order carries the emphasis English would mark with stress.
  • Klara Polanowicz: Klara Polanowicz tłumaczy i upraszcza hiszpańskojęzyczne narracje dla polskich czytelników w serii lektur gradowanych. Często pracuje nad rejestrem: hiszpański z Ameryki Łacińskiej i z Półwyspu wymaga innych decyzji po polsku. W przypisach stawia na krótkość i kontekst, żeby słownik nie zasłaniał fabuły.
  • Krystyna Strażnik: Krystyna Strażnik od lat zajmuje się przekładem i redakcją tekstów literackich z francuskiego na polski dla dorosłych czytelników. W pracy nad wersjami uproszczonymi pilnuje, by poziom słownictwa zgadzał się z etykietą CEFR, a jednocześnie nie gubił się humor ani rytm dialogów. Prywatnie dużo czyta współczesną prozę francuskojęzyczną i chętnie poleca tytuły, które dobrze brzmią także po polsku.
  • Małgorzata Strzecharz: Małgorzata Strzecharz redaguje polskie wersje uproszczonych lektur do nauki angielskiego — od poziomów początkowych po średniozaawansowane. Łączy doświadczenie szkolne z pracą przy materiałach do czytania ekstensywnego: ważne jest dla niej, żeby bohaterowie nie brzmieli jak sztucznie uproszczone manekiny. Po godzinach i tak sięga po anglojęzyczne kryminały, bo lubi sprawdzać, jak brzmi żywy, współczesny idiom.
  • Margarete Reetdachdeckerin: Margarete Reetdachdeckerin verantwortet die deutsche Bearbeitung begleitender Texte zu englischsprachigen Lektüren der gestuften Reihe. Sie erklärt Phrasal verbs und idiomatische Kurzformen so, dass sie im Kapitel wiedererkennbar werden, ohne dass jede Seite zur Grammatiktafel wird. Sie liest laut, wenn ein Dialog noch nach Übungsbuch klingt.
  • Margherita Tettaiola: Margherita Tettaiola scrive e rivede testi in inglese con un occhio al lettore che passa dalle scuole superiori a esigenze professionali. Si occupa soprattutto di rendere le sfumature colloquiali comprensibili, senza cadere in calchi che suonano finti agli nativi. I glossari che prepara privilegiano le collocazioni, quelle combinazioni di parole che fanno suonare naturale una frase. Quando introduce un autore, preferisce poche biografie fattuali e un contesto culturale che renda plausibili le scelte stilistiche.
  • Marie Bender: Marie Bender adapts Polish literary texts for English speakers learning Polish through parallel reading and footnoted editions. She explains case endings and aspect pairs in short, plain English, then lets the Polish carry the voice of the narrator. She reads each chapter twice: once for accuracy, once for pace.
  • Mary Guide: Mary Guide edits English-facing material for Japanese originals in the series. She explains honorifics and sentence-final particles in plain English without turning every line into a lecture. She still listens to casual Japanese podcasts to keep colloquial markers feeling current in the notes.
  • Nora Harper: Nora Harper edits the English notes for Irish texts in the extensive-reading list. Initial mutations hide the form a learner would look up, so her first gloss gives the plain word beside the one on the page. She keeps the “tá … ag” way of owning things apart from the copula, because English “is” blurs both.
  • Pauline Bird: Pauline Bird adapts Chinese-language fiction for English readers in the graded-reader line. She helps decide when to gloss a measure word, a place name, or a four-character idiom, and when context can carry the load. She likes contemporary urban settings because they recycle high-frequency vocabulary in natural ways.
  • Renata Górski: Renata Górski przygotowuje polskie opracowania włoskiej beletrystyki w poziomach od A1 wzwyż. Wychodzi z założenia, że czytanie ma być przyjemnością, nie ćwiczeniem mechanicznym, więc czasem walczy z redakcją o jeden przymiotnik więcej, jeśli ratuje klimat sceny. Zna dobrze włoskie dialekty tylko z literatury, ale to wystarczy, żeby nie mylić Toskanii z północą w dialogu.
  • Rita Bergmann: Rita Bergmann redigiert vereinfachte italienische Texte mit deutscher Unterstützungsebene für die Serie. Regionale Marker—Norden, Süden, Stadt vs. Land—versieht sie mit leichten Hinweisen, wo sie die Handlung tragen. Ihr Ziel bleibt: flüssig lesen, ohne jede Zeile im Wörterbuch zu verbringen.
  • Rita Mounts: Rita Mounts works on English notes and simplified renderings for Italian fiction in the graded series. She watches out for regional markers—north versus south—that English readers might miss without a light gloss. Her goal is that someone on a commute can follow the plot without stopping every line.
  • Ruta Amber: Ruta Amber prepares the English commentary for Lithuanian texts in the graded-reader programme. Lithuanian leans on participles where English would open a new clause, so she unpacks the first few and then trusts repetition. She notes the diminutives that carry affection rather than size, which a literal gloss loses.
  • Sophie Stay-Maggot: Sophie Stay-Maggot works on English notes for Russian fiction in the graded series. She balances literary archaism with the labelled CEFR level, sometimes marking a form as “recognition only” so readers are not asked to produce it too early. She pays extra attention to names, patronymics, and diminutives that carry social information.
  • Theresa White: Theresa White edits English support text for Hebrew originals in the extensive-reading list. She distinguishes modern Israeli usage from biblical echoes when it matters for comprehension, and keeps glosses short enough not to bury the plot. She coordinates Hebrew spelling and vocalisation choices across a whole book so they stay consistent.
  • Zofia Postojska-Czerwień: Zofia Postojska-Czerwień redaguje polskie wersje rosyjskojęzycznych tekstów w serii dla samouków. Dobrze czuje różnice między współczesnym idiomem a archaizmem literackim i stara się nie mieszać ich w jednym poziomie trudności bez sygnału dla czytelnika. Lubi pracę nad dialogiem: rosyjski potrafi być bardzo bezpośredni, a polski wymaga czasem innego balansu grzecznościowego.
  • Мария Гибкая: Мария Гибкая работает с польскими падежными цепочками так, чтобы они подкрепляли сюжет, а не отвлекали от него. В сносках — минимальный парадигматический набор и один-два примера; задания строго на формы, встреченные в тексте. Перед печатью она сверяет падежные подсказки с фактическими формами в тексте, чтобы не осталось «висячих» ссылок на несуществующие окончания.

每本书均提供电子书（EPUB 和 PDF）和纸质书。许多书还提供有声书：朗读者在应用中朗读，每个词像卡拉OK一样依次高亮。