Page 11

General Description

Paper Format

The paper contains four parts.

Timing

1 hour 30 minutes.

Length of Texts

Approximately 3,000 words in total.

Number of Questions

40.

Task Types

Lexical cloze, gapped text, multiple choice.

A DETAILED GUIDE TO CPE

PA P E R   1   R E A D I N G

PART         TASK TYPES AND FORMAT

TASK FOCUS

NUMBER OF 
QUESTIONS

Four-option multiple-choice lexical cloze

Three texts each containing six gaps. Each gap corresponds
to a word and candidates must select the word from the
four options given which fits the gap.

Idioms, collocations, fixed
phrases, complementation,
phrasal verbs, semantic
precision

18

1

Four-option multiple choice

Four texts on one theme from a range of sources. Two four-
option multiple-choice questions on each text.

Detail, opinion, attitude, tone,
purpose, main idea,
implication, text organisation
features (exemplification,
comparison, reference)

8

2

Gapped text

One text from which paragraphs have been removed and
placed in jumbled order after the text. Candidates must
decide from where in the text the paragraphs have been
removed.

3

4

Cohesion, coherence, text
structure, global meaning

7

Four-option multiple choice

One text with seven four-option multiple-choice questions.

As Part 2

7

Sources

Books (fiction and non-fiction), non-specialist articles from
journals, magazines and newspapers, promotional and
informational materials (e.g. advertisements, guide books,
manuals).

Answer Format

For all parts of this paper, candidates indicate their answers
by shading the correct lozenges on an answer sheet.
Candidates should use a soft pencil (B or HB) and mark their
answers firmly. Candidates should use an eraser to rub out
any answer they wish to change.

Marks

Questions in Part 1 carry one mark. Questions in Parts 2, 3
and 4 carry two marks.

Introduction

The Reading paper consists of four parts and a total of nine
texts. The range of texts and task types which appears on the
Reading paper is intended to encourage familiarity with texts
from a range of sources, written for different purposes and
presented in different formats. The sources for texts in the
Reading paper are mainly contemporary. The paper includes
material from fiction, non-fiction books and journalism. Such
sources as marketing materials and correspondence may be
used in Parts 1 and 2. The Reading paper aims to test
comprehension at word, phrase, sentence, paragraph and
whole text level.

Essential preparation for the Reading paper is exposure to,
and engagement with, a substantial and varied range of
written English. The most successful CPE candidates are
likely to be those for whom reading in English is a leisure
activity as well as an educational requirement. All candidates
should be encouraged to read extensively as well as
intensively. This enables them to become familiar with a
wide range of language and is also helpful when they are
working on the longer texts in Parts 3 and 4.

It is important that candidates familiarise themselves with the
instructions on the front page of the question paper, and for
each part of the test. Candidates should also be familiar with
the technique of indicating their answers on the separate
answer sheet so that they can do this quickly and accurately.
Some candidates prefer to transfer their answers at the end of
each task rather than wait until they have completed the
whole paper. Answers must be marked on the answer sheet
within the time allowed for the Reading paper (1

1

/

2

hours).

When preparing for the examination, it is helpful for
candidates to spend time going through a sample paper and
to consider how to divide up the time between the different
tasks. The Reading paper has a standard structure and format
so that candidates will know what to expect in each part of
the paper. Candidates should be encouraged to read the
instructions for each task carefully, as they provide a brief
context for the text and remind candidates of precisely how
the task should be carried out, and where the answers should
be recorded. 

Part 1 

Part 1 consists of three unrelated short texts, each with six
gaps. Candidates must choose one word or phrase from a set
of four to fill the gaps. This involves choosing the answer that
correctly fits the meaning within a phrase or sentence, and
candidates may also have to take into account the broader
context of the previous or following sentences or the whole
text. This part of the paper tests idioms, collocations, fixed
phrases, complementation, phrasal verbs and semantic
precision.

In preparation, candidates should be encouraged to learn
whole phrases (rather than just individual words) together
with their appropriate usage. Vocabulary practice which
studies the difference in meaning and usage between words
with similar meanings will also help candidates prepare for
this part of the paper.

Part 2 

Part 2 consists of four short texts with two multiple-choice
questions on each which test comprehension of text content.
Questions may test understanding of the whole short text or
of text organisation and some questions will focus on the
detail in sections of the text. The texts share a broad theme
and the linking theme is stated in the instructions. Being
aware of the thematic link between the texts should help
candidates in moving from one text to the next. Preparation
for this part of the Reading paper could usefully include
topic-based activities.

The texts come from a variety of sources and candidates
should familiarise themselves with a wide range of sources,
registers, topics and lexical fields. Candidates should focus
on texts in preparation for multiple-choice questions as
suggested for Part 4 below. 

Part 3

Part 3, the gapped-text task, tests understanding of how texts
are structured and the ability to predict text development.
The task consists of a text from which paragraphs have been
removed and placed in jumbled order after the text, along
with one extra paragraph which does not fit any of the gaps.
Candidates must select the paragraphs which fit the gaps in
the text; only one answer is correct in each case. Candidates
should be trained to read the gapped text first in order to gain
an overall idea of the structure and the meaning of the text,
and to notice carefully the information and ideas before and
after each gap as well as throughout the whole of the gapped
text. 

Candidates should beware of approaching the gapped-text
task as an exercise requiring them merely to identify extracts
from the text and sections in the text which contain the same
words. The task is designed to test understanding of the
development of ideas, opinions and events rather than the
superficial recognition of individual words.

The way in which a text has been gapped may require the
reader to consider large sections or even the organisation of
the whole of a text, in order to reconstitute a particular part
of the text. Candidates should be trained to consider the
development of the text as a whole, and not to focus on each
gap separately. Sometimes candidates will need to choose
carefully between two extracts as possible answers and will
need to make decisions about which is the most logical
extract to fill the particular gap. Practice is needed in
recognition of a wide range of linguistic devices which mark
the logical and cohesive development of a text, e.g. words

Page 12

P R E PA R I N G   F O R  T H E   R E A D I N G   PA P E R

and phrases indicating sequence of events, cause and effect,
premise and conclusion. Exercises which involve analysing
the global organisation of a text and understanding how this
affects meaning would also be helpful.

Part 4

Part 4 consists of one longer text with seven multiple-choice
questions which test detailed understanding of a text,
including opinions and attitudes expressed in it. Candidates
need to read the text closely in order to distinguish between,
for example, apparently similar viewpoints, outcomes or
reasons. The questions are presented in the same order as the
information in the text and the final question may depend on
interpretation of the text as a whole, e.g. the writer’s purpose,
attitude or opinion. Candidates should read each question
very carefully, as well as the four possible answers. The
questions can be answered correctly only by close reference
to the text. Candidates should be encouraged to read the text
before reading the multiple-choice questions.

Preparation for the multiple-choice task should include
practice in reading a text quickly for a first overall
impression, followed by close reading of the text in order to
prevent any misunderstandings which may lead candidates to
choose a wrong answer. Candidates should also practise
selecting and interpreting specific information from a text.
Activities which focus on recognising and evaluating attitude
and opinion and which enhance candidates’ abilities to infer
underlying meaning will also be helpful.

Page 13

Page 14

R E A D I N G   S A M P L E   PA P E R   ( 1 )

UNIVERSITY  OF  CAMBRIDGE  LOCAL  EXAMINATIONS  SYNDICATE

Examinations in English as a Foreign Language

CERTIFICATE OF PROFICIENCY IN ENGLISH

PAPER 1 

 

 Reading

SAMPLE PAPER 1

1 hour 30 minutes

Additional materials:

Answer sheet
Soft clean eraser
Soft pencil (type B or HB is recommended)

TIME

1 hour 30 minutes

INSTRUCTIONS TO CANDIDATES

Do not open this booklet until you are told to do so.

Write your name, Centre number and candidate number on the answer sheet in the spaces provided
unless this has already been done for you.

There are forty questions in this paper.

Answer all questions.

Mark your answers on the separate answer sheet.  Use a soft pencil.

You may write on the question paper, but you must transfer your answers to the separate answer
sheet within the time limit.

At the end of the examination, you should hand in both the question paper and the answer sheet.

INFORMATION FOR CANDIDATES

Questions 1-18 carry one mark.
Questions 19-40 carry two marks.

This question paper consists of 11 printed pages and 1 blank page.

[Turn over

Page 15

2

Part

 1

For

 q

ues

ti

ons 

1-

1

8

, 

read 

th

e

 t

h

re

e 

te

x

ts 

below

 and 

decide 

w

h

ich 

answ

e

r 

(A

, B

, C

 or

 D

) 

b

e

s

t 

fi

ts 

ea

ch

g

a

p

.  

M

a

rk

 y

our 

answ

er

s 

on t

h

e 

sepa

rat

e

 ans

w

e

r 

shee

t.

Jerome F

ly

nn – 

A

c

tor Turned Singer

Af

te

r 

a 

v

a

ri

et

y

 o

f 

jobs, 

Jerom

e

 Fly

nn 

becam

e

 (1

)….

 s

ucce

ss

fu

l 

w

it

h

 f

ellow

 act

or

 Robson 

Gr

een 

in 

the 

T

V

series 

Soldier

, 

Soldier

, 

and

 t

hen 

w

hen 

they

 (2

)…

. 

u

p

 as 

sin

g

e

rs 

in 

1995, 

they

 had 

th

re

e

 nu

m

ber 

one 

hits.

‘I

t 

w

a

s 

a 

w

h

ir

lwind,

 f

ant

asy

 t

im

e

,’ 

say

s 

Jerom

e

. 

 ‘W

e

 made

 t

he

 r

eco

rds

 because 

w

e

 q

uit

e

 (3

)…

. 

th

e

m

oney

, 

and 

it

 paid 

o

ff

.  I

t 

w

a

s 

a

 lot

 o

f fun

, 

b

u

t 

y

ou 

can

 become

 (4

)…

. 

in

 t

he

 pop 

w

o

rl

d.

  

It

’s 

addict

iv

e,

 and

once 

y

ou’r

e

 a

 pop

 s

ta

r,

 people 

tend 

to

 (5)…

. 

y

ou 

on 

a

 pedest

al. 

 I

t 

w

a

s 

so 

mad

 w

e

 had 

to

 g

et 

out 

w

hile

the 

g

o

in

g

 w

a

s 

g

ood. 

 Now

 m

oney

 doesn’t 

m

ean 

so 

m

u

ch, 

a

lt

hou

g

h

 i

t 

(6

)…

. 

m

e

 t

o

 leav

e 

m

y

 car

ee

r

behind 

fo

r 

a 

w

h

ile.

  

But 

Robson 

w

ant

ed 

to

 go 

bac

k

 t

o

 a

c

ting 

and 

has 

m

ade 

qui

te

 a

 succes

s 

o

f 

it.

  

I’

d

 lik

e

to

 w

ork

 w

it

h

 h

im

 a

g

a

in

 one 

day

.’

1A

g

reat

ly

B

lar

g

ely

C

hug

ely

D

g

rossly

2A

jo

ined

B

team

ed

C

fi

x

e

d

D

g

rouped

3A

crav

ed

B

long

ed

C

y

ear

ned

D

fancied

4A

laid 

u

p

B

seiz

ed 

up

C

ta

k

en 

up

D

caug

h

t 

u

p

5A

lif

t

B

hav

e

C

put

D

hold

6A

enabled

B

em

pow

er

ed

C

ent

it

led

D

ef

fe

ct

e

d

The Sai

ling Trip

A 

fe

w

 day

s 

ag

o

, 

I 

w

as 

(7

)…

. 

m

y

 new

 sailing

 gear 

ready

 f

o

r 

m

y

 f

ir

s

t 

lon

g

 t

ri

p,

 a

round 

th

e

 coast 

o

f 

Br

it

ain

on 

th

e

 sailing

 ship

 H

irta

.  

I 

w

a

tc

hed

 a

 T

V

 r

epo

rt

 o

f 

s

o

m

e f

e

llow

 y

a

cht

sm

en 

cr

os

sing 

th

e

 f

inishin

g

 (8

)…

. 

of

f

a 

place 

called 

Ushant 

to 

co

m

p

let

e

 

a

 r

ecor

d

 

round

-t

he

-w

or

ld 

v

oy

ag

e.

 

 

T

h

e

 

sea

 

w

as 

rou

g

h

, 

th

e

 

w

ind

look

ed 

fi

er

ce

 

and, 

a

lt

hough

 

they

 

w

er

e 

putt

ing 

a

 

br

av

e 

(9

)…

. 

on

 

it

, 

the

 

w

inning

 

y

acht

sm

en

 

loo

k

e

d

ex

haust

ed.

  

W

h

a

t 

I 

w

as 

seein

g

 o

n

 t

h

e

 t

elev

ision 

scr

een 

w

a

s 

not 

m

y

 (

10)…. 

of

 y

ach

ting.

  

I 

fe

lt

 s

m

u

g

k

now

ing

 I

 had

 t

his

 m

a

rv

ellous 

oppor

tunit

y

 t

o

 dr

if

t 

g

ent

ly

 r

ound

 B

ri

ta

in 

lea

rn

ing 

to

 sail,

 and

 t

ha

t 

I 

w

ould 

be

st

eer

in

g

 (

11)…. 

o

f 

the

 horr

o

rs 

o

f 

ocean

 sailing.

  

Casually

 I

 l

ook

ed

 u

p

 Ushant 

on 

the 

m

ap. 

 I 

w

ent

 q

uit

e

cold:

  

Ushan

t 

w

a

s 

(12

)….

 32

 k

ilom

e

tr

es

 f

u

rt

h

e

r 

s

ou

th

 t

han

 t

he

 s

ta

rt

in

g 

point

 f

or 

m

y

 gr

eat 

jour

ney

 on 

th

e

Hir

ta.

7A

go

in

g 

th

ro

u

g

h

B

setti

n

g

 dow

n

C

chec

k

ing 

up

D

passing 

ov

er

8A

ma

rk

B

strip

C

line

D

sig

n

9A

face

B

ey

e

C

appear

ance

D

vi

e

w

10

A

thou

g

h

t

B

idea

C

not

ion

D

sense

11

A

clean

B

strai

g

ht

C

shor

t

D

clear

12

A

v

ir

tuall

y

B

pr

act

ically

C

simply

D

bar

ely

3

Mrs Murgatro

y

d

‘And 

th

er

e’s 

ano

th

e

r 

thing,

’ 

s

aid 

M

rs 

M

u

rg

a

tr

o

y

d

. 

 Beside 

he

r 

in 

the

 t

ax

i 

her

 hu

sband 

c

on

cealed 

a

 s

m

a

ll

sig

h

. 

 W

it

h

 M

rs 

M

u

rg

atr

o

y

d

 t

her

e

 w

a

s 

alw

a

y

s

 anot

her

 t

hing. 

 No 

m

a

tt

e

r 

how

 w

ell 

th

ing

s

 w

er

e 

(1

3

)…

.,

Edna 

M

u

rg

atr

o

y

d

 w

ent

 t

hr

ou

g

h

 l

if

e 

to

 t

he 

ac

com

pani

m

ent 

o

f 

a 

runnin

g

 c

o

m

ment

a

ry

 o

f 

c

o

m

plaint

s

, 

a

n

endless 

lit

any

 o

f 

dissa

tis

fa

c

tion.

  

In 

sho

rt

, 

she

 (1

4

)…

. 

w

it

h

out

 cease.

In

 t

he 

s

ea

t 

be

side 

the

 d

ri

v

e

r,

 Higg

ins

, 

the 

y

o

ung 

e

x

e

cut

iv

e 

fr

o

m

 h

ead

 o

ff

ice,

 w

ho 

had

 been 

s

elect

e

d 

fo

r

th

e 

w

e

ek

’s 

v

a

cat

ion 

a

t 

th

e

 (15

)….

 o

f 

the 

ban

k 

on 

th

e

 g

rounds

 o

f 

bein

g

 ‘

m

o

st 

(16

)….

 n

e

w

c

o

me

r’

 o

f 

th

e

y

ear

, 

sat 

s

ilent

. 

 He 

w

a

s 

in 

fo

reig

n

 e

x

chang

e

, 

a

n

 ea

g

e

r 

y

oung 

m

a

n

 w

hom

 t

hey

 had

 only

 m

e

t 

at 

London

air

por

t 

tw

elv

e

 

hour

s 

ear

lier

 

and

 

w

hose 

nat

u

ral 

ent

husias

m

 

had

 

g

radually

 

(17)

…. 

aw

ay

 

bef

or

e

 

th

e

onslaug

ht 

o

f 

M

rs 

M

u

rg

a

tr

o

y

d

. 

 T

he 

d

riv

er

, 

fu

ll 

o

f 

s

m

iles 

w

hen 

they

 selected 

his 

ta

x

i 

for 

the

 r

un

 t

o

 t

h

e

h

o

te

l a

 f

e

w

 mi

n

u

te

s

 e

a

rl

ie

r,

 h

a

d

 a

ls

o

 c

a

u

gh

t 

th

e

 mo

o

d

, a

n

d

 h

e

 to

o

 h

a

d

 (1

8

)…

. 

int

o

 s

ilence.

13

A

doing

B

ge

tti

n

g

C

go

in

g

D

being

14

A

nagg

ed

B

g

o

ssiped

C

u

tte

re

d

D

vo

ic

e

d

15

A

liabil

it

y

B

ex

pense

C

debit

D

de

fi

cit

16

A

pr

om

isin

g

B

em

er

g

in

g

C

fa

v

our

able

D

auspicious

17

A

w

a

shed

B

ebbed

C

dr

ipped

D

ri

nsed

18

A

paused

B

reposed

C

lapsed

D

desist

ed

[T

urn 

ov

er

Page 16

line 

4

4

Part

 2

You 

ar

e 

g

o

in

g 

to

 r

ead

 f

ou

r 

ex

tr

act

s

 w

h

ich 

ar

e 

all 

conce

rned 

in

 som

e

 w

a

y

 w

it

h

 p

roduct

s

. 

 For 

q

ues

ti

ons

19

-26

, 

choose

 t

h

e

 answ

e

r 

(A

, B

, C

 o

r 

D

) 

w

h

ich 

y

ou 

th

in

k

 f

its 

bes

t 

a

c

c

o

rd

in

g

 t

o

 t

he

 t

ex

t.

M

a

rk

 y

our

 answ

er

s 

on

 t

he

 separa

te 

ans

w

e

r 

sheet

.

A

d

v

e

rtisement fo

r a

 V

ideo

· 

You wa

nt 

to impr

ove the qua

lity of

 life, without using drugs or

 stimula

nts

· 

you

 are

 re

ady 

to s

tart t

h

e

 jou

rn

e

y

 back 

to h

e

alth

 a

n

d

 fitn

e

ss

, h

owe

ve

r s

h

ort

or long it may be

· 

yo

u wo

uld prefer t

o

 use st

ress t

o

 yo

ur a

d

va

n

ta

g

e r

a

th

er t

h

a

n

 be it

s vict

im

· 

you are

 pre

pare

d 

to 

take

 ch

arge

 of your 

own de

stiny and 

b

e

n

e

fit from your

own well-being

· 

y

o

u

 wou

ld lik

e

 to ge

t ba

ck

 th

e

 s

h

ape

 n

a

tu

re

 in

te

n

d

e

d

 y

ou

 to h

a

v

e

· 

you like t

o

 underst

a

n

d t

h

e principles behind concept

s before ta

king a

ct

ion

· 

you wa

nt 

to enha

nce your menta

l 

powers a

n

d y

o

ur ability to

 focus on the

ta

sk in ha

nd

· 

short-term fixes, be they through pa

tches or pills, gimmicks or 

gizmos, hold

n

o

 appe

al

· 

y

o

u

 are

 pre

pare

d 

to 

tak

e

 a s

te

p

 at 

a 

time

, bu

ild u

pon

 y

o

u

r s

u

cce

ss

 an

d t

a

k

e

p

lea

sure in t

h

e result

s

· 

yo

u ha

ve t

he t

em

p

e

ra

m

e

nt

 a

nd st

reng

th o

f c

hara

ct

er

 to

 end

u

re

 t

he j

o

u

rney

to

 physica

l, menta

l a

n

d

 spirit

ua

l hea

lt

h

This is the video fo

r you!

19

T

h

e

 adv

er

ti

sed 

v

ideo 

is 

a

im

ed

 a

t 

people 

w

h

o

A

ar

e 

capable 

o

f 

per

s

ev

er

ance

.

B

hav

e 

been 

tr

y

ing 

to

 change

 car

ee

r.

C

ar

e t

oo 

abso

rbed 

in

 t

heir 

w

o

rk

.

D

w

o

u

ld 

lik

e t

o

 chan

g

e

 t

heir 

pe

rs

onalit

ies.

20

W

h

ic

h

 o

f th

e

s

e

 w

o

rd

s i

s

 u

se

d

 d

is

m

issi

v

e

ly

?

A

st

re

s

s

(line 

4)

B

pr

inciples

(line 

8)

C

pat

ches

(line 

11)

D

jour

ney

(line 

15)

line 

8

line 

11

line 

15

5

Ho

w

 i

m

portant 

is 

des

ign?

All 

toast

ers 

a

re 

no

t 

e

x

act

ly

 t

h

e

 sam

e

 unde

r 

the 

s

k

in

 but 

they

 a

re

 a

s

near

 a

s

 m

a

kes 

no

 d

if

fe

rence

.  T

hey

 a

re

 box

es 

w

h

ich 

neat

ly

 g

rill 

th

e

br

ead, 

w

af

fl

es

 

o

r 

w

hat

ev

er

 

bet

w

een 

lit

tl

e 

electr

ic 

fi

res

 

and 

e

jec

t

them 

ju

s

t 

be

fo

re

 

they

 

s

ta

rt 

to

 

bur

n

: 

an 

easy

, 

w

e

ll-

pr

ov

en

te

chnolo

g

y

 w

het

her

 i

t 

is

 pur

ely

 m

e

chanical 

o

r 

m

icr

o

c

hip-

con

tr

olled.

T

h

e

 

last

 

funda

m

ent

al 

innov

at

ion 

in 

toas

te

r 

desi

g

n

 

w

as 

in 

1927,

w

hen 

the 

Sunbeam 

c

om

p

a

ny

 o

f 

A

m

er

ica

 m

a

rk

e

ted 

the 

fi

rs

t 

pop

-up

m

odel.

  

S

ince 

then, 

the

re

 h

a

s

 been

 lit

tl

e 

to

 d

o

 design-

w

ise 

ex

cept

to

 a

lt

e

r 

th

e

 sty

lin

g a

cco

rd

in

g 

to

 t

h

e

 t

a

s

te

s o

f 

th

e

 t

im

e

s

.

Desig

ner

s

 tr

y

 t

o

 g

iv

e 

toast

e

rs 

th

e

 e

q

uiv

a

lent

 o

f 

sun

roo

fs

 and

 ant

i-

lock 

br

a

k

es

 –

 w

ider

 s

lots,

 double 

slot

s

, 

‘cool 

w

all’ 

desig

ns 

and

 t

he

lik

e 

–

 but 

cannot 

g

e

t 

a

w

a

y

 f

rom 

the

 f

a

c

t 

th

a

t 

y

ou 

need

 only

 t

w

o

cont

ro

ls

: 

a

 push-

dow

n 

lev

e

r 

and 

a

 t

im

e

r.

  

Up

g

rades

 m

e

rely

 dr

ess

up 

a 

ti

m

e

less 

concept 

and

 

a

re

 

any

w

a

y

 

alm

o

st

 

a

ll 

adopt

ed

im

m

ediat

ely

 by

 o

ther 

m

anu

fa

c

tur

e

rs.

So 

w

hat

 y

ou 

buy

 i

s 

st

y

ling

, 

w

hich 

can 

be

 a

 d

ir

ty

 w

or

d 

am

on

g 

‘pur

e’

desig

ners, 

s

ince 

it 

is 

really

 j

ust 

pac

k

a

g

in

g

, 

lit

tl

e 

di

ff

erent 

fr

o

m 

th

e

box

 

the 

to

a

s

te

r 

co

m

e

s

 

in.

 

 

‘Real’ 

desig

n

, 

it 

is 

said

, 

is 

m

o

re

fundam

en

ta

l. 

 T

his 

is

 a

rg

uable

: 

one

 o

f 

th

e

 g

rea

te

s

t 

desi

g

ne

rs

 o

f

th

e 

20

th

 

c

en

tu

ry

, 

th

e

 

Fr

ench

-bor

n

, 

A

m

e

rica-

based 

Ray

m

ond

Loewy

, 

w

a

s 

pr

incipall

y

 a 

st

y

list

, 

and

 w

ho 

c

an 

ar

g

u

e

 w

it

h

 t

he 

p

ow

er

o

f 

h

is 

fa

m

ous 

c

re

a

tion,

 t

he 

Coca

 Cola 

bo

tt

le, 

w

hich 

is 

fu

nc

ti

onally

fa

r 

less 

e

ff

icient 

than

 a

 s

tanda

rd

 b

ee

r 

o

r 

w

ine 

bot

tl

e?

21

W

h

a

t 

does t

he 

w

rit

er 

say

 about 

dev

elopm

ent

s

 in 

th

e

 desi

g

n

 o

f 

toaster

s?

A

T

hey

 hav

e 

spoilt

 t

he 

o

rig

inal 

desi

g

n

.

B

T

hey

 a

re

 m

ade

 to f

ool 

th

e

 public.

C

T

hey

 a

re

 copied f

ro

m

 o

ther

 t

y

pes 

o

f 

p

roduc

t.

D

T

hey

 hav

e 

only

 been 

superf

icial.

22 

T

h

e

 w

rit

er

 uses

 t

h

e

 Coca 

Cola bott

le 

as 

a

n

 e

x

a

m

p

le 

o

f

A

the 

adv

ant

a

g

es

 o

f 

usin

g

 ‘

real’ 

desi

g

n

.

B

the f

a

ct 

th

a

t success

 m

ay

 not

 depend

 on good 

desi

g

n

.

C

the k

ind 

o

f t

hin

g

 t

hat 

‘pur

e’ 

desi

g

n

e

rs 

app

ro

v

e

 o

f.

D

the 

unp

redict

abilit

y

 o

f 

public r

esponse

 t

o

 s

ty

le.

[T

urn 

ov

er

 

Page 17

6

Dream

 Cars

Day

dream

ing

 schoolch

il

dren

 aro

und 

the 

wo

rld 

lov

e 

to 

d

ood

le 

w

eird 

and 

wond

er

ful 

ca

rs

.

Mos

t 

g

row 

up 

to 

d

ri

v

e 

som

eth

ing

 m

uch 

m

o

re 

v

isual

ly

 m

undane 

than

 tho

se 

adol

esc

ent

fl

ig

hts of

 fan

cy

.  But a 

few a

re

 a

ct

iv

ely

 encou

rag

ed to 

con

tinu

e dr

aw

ing

 ext

rao

rd

ina

ry

 and

larg

ely

 unr

ea

lis

ti

c 

m

odes 

of t

ranspo

rt 

w

h

en they

 a

re 

study

ing

 a

t 

co

lleg

e. 

 T

h

ey

 are 

the 

ca

r

desig

ner

s of

 tom

o

rrow, who

 w

il

l sh

ape wha

t we w

il

l driv

e 

in 

the n

ext

 cen

tu

ry

.

On 

a 

v

isi

t 

to 

the 

A

rt 

Ce

nt

re 

in

 Los 

A

ng

el

es, 

wh

ich 

runs 

a 

cou

rs

e 

fo

r 

v

ehic

le 

d

es

ig

n

ers, 

I

was 

shown 

som

e 

o

f 

the

 work

 in 

p

rog

ress

 by

 Ronald 

H

ill

, 

he

ad 

of 

tr

ansp

o

rt

at

ion 

desig

n.

It

s 

v

isual 

exc

it

em

ent 

con

tras

te

d 

st

ark

ly

 

w

ith 

the

 

dul

l, 

p

rac

ti

ca

l 

silho

u

et

te

s 

of 

m

any

m

odern produc

ti

on c

ars.

So 

are 

such 

unr

eal

is

ti

c 

sh

ape

s 

out 

of 

touch 

w

ith

 t

h

e 

re

al 

w

o

rld

 o

f 

car

s, 

an

d

 doe

s 

it

 r

ea

ll

y

benef

it

 

st

uden

ts 

to 

co

n

ti

nue 

the

ir 

scho

old

ay

 

doodle

s, 

al

be

it 

in 

a 

m

ore 

sophi

st

ica

ted

m

anner? 

 H

il

l 

ins

ist

s 

th

at 

the

 exp

lor

ato

ry

 desig

ns 

are 

v

it

al,

 and 

arg

u

es 

tha

t 

m

o

re 

re

al

ist

ic

consi

d

er

at

ions

 a

re

, 

at

 l

eas

t 

tem

pora

ri

ly

, 

ir

re

lev

ant. 

 ‘

T

h

is 

m

ay

 b

e 

the 

on

ly

 c

hance

 i

n 

the

care

er 

o

f 

thes

e 

st

uden

ts 

w

he

n

 t

h

ey

 can 

ta

k

e 

som

e 

risk

, 

st

re

tch 

the

ir 

im

ag

ination

s 

and

rea

lly

 l

et

 f

ly

. 

 T

h

er

e’s 

ple

n

ty

 o

f 

tim

e 

la

ter 

on 

fo

r 

them

 t

o 

w

o

rry

 abo

ut 

cons

tra

in

ts 

o

f

leg

isl

at

ion 

and 

p

rac

ti

cal 

is

su

es.

  

W

e 

ca

ll 

th

is 

th

e 

“b

lue

 sk

y

” 

period,

 w

hen 

th

er

e 

re

ally

 i

s

no lim

it 

set

 on t

h

ei

r d

esig

n i

n

nov

atio

n.’

23

W

h

a

t 

does t

he 

w

rit

er 

im

p

ly

 about 

tr

a

inee 

car 

desi

g

ner

s

?

A

T

hey

 w

ill 

g

o

 on t

o

 desi

g

n

 m

o

re 

con

ser

v

at

iv

e 

car

s.

B

T

heir 

desi

g

ns f

o

rm

 t

he basis 

o

f t

hose 

o

f 

p

roduc

ti

on 

ca

rs

.

C

T

hey

 o

ft

en cr

it

icise t

he 

de

sig

n

s

 o

f 

e

x

ist

ing 

cars.

D

T

h

eir 

desi

g

ns 

a

re

 r

estr

ict

e

d

 by

 w

hat

 is 

possible.

24

W

h

a

t 

does 

Ronald 

Hill 

say

 about 

car 

desi

g

n

?

A

T

h

e

re 

a

re t

oo m

any

 r

e

g

ulat

ions

 about 

it

.

B

Im

p

ract

ical 

d

e

s

ig

ns

 p

lay

 an 

im

po

rt

an

t 

p

a

rt 

in 

it.

C

Cost

 h

as

 t

o

o

 m

u

ch 

in

fluence

 on 

de

sig

n

.

D

T

o

o

 m

u

ch

 o

f 

it 

is 

dull 

and 

p

redict

able.

7

C

a

ta

lo

gue Sh

opp

in

g in th

e

 U

SA

M

y

 

favourite 

pa

rts 

of 

the

New 

York 

Times 

on 

Sunda

y

ar

e 

the

 p

er

iphe

ra

l 

bits 

– 

the

parts 

that 

are 

so 

dull 

and

obscure 

the

y

 ex

ert 

a 

kind 

of

h

y

pnotic 

fa

scination. 

 Above

all 

I 

like

 

the

 

adve

rtisin

g

supplements, 

like 

the 

g

ift

catalo

g

ue 

fr

om 

the 

Z

w

ingle

Compan

y

 

of 

N

ew 

Yo

rk

offerin

g

 

sco

res 

of 

p

roducts

of 

the

 

thing

s-

y

o

u

-ne

ver-

knew-

y

ou-n

eeded 

v

ariet

y

 

–

an

 umbre

lla

 with 

a 

tra

nsistor

radio 

in 

the 

handle. 

 W

hat 

a

g

reat countr

y

!

 

 

 

 

Once 

in

 

a 

d

eran

ged

mome

nt 

I 

bou

g

h

t 

some

thin

g

m

y

self 

fr

om 

one 

of 

thes

e

catalo

g

ues, 

knowin

g

 de

ep 

in

m

y

 mind 

that 

it 

would 

end 

in

he

ar

tbre

ak. 

 

It 

w

as 

a 

little

re

ad

in

g

 

lig

ht 

tha

t 

y

o

u

clipped 

onto 

y

our 

book 

so 

as

not 

to 

disturb 

an

y

one

sleeping

 

in 

the 

same 

room.

In

 

this 

resp

ect 

it 

was

outstanding

 bec

ause 

it 

bar

el

y

worked. 

 

The 

li

g

ht 

it 

cast

was 

absurdl

y

 

feeble 

(in 

the

catalo

g

ue 

it 

looked 

like 

the

sort 

of 

thing

 

y

ou 

could

sig

nal 

ships 

with 

if 

y

ou 

g

o

t

lost 

at 

sea) 

and 

le

ft 

all 

but

the 

first 

two 

lines 

of 

a 

p

ag

e

in 

darkness. 

 

I 

hav

e 

se

en

more 

luminous 

insects.

After 

about 

fo

ur 

minutes 

its

little

 

b

ea

m

 

flutte

re

d 

an

d

failed 

alto

g

ether, 

and 

it 

has

never 

be

en 

used 

ag

ain. 

 And

the 

thing

 is 

that 

I 

knew 

all

along

 

that 

this 

was 

how 

it

was 

g

o

ing

 

to 

end, 

that 

it

would 

all 

be 

a 

bitter

disappointment. 

 On 

second

thoug

hts, 

if 

I 

ev

er 

ra

n 

one 

of

those 

companies 

I 

would

just 

send 

people 

an 

empty

box

 with 

a 

note 

in 

it 

say

in

g

‘W

e 

have 

de

cided 

not 

to

send 

y

ou 

th

e 

item 

y

o

u

’ve

ordered 

b

ec

ause, 

as 

y

ou 

w

ell

know, 

it 

would 

never 

work

properl

y

 

 

and 

y

ou 

would

onl

y

 be 

disappointed. 

 So 

let

this 

be 

a 

lesson 

to 

y

ou 

for

the future.’

25

T

h

e

 w

rit

er

 say

s t

hat 

w

hen 

he 

bou

g

h

t 

a 

lig

h

t f

rom 

a

 cat

alo

g

ue

A

he 

had 

no

t 

thou

g

h

t 

about

 it 

car

e

fully

 enoug

h

.

B

it tau

g

h

t hi

m

 a

 lesson abou

t 

m

is

leading adv

e

rts

.

C

it w

a

s

 s

o

m

e

th

in

g

 h

e

 h

a

d

 a

lw

a

y

s 

w

a

n

te

d

 to

 d

o

.

D

he 

w

a

s 

not

 s

u

rpr

ised

 b

y

 t

he 

ou

tc

o

m

e.

26

T

h

e

 w

rit

er

 t

hinks t

hat 

th

e co

m

p

anies 

w

ho 

p

ro

duce such g

if

t 

cat

a

lo

g

u

es

A

ar

e 

cy

nical 

to

w

a

rd

s 

thei

r 

cus

to

m

e

rs

.

B

should 

n

ot

 b

e 

allow

ed 

to

 o

per

a

te

.

C

ar

e 

uni

q

ue t

o

 t

he 

Unit

e

d

 St

a

tes

.

D

nev

er

 sell 

use

fu

l g

oods

.

[T

urn 

ov

er

Page 18

8

Part

 3

You 

ar

e 

g

o

in

g 

to

 r

ead

 an 

ex

tr

act 

fr

o

m 

a

 short

 s

tor

y

. 

 Sev

en 

par

a

g

raphs

 hav

e 

been 

re

m

o

v

ed 

fr

om 

the

ex

tr

act

. 

 

Choose

 

fr

o

m

 

the 

pa

ra

g

raph

s 

A-

H

 

the 

one 

w

h

ich 

fi

ts

 

each

 

g

ap 

(27

-33

) 

Th

e

re 

is

 

one 

ex

tr

a

par

a

g

raph

 w

h

ich 

y

o

u 

do 

not

 n

eed

 t

o

 u

se

. 

 M

ar

k

 y

o

ur 

answ

e

rs

 on t

h

e 

sepa

rat

e

 ans

w

e

r 

shee

t.

Just

 

a

t 

th

a

t 

tur

nin

g

 

b

e

tw

een 

M

a

rk

et 

Road 

and

the 

lane 

leadin

g

 t

o 

the 

chem

ist

’s

 

shop

 

he 

had

his 

‘est

ablishm

ent

’.

 A

t 

eight 

in 

th

e

 ev

ening

 y

ou

w

o

u

ld 

not

 s

ee

 h

im,

 and

 again 

a

t 

ten 

y

ou 

w

ould

see 

not

hin

g

, 

bu

t 

b

e

tw

een 

those t

im

e

s

 he 

a

rr

iv

ed,

sold 

his 

g

oods 

and

 

depar

te

d

. 

T

hose

 

w

ho 

saw

him

 r

e

m

a

rked 

thus, 

‘Luck

y

 f

e

llow

! 

He 

has 

ha

rd

ly

an 

hour

’s 

w

or

k

 a

 day

 and 

he

 poc

k

e

ts

 t

en 

rupees

– 

ev

en 

gr

aduat

e

s

 a

re

 unable 

to

 e

a

rn 

th

a

t! 

T

h

re

e

hundr

ed 

rupees 

a

 m

ont

h!

’ 

 He

 f

e

lt 

ir

ri

ta

te

d

 w

hen

he 

h

ear

d

 

such

 

g

lib 

re

m

a

rk

s

 

and 

said,

 

‘W

h

a

t

these 

fo

lk

 d

o

 not 

see

 i

s 

th

a

t 

I 

s

it

 b

e

for

e

 t

he 

ov

en

pr

act

ically

 a

ll 

day

 f

ry

ing

 a

ll 

th

is…’

27

At

 abou

t 

8

:15 

in 

the 

ev

ening 

he 

a

rr

iv

ed 

w

it

h

 a

load 

o

f 

s

tu

ff

. 

He 

loo

k

ed

 a

s

 i

f 

h

e

 had 

four 

a

rm

s

,

so 

m

any

 

thing

s

 

he

 

carr

ied 

about 

h

im.

 

His

eq

uipm

en

t 

w

a

s 

th

e

 

bi

g

 

tr

ay

 

balanced 

on

 

h

is

head,

 

w

it

h 

it

s 

a

ssor

tm

e

n

t 

o

f 

edibles,

 

a

 

s

tool

st

uc

k 

in 

the

 c

ro

o

k

 o

f 

his

 ar

m

, 

a

 l

a

m

p 

in 

ano

ther

hand 

and 

a

 couple 

o

f 

p

o

rt

able 

le

g

s

 f

o

r 

m

oun

ti

ng

his 

tr

ay

. 

He 

lit

 

the 

la

m

p

, 

a 

lant

e

rn 

w

h

ich

consum

ed

 s

ix

 p

ies’ 

w

or

th

 o

f 

ker

osene

 e

v

e

ry

 day

,

and k

ept 

it 

near 

a

t 

hand, 

s

ince 

he

 had 

to

 g

uar

d

 a

lot

 o

f 

loose 

cas

h 

and

 a

 v

ar

iet

y

 o

f 

m

iscellaneous

ar

ti

cles.

28

He 

alw

a

y

s

 a

rr

iv

ed 

in 

tim

e 

to

 

cat

ch

 t

he 

cine

m

a

cr

ow

d 

com

ing 

ou

t 

a

ft

e

r 

the 

ev

ening 

show

. 

A

pr

et

ende

r 

to

 t

he 

th

rone

, 

a

 y

oung 

scr

a

g

g

y

 f

ellow

,

sat

 on

 h

is 

spo

t 

u

n

til 

he 

a

rr

iv

e

d 

and 

did 

bu

siness,

but

 h

e

 did 

not 

let 

tha

t 

bo

ther 

h

im 

unduly

. 

In

 f

a

c

t,

he 

fe

lt 

g

ener

ou

s 

enou

g

h

 t

o

 say

, 

‘Let 

the

 poor 

rat

do 

his 

business

 

w

hen 

I 

am 

n

o

t 

ther

e

.’ 

T

h

is

sent

im

en

t 

w

a

s 

am

ply

 

re

spec

ted

, 

and

 

the

pr

et

ende

r 

m

o

v

ed 

o

ff

 a

 m

inut

e

 be

fo

re

 t

he

 a

rr

iv

al

of

 t

h

e

 pr

in

c

e

 a

m

o

ng

 c

at

e

rer

s.

29

T

hou

g

h

 so 

m

uch

 p

robin

g

 w

as 

g

o

in

g

 on

, 

he

 k

new

ex

act

ly

 

w

ho 

w

as 

ta

k

ing 

w

hat

. 

He

 

k

new

 

b

y

 

an

ex

tr

aor

dinar

y

 

sense 

w

h

ich 

o

f 

the

 

jukta

 d

ri

v

e

rs

w

a

s 

pick

ing 

up 

chappa

ti

s

 a

t 

a

 g

iv

en 

m

o

m

ent 

–

he 

could 

ev

en 

m

e

n

tion 

the 

licence 

nu

m

ber. 

He

k

new

 t

ha

t 

the 

s

tained 

hand

 ner

v

ously

 com

ing 

up

w

as 

that

 o

f 

a

 y

oung

s

ter

 w

ho 

polished 

the 

shoe

s

o

f 

passe

rs

-b

y

. 

And 

he

 k

new

 e

x

act

ly

 a

t 

w

hat

 hour

he 

w

ould 

see 

the 

w

rest

ler

’s

 

a

rm

 

s

ear

chin

g

 

fo

r

the 

pe

rf

ec

t 

du

c

k

’s 

e

gg.

  

His 

cus

to

m

 w

as 

dr

aw

n

fr

o

m

 t

he 

popula

tion 

sw

ar

m

ing 

the 

pav

em

ent: 

th

e

boot

 polish 

boy

s, 

fo

r 

inst

an

ce, 

w

ho 

w

ander

ed 

to

and 

fr

o 

w

it

h

 b

ru

sh

 and 

polish 

in

 a 

ba

g,

 endlessly

solicit

ing

 

‘Polish,

 

sir,

 

polish!

’ 

Ra

m

a

 

h

a

d

 

a

 

s

o

ft

s

pot

 f

or

 t

he

m

.

30

It

 r

en

t 

his 

hear

t 

to

 see

 t

hei

r 

hun

g

ry

, 

hollow

 ey

es.

It

 pained 

him 

to

 see 

th

e

 r

a

g

s

 t

hey

 w

or

e.

 And

 i

t

m

a

de 

him 

v

e

ry

 unhappy

 t

o 

see

 t

h

e 

tr

e

m

endous

eag

e

rness 

w

it

h

 

w

hich 

they

 

cam

e

 

to

 

h

im

. 

 

But

w

hat

 

could 

he 

do? 

He

 

could 

no

t 

run 

a

 

char

it

y

show

, 

that 

w

as 

im

possible.

 

He 

m

easu

red 

ou

t

their

 hal

f-

g

lass 

o

f 

c

o

ff

ee 

co

rr

e

ct 

to

 t

h

e

 f

ract

ion

 o

f

an 

inch,

 b

u

t 

they

 could 

clin

g

 t

o

 t

he 

g

lass

 a

s

 long

as 

they

 lik

ed

.

31

He 

liv

ed 

in 

the 

second

 l

ane 

behind 

the 

m

a

rk

e

t.

His 

w

if

e 

opened 

the 

doo

r,

 t

h

row

ing

 int

o

 t

he

 n

ig

h

t

air

 t

h

e

 scen

t 

o

f 

b

u

rnt 

o

il 

w

h

ich 

per

pet

ually

 hung

about

 t

heir

 ho

m

e

. 

She 

snat

ched

 f

ro

m

 his 

ha

nd

all 

the 

encu

m

b

rance

s 

and

 

count

ed

 

the 

cash

im

m

ediat

ely

.

32

Af

te

r 

dinner,

 he

 t

uc

ked 

a 

bet

el 

lea

f 

and

 t

obac

co

in 

h

is 

chee

k

 and

 slept.

 He

 had 

d

reams 

o

f 

tr

a

ff

ic

const

ables 

bully

ing

 him 

to

 m

ov

e 

on

 and 

heal

th

inspect

or

s

 say

ing

 he

 w

as 

spr

eadin

g

 a

ll 

k

inds

 o

f

disease 

and 

depopulat

ing 

th

e

 

cit

y

. 

Bu

t

fo

rt

unat

ely

 

in 

act

ual

 

lif

e

 

no 

one

 

b

o

ther

ed

 

h

im

v

e

ry

 ser

iously

. 

T

he 

healt

h

 o

ff

icer 

no 

dou

bt 

cam

e

and 

said,

 ‘

You

 m

us

t 

pu

t 

all 

th

is 

unde

r 

a

 g

lass 

lid,

ot

her

w

ise 

I 

shall 

des

tr

oy

 

it 

so

m

e

 

day

… 

T

a

k

e

care!’

33

Ram

a 

no

 

doubt 

v

iolat

ed 

all 

the 

w

e

ll-

accept

ed

canons 

o

f 

c

leanliness 

and

 sanit

a

ti

on

, 

bu

t 

s

till 

his

cust

o

m

er

s

 not 

only

 sur

v

iv

ed 

h

is 

fa

re

 b

u

t 

s

e

e

m

e

d

act

ually

 t

o 

fl

our

ish

 on 

it

, 

hav

ing

 consu

m

e

d

 it

 f

or

y

ear

s 

w

it

hout

 

show

ing

 

sig

n

s 

o

f 

bein

g

 

any

 

the

wo

rs

e

 f

o

r 

it

. 

9

A

Ram

a 

pr

e

par

ed

 

a

 

lim

it

ed 

quant

it

y

 

o

f

snac

k

s

 f

or 

sale, 

but 

e

v

en 

then

 he 

had

 t

o

car

ry

 

bac

k 

re

m

nants. 

He 

consu

m

e

d

som

e

 

o

f 

it

 

h

imsel

f, 

and 

the 

re

s

t 

h

e

w

a

rm

ed 

up 

and

 

b

ro

u

g

h

t 

o

u

t 

for 

sale

ag

ain t

he 

nex

t 

day

.

B

All 

the 

coppers 

that 

m

en

 and

 w

om

en 

o

f

th

is 

part

 o

f 

th

e

 univ

e

rs

e 

ear

ned

 t

h

ro

u

g

h

their

 m

iscellaneous 

jo

bs 

ult

im

a

te

ly

 cam

e

to

 h

im 

a

t 

the 

end

 o

f 

th

e

 day

. 

He 

pu

t 

all

th

is 

m

oney

 i

nt

o 

a

 lit

tl

e 

clot

h

 ba

g

 d

a

n

g

ling

fr

o

m

 h

is

 nec

k

 unde

r 

his

 shirt

, 

and 

ca

rr

ied

it

 

hom

e

, 

soon 

a

ft

e

r 

the 

nigh

t 

show

 

had

st

ar

ted 

a

t t

he t

hea

tr

e

.

C

No 

one 

could 

w

a

lk

 

p

a

s

t 

his 

display

wit

hout

 t

hr

ow

ing

 a

 look 

at 

it.

 A

 heap 

o

f

bondas

, 

w

h

ich 

seem

ed

 

p

u

ff

ed 

and 

bi

g

but

 m

elt

ed 

in

 one’s 

m

out

h

; 

dosais

, 

w

h

it

e,

round, 

and 

lim

p

, 

loo

k

in

g

 

lik

e 

lay

e

rs

 

o

f

m

u

slin;

 chappa

ti

s

 s

o

 thin 

tha

t 

y

ou 

could

lif

t 

fi

fty

 o

f 

th

e

m

 o

n

 a

 l

it

tl

e

 

fi

n

g

e

r;

 

d

u

c

k

’s

egg

s

, 

h

a

rd-

boiled, 

rese

m

bling 

a 

heap

 o

f

iv

or

y

 balls;

 and 

pe

rpet

ually

 boiling

 co

ff

e

e

on 

a 

s

tov

e.

 He 

had

 a

 separ

a

te 

alu

m

inium

pot

 i

n 

w

h

ich 

he 

k

e

p

t 

chu

tney

, 

w

h

ich 

w

ent

gr

a

ti

s

 w

it

h

 a

lmo

s

t e

v

e

ry

 i

te

m.

 

D

His 

cust

o

m

er

s

 

lik

ed

 

h

im.

 

They

 

said 

in

adm

ir

at

ion

, 

‘I

s

 t

he

re

 a

not

he

r 

place 

w

her

e

y

ou 

can 

g

e

t 

six

 pies 

and 

fo

ur 

chappat

is

fo

r 

one 

anna?’ 

T

hey

 s

a

t 

a

round 

his

 tr

ay

,

ta

k

ing 

w

hat

 t

hey

 w

ant

ed.

 A

 doz

en 

hands

hov

er

ed 

about

 i

t 

ev

er

y

 m

inut

e

, 

b

e

cause

his 

cust

o

m

er

s 

w

e

re

 

ent

it

led 

to

 

p

ic

k

 

up

,

ex

am

ine,

 

and 

acce

pt 

their

 

st

u

ff

 

a

ft

e

r

pr

oper

 scr

u

tiny

.

E

T

hey

 

g

loat

ed 

ov

er

 

it

. 

‘Fiv

e

 

rupees

inv

e

st

ed 

in 

the 

m

o

rn

in

g 

has 

p

roduced

anot

her

 

fi

v

e

…’ 

T

hey

 

ru

m

inat

e

d 

on

 

the

ex

q

u

isit

e 

m

y

st

e

ry

 

o

f 

this 

mult

iplicat

ion.

T

hen

 

it

 

w

a

s 

put 

bac

k 

fo

r 

fu

rt

her

inv

e

st

m

ent

 o

n

 t

h

e

 m

o

rr

ow

 a

nd 

the

 g

ains

car

e

fu

lly

 

separ

at

ed

 

and

 

put 

a

w

a

y

 

in 

a

lit

tl

e 

w

ooden 

box

. 

F

But

 he 

w

a

s 

a

 k

indly

 m

an 

in 

p

ri

v

a

te

. 

‘How

the 

cus

to

m

e

rs

 

sur

v

iv

e

 

the 

food, 

I 

can’t

under

st

and

. 

I 

suppose 

people

 b

uild 

up 

a

sor

t 

o

f 

imm

unit

y

 t

o

 such

 poisons, 

w

it

h 

all

that 

dust 

b

low

ing

 

on 

it 

and 

the 

g

u

tt

er

behind…’

G

He 

g

o

t 

up

 

w

hen 

the 

coc

k

 

in

 

the

 

nex

t

house 

cr

ow

ed.

 S

o

m

et

im

es 

it 

had

 a 

habit

o

f 

w

ak

in

g

 up

 at 

th

re

e 

in

 t

he

 m

o

rnin

g

 and

let

ti

ng 

out 

a

 

s

hr

ie

k.

 

‘W

h

y

 

has

 

the

 

c

oc

k

lost

 

it

s

 

norm

a

l 

sleep?’ 

R

a

m

a 

w

onder

ed

as 

he 

aw

ok

e

, 

b

u

t 

it

 w

a

s 

a 

si

g

nal 

h

e

 could

not

 m

iss. 

W

h

e

ther 

it 

w

a

s 

th

re

e

 o’clock 

o

r

four,

 it 

w

a

s 

all 

the 

sa

m

e

 t

o

 him

. 

He 

had

to

 g

e

t 

u

p

 and 

s

tart 

his 

day

.

H

W

h

e

n

 h

e

 saw

 som

e 

cust

o

m

er

 h

a

g

g

ling,

he 

fe

lt 

lik

e

 shou

ti

ng,

 ‘

G

iv

e

 t

he 

poo

r 

fe

llow

a 

lit

tl

e 

m

o

re

. 

Don’t 

be

g

rud

g

e

 it.

 I

f 

y

ou 

pay

an 

anna 

m

o

re

 he 

can 

hav

e 

a 

do

sai

 and 

a

chappat

i.’

[T

urn 

ov

er

Page 19

10

Part

 4

You 

ar

e 

g

o

in

g 

to

 r

ead

 t

he

 i

ntr

oduct

ion 

fr

o

m

 a

 boo

k

 on 

sport

s

. 

 F

o

r 

q

u

est

ions

 34

-40

, 

c

hoo

se 

the 

answ

er

(A

, B

, C

 o

r 

D

) 

w

h

ich 

y

ou 

th

in

k

 f

it

s

 b

est 

acco

rd

ing 

to

 t

he

 t

ex

t.

 M

ark

 y

our

 answ

er

s 

on 

th

e

 separa

te

ans

w

e

r 

sheet

.

SPORTS

WRITING

Offices 

and 

bars 

are 

o

ften 

full 

of 

casual 

obscenit

y

, 

but 

most 

British 

newspapers 

are 

…. 

well, 

not

necessa

ril

y

 car

eful 

about 

lan

g

u

ag

e, 

but 

ca

re

ful 

about 

bad 

words 

an

y

w

a

y

. 

 T

he 

phr

ase 

‘f

amil

y

 n

ewspape

r’

is 

an 

ineluctable 

pa

rt 

of 

our 

lives. 

 N

ewspape

rs 

ar

e 

not 

in 

the 

business 

of 

g

iving

 g

ra

tuitous 

offen

ce. 

 I

t 

is 

a

limitation 

of 

newspaper 

writin

g

, 

and 

on

e 

eve

ry

body

 

in 

th

e 

business, 

whether 

writin

g

 

or 

re

adin

g

,

understands 

and 

acc

epts. 

 Ther

e 

ar

e 

man

y

 other 

n

eces

sa

ry

 limitations, 

and 

most 

of 

these 

conc

ern 

time 

and

space.

Newspap

ers hav

e dominated sportswritin

g

 in B

ritain fo

r 

y

ears, and 

hav

e 

p

rodu

ced 

their 

own 

totem

fig

ur

es 

and 

do

y

ens. 

 B

ut 

ten 

y

ears 

ag

o, 

a 

ne

w 

pla

y

er 

enter

ed 

the 

g

ame. 

 This 

was 

the 

phenom

enon 

of

men’s ma

g

az

ines; monthl

y

 ma

g

az

ines 

for men th

at had actual 

words 

in 

them 

– 

words 

for 

actuall

y

 readin

g

.

GQ

 was 

the 

pione

er 

and, 

in 

m

y

 totall

y

 unbiased 

opinion 

as 

the 

lon

g

-te

rm 

author 

of 

the 

m

ag

az

ine’s 

sports

column, it leads the wa

y

 still, leaving

 the 

rest pantin

g

 distantl

y

 in its wak

e.

Sport is, of 

course, 

a 

blindin

g

ly

 obvious 

subject 

for 

a 

men

’s 

m

ag

az

ine 

– 

but 

it 

could 

not 

be 

tackled

in 

a 

blinding

ly

 obvious 

wa

y

. 

 Certainl

y

, 

one 

o

f 

the 

first 

thing

s 

GQ

 was 

able 

to 

off

er 

w

as 

a 

n

ew

 w

a

y

 o

f

writing

 about 

sport, 

but 

this 

was 

not 

so 

much 

a 

cunni

ng

 p

lan 

as 

a 

n

ecessit

y

. 

 The 

m

ag

az

ine 

was 

doomed,

as 

it 

were, 

to 

of

fer 

a 

whole 

ne

w 

ran

ge 

of 

fr

eedoms 

to 

its 

sportswriters. 

 H

eady

 and 

rather 

alarming

freedoms. 

 F

re

edom 

of 

voc

abular

y

 w

as 

simpl

y

 the 

most 

obvious 

one 

and, 

inevitabl

y

, 

it 

app

ealed 

to 

the

schoolbo

y

 within 

us. 

 B

ut 

spa

ce 

and 

time 

wer

e 

the 

others, 

and 

these 

possibilities 

meant 

that 

the 

cr

aft 

of

sportswriting

 had to be 

reinvented.

Unlike 

n

ewspap

ers, 

a 

magazine 

can 

offer 

a 

decent 

len

g

th 

of 

time 

to 

res

ear

ch 

and 

to 

write. 

 T

h

ese

are, 

y

ou 

would 

think, 

lux

uries 

– 

especiall

y

 to 

those 

of 

us 

who 

ar

e 

oft

en 

requir

ed 

to 

re

ad 

an 

800-wor

d

match 

report 

ov

er 

the 

telephon

e 

the 

instant 

the 

final 

whistle 

has 

g

o

n

e. 

 Such 

a 

discipline 

is 

nerv

e-rac

kin

g

,

but 

as 

long

 as 

y

ou 

can 

g

et 

it 

done 

at 

all

, 

y

ou 

have 

don

e 

a 

g

ood 

job. 

 No 

on

e 

ex

pects 

a 

masterpi

ece 

unde

r

such 

circumstanc

es. 

 I

n 

some 

w

a

y

s 

the 

ferocious 

re

strictions 

make 

the 

job 

ea

sier. 

 But 

a 

lon

g

 ma

g

az

ine

deadline 

g

ives 

y

ou the discon

certin

g

 and 

ag

or

aphobic 

fre

edom to rese

ar

ch, to write, to 

think

. 

To write a pie

ce fo

r a newsp

ape

r, at about a qu

arter o

f 

the 

massive 

GQ

 len

g

th, 

y

ou 

requir

e 

a 

sin

g

le

thoug

ht. 

 The 

best 

method 

is 

to 

find 

a 

reall

y

 g

ood 

idea, 

and 

then 

to 

pursue 

it 

re

morselessl

y

 to 

the 

end,

where 

ide

all

y

 y

ou 

m

ake 

a 

ni

ce 

joke 

and 

bale 

out 

sty

lishl

y

. 

 I

f 

it 

is 

an 

interview 

piec

e, 

y

ou 

look 

for 

a 

few

g

ood 

quotes, 

and 

if 

y

ou 

g

et 

them, 

that’s 

y

our 

pie

ce 

w

ritte

n 

for 

y

ou. 

 F

or 

a 

lon

ger 

pie

ce, 

y

ou 

must 

seek 

the

non-obvious. 

 This 

is 

a 

g

ood 

qualit

y

 in 

the 

best 

of 

ne

wspape

r 

writin

g

, 

but 

an 

absolute 

ess

ential 

for 

an

y

writer 

who 

hopes 

to 

complete 

the 

ter

rif

y

in

g

 amount 

of 

words 

that 

GQ

 r

equire

s. 

 I

f 

y

ou 

write 

for 

GQ

, 

yo

u

are cond

emned to tr

y

 and join the best.  Th

ere is no othe

r wa

y

. 

GQ 

is 

not 

restricted 

b

y

 the 

sam

e 

conventions 

of 

read

er 

ex

pectation 

as 

a 

newsp

aper. 

 You 

need 

not

worr

y

 about of

fendin

g

 people 

o

r 

alienatin

g

 them; 

the 

whole 

ethos 

of 

the 

magaz

ine 

is 

that 

re

ade

rs 

ar

e 

there

to 

be 

challen

g

ed. 

 T

h

er

e 

will 

be 

re

aders 

who 

would 

find 

some 

of 

its 

pieces 

of

fensive 

o

r 

eve

n 

impossible

in 

a 

newspaper, 

or 

even 

in 

a 

diff

er

ent 

mag

azine. 

 B

ut 

the 

sam

e 

readers 

will 

read 

the 

piece 

in 

GQ 

and

 f

ind

it e

n

thra

lling

.  

That 

is 

because 

th

e 

ma

g

az

ine 

is 

alwa

y

s 

sli

g

htl

y

 unc

omfortable 

to 

b

e 

with. 

 I

t 

is 

not 

like 

a 

cos

y

member 

of 

the 

fa

mil

y

, 

nor

 even 

like 

a 

friend. 

 I

t 

is 

the 

strong

, 

se

lf-opinionated 

p

erson 

that 

y

ou 

ca

n 

neve

r

quite 

make 

up 

y

our 

mind 

whethe

r 

y

ou 

like 

or 

not. 

 Y

ou 

admir

e 

him, 

but 

y

ou 

ar

e 

slightl

y

 une

as

y

 with 

him.

The 

people 

ar

ound 

him 

mig

ht 

not 

altogether 

approve 

o

f 

ev

er

y

thing

 h

e 

sa

y

s; 

some 

mi

g

h

t 

not 

car

e 

for 

him

at 

all. 

 B

ut 

the

y

 feel 

compelled 

to 

listen. 

 The 

sel

f-con

fidence 

is 

too 

comp

elling

. 

 And 

just 

when 

y

ou 

think

he is beg

innin

g

 to become rather a bo

re, h

e surprises 

y

ou with his 

g

enuine intelligence.  He mak

es 

a 

bro

ad

joke, and then suddenl

y

 he is dem

anding

 y

ou 

follow him in the turning

 of 

an intellectual somers

ault.

11

34

W

h

a

t 

d

oes t

he 

w

ri

te

r 

say

 a

bout 

new

s

paper

s 

in t

he f

ir

s

t 

p

a

ra

g

raph?

A

T

hey

 t

end

 not 

to

 i

nclude 

a

rt

icles r

eader

s

 w

ill 

fi

nd 

v

e

ry

 challeng

ing.

B

Ar

ti

cles 

in t

hem 

do 

no

t 

re

fl

ec

t 

th

e

 w

a

y

 m

any

 people 

really

 speak

.

C

T

hey

 a

re

 m

o

re concer

ned

 w

it

h 

pr

o

fi

t t

han 

w

it

h

 q

ualit

y

 o

f 

w

ri

ti

ng.

D

T

hey

 f

ail t

o

 r

ealise 

w

hat

 k

ind

 o

f 

w

ri

ti

ng 

w

ould 

appeal 

to

 r

eade

rs

.

35

W

h

a

t 

does t

he 

w

rit

er 

im

p

ly

 i

n 

th

e

 second

 par

a

g

raph?

A

GQ

 m

a

g

az

ine 

cont

ains 

art

icles t

hat 

a

re

 w

ell 

w

o

rt

h 

readin

g

.

B

Som

e 

o

f t

he m

o

re

 r

e

cent

 m

en’s

 m

a

g

a

z

ines 

ar

e

 unlik

ely

 t

o

 sur

v

iv

e

.

C

T

h

e

 st

anda

rd

 o

f 

sport

s

w

rit

ing

 in

 new

spaper

s 

has

 i

m

p

ro

v

ed 

in r

ecent 

ti

m

e

s.

D

He 

is 

in 

a 

po

sit

ion 

to

 g

iv

e 

an 

ob

je

ct

iv

e 

v

ie

w

 o

f 

sport

s

w

rit

ing 

in m

a

g

az

ines.

36

W

h

y

 w

e

re

 sp

o

rtsw

ri

te

rs

 f

o

r 

GQ

 g

iv

en 

n

ew

 f

re

edoms?

A

T

h

e

 r

e

s

tr

ic

tions 

o

f 

new

spaper

 w

ri

ti

ng 

do 

no

t 

apply

 t

o

 w

ri

ti

ng

 f

or 

GQ

.

B

T

h

e

 m

a

g

a

z

ine’s 

init

ial 

plans f

o

r 

it

s

 sport

s

 a

rt

icles 

pr

ov

ed 

un

realist

ic.

C

Not

ions 

about 

w

hat

 m

ade

 g

ood

 sport

s

 j

ou

rnalism

 w

e

re

 chan

g

in

g

.

D

T

h

e

 w

rit

er

s t

hat 

it

 w

ant

ed t

o

 e

m

p

loy

 dem

anded

 g

re

a

ter

 f

reedo

m

.

37

W

h

a

t does 

the w

riter

 say

 about the

 a

m

ount o

f ti

me allow

ed f

o

r p

roducin

g

 a

rti

c

les?

A

T

h

e

 best 

a

rt

icles 

ar

e

 o

ft

e

n

 pr

oduced

 under g

re

a

t 

p

re

ssu

re 

o

f t

im

e

.

B

Hav

ing

 a 

long 

ti

m

e

 t

o 

p

roduce

 an 

a

rt

icle 

encou

ra

g

e

s

 laz

iness.

C

W

ri

te

rs 

a

re 

s

e

ldom

 s

at

is

fi

ed

 b

y

 ar

ti

cles 

p

roduced

 i

n 

a 

hu

rr

y

.

D

Hav

ing

 v

e

ry

 lit

tl

e 

ti

m

e

 t

o 

p

roduce

 an 

a

rt

icle 

can

 b

e an 

adv

a

nt

a

g

e.

38

W

h

y

 can’

t 

w

ri

te

rs

 f

o

r 

GQ

 use

 t

h

e

 sa

m

e

 m

ethods 

as

 w

ri

te

rs

 f

o

r 

n

ew

spaper

s?

A

Ar

ticles 

in 

GQ

 a

re 

no

t 

a

llow

ed 

to

 consis

t m

ainly

 of

 i

nt

e

rv

ie

w

s.

B

T

hey

 w

ant to

 be con

sidered be

tte

r 

than

 w

riters 

for

 new

spapers.

C

W

ri

te

rs f

o

r 

new

spaper

s 

do

 not 

hav

e 

so m

u

ch

 space t

o

 f

ill.

D

T

hey

 hav

e 

been t

o

ld 

to

 a

v

o

id 

the 

co

nv

ent

ions 

o

f 

new

spaper

 w

ri

ti

ng

.

39

W

h

a

t 

d

oes t

he 

w

ri

te

r 

say

 i

n 

th

e

 penult

im

a

te

 par

a

g

raph 

abou

t 

c

e

rt

a

in

 p

ieces 

in 

GQ

?

A

T

hey

 w

ill 

cr

eat

e

 enor

m

ous

 contr

o

v

e

rs

y

.

B

T

hey

 unint

ent

ionally

 upset

 som

e

 r

eade

rs

.

C

T

hey

 a

re

 a

 r

esponse

 t

o

 dem

and

 f

ro

m

 r

eader

s

.

D

T

hey

 m

a

tch

 r

eade

rs

’ 

ex

pect

at

ions

.

40

T

h

e

 w

rit

er

 lik

en

s 

GQ

 m

a

gaz

ine 

to

 a

 per

son

 w

h

o

A

say

s 

th

ing

s

 y

ou 

w

ish 

y

ou 

had 

said 

y

our

self

.

B

fr

e

q

uen

tl

y

 chang

es

 h

is 

point 

o

f 

v

iew

.

C

fo

rce

s

 y

o

u

 to

 p

a

y

 a

tt

e

n

ti

o

n

 to

 h

im

.

D

w

ant

s 

to

 b

e

 consider

ed

 ent

e

rt

a

inin

g

.