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Passage One
I lost my sight when I was four years old by falling off a box car in a freight yard in Atlantic City and landing on my head. Now I am thirty two. I can vaguely remember the brightness of sunshine and what color red is. It would be wonderful to see again, but a calamity can do strange things to people. It occurred to me the other day that I might not have come to love life as I do if I hadn't been blind. I believe in life now. I am not so sure that I would have believed in it so deeply, otherwise. I don't mean that I would prefer to go without my eyes. I simply mean that the loss of them made me appreciate the more what I had left.
Life, I believe, asks a continuous series of adjustments to reality. The more readily a person is able to make these adjustments, the more meaningful his own private world becomes. The adjustment is never easy. I was bewildered and afraid. But I was lucky. My parents and my teachers saw something in me--a potential to live, you might call it--which I didn't see, and they made me want to fight it out with blindness.
The hardest lesson I had to learn was to believe in myself. That was basic. If I hadn't been able to do that, I would have collapsed and become a chair rocker on the front porch for the rest of my life. When I say belief in myself I am not talking about simply the kind of self confidence that helps me down an unfamiliar staircase alone. That is part of it. But I mean something bigger than that: an assurance that I am, despite imperfections, a real, positive person; that somewhere in the
sweeping, intricate pattern of people there is a special place where I can make myself fit.
It took me years to discover and strengthen this assurance. It had to start with the most elementary things. Once a man gave me an indoor baseball. I thought he was mocking me and I was hurt. "I can't use this." I said. "Take it with you," he urged me, "and roll it around." The words stuck in my head. "Roll it around! "By rolling the ball I could hear where it went. This gave me an idea how to achieve a goal I had thought impossible: playing baseball. At Philadelphia's Overbrook School for the Blind I invented a successful variation of baseball. We called it ground ball.
All my life I have set ahead of me a series of goals and then tried to reach them, one at a time. I had to learn my limitations. It was no good to try for something I knew at the start was wildly out of reach because that only invited the bitterness of failure. I would fail sometimes anyway but on the average I made progress.
1. We can learn from the beginning of the passage that _____.
A. the author lost his sight because of a car crash.
B. the author wouldn't love life if the disaster didn't happen.
C. the disaster made the author appreciate what he had.
D. the disaster strengthened the author's desire to see.
2. What's the most difficult thing for the author?
A. How to adjust himself to reality.
B. Building up assurance that he can find his place in life.
C. Learning to manage his life alone.
D. To find a special work that suits the author.
3. According to the context, "a chair rocker on the front porch" in paragraph 3 means that the author ____.
A. would sit in a rocking chair and enjoy his life
B. was paralyzed and stayed in a rocking chair
C. would lose his will to struggle against difficulties
D. would sit in a chair and stay at home
4. According to the passage, the baseball and encouragement offered by the man
____.
A. hurt the author's feeling
B. gave the author a deep impression.
C. directly led to the invention of ground ball.
D. inspired the author.
5. According to the passage, which of the following is CORRECT?
A. The author set goals for himself but only invited failure most of the time.
B. The author suggested not trying something beyond one's ability at the beginning.
C. The bitterness of failure prevented the author from trying something out of reach.
D. Because of his limitations, the author tried to reach one goal at a time.
Passage Two
I have known very few writers, but those I have known, and whom I respected, confess at once that they have little idea where they are going when they first set pen to paper. They have a character, perhaps two; they are in that condition of eager discomfort which passes for inspiration; all admit radical changes of destination once the journey has begun; one, to my certain knowledge, spent nine months on a novel about Kashmir, then reset the whole thing in the Scottish Highlands. I never heard of anyone making a "skeleton", as we were taught at school. In the breaking and remaking, in the timing, interweaving, beginning afresh, the writer comes to discern things in his material which were not consciously in his mind when he began.
This organic process, often leading to moments of extraordinary self-discovery, is of an indescribable fascination. A blurred image appears, he adds a brushstroke and another, and it is gone; but something was there, and he will not rest till he has captured it. Sometimes the’ yeast within a writer outlives a book he has written. I have heard of writers who read nothing but their own books, like adolescents they
stand before the mirror, and still cannot fathom the exact outline of the vision before them. For the same reason, writers talk interminably about their own books, winkling out hidden meanings, superimposing new ones, begging response from those around them.
Of course a writer doing this is misunderstood: he might as well try to explain a crime or a love affair. He is also. Incidentally, an unforgivable bore. This temptation to cover the distance between himself and the reader, to study his image in the sight of those who do not know him, can be his undoing: he has begun to write to please.
A young English writer made the pertinent observation a year or two back that the talent goes into the first draft, and the art into the drafts that follow. For this reason also the writer, like any other artist, has no resting place, no crowd or movement in which he may take comfort, no judgment from outside which can replace the judgment from within. A writer makes order out of the anarchy of his heart; he submits himself to a more ruthless discipline than any critic dreamed of, and when he flirts with fame, he is taking time off from living with himself, from the search for what his world contains at its inmost point.
1. The writers that the author is familiar with confess that they would _____.
A. work out the ending of a novel in advance
B. follow the writing methods learned at school
C. remodel the main character in writing
D. make changes to the stories they first construct
2. According to the passage, the process of writing
A. depends on skillful planning.
B. is predictable and methodological.
C. depends on the writers' experiences.
D. is disorderly and unsystematic.
3. The word "undoing" in the third paragraph probably suggests ___.
A. success
B. happiness
C. failure
D. sorrow
4. According to the passage, the writer has no resting place because
A. he is not clear about what he will write at the beginning.
B. he should constantly edit his work to make it perfect.
C. he has to face a lot of responses given by readers.
D. he should add brushstrokes to the appearing blurred images.
5. Which of the following statements about writers is TRUE according to the last paragraph?
A. They have little ideas before they start writing.
B. Their talent goes into all their drafts.
C. It does harm to their writing when they flirt with fame.
D. They try to increase communication with readers.
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