It is impossible not to make a mistake at some points in your life. We may as well accept that some thing will go wrong and we will be to blame. It is therefore sensible to work out some strategies for apologizing, and the best way to apologize is by letter. This way you can take care over every work you write— which you can’t do if you say sorry to someone in person.

We all say or do something that we wish we hadn’t said or done. You may say something that accidentally hurts someone, or you may provide a service which doesn’t come up to the standards that a client or customer expected.

You may feel that it was a genuine mistake which couldn’t be avoided. Rather than dwell on the mistake, you should quickly try to remedy（修补）the problem. An effective letter of apology is an important part of that process.

For the contents of the letter, just remember TABS—Timing, Action, Brevity, Sincerity.

The timing of a letter of apology is essential—it must be sent as soon as possible. Any delay in our sending the letter will only compound(add to) the problem. In this case “Better late than never” is not the best motto! The longer you wait before you wait before writing a letter of apology, the more it will seem that you have been coerced（被迫）into writing it.

Although it is important to recognize what has gone before, it is also essential to detail the action you plan to take to rectify whatever it was you did wrong. Research has shown that some indication that you have thought about what future action you plan to take is always well received.

A letter of apology should be brief and the word “sorry” should appear no more than twice. Indicate that you are aware using it a second time—“once again, I am so sorry for…” or “as I said earlier, I am really sorry about…”. Finally, the tone of the letter has to be sincere. In fact, the combination of all the above factors will help in this respect.

And don’t think that letters are out of date in the email—oriented 21st century. An apology email can be worse than no apology at all!

72．What kind of advice does the text suggest about apologizing?

A．It’s a good idea to write a letter of apology as soon as something has gone wrong.    

B．It’s a good idea to send several emails to apologize.

C．Write a long letter apologizing several times to make your point.

D．Wait to see how they react to your letter before planning to do anything.

73．What kind of things do you NOT apologize for?

A．A service that is not as good as it should be.

B．Genuine mistakes.

C．Car accidents.

D．Causing offence or hurt.

74．The underlined expression “Rather than dwell on the mistake” in the third paragraph means you _____.

A．should not waste time worrying about what happened.

B．should consider the problem

C．should forget about what happened.

D．should analyse who was at fault.

75．How can timing compound problems?

A．If you write immediately, they will be suspicious.

B．If you leave it for a few days, they will know it is your idea to write.

C．Waiting for a few days before you write will show your sincerity.

D．Waiting too long will make it worse because they won’t believe you mean it.

It is the most instructive lecture that I________ since I came to this school.

A．attended　　　　　

B．had attended

C．am attending　　　　　　　　

D．have attended

I am a writer. I spend a great deal of my time thinking about the power of language—the way it can evoke(唤起) an emotion, a visual image, a complex idea, or a simple truth. Language is the tool of my trade. And I use them all—all the Englishes I grew up with.
Born into a Chinese family that had recently arrived in California, I’ve been giving more thought to the kind of English my mother speaks. Like others, I have described it to people as “broken” English. But feel embarrassed to say that. It has always bothered me that I can think of no way to describe it other than “broken”, as if it were damaged and needed to be fixed, as if it lacked a certain wholeness. I’ve heard other terms used, “limited English,” for example. But they seem just as bad, as if everything is limited, including people’s perceptions(认识)of the limited English speaker.
I know this for a fact, because when I was growing up, my mother’s “limited” English limited my perception of her. I was ashamed of her English. I believed that her English reflected the quality of what she had to say. That is ,because she expressed them imperfectly her thoughts were imperfect. And I had plenty of evidence to support me: the fact that people in department stores, at banks, and at restaurants did not take her seriously, did not give her good service, pretended not to understand her, or even acted as if they did not hear her.
I started writing fiction in 1985. And for reasons I won’t get into today, I began to write stories using all the Englishes I grew up with: the English she used with me, which for lack of a better term might be described as “broken”, and what I imagine to be her translation of her Chinese, her internal(内在的) language, and for that I sought to preserve the essence, but neither an English nor a Chinese structure: I wanted to catch what language ability tests can never show; her intention, her feelings, the rhythms of her speech and the nature of her thoughts.
【小题1】By saying “Language is the tool of my trade”, the author means that ______.

It is six o’clock in the morning. You are asleep in my left arm and I am learning the art of one-handed typing. Your mother, more tired yet more happy than I’ve ever known her, is sound asleep in the room next door.
When you’re older we’ll tell you that you were born in Hong Kong in the lunar year of the pig. “It's a boy, so lucky,” our neighbours told us. They said you were the first baby to be born in the block this year. This, they told us, was good Feng Shui, in other words, a positive sign. Naturally your mother and I were only too happy to believe that.
Your coming has turned me upside down and inside out. I am pained by the memory of each suffering child I have come across on my journeys as a journalist. To tell you the truth, it’s nearly too much for me to even think of the children being hurt and abused and killed.
Last October, in Afghanistan, when you were growing inside your mother, I met Sharja, aged twelve, motherless, fatherless, guiding me through the grey ruins of her home. Everything was gone, she told me.
There is another memory of Rwanda, and the churchyard where I found a mother and her three young children huddled(蜷缩) together where they’d been beaten to death. The children had died holding on to their mother.
Daniel, these memories explain some of the protectiveness I feel for you, and the occasional moments of blind terror when I imagine anything bad happening to you.
【小题1】We can see that this text is written to ________.

It is true that good writers rewrite and rewrite and then rewrite some more. But in order to work up the desire to rewrite, it is important to learn to like what you write at the early stage.
I am surprised at the number of famous writers I know who say that they so dislike reading their own writing later that they even hate to look over the publishers’ opinions. One reason we may dislike reading our own work is that we’re often disappointed that the rich ideas in our minds seem very thin and plain when first written down. Jerry Fodor and Steven Pinker suggest that this fact may be a result of how our minds work.
Different from popular belief, we do not usually think in the works and sentences of ordinary language but in symbols for ideas (known as ‘mentalese’ ), and writing our ideas down is an act of translation from that symbolic language. But while mentalese contains our thoughts in the form of a complex tapestry (织锦)，writing can only be composed one thread at a time. Therefore it should not be surprising that our first attempt at expressing ideas should look so simple. It is only by repeatedly rewriting that we produce new threads and connect them to get closer to the ideas formed in our minds.
When people write as if some strict critics (批评家) are looking over their shoulder, they are so worried about what this critic might say that they get stuck before they even start. Peter Elbow makes an excellent suggestion to deal with this problem. When writing we should have two different minds. At the first stage, we should see every idea, as well as the words we use to express it, as wonderful and worth putting down. It is only during rewrites that we should examine what we excitedly wrote in the first stage and check for weaknesses.
【小题1】What do we learn from the text about those famous writers?