Top Notch 2B Student Book Third Edition

www.pardistalk.
ir/library
ENGLISH FOR TODAY'S WORLD
with Workbook
JOAN SASLOW
ALLEN ASCH ER
With Top Notch Pop Songs and Karaoke

by Rob Morsberger
www.pardistalk.ir/library
Co nte nts
Learning Objectives for 2A and 2B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv

To the Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii
Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix
UNIT 6 Eating Well . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

UNIT 7 About Personality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
UNIT 8 The Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
UNIT 9 Living in Cyberspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
UNIT 10 Ethics and Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Reference Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Grammar Booster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Writing Booster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Top Notch Pop Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
WORKBOOK
UNIT 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W45
UNIT 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W55
UNIT8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W64
UNIT 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W74
UNIT 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W84
About the Authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .last page
www.pardistalk.ir/library iii
LEARNING OBJECTIVES
COMMUNICATION GOALS VOCABULARY GRAMMAR
• Get reacquainted with someone • Tourist activities • The present perfect

• Greet a visitor to your country • The hand o Statements and 'l§ / !}Q Questions
• Discuss gestures and customs • Participial adjectives o Form and usage
• Describe an interesting experience o Past participles of irregular verbs
Getting o With already, �, ever, before, and never
Acquainted '3d,':"'·';':'·'·?";;'
PAGE 2 • The present perfect
o Information Questions
o Yet and already: expansion, common errors
o Ever, never, and before: use and placement
• Apologize for being late • Explanations for being late • The present perfect
• Discuss preferences for movie • Movie genres o With for and since
genres • Adjectives to describe movies o Other uses
• Describe and recommend movies • Wants and preferences: would like and would rather
Discuss effects of movie violence
Going to the •
on viewers
o Form and usage
Statements, Questions, and answers
Movies o
PAGE 14 A;!" iiit.';i:i.i.�i;';i

• The present perfect continuous
• The present participle: spelling
• Expressing preferences: review, expansion, and
common errors
• Leave and take a message • Hotel room types and kinds • The future with will
• Check into a hotel of beds o Form and usage
• Request housekeeping services • Hotel room amenities and o Statements and Questions
services
• Choose a hotel o Contractions
Staying in • The real conditional

Form and usage
Hotels o
o Statements and Questions

PAGE 26
i3;!."",.';';',i,?,.;;,
• Will: expansion
• Can, should, and have to: future meaning
• The real conditinal: factual and future; usage and
common errors
• Discuss a car accident • Bad driving habits • The past continuous

• Describe a car problem • Car parts o Form and usage
• Rent a car • Ways to respond (with concern / o Vs. the simple past tense
• Discuss good and bad driving relief) • Direct objects with phrasal verbs
Phrasal verbs for talking
Cars and •
about cars ia;i·'iiit.i;:i.i.�'i3'

Driving • Car types • The past continuous: other uses
PAGE 38 • Driving behavior • Nouns and pronouns: review
• Ask for something in a store • Salon services • Indefinite Quantities and amounts
• Make an appointment at a salon • Personal care products o Some and i!ffi'
or spa • Discussing beauty o A lot of / lots of, many, and much
• Discuss ways to improve • Indefinite pronouns: someone /
appearance no one / anyone
Personal • Define the meaning of beauty
Care and 'ad,'iii'·'j':I·i,M';i'
Appearance • Some and i!ffi': indefiniteness
Too many, too much, and enough
PAGE 50 •
• Comparative Quantifiers fewer and less

• Indefinite pronouns: something, anything,
and nothing
iv www.pardistalk.ir/library
COMMUNICATION GOALS VOCABULARY GRAMMAR
• Talk about food passions • Nutrition terminology • Use to I used to

• Make an excuse to decline food • Food passions • Negative � I !lQ questions
• Discuss lifestyle changes • Excuses for not eating something
• Describe local dishes • Food descriptions
Use to I used to: use and form, common errors
Eating Well
•
• Be used to vs. get used to

PAGE 62 • Repeated actions in the past: would + base form,
common errors
• Negative � I no questions: short answers
• Get to know a new friend • Positive and negative adjectives • Gerunds and infinitives
• Cheer someone up • Terms to discuss psychology and • Gerunds as objects of prepositions
Discuss personality and its origin personality
'i¥'i'i"'ji4,i,M'ii'
•
• Examine the impact of birth order

on personality Gerunds and infinitives: other uses
About
•
• Negative gerunds
Personality
PAGE 74
• Recommend a museum • Kinds of art • The passive voice

• Ask about and describe objects • Adjectives to describe art o Form, meaning, and usage
• Talk about artistic talent • Objects, handicrafts, and o Statements and questions
Discuss your favorite artists materials
'3i!·'i'i'·'i':I,i·M'j;'
•
Passive participial phrases

The Arts •
• Transitive and intransitive verbs

PAGE 86 • The passive voice: other tenses
• Yes I !lQ questions in the passive voice: other tenses
• Troubleshoot a problem • Ways to reassure someone • The infinitive of purpose

• Compare product features • The computer screen, • Comparisons with � ... �
• Describe how you use components, and commands o Meaning and usage
the Internet • Internet activities o Just, almost, not quite, not nearly
Discuss the impact of the Internet
Living in •
Cyberspace
i3¥'i'i"'ii:l,i,H'!i'
• Expressing purpose with
PAGE 98 in order to and for
• !!§ . . . � to compare adverbs
• Comparatives I superlatives: review
• Comparison with adverbs
• Discuss ethical choices • Idioms • The unreal conditional

• Return someone else's property • Situations that require an ethical o Form, usage, common errors
• Express personal values choice • Possessive pronouns I Whose
• Discuss acts of kindness and • Acknowledging thanks o Form, usage, common errors
honesty Personal values
Ethics and •
Values • should, ought to, had better

PAGE 110 • have to, must, be supposed to
• Possessive nouns: review and expansion
• Pronouns: summary
Refe rences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 123

Gra m ma r Booste r ......................................................................................................... page 134
Writi n g Booster ........................................................................................................... page 148
Top Notch Pop lyrics ...................................................................................................... page 153
vi
CONVERSATION STRATEGIES LISTENING / PRONUNCIATION READING WRITING
• Use "I don't think so." to soften a Listening Skills Texts Task
negative answer • Listen to classify • A poster about world customs • Write a description of an interesting
• Say" I know!" to exclaim that • Listen for details • A magazine article about non· experience
you've discovered an answer verbal communication
Use"Welcome to_." to greet
Pronunciation
A travel poster G;illihi:i·'·Wh;' j'
I':
Sound reduction in the present
• •
someone in a new place

•
• Avoiding run-on sentences
perfect • A photo story
Say 'That's great." to
T'
•
Skills/strategies
acknowledge someone's positive
Identify supporting details
experience
•
• Relate to personal experience

(:
• Apologize and provide a reason Listening Skills Texts Task

when late • Listen for main ideas • A movie website • Write an essay about violence in
"
movies and on TV
• Say"That's fine," to reassure • Listen to infer • Movie reviews n
';i"h'i4.i.?iljj'
• Offer to repay someone with • Dictation • A textbook excerpt about violence
" How much do I owe?" in movies
Pronunciation Paragraphs
.;-
•
• Use"What would you rather Reduction of h • A photo story
do . . . ? to ask about preference
•
• Topic sentences
Skills/strategies :
• Soften a negative response with Understand from context
r::
•
"To tell you the truth, . . .
• Confirm content
;.
• Evaluate ideas
• Say"Would you like to leave Listening Skills Texts Task

a message?" if someone isn't • Listen to take phone messages • Phone message slips • Write a paragraph explaining the
available • Listen for main ideas • A hotel website reasons for choosing a hotel
• Say"Let's see." to indicate you're
checking information
• Listen for details • A city map
't9a"Wa:l".�ih;i
A photo story
Pronunciation
•
• Make a formal, polite request • Avoiding sentence fragments

Contractions with will Skills/strategies with because or since
with" May I_?"
•
• Draw conclusions
• Say" Here you go," when handing
someone something Identify supporting details
i,:
•
• Use"By the way, . , ." to • Interpret a map

introduce new information
• Express concem about another's Listening Skills Texts Task

condition after an accident • Listen for details • A questionnaire about bad driving • Write a paragraph comparing good
• Express relief when hearing all • Listen to summarize habits and bad drivers
is OK Rental car customer profiles
'd;illi,[a;i".�il!;i
•
Pronunciation
• Use"only" to minimize the Stress of particles in phrasal verbs • A feature article about defensive
seriousness of a situation
•
driving • Connecting words and sentences:
and, in addition, furthermore,
• Use"actually" to soften negative • A driving behavior survey
and therefore
infonnation • A photo story
• Empathize with '' I'm sorry to
Skills/strategies
hear that."
• Understand from context
• Critical thinking
• Use" Excuse me." to initiate a Listening Skills Texts Task

conversation with a salesperson • Listen to recognize someone's point • A spa and fitness center • Write a letter on how to improve
• Confirm information by repeating of view advertisement appearance

it with rising intonation Listen to take notes A health advice column
't'ij,·if'i;'·'·H'j;'
• •
Use" No problem." to show you • A photo story

Pronunciation
•
don't mind an inconvenience • Writing a formal letter

• Pronunciation of unstressed vowels
Skills/strategies r
• Use"Let me check" to ask • Paraphrase
someone to wait while you
Understand from context
confirm information
•
• Confirm content
• Apply information
v
CONVERSATION STRATEGIES LISTENING / PRONUNCIATION READING WRITING
• Provide an emphatic affirmative Listening Skills Texts Task

response with "Definitely," • Listen for details • A food guide • Write a persuasive paragraph about
• Offer food with "Please help • Listen to personalize • Descriptions of types of diets the differences in present-day and
yourself." past diets
A magazine article about eating
Pronunciation
•
iW;i,·ii'i:!.'·Hij;'
Acknowledge someone's efforts habits
Sound reduction: used to
•
•
by saying something positive • A lifestyle survey
• Connecting ideas: subordinating
• Soften the rejection of an offer Menu ingredients
•
conjunctions
with " I 'll pass on the _,"
• A photo story
• Use a negative question to
express surprise Skills/strategies
Understand from context
Use " It's not a problem," to
•
I'
•
downplay inconvenience • Summarize

• Compare and contrast
• Clarify an earlier question with Listening Skills Texts Task

"Well, for example, ' , , " • Listen for main ideas • A pop psychology website • Write an essay describing
�.
• Buy time to think with "Let's see," • Listen for specific information • A textbook excerpt about the someone's personality i'
• Use auxiliary do to emphasize a • Classify information nature / nurture controversy

verb • Infer information • Personality surveys
• Parallel structure
• Thank someone for showing • A photo story
Pronunciation
interest.
• Reduction of 1Q in infinitives Skills/strategies
Offer empathy with " I know what
Understand vocabulary from
•
•
you mean,"
context
• Make personal comparisons
• Say "Be sure not to miss _. " to Listening Skills Texts Task
I�
emphasize the importance of • Understand from context • Museum descriptions • Write a detailed description of a
an action • Listen to take notes • A book excerpt about the origin decorative object
Introduce the first aspect of an Infer point of view of artistic talent
fJJd,·iijii4·'·H'ji'
•
•
opinion with "For one thing, . , ," • An artistic survey

Pronunciation Providing supporting details
• Express enthusiasm for what A photo story
•
Emphatic stress
•
someone has said with "No

•
kidding!" Skills/strategies
Recognize the main idea
Invite someone's opinion with
•
•
"What do you think of _?" • Identify supporting details l

• Paraphrase
• Ask for assistance with "Could Listening Skills Texts Task

you take a look at _?" • Listen for the main idea • A social network website • Write an essay evaluating the
• Introduce an explanation with • Listen for details • An internet user survey benefits and problems of the
"Well" , ," Internet
• Newspaper clippings about the
Pronunciation
Make a suggestion with "Why Internet
Stress in � , , , � phrases
•
•
don't you try _ing?" • A photo story
• Organizing ideas
• Express interest informally with
Skills/strategies
"Oh, yeah?"
• Understand from context
• Use "Everyone says .. ," to
Relate to personal experience
introduce a popular opinion
•
• Say "Well, I 've heard _." to

support a point of view
• Say "You think so?" to reconfirm Listening Skills Texts Task

someone's opinion • Listen to infer information • A personal values self-test • Write an essay about someone's
• Provide an emphatic affirmative • Listen for main ideas • Print and online news stories personal choice
response with "Absolutely." • Understand vocabulary from about kindness and honesty
• Acknowledge thanks with "Don't context • A photo story
mention it." • Introducing conflicting
Support ideas with details
Skills/strategies
•
ideas: On the one hand; On the
Pronunciation • Summarize other hand
• Blending of g + Y. in would y'ou • Interpret information
• Relate to personal experience
vii
TO THE TEACHER
What is Top Notch? Top Notch is a four-level communicative course that prepares adults and young
adults to interact successfully and confidently with both native and non-native speakers of English.
The goal of Top Notch is to make English unforgettable through:

• Multiple exposures to new language
• Numerous opportunities to practice it
• Deliberate and intensive recycling
The Top Notch course has two beginning levels Top Notch Fundamentals for true
-
beginners and Top Notch 1 for false beginners. Top Notch is benchmarked to the
Global Scale of English and is tightly correlated to the Can-do Statements of the
Common European Framework of Reference.
Each full level of Top Notch contains material for 60-90 hours of classroom
instruction.
NEW This third edition of Top Notch includes these new features: Extra Grammar
Exercises, digital full-color Vocabulary Flash Cards, Conversation Activator videos,

and Pronunciation Coach videos.
Award-Winning Instructional Design*

Daily confirmation of progress Linguistic and cultural fluency
Each easy-to-follow two-page lesson begins with a clearly Top Notch equips students to interact with people from
stated practical communication goal closely aligned to the different language backgrounds by including authentic
Common European Framework's Can-do Statements. All accents on the audio. Conversation Models, Photo Stories,
activities are integrated with the goal, giving vocabulary and cultural fluency activities prepare students for social
and grammar meaning and purpose. Now You Can interactions in English with people from unfamiliar cultures.
activities ensure that students achieve each goal and
confirm their progress in every class session. Active listening syllabus
All Vocabulary presentations, Pronunciation presentations,
Explicit vocabulary and grammar Conversation Models, Photo Stories, Listening
Clear captioned picture-dictionary illustrations with Comprehension exercises, and Readings are recorded on
accompanying audio take the guesswork out of meaning the audio to help students develop good pronunciation,
and pronunciation. Grammar presentations containing intonation, and auditory memory. In addition,
both rules and examples clarify form, meaning, and use. approximately fifty carefully developed listening tasks
The unique Recycle this Language feature continually puts at each level of Top Notch develop crucial listening
known words and grammar in front of students' eyes as comprehension skills such as listen for details, listen for
they communicate, to make sure language remains active. main ideas, listen to activate vocabulary, listen to activate
grammar, and listen to confirm information.
High-frequency social language
Twenty memorable conversation models provide appealing
natural social language that students can carry "in their
pockets" for use in real life. Rigorous controlled and free
discussion activities systematically stimulate recycling of
social language, ensuring that it's not forgotten. We wish you and your students enjoyment
and success with Top Notch 2.
We wrote it for you.
* Top Notch is the recipient of the Association of
Educational Publishers' Distinguished Achievement Award. Joan Saslow and Allen Ascher
viii
COMPONENTS
Maximize the impact of your Top Notch lessons. This digital tool provides an interactive
ActiveTeach classroom experience that can be used with or without an interactive whiteboard (IWB).
It includes a full array of digital and printable features.
For class presentation . . . For planning ...
e NEW Conversation
---�--.. ---
::�;;'=�.- ::��
• A Methods Handbook for a
communicative classroom
Activator videos: increase .2
,:==--... ..:.-= ':�...- ... '''':'-
';':'" "- �..
students' confidence in oral . ---_._-_.-
• Detailed timed lesson plans for
communication ��=�==�� each two-page lesson
e NEW Pronunciation Coach : :=� == ::=:::::==:

' ='-_...- .. --.. • Complete answer keys, audio
scripts, and video scripts
videos: facilitate clear and
fluent oral expression For extra support ...
o NEW Extra Grammar • Hundreds of extra printable
Exercises: ensure mastery activities, with teaching notes
of grammar Top Notch P op language exercises
o
•
NEW Digital Full-Color Vocabulary

Flash Cards: accelerate retention of For assessment ...
new vocabulary • Ready-made unit and review
achievement tests with options
- to edit, add, or delete items.
· 0 Clickable Audio: instant access to the complete
classroom audio program
• Top Notch Pop Songs and Karaoke: original songs
for additional language practice
Workbook Full-Course Teacher's Edition and

Lesson-by-Iesson
Placement Tests Lesson Planner
written exercises
to accompany the • Detailed interleaved lesson plans, language and culture
Student's Book notes, answer keys, and more
• Also accessible in digital form in the ActiveTeach
ix
lal)\�I�j (II�I(Rli i (1):lffll!1 �i
Ta l k about food passions.
2 Make a n excuse to dec l i n e food.
3 Discuss l ifestyle changes.
UNIT 4 Describe l ocal dishes.
Eating Well
PREVIEW
VOCABVLAR1'
Calcl_:
Dairy products and l eafY green
vegetables provide calcium for
healthy bones and teeth.
Ca..bohyckate.:
Grains, pasta, and bread
are sources of healthy
carbohydrates .
...oteba:
Meat, fish, poultry, eaP.. "
II
�� :::
.. ...
legumes, and nuts are

sources of protein. >: <:;:
� VItaaaba.:
Vitamins A, a, C, and D come
from a variety of foods, and
they are important for JOOd
health.
A Loo k at the s u ggestio n s above fo r eati ng a hea lthy d i et. Do you th i n k

this d iet is hea lthy? Why o r why n ot?
B Co m p l ete the ch a rt about the foods you eat each day. Com pare cha rts
with a partner.
C D I SCUSS I O N H ow a re the Healthy Diet su g gesti o n s d iffe rent fro m yo u r

cha rt? Which d o yo u th i n k i s a hea lth ier d i et? Exp l a i n .
62 U NIT 6
D P H OTO STO RY Read a n d l i sten to peo p l e ta l ki n g about food choices.
Rita: Didn't you tell me you were Joy: ! h

..aye..':l ? i.
d.� , W ant to try some? Joy: Come on! It's re ally good.
avoiding sweets? Rita : Th anks. But I think I'd be..... tter Rita: OK. Maybe j ��t.� .bi.��.
Joy: ! !=?u.
l �!1: � rt;� i g! ! .h.a.� fl. ��,!,,:i !19. f9 � p',!��. I'm avoiding c arbs: ; Joy: Hey, you only live once!
chocol ate. Joy: You? I don't believe it. You never
Rita: Well, I h ave to admit it looks used to turn . . . . . chocol ate!
. . . .down
pretty go'od : Ho'';'' 'rl;a'�y c alories are
.
Rita: I know. But r.n: .�� i. n.9 .n:Y.

in th at t hing anyw ay? yy� i.9�� now.
*carbs (inform al) = c ar bohydr ates
E FOCUS O N LANG UAG E F i n d a n u nd e r l i ned sentence or p h rase i n the Photo Sto ry with
the s a m e mea n i n g as each of the fo l l owi n g .
1 I d o n ' t k n ow . ......... . . . . . . . . . . . . . . . . . . . . . . . . . . . . .... . . . . . . . . . .
. 5 I rea l ly wa nted . . . . . . . . . ... .. ... . . . .. .. ..................... . . .
2 I s h o u l d say n o ... . . . . . . . . .
. . 6 I ag ree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3 I co u ld n 't sto p myself. . . . . . . .. ... . .. ... . . . . . . . . . . . . . . ...... 7 say no to . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4 I 'm tryi n g not to g et heavier. . . . . . . . . . . . . . ... ........ . . . . . . . 8 I ' l l try a l ittl e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . . . .
" I don't bel i eve i n the Atk i n s Diet.

S P EA K I N G A l ot of meat, eggs, and cheese
doesn't s o u n d l i ke the right balance
Read the descri pti o n s of diets. Wou l d you eve r try a n y of the m ? of foods fo r good hea lth. "
Why o r why not?
The Vegan Diet The Juice Fast

For beHer health and For beHer health and
prevention of disease. prevention of disease.
Avoid a l l animal products, Instead of food, drink
including dairy and eggs. four to six glasses of fresh
Eat lots of grains, beans, vegetable and fruit juices
vegetables, and fruits. for anywhe r e from three
days to three weeks. Get
plenty of rest and avoid
The Atkins Diet exercise during the fast.
For weight loss.
Eat high·protein foods such
The Mushroom Diet
as meat, eggs, and cheese.
For weight loss. Avoid foods that are high
Replace lunch or dinner in carbohydrates, such as
every day-for two weeks potatoes, bread, grains,
with a mushroom dish. and suga r.
UNIT 6 63
u 'Ftl;}� VOCABULARY Food passions
CARDS
A 3:2 Read a n d l iste n . Then l i sten again a n d re peat.

I can't sta n d fish .
I 'm not crazy a bout chocolate.
I'm crazy a bout seafood .
I don't ca re for stea k .
I'm a big m eat eater.
I 'm not much o f a pizza eater.
I 'm a big coffee d ri n ker.
I 'm not much of a coffee d r i n ker.
I 'm a chocolate addict.
B :2 LISTEN TO ACTIVATE VOCA B U LARY C i rc l e the correct words to

co m p l ete each state m e nt about the s pea ke rs' food pass i o n s .
1 She ( i s c razy about / does n ' t ca re fo r) s u s h i .
2 H e (loves / ca n't sta nd) a sp a rag u s .
3 S h e ( i s a m a n g o lover / does n ' t care fo r m a n goes) .
4 H e (is a big pasta eate r / i s n ' t c razy about pa sta).
sushi
5 S h e (is a n ice crea m add ict / ca n ' t sta nd ice crea m) .
mangoes pasta i ce cream asparag u s
C PAI R WO R K Tel l you r pa rtn e r about " I'm really a seafood lover,
some of yo u r food passi o n s . but I'm not crazy about sal m o n . "
G RAM MAR Use to / used to

B e careful!
Use use to and used to + the base form of a verb to describe t h ings . They didn't use to ...
that were true i n the past but are no longer true in the p resent.
They used to . . . BUT
• D·d
I th ey use t 0 ....
?
I used to be crazy about candy, but now I don't care for it.
She didn't use to eat cheese, but now she has it all the time.
Did you use to eat a lot of fatty foods? • Yes, I �id., OR.•
Yes, I used to. GRAMMAR BOOSTER p. 134
• No, I dldn t. No, I didn't use to. • Use to / used to: use and form,
What did you use to have for breakfast? (Eggs and sausage. But not anymore.) common errors
Why did you use to eat so much? (Because I didn't use to worry about my health.) • Be used to vs. get used to
• Repeated actions in the past:
would + base form. common errors
64 UNIT 6
G R AMMAR PRACT I C E Use the context to h e l p yo u co m pl ete each senten ce with u sed to o r
d i d n ' t u se to. T h e n w rite two sente n ces a b o u t yo u rself.
1 G a ry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . go out to eat a l ot, but 6 Ted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . eat a l ot of fatty foods,
now he eats at home m o re ofte n . b u t n ow he avoids the m .
2 N i n a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . eat a l ot o f pasta, but 7 B u rt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . d ri n k a l ot of wate r, bu t
now she does. n ow he has severa l g lasses a d ay.
3 Vi n n ie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . d ri n k a l ot of coffee, 8 M ay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . l i ke salad, but n ow s h e
b u t n o w he's a coffee add ict. has salads seve ra l times a week.
4 Anto n . . . . . . . . . . . . . . . . . . . . . . . . . . . . eat a l ot of veg etab l es, 9 (u sed to) I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
b u t now he doesn 't.
...... .. rnI!IilJ!I 5 Cate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . hate seafood, but now 10 (d i d n ' t u s e to) I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MORE
EXERCISES she's crazy about fish .
uuu"em�� P R O N U N C I ATI O N Sound reduction: used to

COACH
3:23 N otice h ow the p ro n u nciation of to i n u sed to c h a nges to Ital i n natu ra l s peec h . Read a n d l i sten .
Then l i sten a gai n a n d re peat. Practice the sente n ces o n you r ow n .
• • • •
1 I u sed to be a big m eat eate r. 3 Sa l ly u sed to be crazy about fries.

• • • •
2 J a c k u sed to l i ke sweets. 4 They d i d n 't use to l i ke seafood .
C O N V E RSATI O N M ODEL
A 3:24 Read a n d l i sten to two peop l e ta l ki n g about
thei r food pass i o n s .
A: A r e yo u a big coffee d ri n ker?
B: Defin itely. I 'm c razy about coffee. What about you ?
A : I u sed to d ri n k it a l ot. B u t recently I 've c u t back .
B : We l l, I cou l d n 't l ive without it.
B 3:25 RHYTHM AND I NTO NAT I O N Liste n again and repeat.

Then p ractice the Co nve rsation Model with a partner.
........
.. w.ioI�.... Talk about food passions
A NOTEPA D D I N G Co m p l ete the n otepad with foods My food passions

yo u l i ke and d i s l i ke .
Foods I'm c r a zy a bout Foods I c an't st and
... Ell!lilil!
VIDEO
B CONVERSAT I O N ACTI VATO R With a partner, c h a n g e
the Co nve rsation Model, exc h a n g i n g i nformation
about you r food passio n s . Ta l k about what you u sed
to a n d d i d n ' t u se to eat or d ri n k. Use yo u r n otepad
and the Vocab u l a ry fro m page 64.
A: Are yo u a big . . . . . . . . . ? DON'T STOP!
B: . . . . . . . . . What about yo u ?
. • Ask a bout more
A : ......... . . . foods a n d d r i n ks.
C C H A N G E PART N ERS Ta l k about othe r food passi o n s .
65
www.pardistalk.ir/library U N IT 6
CO N V ERSATI O N M ODEL
A 3:26 Read a n d l i sten to a d i n n e r g u est m a ke an
excuse to decl i n e food .
A: P l ease h e l p you rself.
B: Eve ryth i n g looks g reat! Bu t I ' l l pass o n the chi cke n .
A : D o n ' t you eat c hi c ke n ?
B: Actu a l ly, n o . I 'm a veg eta ria n .
A: I 'm so rry. I d i d n 't k n ow that.
B: W� f) <?� .a. p. r? � I.�I!l: I ' l l h ave someth i n g e l se.
.
B 3:2 R HYTH M A N D I NTO NAT I O N Liste n a g a i n a n d re peat.

Then p ractice the Co nversation Model with a partner. � 3:28 Variations
It's not a pro b l e m .
b·on·'f worry, .....
I ' m fine.
..ttl:�� VOCABULARY Excuses for not eating something

•
d
CARDS
A 3:29 Read a n d l iste n . Then l i ste n again a n d re peat.
Coffee doesn't I'm on a diet. / I don't e at beef.

agree with me. I'm trying to lose weight. It's against my religion.
I'm allergic to c hocol ate. I'm avoiding sug ar. I don't care for broccoli.
B 3:30 LI STEN TO ACTIVATE VOCA B U LARY Listen to each co nve rsatio n . Write the l etter to
com p lete each state m ent. Then l i sten a g a i n to check yo u r work.
.... . . . .. 1 C i ndy . . . a is a veg eta ria n .
. . . . . . . . . 2 Fra n kie . . . b is avo i d i n g fatty, salty foods.
. . . . . .. . . 3 M a ri e . . . c is tryi ng to lose weig ht.
"", . . . . 4 S u s a n . . . d is a l l ergic to someth i n g .
... . . ... . 5 Georg e . . . e does n ' t care fo r seafood .
" I u s u a l ly don't eat fried foods,
C PA I R WO R K Ta l k about foods o r d ri n ks you avoid . Ex p l a i n why. I 'm tryi ng to l ose weight. "
J
66 U N IT 6
G RA M MAR Negative yes / no questions
Use negative � I no q u estions .. .

• to confirm i nformation you t h i n k is true.
I s n 't Ja ne a vegeta r i a n ? (Yes, she is.)
Didn 't h e go on a d i et last week? (Yes. He's trying the Atkins Di et.)
• when you want someone to agree with you.
Don't you love Italia n food? (Yes, it's deli cious!)
Wasn't that a terrible d i n n er? (Actually, no. I thought it was good .)
• to express surprise.
GRA M MAR BOOSTER p . 135
Aren't you go i n g to have ca ke? (I'm sorry, but I'm on a d i et.)
Hasn 't he tried the chicken ? (No. He 's a vegeta r i a n . ) • N egative m / no
questions: short answers
G RA M M A R PRACT I C E Com p l ete each neg ative ru / n o q u estio n .

1 A: . . . . . . . . . . . . . . . . . yo u a l l e rg i c to to m atoes? 4 A: . . . . ..
B: M e ? N o . Yo u 're th i n ki n g of my b rothe r. B : Yes . But it's d rivi ng h i m c razy.
2 A: . . . . . . . . . . . . . . . . . that l u n ch yesterday del icio u s ? 5 A: . . . . . . . . . . . . . . . . . asparag u s d i sg u st i n g ?
B : I t w a s fa ntastic ! B : Actu a l ly, I l i ke it.
3 A: . . . . . . . . . . . . . . . . . we a l ready h ave stea k th is wee k? 6 A: . . . . . . . . . . . . . . . . . yo u l i ke you r pasta?
... .I!Iffii!l1
MORE
EXERCISES B : Yes, we d i d . B : Actu a l ly, it w a s a l ittl e too s p icy fo r m e .
Make a n excuse to decline food
A N OTEPA D D I N G Loo k at the p h otos . O n a separate s heet of paper,

u s e the Vocab u l a ry to w rite a n exc u se to dec l i n e each food .
. 1!mlim
VIDEO
B C O N V ERSAT I O N ACTIVATO R With a pa rtn e r, change
the Co nversation Model to ro l e- p l ay a d i n n e r
conversati o n . Use the p hotos t o offe r foods. U s e octopus s h e l lfish
yo u r n otepad t o m a ke excu ses t o dec l i n e t h a t food .
Then c h a n g e ro les. O PTI O N : Ro le-play a d i n n e r
conversatio n w i t h m o re tha n o n e classmate.
A: P l ease h e l p you rself.
B: Eve ryth i ng looks . . . . . . . . . ! Bu t I ' l l pass o n the . . . . . . . . .
A: D o n ' t you eat . . . . . . . . . ?
B: Act u a l ly, . . . . . . . . . .
DON'T STOP! tofu stea k
• Offe r d r i n ks a n d
A: I 'm so rry. I d i d n ' t know that. other foods.
�
B: . . . . . . . . . . I ' l l have . . . . . . . . . . • Ta l k a bout food
passions.
�
:<'!
brocco l i beets
be crazy a bout _ ca n 't sta nd
be a b i g _ eater / d r i n ke r be n o t crazy a bout_
be a ( n ) _ add i ct / l over not ca re for
C C H A N G E PARTN ERS Practice the conve rsatio n agai n .
chocolate
UNIT 6 67
BE FO R E YO U R EAD
EXPLORE YO U R I D EAS Do yo u th i n k peo p le's eat i n g habits a re better o r wo rse than they
u sed to be? Exp l a i n with exa m ples.
R EADING
-
--
--
--
--
--
--
Have you ever wondered why Americans struggle with watching their weight,
while the French, who consume all that rich food-the bread, the cheese, and the
heavy sauces---continue to stay thin? Now a report from Cornell University suggests a
possible answer. A study of almost 300 participants from France and the U.S. provides
clues about how lifestyle and decisions about eating may affect weight. Researchers
concluded that the French tend to stop eating when they feel full. However, Americans
tend to stop when their plate is completely empty, or they have reached the end of their
favorite TV show.
According to Dr. Joseph Mercola, who writes extensively about health issues, the
French see eating as an important part of their lifestyle. They enjoy food and, therefore,
spend a fairly long time at the table. In contrast, Americans see eating as something
to do quickly as they squeeze meals between the other activities of the day. Mercola
believes Americans have lost the ability to sense when they are actually full. So they
keep eating long after the French would have stopped. In addition, he argues that, by
tradition, the French tend to shop daily, walking to small shops and farmers' markets
where they have a choice of fresh fruits, vegetables, and eggs as well as high-quality
meats and cheeses for each meal. In contrast, Americans tend to drive their cars to huge
supermarkets to buy canned and frozen foods for the whole week.
Despite all these differences, new reports show that recent lifestyle changes may be
affecting French eating habits. Today, the rate of obesity--or extreme overweight
among adults is only 6%. However, as American fast-food restaurants gain acceptance,
and the young tum their backs on older traditions, the obesity rate among French
children has reached 17%-and is growing.
A U N DERSTA N D F R O M CONTEXT Use the context of the a rticle to h e l p yo u

c hoose the sa m e m ea n i ng as each u n d e rl i ned word o r p h rase.
1 H ave you eve r wo n d e red w hy America n s struggle with watc h i n g the i r weig ht . . .
a have a n easy t i m e b have a d ifficu lt t im e c d o n 't ca re about
2 . . w h i l e the F re n ch , who cons u m e a l l t hat r ich food, . . . .

.
a fatty, h i g h -calo rie food b l ow-fat, l ow-ca l o rie food c expen sive food
3 . . conti n u e to stay th i n ?
.
a worry about their weig h t b not beco m e overweight c g a i n weight

4 Resea rchers con c l uded that the French ten d to sto p eati n g w h e n they fee l fu l l .
a l i ke they ca n 't eat a ny m o re b wo rried about the i r weig ht c h u n g ry
5 . . . the Fre n c h see eati n g as a n i m po rta nt pa rt of thei r l ifestyle.
a personal ca re and a p pea ra n ce b c u ltu re o r d a i ly routi n e c m ea l s
68 UNIT 6
B S U M M A R I Z E Accord i n g to the a rticle, why do the French stay th i n w h i l e America n s g a i n weight?
Write a fo u r-sente n ce s u m m a ry of the Read i n g . Then s h a re yo u r s u m m a ry with the class.
Co m p a red to Ameri c a n S") the French S"ta th i n becallS"e . . .
C C O M PA R E A N D CO NTRAST I n yo u r cou ntry, do

� � I th i n k peop l e here a re m o re l i ke peo p l e i n Fra nce.
peo p l e g e n e ra l ly stay th i n o r do they stru g g l e
with watc h i n g the i r weig ht? Are l ifestyles i n yo u r �
They l i ke to eat, but they d o n ' t g a i n weight easi ly. "
J
I
..... Jlll!lIliI!I cou ntry closer to those of F ra nce o r the U.S., as
EXER�g� descri bed i n the a rticle?
Discuss lifestyle changes
A FRAM E YO U R I D EAS Com p l ete the l ifesty l e se lf-assess m ent.
o ate less food Were you successful? 0 yes 0 no

o cut back on desserts Why or why not? Explain. __________
o avoided fatty foods
o other (explain) _____________ __ ____________
o stopped eating fast foods Were you successful? 0 yes 0 no

o started eating whole grains Why or why not? Explain. __________
o started eating more vegetables
o other (explain) ___________________________
If so, what have you done?
o started working out in a gym Were you successful? 0 yes 0 no

o started running or walking Why or why not? Explain. __ _________
o started playing sports
o other (explain) ___________________________
B C LASS S U RVEY O n the boa rd, s u m m a rize yo u r How m any stu dents ...
c lass's l ifestyles. • want to make som
e lifestyle changes?
�
have gone on a diet
to lose weight? .
•
: ave Changed their
C D ISCUSSI O N H ow d o you th i n k yo u r classmates diet to improv� their
ave b e en s uccessful health?.
with a diet?
co m pa re to most peo p l e in yo u r cou ntry? Are they • lead an active life
style? .
,
g e n e ra l ly health i e r o r less hea lthy? What do yo u th i n k

peo p l e n eed to do to have a healthy l ifestyle?
" I th i n k my classmates a re health ier tha n Text-mining (optional)

m o s t peo ple i n t h i s c o u ntry. Too m a ny Find and u nderli n e t h ree words or p h rases in the Rea d i ng
people eat fast foods . They need to eat t hat were new to you. Use them in you r D i scussion.
health i e r food and exe rcise m o re. " For exa m ple: "gain weight."
www.pardistalk.ir/library U N IT 6 69
Describe local dishes
B EFO R E YOU L I STEN

3:32 VOCA B U LARY . Food descriptions Read a n d l i ste n . T h e n l i sten aga i n a n d re peat.
It tastes
{ sweet.
spicy.
sa I ty.
sou r.
It looks terrific. It smells terrible.
�
ar&
•..
@ D?),
It smells like
It tastes like
} chicke n . It's
{ soft.
It's
{ chewy.'
hard. crunchy.
I t looks like
B PA I R WO R K Use the Voca b u l a ry to describe foods yo u know. " Apples a re c r u n c hy. "
LISTE N I N G CO M P R E H E N S I O N
A 3:33 LISTEN FO R D ETA I LS Fi rst, l i sten to the descri pti ons of foods
from a ro u n d the world and w rite the l ette r of each food . Then l i sten
aga i n a n d choose the Voca b u l a ry that com p l etes each descri pti o n . cabbage
k i m chee / Korea
....c.... 1 I t's (cru nchy / c hewy / h a rd), a n d it tastes (sa lty / sweet / sou r) .
......... 2 It tastes (sa l ty / sweet / s p icy), a n d it's (soft / h a rd / c r u n c hy) .
. . . . . . . . . 3 It's (soft / chewy / cru n c hy), a n d it tastes (salty / sweet / s picy) .
. . . . . . . . . 4 I t tastes (sa l ty / sweet / sp icy). Some th i n k it (tastes / s m e l l s / loo ks) awfu l .
.. . . . . ... 5 I t (sme l l s / tastes / loo ks) g reat, a n d i t (smel l s / tastes / looks) awfu l .
. . . . . . . . . 6 They're (cru nchy / chewy / hard), a n d they taste (salty / sweet / s picy) .
caviar / Ru ssia
Ell
\
cha p u l i nes / Mexico cho dofu / C h i n a mochi / J a p a n Jell-O ® / Uni ted States
70 U N IT 6
B 3-3<1 LISTEN TO PERSO NALIZE Li sten aga i n . Afte r each food, discuss with
a pa rtner whether yo u wo u l d l i ke to try that food . Exp l a i n why or why n ot.
Describe local dishes Name of d i s h:

R a i l) d o u g h l) ut>
A FRAM E YO U R I D EAS C h oose th ree l oca l d i s h es that you wo u l d
Descri ption:
reco m m e n d to a visito r to yo u r cou ntry. Write notes about eac h .
>oft a l) d >l.Neet
W hat's i n it?
fl o u /) e g g » m i l k
N a me o f d i s h:
Descri pti on:
W hat's i n it? N a me of d i s h :
Descri ption:
N a me of d i sh:
What's in it?
Descri pti on:
W hat's in it?
B PAI R WO R K Role- p l ay a conve rsation i n which o n e of yo u is a visito r

t o yo u r co u ntry. I ntrod u ce a n d descri be yo u r d ishes to the "visito r."
Use the Voca b u l a ry. For exa m p le :
" H ave y o u tried rai n d o u g h n uts? "
" No, I haven 't. What a re they l i ke? "
" Wel l, they're soft. And they taste sweet . . . "
Ask about the d ish Comment on the d ish

What's in [it / them]? It sou nds / t h ey sound [great] . I ' m a l l ergic to_.
Is it / Are they [spicy / sweet] ? I ' m crazy a bout _. I ' m avo i d i ng_ .
How do yo u make [it / them]? I ' m a big_ eater. _ [don't / d oesn 't] agree with me .
Is it / Are they [po p u l a r] ? I ' m a(n)_ [ad d i ct / lover] . _ [is / are] aga i n st my rel igion .
Does it / Do they taste [sa lty] ? I [used to / d i d n ' t use to] eat _ . I ' m not m uch of a _ [eater] .
I don't ca re for I ' m [on a d i et / trying to lose weight] .
www.pardistalk.ir/library UNIT 6 71
A 3:35 Liste n to the co nve rsation i n a resta u ra n t. C ross out the foods
that the s pea kers d o n ' t m entio n .
beef a n d b rocco l i chicke n nood les pasta

pizza sa l m o n s h ri m p stea k
B 3:36 N ow l i ste n a g a i n a n d com p l ete the state m ents .

The m a n does n ' t ca re fo r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
H e wo u l d rathe r eat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
C Co m p l ete th e negative ill / n o q u estion fo r each situati o n .

1 T h e weath er today is s u n ny a n d bea utifu l . You turn t o yo u r
friend a n d say: " . . . . . . . . . . . . . . . . . the weath e r fa ntastic?"
2 Yo u 've j u st fi n i s hed d i n ner. It was a te rri b l e m ea l . As you l eave,
you say to yo u r frie n d : " . . . . . . . . . . . . . . . . . that meal awfu l ? "
3 You 're s i g htsee i n g i n C h i n a . From yo u r to u r b u s w i n d ow yo u s e e a

l o n g wa l l i n the d i sta nce. Yo u say to the pe rso n sitting next to yo u :
.....
u that the G reat Wa l l ? "
. . . . . . . . . . .
4 You 're s u rp rised to see yo u r frie nd eati n g b rea kfast at 1 1 : 30 .

You say: " . . . . . . . . . . . . . . . . . yo u . . . . . . . . . . . . . . . . . b rea kfast yet?"
5 Yo u see a m a n on the street. Yo u 're p retty s u re it's Sam S m ith,
the s i n ge r. You go up to h i m and ask: " . . . . . . . . . . . . . . . . . yo u Sam S m ith ? "
D Write five sentences about th i n g s yo u u sed to o r d i d n ' t use

to do o r th i n k w h e n you were yo u n g e r. Fo r exa m p le:
E Write s h o rt descri pti o n s of the fo l l ow i n g foods.
a p p les bananas carrots g ra pefruit

ice crea m onions stea k
For additional language practice . . .
Ca rrot> a re o r a n eJ a n d they're S"ltVeet a nd crlln chy. n TOP NOTCH I'!1'iT!1

... . Lyrics p. 154
"A Perfect Dish"
Erffi1J!j
KARAOKE
W R ITI N G
Write a pa ra g ra p h o n the fo l lowi n g to pic: D o you th i n k peo p l e
a re eati n g hea lth ier o r l e s s hea lthy foods th a n they u sed to? Give
exa m p les to s u p po rt yo u r o p i n i o n .
WRITI N G BOOSTER p. 148
I th i n k peo p l e a re eati n q a l ot o f lI nhea lthY fo odS" to d ay-:-
• Connecting ideas:
Peo ple lI S"ed to eat a l ot of freS"h fo o d S". H o ltVever, l atel)' . . . su bord i nating conj u n ctions
• Gu idance for this writing exercise
72 UNIT 6
......- r- f ,,- . .-
I,
,
( r-- ' '-- I
- /' ....... ;' , -/

,-r
-'I ' ...- ./ ' - I ' O RAL R EV I EW I
rr I'r ,.r rr I'r
C HALLENGE Ch oose a d i s h a n d study the I

ir
p hoto and the i n g red ients fo r one m i n ute.
,
,./
/ I
rr Then close yo u r book. Describe the d i s h .
-'
( rr PAI R WO R K
/
- -
�
- ,
,
�
( / I I I I 1 Create a conversation for the m a n and /

ir
, ,--
rr ,.r rr r. rr
-,
, ,
rr
( ( wo man i n which they look at the foods and
- - .- -' - - , - - - , - .; -' -
� � � � � r � �
,;
.�
rr
./
r·
/ ,
rr
./
rr
/
r,
/
rr
/
rr
/
rr
/
rr
/
rr
/
rr
/
rr
/
rr
/
rr r.
/
rr'
I
rr
/ ta l k about thei r food passions. For exa m p l e : /
'-' , ( , H ave y o u tri ed Pa d Th a i ? It'S' te rrifi c !

,
� { �
� , � r �
I ,
( -'I
,., I
Pad Thai • Thai land r

, Bi Bim Bop • Ko re a
I
-
2 C reate a co nversation i n which t h e m a n o r
f ' I '
t h e wo m a n suggests a n d offers foods. The I
r:. , ' Ing red i ents: rice nood les, ':.. Ingredients: rice, beef, soy sauce,
-I tofu, pean uts, fish sauce, ri sesame oil, garl ic,
other m a kes excu ses. Sta rt l i ke th is:
I /
A Wo u l d y o u l i ke S'o m e _ ?
,-
r
s u g a r, l i me j u ice, vegeta ble black pepper,

r; ,
� , �
/ ' oil, garl ic, shri m p, rl salt, eggs, B : Actu a l ly, _. I

r
( eggs, hot
-
"-ot��.etijiiii; -I lettuce, rice,
�
r
r I
I peppers hot peppers
3 Choose a d i s h a n d create a conversatio n /
rF"
,
r
-
� between someo n e fro m that cou ntry a n d
r'
I
a visito r. For exa m ple: /
H ave you eve r tri ed _ ? /
....
.- r ,
- I I
I" I
,.r'
Chicken Mole • Mexico ,- ,
- I
/ I
rr
� I Ing re d i ents : chicken, Ing red i ents: r ( r
-./ '
I" 'rr , sa lt, vegetab l e o i l , r' parsl ey, m i nt,
1 .../ /
,r --'I
rr "
'- '
,
r
o n io n s, garl ic,
I" � / I
I
onions, tomatoes, , r
-�---.' ./
rr , tomatoes, potatoes, salt, black pepper,
, ""';/' , ._ /
rr , rr ,.
,/ �
r
,
,
chocolate, corn, cracked wheat,
, hot peppers
.' -/' ,
rr "
� I avocados lemon j u ice,
- ,
, /
ol ive oil
,
t
r
rr
(1/ ,�
- ;(, Ingred i ents :
r:. " � flo u r, cabbage,
I '
-'
; / beef, g reen
rr
; 1 -/ o n ions,
/ rr r sesa me oil, salt
�" �;' : rr ,
I :: ' , '
,..'""",..-"""!1!1!!!1!""'
! �i'i.........".�
(" / '
rr r",....
'- (' � f
....... /' , _ ./ 1 _ / ' , _'/
f r- - , "- 1
/1 ..-'./1 ,
,.';-' r, rr "r "r
(-
I 'r� � I,
r
Stuffed Rocoto Peppers • Peru
{, �1
';,.../ , Ing re d i ents: on i o n s, ga rlic,
" ::;'�I ,' g ro u n d beef, h a rd-bo i l ed eggs,
rr r raisins, cheese,
�' ':"'�I I' rocoto peppers,
( i.-:<
r ,
' vegetable o i l
v , ""'" / 1
rr
fI "'-. ' I r
-
" /
rr
, �(, :.,, '; :" " �( ,.... I

I ' / ' / l / ' / ' /
"r I,.. rr rr rr
'--
.,..; (
/
� / .- ( r- ,
-..I' 1 "-;/ I , -- / ,' (
- /'
IKIl� I\� [I)�I (R:i i (I)�IRI1:' �i
Get to know a new fri e n d .
2 Cheer someone up.
3 D i s c u s s personal ity a n d i t s o rig i n .
UNI T � 4 Exa m i n e t h e i m pact o f bi rth o rder.
,�
'-,
"
Abo ut Perso n ali ty
PREVIEW
e :Psycholo Colox;
have a powerfu l effect o n us. Take the
to research, colon and then see if your
an swers are confirmed by the research. You may "'!!iUI'll�!d L- ll�r your answers below.)
Color test Questionnaire

1 ) W h a t color is t h e most attention-getting?
o y e l l ow What are your color preferences?
" bm. • "4,· o other Look at the colors below.
2) What color is most l i kely t o m a ke people feel a n g ry?
, '''I' 0 y e l l ow
I o oth e r
3) What color is best for a hospital room?
o wh ite J « 1@4·+ o oth e r

4) What color often makes people feel ti red?
« I@ir+ _ ,ijii!. o other
5) What is the least a ppea l i n g color for food?
, "H' 0 ye l l ow « lbi".
J o oth e r
'p8J p81Uled 8Je SIueJnelS8J "ueV>J '81118dde 8111 S8Se8J:JUI ' puell
J8410 841 UO 'p8J IUeJnelS8J e BUIIUled '8Jnleu U! 8JeJ SI 8nlq 8Sne:J8q SI SI41 1e41 8A8118Q "841
'Bulle8ddeun S I SPOOl P8SS8:JOJd U! 8nlq Bu!sn le41 punOI 8Ae4 BU!l8)jJew U! sJ84:JJe8s8tJ (9
Which color do you find the most
I
'"BJ8U8 ,SJ8"Bld 8111 8:JnpeJ 01 >ju!d WOOl Bu!soddo 8111 10 WooJ BUISS8Jp 841 pelU!Bd 8AB4
SWB81 sjJods 8WOS 'peJ!I IOOI 01 81doed 8SnB:J UB:J >ju!d IB BUI>jooI IBlll UM04S SB4 4:JJB8setJ (v a ppea l i n g ?
' p88U "841 1S8J 841 18B SIU8!IBd sdl84 UOOJB WooJ
Which color do you most
(8
r-I-----
IBI!dS04 B BU!lUIBd 'XBI8J 01 81d08d S8snB:J II PUB '8"8 841 UO JOIO:J IS81SB8 841 S! U88J 8
assoc iate with happi ness?
'IoJ:J 01 s81qeq JOI PUB SJ8dW81
J!841 8S01 01 Sllnpe JOI "18>j11 8JOW II S8>jBW WOOJ MOIl8" B U ! 5U!8q IB41 UM04S 8Ae4 S8ipnlS (6
Which color do you most
rl-----
'8lQe8:Jllou 8JOW W841 S8>jBW
SI4BII BU!UJeM pue SI4511 :JlJjeJI JOI p8J BUlsn 'UO!lU811e ISOW 841 SpBJlle p8J "es SjJ8dx3 (� associate with being sad?
SJ8MSUV
A C LASS S U RVEY H ow m a ny classmates a nswered the q u esti o n s o n the test co rrectly?

Which color on the q u estio n n a i re was the m ost appea l i ng to you r classmates?
B DISCUSS I O N I n yo u r o p i n i o n , what m a kes peo p l e l i ke some col o rs a n d d i s l i ke others?
" I thi n k peop l e l i ke c o l o rs that

rem i n d them of th i ngs they l i ke . " " I a g ree. I l ove b l u e . It rem i nds m e
of t h e sky. I love being o utdoors. "
74 U N IT 7 www.pardistalk.ir/library
C ' 02 PH OTO STORY Read a n d l i sten to a co u p l e ta l ki n g about what col o r to re pai nt the i r l iv i n g roo m .
Chelsea: You know what? I 'm getting a Chel sea: Actua l ly, I n ever thought it Chad: This one's n ice-very relaxi n g .
l ittle ti red of looking at this wal l paper. wa s p i n k . To me it wa s a soft rose. Chel sea: True, b u t I'm not su re the
Chad: Wel l , maybe it's time for a Chad: Wel l , what wo u ld you say to a furn itu re wou l d g o with it.
change. What wou ld you th i n k about nice b l ue? Chad: Good point. I 'd hate to have
getting the room painted ? I n ever C h e lsea: B l ue? Way too mascu l i ne. to get a l l new stuff . . . You know,
l oved that wa l l pa per, a nyway. Chad: What?! maybe we're on the wrong track.
C h e l sea: Actual ly, I don't thi n k either C h e l sea: I 'm j u st p u l l i n g yo u r l eg, C h el sea: What do you m ea n ?
of us did. We o n ly got it becau se we si l ly! B l u e would be g reat. Chad: Al l o f a sudden, I 'm th i n ki n g
co u l d n 't agree o n a paint color. white. It's classic, a n d . . .
C h a d: Oh, yea h . Now I remem ber. You
C h elsea: And it goes with everyth i n g !
wa nted p i n k, a n d I said it was too
fem i nine.
? $ "
D PAR A P H R ASE Restate the expressions fro m the Photo Sto ry i n yo u r own way.
1 " I 'm j u st p u l l i n g yo u r l eg ." 3 "Good point."
2 " I 'm n ot s u re the f u r n itu re wo u l d go with it." 4 " M aybe we're o n the wro n g track."
E TH I N K A N D EXPLA I N Al l the state m e nts a re fa lse. Exp l a i n how you know they a re fa lse.
1 Chel sea sti l l l i kes the wa l l paper. 4 Chel sea th i n ks the b l u e Chad l i kes wo u l d g o
n icely with the furn itu re.
" Chelsea says, ' I 'm g etting a l ittle
tired of looking at th is wa l l pa per: " 5 Chad wo u l d l i ke to buy new furn itu re.
6 It's Chel sea's idea to paint the l iving roo m wh ite .
2 C hel sea d id n 't wa nt a rose-co l o red l iv i n g roo m . 7 They ag ree the fu rn itu re wou l d n 't g o wi t h w h ite.
3 C hel sea tru ly th i n ks that b l u e is too mascu l i n e.
S P EAKI N G
Choose co l o rs fo r roo m s . Use the Color Test fo r ideas. Com pare cha rts a n d reaso n s with a partne r.
lamniI C!DbJjI �
.
•
'>,1. ;'; ';
a bed roo m fo r a ma rried cou p l e
a bed room fo r a tee naged g i rl
a bed room fo r a 1 0-year-old boy
a kitchen
a fa m i ly l iv i n g roo m
Get to know a new friend
G RAM M A R Gerunds and infinitives
I
Geru nds and i nfinitives come from verb forms but fu nction as nouns i n a sentence, often as direct obj ects.
Gerund = an -l.!!g form of a verb I nfinitive = !Q
+ a base form
She enjoys painti n g. He wa nts to pai nt the kitchen yellow.
Use a gerund after the following verbs and expressions: avoid, d i scuss,
Remember: There are two other -i!!.g forms:
d isli ke, d o n 't m i nd, e njoy, feel l i ke, p ractice, q u it, s uggest
She is painting. (present partic i ple)
Use a n i nf i n itive after the following verbs and expressions: agree, be su re, The trip was relaxi ng. (parti cipial adjective)
choose, decide, expect, h ope, lea rn, need, pla n, seem, wa nt, wish, would li ke
Other verbs and expressions ca n be followed by either a gerund or G R A M M A R BOOSTER p . 136

a n i nfi n itive: begin, can't sta nd, conti n u e, hate , li ke, love, prefer, start • Gerunds and infinitives: usage
wit h i n senten ces
A G R A M MAR PRACTI C E Co m pl ete the s u g gesti ons fo r ways to m a ke new friends, u s i n g the
ve rbs p l u s geru n d o r i nfi n itive d i rect o bjects .
Everyo ne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . friends. We . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . these p rinci p les:

1 want / m a ke 2 s u g gest / fo l l ow
1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . friendly to everyone you meet. Ta ke adva ntage of every o p portun ity.
3 decide / be
2. E ven if you . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . interest i n at least one new p erson

4 not fee l l i ke / soci a l ize 5 l e a r n / show
every day. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . every new acq uai ntance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a rea l friend, but if you
6 not expect 7 beco m e
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n ew friends, this is a good way to start.
8 w o u l d l i ke / m eet
3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n ew acq u a i nta nces q u estions a bout themselves. Peo p le . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9 be s u re / a s k 1 0 e n j o y / ta l k
a bout themselves.
4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . too much a bout yourself. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p eo p le q u estions a bout their

11 avoid / ta l k 1 2 practice / a s k
i nterests a n d o p i n i o n s before y o u . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . t h e m a bout you r own.
1 3 beg i n / te l l
5. If you . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . later, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . somet h i ng that you both like. I f your new friend
1 4 d e c i d e / g et toget h e r 15 p l an / d o
has d ifferent interests from you rs, say you . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . something new.
1 6 not m i n d / try
. . . . . . . . . . .Iillllim
EXER �g� 8 FI N D T H E G R A M MAR U nd e rl i n e a l l the geru n d s a n d i nfi n itives i n the "An swers" section o n page 74 .
. . 1lllllW!
VIDEO
COACH P R O N U N C I AT I O N Reduction of to in infinitives
:03 Notice how a n u n stressed to red u ces to /ta/ i n natu ra l s peech. Read a n d l i ste n . Then l i sten a g a i n a n d re peat.
1 I decided to re paint the bed room a 3 She doesn 't l i ke to hea r peo p l e ta l ki n g o n
h a p p i e r co l o r. cel l phones.
2 We plan to see the World C u p F i n a l s . 4 I know yo u 'd l i ke t o choose a m o re
cheerfu l col o r.
76 UNIT 7 www.pardistalk.ir/library
C O N V E RSAT I O N M OD E L
A :4:04 Read a n d l i sten t o a conve rsation a b o u t l i kes
a n d d i s l i kes.
A: So tel l m e s o m eth i n g about you rself.
B: What wo u l d yo u l i ke to k n ow?
A: We l l , fo r exa m p l e, what do yo u l i ke d o i n g in
yo u r free ti m e ?
B: Let's see. M ost o f a l l , I enjoy p l ay i n g ten n is .
I th i n k it's !�!?�! r:'9.' What about yo u ?
A : Wel l , I fi n d te n n is a l ittl e .� C? �i !lg . But I do l ove
.
g o i n g to the movies.
B: So do I. We s h o u l d g o to the movies tog ethe r
s o m eti m e, the n .
B 4:05 R HYTH M A N D I NTO NAT I O N Liste n a g a i n a n d

re peat. Then p ractice t h e Co nversation Model
with a pa rtner.
IwWI1nll�MI Get to know a new f riend
A N OTEPA D D I N G List you r l i kes a n d d i s l i kes i n g e ru n d fo r m .
Likes D i s l i kes - -- --
c o o k i f1 q s k i i f) 9
-" -- ��-- .......
...
-
Li kes D i s l i kes
f
I
-
HHI'erJ�� B C O N VERSAT I O N ACTIVATO R With a partner, perso n a l ize the Conversati o n Model, Other tim es and occa
u s i n g yo u r l i kes a n d d i s l i kes i n geru n d fo rm fro m yo u r n otepad . Change the sions
• in your free
tim e
ti m e o r occasio n . • on wee kend
s
• on va cation
s
A: So tel l m e someth i n g about you rse lf. • with yo ur fri
ends / family
B: What wou ld you l i ke to k n ow? • for lu nch / di
n ner
A: We l l , fo r exa m p l e, what do yo u l i ke doing ?
B: Let's see. M ost of a l l , I enjoy . . . . . . . . . . I th i n k it's . . . . . . . . . . What about yo u ?
A: Wel l, . . . . . . . . .
B: . . . . . . . . . .
DON'T STOP!
Ask a bout you r partner's plans for this Negative adjectives
weekend or for a vacatio n . Use the
awesome boring
fo l l owing verbs a n d yo u r own i nfi n itives:
fa ntastic awful
need want
wonderfu l horri ble
plan wou l d l i ke
great terri ble
For exa m p l e :
terrific d i sgusting
"What d o you p l a n t o d o this weekend?"
relaxing frighte n i ng
i nteresting sca ry
exciting si l ly
t h ri l l ing weird
C C H A N G E PARTN ERS Ta l k about othe r l i kes a n d d i s l i kes. fasci nati ng
www.pardistalk.ir/library UNIT 7 n
C O N V ERSAT I O N M ODEL
A � �06 Read a n d l iste n to someone tryi n g to
chee r a friend u p .
A : You l o o k �.�"Y.n.. What's u p?
B: Oh, n oth i n g seriou s . I 'm j u st ti red of the sam e
o l d g ri n d . B u t tha n ks fo r a s ki n g .
A: I k now what yo u m ea n . I 'm ti red of worki ng, too.
H ow about g o i n g t o a m ovie? T h a t a l ways h e l ps
me.
B: G reat i dea. Let's g o this afternoo n !
B 4:07 R H YTH M A N D I NTO N AT I O N Liste n aga i n a n d

re peat. Th e n p ractice the Co nversatio n Model
with a partner.
Expressions fol lowed by geru nds
Adjective + preposition
angry about afra id of
G RAM MAR Gerunds as objects of prepositions excited a bout sick / ti red of
depressed about bored with
A gerund can fu nction as a n object of a prepositio n . happy / sad a bout crazy a bout
preposition object Verb + preposition

I ' m afra i d of flying. com p l a i n about apologize for
ta l k a bout b e l i eve in
She's bored with cooking.
worry about object to
She objects to d iscussing her feelings. t h i n k a bout
Be careful! Don 't use an i nfin itive as the o bj ect of a p repositio n . W i t h How a bout o r W h a t a bout
H ow a bout [go i n g to a movie] ?
Don 't say: Let' s g o t o a m o v i e i n stead o f to watch TV. What a bout [leaving work early] ?
G RA M M A R BOOSTER p . 136
• N egative gerunds
A G R A M M A R PRACTICE C o m p l ete the descri pti o n s with p repositions a nd geru n d s .
Ted
Ted i s a n extrovert. Li ke At h i s job, he works with other peop l e a n d H e has a few fea rs, tho u g h .
most extroverts, he's d i rect. he n ever co m p l a i n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M ost o f a l l, he's afraid
2 work
And he's h o n est; he be l ieves l o n g h o u rs . H e works h a rd and does n ' t worry
4 fly
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . �e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . work on weekends o r
1 te l l 3 have to
truth to everyon e . h o l idays .
N icole
Ted 's wife, N icole, on the Rig ht n ow, she's bored · · · · · · · · · · (j be

· · · · · · · · · · · H owever, u n l i ke Ted, she's n ot at
othe r h a n d , is an i ntrove rt. a student, a n d she's sick a n d ti red a l l afraid . . . . . . . . . . . . . . . . . . . . . . . . . ! She's
1 0 fly
B u t she does n 't obj ect . . . . . . . . . . . . : . . . . . . . . so m a ny l o n g re po rts a n d excited . . . . . . . . . . . . . . . . . . . . . . . . . o n
7 w rite 1 1 go
. . . . . . . . . . . . . . . . . . . . . about he�e� . . . . . . . . . . . . . . . . . . . . . exa m s every few weeks! vacatio n .
5 ta l k 8 take
fro m ti me to time. She's a n g ry . . . . . . . . . . . . . . . . . . . . . . . . . spend
9 have to
so m u c h t i m e i n fro n t of a com p u ter.
B PAI R WO R K Answer the q u esti o n s about yo u rself, u s i n g

geru n d s . T h e n s h a re t h e i nfo rmation w i t h a pa rtn e r.
."" r ��,�1t" ��7:,": ��;;�
Right n'ow, what are you . . .
"
�
" Right n ow, I ' m h a p py about
getting engaged ! "
h a p py about?
excited a bo u t?
b ored with?
. . . . . .1!mIW!
MORE
EXERCISES
sick and t i red of?
........
.. ....
.. ...w
. ... Cheer someone up
A NOTEPA D D I N G M a ke a l ist of thi ng s that

yo u a re t i red of. Write them as geru n d s .
W h a t a re ):'o u ti red of?

>tvdy i n >0 h a rd
uu l'jrJrg B CONVERSATI O N ACTIVATO R With a partner, ro le-play cheeri ng

someone up. Use you r n otepad fo r ideas. Then change roles. B e sure [to get eno ugh sleep] .
You should t h i n k a bout [qu itting you r j o b] .
A: Yo u l o o k . . . . . . . . . . What's u p? What a bout [go i n g out for a n i ce d i n ner] ?
H ow a bout [getting a facial]?
B: O h , n oth i n g seriou s . I 'm j u st t i red of . . . . . . . . . .
If you [avo id drinking a lot of coffee] .
B u t tha n ks for a s ki n g . DON'T STOP! you [wi l l sleep better] .
A: I k now what you mean . . . . . . . . . . . M a ke more suggestions, using
That always h e l ps me.
B: . . . . . . . . . . gerunds and i nfin itives.
That's a good idea .
Don't expect [to feel better right away] .
C C H A N G E PART N E R S Cheer yo u r new pa rtn e r u p .

Discuss personality and its origin
B EFO R E YOU R EAD

EXPLO R E YO U R I D EAS I n what way does a pa re nt's behavio r
affect a ch i ld 's deve l o p m ent?
R EAD I N G
Personality: from Nature or Nurture?

What is personality? Many people environment-the combination
define personality as a person's of influences that we learn from,
usual manner or style of behavior. such as our families, our culture,
These patterns of behavior tend to our friends, and our education.
have tried to discover which of
be predictable throughout a person's The people who believe this theory
these two factors, genetics or the
lifetime. Some people are introverts; believe that all babies are born
environment, is more important in
others are extroverts. Some people without a personality and that it's
forming our personality. However,
have easygoing personalities: they are the environment that determines,
it's very difficult, if not impossible,
usually cheerful and calm and able or forms, each child's personality.
to conduct research on real people
to cope with life's difficulties without This school of thought is called the
with real lives. There's just no way
much trouble. Their emotions are "nurture school:'
to put people in a laboratory and
usually under control: they don't
At the other end of the continuum watch them develop. For this reason,
get extremely angry about little there's no scientific way to settle the
we find people who believe that
things. Others, at the other end of
personality is determined by nature-nurture controversy. Recently,
the personality spectrum, are more
"nature;' or the characteristics however, most researchers have come
emotional, experiencing higher
we receive, or "inherit;' from our to believe that both the environment
highs and lower lows. Most people's
parents biologically, through their AND the genes-nurture and
personalities, however, don't fall
genes. These people believe that our nature-work together and are both
at the extreme ends but rather fall
personality is not determined by the important.
somewhere in between.
environment, but rather by genetics,
Even though the experts have
and that each baby is born with a
Where do we get our personality? largely discarded the idea that
personality.
For hundreds of years, psychologists personality development is so black
and ordinary people have never and white, the nature-nurture
The "nature-nurture controversy"
stopped debating this fascinating controversy remains a popular
The nature-nurture controversy is
question. Some people think discussion among friends. It seems
very old. Experimental psychologists
personality develops as a result of the that everyone has an opinion.
A U N D E RSTA N D VOCA B U LARY FROM CO NTEXT M atch the words a n d p h rases i n the two col u m n s .
......... 1 genes a a pers o n 's u s u a l pattern of behavior
......... 2 envi ro n ment b what we fee l , s u c h as a n g e r, l ove, a n d h a p p i n ess
......... 3 e m otion s c the so u rce of traits we i n herit fro m o u r pa re nts
. . . . . . . . . 4 t h e " n atu re schoo l " (of tho u g h t) d the world a ro u nd u s
.. . . . . . . . 5 the " n u rtu re schoo l " (of tho u g ht) e t h e bel ief that l ea r n i n g dete r m i nes personal ity
. ........ 6 pers o n a l ity f the bel ief that genetics dete r m i nes perso n a l ity
. . , . . .. . . . . . � B MAKE PERSONAL C O M PA R I S O N S How is yo u r pers o n a l ity s i m i l a r to o r diffe rent fro m those of you r pa re nts?
MORE
EXERCISES If you have c h i l d ren, how a re you r c h i l d re n s i m i l a r to o r d iffe rent fro m yo u ? Use l a n g uage fro m the Read i n g .
....010&1
... ��.... Discuss personality and its origin
A FRAM E YO U R I D EAS Co m p l ete the s u rvey to fi n d out if you a re a n i ntrove rt o r a n extrovert.
ARE YOU AN XTROVERT OR AN INTROVERT?
I n structions: F ro m e a c h p a i r of persona l i ty tra i ts, c h e c k one that

sou n d s l i ke you r perso n a l ity, A t t h e e n d , a d d u p you r selections for each
col u m n , Then d e c i d e for you rself: Are you a n i n trovert o r a n extrovert?
Extroverts tend to: I ntroverts tend to:

1. 0 enjoy being in a g roup, o enjoy being alone,
2. 0 need to i nteract with others, o avoid i nteractin g u n n ecessarily,
3. 0 be active, o be quiet.
4. 0 be i nterested in events, o be i nterested i n feelings,
s. o tal k without thinking, o th i n k without tal ki n g ,
6. o be easy t o understan d , o be hard t o understand,
7. o know many people a little , o know few people, but wel l .
8. o talk, o l isten,
9. o seek excitement. o seek peace,
1 0. o express their opinions openly, o keep their ideas to themselves,
Total extrovert selections 0 Total introvert selections 0

o I'm an extrovert , 0 I'm an introvert. 0 I'm a mixture of both!
B PAI R WO R K Discuss the pe rso n a l ity tra its yo u checked . For each, p rovide a rea l exa m p l e fro m yo u r l ife to
exp l a i n yo u r c h oices.
I 'm pretty active. I l i ke to go

out a l most every n i g ht, to the
m ovies o r to play sports.
C D ISCUSS I O N Where do yo u th i n k yo u r pe rso n a l ity ca m e fro m , n u rtu re o r natu re? Did yo u r perso n a l ity traits
com e from yo u r pa re n ts' genes, o r did you l earn to be the way you a re? Exp l a i n with exa m p les u s i n g geru n d s
a n d i nfi n itives .
Text'mining (optional)
[never] co m p l a i n a bout be crazy a bout Find a n d u n d e r l i n e t h ree words or p h rases in the Rea d i n g
_' _'
t h a t were n e w to you, U s e t h e m i n y o u r Discuss i o n ,
[so met i mes] wo rry a bo ut _' o bj ect to _,
For exa m p l e : "easygo i ng,"
[usual ly] a p o logize for _' bel ieve i n
get [a ngry / excited / happy / n o t care for
sad] a bout _' prefe r _'
be sick and ti red of avo id

be bored with not m i n d
be afra id of tend to
Examine the im pact of birth order
B EFO R E YOU L I STEN

EXPLO R E YO U R I D EAS Do yo u th i n k the fi rst c h i l d i n a fa m i ly
has d ifferent perso n a l ity traits fro m those of s i b l i n g s who a re
bo rn later? Exp l a i n yo u r a n swer.
L I STE N I N G CO M P R E H E N S I O N
A �:1 0 LISTEN FO R M A I N I D EAS Read the statem e nts . Then l i sten
to a l l th ree pa rts of the discussio n . C h oose the statement that
best expresses the m a i n idea of the discussio n .
o Fi rst-born c h i l d re n a re often too c ritica l of themse lves .
o C h i l d ren i n the same fa m i ly u s u a l ly h ave perso n a l ities that a re
determi ned by o rder of bi rth .
o C h i l d ren u s u a l ly have perso n a l ities that a re determi ned by genes.
B �: 1 L I STEN F O R SPEC I FIC I N FO R MAT I O N Read the exe rcise. Then l i sten to each pa rt of the discussion again
separately. Co m p l ete the exercise as you l i ste n .
Pa rt 1: Check Tru e o r Fa lse fo r each state m ent. True Fa lse

1 B ri a n is u s ua l ly d issatisfied with h i m self. 0 0
2 B ri a n obeys ru l es . 0 0
3 B ri an does m ost th i n g s wel l . 0 0
4 B ria n 's mother th i n ks h e r h u sband p u s hed 0 0
B ri a n to be s u ccessfu l .
5 Brian n ever l i ked bei n g with a d u lts w h e n 0 0
he was g rowi n g u p .
Part 2 : Co m p l ete each state m e n t by ci rc l i n g the correct i nfo rmation .

1 A n n i e i s (the m id d l e c h i l d / the " ba by") .
2 A n n i e had (a lot of / o n ly a l ittle) time with h e r parents befo re h e r yo u ng e r sister was born .
3 A n n i e is j ea l o u s of (Brian / B ri a n a n d Lucy) .
4 An n i e (brea ks / obeys) ru l es .
5 An n i e i s ( rebe l l io u s a n d / rebe l l io u s but n ot) popu l a r.
Pa rt 3 : C i rc l e the a n swer to each q u esti o n .

1 H ow o l d was An n ie w h e n Lucy was born ? 3 What di d Lucy d o t o t h e d i n i n g roo m wa l l ?
a 13 years a S h e painted it.
b 13 m o nths b She washed it.
2 What does Lucy l i ke m ost? 4 Why does Lucy d rive her older s i b l i n g s c razy?
a m a ki n g othe r peop l e l a u g h a She pays too m uch attention to the m .
b l a u g h i ng a t other peo p l e b Othe rs pay too m u ch attention t o h e r.
82 U N IT 7
C Check the m ost co m m o n bi rth position fo r each perso n a l ity,
CLASS I FY I N FO R M AT I O N
acco rd i ng to the discussion . liste n a g a i n if necessary.
Pers o n a l ity tra its Fi rst ch i l d M iddle chi ld You n gest child
B reaks r u l es 0 0 0
Feel s l ess i m porta n t tha n s i b l i n g s 0 0 0
G rows u p fast 0 0 0
G rows u p s l ow ly 0 0 0
H a s a l ot of friends 0 0 0
I s c reative 0 0 0
I s rebe l l io u s 0 0 0
I s self-critica l 0 0 0
P lays by the ru les 0 0 0
S h ows off 0 0 0
IIlIWllnll@:m Examine the im pact of birth order

A F R A M E YO U R I DEAS Co m p l ete the checkl ist fo r yo u rse lf.
ly?
siti o n in yo ur fa m i
Wh at' s yo u r b i rth po .
h i l d o r the o n ly c h i l d i n the fa m I ly.
o I' m the fi rst c
.
o I'm a m i d d l e c h i l d -
n eith er the fi rst n o r the last
i ly.
o I' m the " bab y" -t he
you n ges t c h i l d in the fam
tra its?. (Ch eck all tha
t a re tru e.)
rso nal ity
2 Wh at a re yo u r pe
r.
o I' m self -cr itic al . I alw
ays fee l I s h o u l d do bette
o I' m a reb el .
o I' m p o p u l a r. I h ave a
l ot of fri e n d s .
. .
sIblings.
o I fee l les s i m po rta n t
tha n my old er o r you ng er
h.
o I l ove t o c l o w n a ro u
nd a n d m a ke peo ple l a u g
.
o I can be l ova ble o n e
m i n u te a n d a reb el t h e n ext
o I ' m cre ativ e.

o I often fee l jea l o u s of
my sib l i n g s .
B G R O U P WO R K Form th ree g ro u ps of students, acco rd i n g to you r bi rth

" A l m ost everyon e in o u r g ro u p
positi o n s . Co m pa re yo u r check l i sts with othe r m e m bers of you r g ro u p . checked ' I 'm self-critica l ! ' "
Do y o u s h a re t h e sa m e perso n a l ity traits? Report you r fi n d i n g s t o t h e class.
G ro u p 1 : fi rst o r o n ly c h i l d re n
G ro u p 2 : m i d d l e c h i l d re n
G ro u p 3 : yo u ngest c h i l d re n
Ideas
C D ISCUSSI O N Ta l k about how bi rth o rd e r ca n affect the • genetics / nature
deve l o p m e n t of a perso n 's person a l ity. • the environ ment / n u rture
• i ntroverts and extroverts
• parents' behavior
A 4:1 2 Listen to the conversati o n s . Then c irc l e a word o r p h rase to co m p l ete each stateme nt.
1 Andy is fee l i n g (down / h a p py).
2 M o l l ie is (a n extrove rt / an i ntrove rt).
3 G reg is (a n extrovert / a n i n trovert).
4 M i l l ie th i n ks (ge n etics / the enviro n m e nt) is the m ost i m po rta nt facto r i n perso n a l ity deve l o p ment.
5 Ve ra th i n ks (ge n etics / the enviro n m e nt) is the most i m porta n t facto r i n perso n a l ity deve l o p m ent.
B Com p l ete the parag ra p h with the correct p repositio n s .

Extroverts d o n ' t wo rry . . . . . . . . . . . . . . . . . ta l ki n g i n p u b l ic . They believe . . . . . . . . . . . . . . . . . bei n g h o n est, a n d they g et
1 2
bo red . . . . . . . . . . . . . . . . . bei n g a l o n e . They m ay ta l k . . . . . . . . . . . . . . . . . stay i n g hom e a n d rea d i n g a book, but wh e n they
3 4
do, they com pl a i n . . . . . . . . . . . . . . . . . havi n g n o o n e to ta l k to. They obj ect . . . . . . . . . . . . . . . . . bei n g by themse lves .
5 6
C Com p l ete each pers o n a l statement with a geru n d o r i nfi n itive p h rase.
1 When I wa nt to stay healthy, I avoid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 I rea l ly enjoy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . o n Satu rdays a n d S u n days .

3 I wish other peo p l e wo u l d q u it . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i n the movies.
4 Two th i n g s I ca n ' t sta n d a re . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . and . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5 O n weeke n d s, I d i s l i ke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6 If the weathe r is bad, I d o n 't m i n d . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7 To morrow I wo u l d rea l ly l i ke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8 I f I wa nt to d o we l l i n this class, I n eed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

9 To morrow I p l a n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10 I th i n k m ost peo p l e a re afra id of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11 I th i n k peo p l e a re u s u a l ly excited about . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12 Too m a ny peo p l e com p l a i n about . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1 3 My fa m i ly worries m ost about . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
D C o m p l ete each state m e nt. C i rc l e the best a n swer.

1 J o h n is s u c h (a n extrove rt / a n i n trove rt). H e does n ' t l i ke to ta l k about h i mself a l ot.
2 O u r u s u a l patte rn of behavi o r is o u r (pers o n a l ity / enviro n m e nt) .
3 Another word fo r c h a racte ristics is ( n u rtu re / traits).
4 M a ny peo p l e be l i eve that (self-criticism / bi rth o rder) affects personal ity deve l o p me nt.
5 The natu re- n u rtu re controve rsy is an a rg u ment about the o rig i n of the
(envi ro n m e nt / perso n a l ity).
n TOP NOTCH r;m;l

... . Lyrics p. 154
WRITI N G "The Colors of Love"
Write at l east two parag ra p h s about the person a l ity of someone

you know wel l . Use voca b u l a ry a n d ideas fro m Lesso ns 3 a n d 4 .
· .. · · · �I .. KA=I
WRITI N G BOOSTER p . 149
• Parallel structure
• G u idance for this writing exercise
84 UNIT 7
O RAL R EV I EW
PAI R W O R K
1 C reate a conversation fo r ph oto 1 in

which the g i rl o n the l eft cheers up her
frien d . Use g e ru n d s a n d i nfin ities.
2 Ro le- p l ay a discussion betwee n the
two peo p l e i n photo 2 . They d iscuss the
bi rth o rder of the i r s i b l i ng s and the i r
perso n a l ities.
GROUP WO R K Choose one person to
be the p rofessor i n p h oto 3 . He l p that
person c reate a l ectu re about perso n a l ity
deve l o p ment. Then the othe r classmates
l i sten to the lectu re a n d a sk q u estio n s .
NOW I CAN
o Get to know a new frien d .
o Cheer someone u p .
o Discuss person a l ity a n d its orig i n .
o Exa m i n e the i m pact o f bi rth o rder.
UNIT 7 85
(ijl)�J I:J (I)�I (e!i i (I)�(HIM �i
8
Recom mend a m u seu m .
2 A s k about a n d describe obj ects.
3 Ta l k about a rtistic ta lent.
U N IT 4 Discuss yo u r favo rite a rtists.
The Arts
PREVIEW
";m!� A 4: 1 5 VOCABU LARY . Kinds of art Read a n d l iste n . Then l i sten ag a i n a n d re peat.
CARDS
B What kinds of a rt do you l i ke? Which pieces of a rt

D I SC U SS I O N
Adjectives to describe art
i n the Preview do yo u l i ke? Why? Use som e of the adjectives. beautiful awful fem i n i n e
exciting boring mascu l i n e
U I 'm not rea l ly i nto paintings, but fasci nating weird u n usual
" I l i ke jewel ry, but I don't th i n k the
I th i n k th is one's bea utifu l . " relaxing s i l ly p ractica l
neckl ace is ve ry i nteresti n g . "
thought·p rovoking d e p ressing i nteresting
86 UNIT 8
Understand English speakers from
different language backgrounds.
Teo = Spanish speaker
c PH OTO STORY Read a n d l i sten to a co nve rsation at a n a rt show.
Lynn: Teo, t his is just great . I had no

. Teo: B.e)i.e:,� i r p.r f)<?�, t hese were t aken Teo: Hey, t his is an interesting p iece . I
!��'! you had so muc h ta ieni! ' . . by. Paul Jo. hns .. kind of like it .
Teo: T hank you ! Lynn : Your boss? .� <?':". <?? Y.<?� . I ! �� ! � � � ! Lyn n : You do? I find .it. a little weird,
T hey're really quite good. actually. .....
I mean it . Your work is very
Lynn :
im pressive. Teo: I know. He doesn't look like t he Teo: But t hat's w hat makes it so
Teo: It's so nice of you to say t hat . artistic type, does he? fascinating.
I don't t hink I'm particularly Lynn: No . I had no idea he took Lynn: Well, �? � � � � .�i � <?':" r: I guess . . .
talented. I just love to paint . p hotos . I guess Y?l! �fn: r a.'��y'� )'.":1 .i!J�! .n.<?t. ��a.' !y' !f)�<? a bstract art .
. .
j Y<?9.e. � �<? <? � .�y. ! �s. �<?y��.
.
iiif',I' 1 Q 4 M'f\ mh! ¢i #1
M; i 4;4 {1M A \j M' III NtAlo/;P'" - � ""4 NUllA;; j e ,*,£1 ii It t),ffl 21iC I i has" ti4ffh R I.Mfl A tiffiS Ii
o ACTIVATE VOCA B U LARY C i rc l e the th ree k i n d s of a rt Ly n n a nd Teo discuss:
painti n g fa s h i o n scu l ptu re photog ra p hy d rawi n g jewe l ry
E FOC US O N LAN G UAG E With a partner, discuss a n d fi n d a n u nd e r l i ned expression

in the Photo Sto ry to match each of the p h rases.
1 I d i d n ' t k now . . . 5 I ' m rea l ly s u rpri sed !
2 I d o n ' t rea l ly l i ke . . . 6 You ca n 't rea l ly know someone j u st
3 Eve ryo ne has a d iffere n t o p i n i o n . by l oo ki n g at h i m o r her.
7 I n my o p i n i o n , it's . . .
4 I have s o m e i nformation that m ay s u rprise yo u .
" I p refer m o re rea l istic art. I'm j ust not i nto abstract paintings. "
S P EA K I N G
What k i n d s of a rt do yo u p refe r? Exp l a i n why. " I 'm i nto fash i o n . I l i ke c l othes that a re rea l ly modern . "
It can be trad ition a l . . .
or mod e rn .
Art can be rea l i stic . . . or a bstract.
G RA M MAR The passive voice
Most sentences a re in the active voice : the s u bject of a sentence performs the action of the verb. I n the
passive voice, the receiver of the action is the s u bject of the sentence.
Active voice: Arch itect Fra n k G e h ry designed the G uggen h eim M useu m in B i l bao, Spa i n .
Passive voice:
- ?< •
The G u ggen heim M useum i n B i l bao, S pa i n , was designed by a rch itect Fra n k Gehry.
Form the passive voice with a form of be a n d the past partici ple of a verb.
These vases a re made i n Korea .
The m useu m was b u i lt i n the 1 990's.
The Mona Lisa has been shown at the Lo uvre M useum si nce 1 797.
It is com mo n to use the passive voice when the performer of the action is not known or not i m porta nt.
Use a by ph rase in a passive voice sentence when it is i m porta nt to identify the performer of a n actio n .
Pottery i s m a d e by people in many pa rts of the world . (not i m portant)
This bowl was fo u n d by someone i n Costa R i ca. (not i m p o rtant) GRAMMAR BOOST E R p. 137
This d ress was designed by Donate l l a Versace. (important) • Transitive and i ntransitive verbs
• The passive voice: other tenses
A U N D E RSTA N D T H E G RA M M A R Read each passive voice sentence a n d decide

if the l2Y p h rase is necessary. If it i s n 't n ecessa ry, cross it o ut.
1 The g lass py ra m id s were added to the Lou v re M u seu m in Pa ris by wo rkers in 1 989.
2 The scu l ptu re The Thinker was c reated by French a rtist Au g u ste Rod i n .
3 Anto n i Gaud! desig n ed a n d b u i l t s o m e o f the m ost fa m o u s b u i l d i n g s i n Spai n . H i s p l a n s
fo r t h e Casa M i la i n Barce l on a were co m pl eted b y h i m i n 1 9 1 2 .
4 The mel ody of "Ode to J oy " is known by peop l e a l l over the wo r l d . It was w ritten by
German com poser Ludwig va n Beethove n .
5 C h i na's fa m o u s Te rracotta Army fig u res i n X i 'a n were d iscovered by fa rmers i n 1 9 74 .
B G RA M M A R P RACTICE C h a n g e each sente n ce fro m the active to the pass ive voice. Use a l2Y p h rase.
1 Leo n a rdo da Vinci painted the Mona Lisa in the sixteenth centu ry.
2 B razi l i a n p h otog ra p h e r Sebastiao S a lgado too k that ph otog ra ph i n 2007.
3 Mexican fi l m m a ke r Alfon so C u a r6 n d i rected the 201 3 3 D fi l m Gravity.
4 J a p a n ese maste r p ri ntma ke r Kats u s h i ka H o k u sa i made that p ri nt ove r a centu ry ago.
5 Ko rean desi g n e r Sang A 1 m-Pro p p c reated these bea utifu l h a n d bags.
6 Weavers have p rod u ced bea utifu l Persia n rugs fo r severa l th o u s a n d yea rs .
Illl!lim
MORE
EXERCISES
88 UNIT 8
C O N VE RSATI O N M ODEL
The Mona Lisa by
A Read a n d l i ste n to someone reco m m e n d i n g a m u seu m . Leo nardo Da Vinci
A : B e s u re not to m iss the Lo uvre w h i l e you 're i n Pa ris.
B: Rea l ly? Why's that?
A: Wel l, fo r one th i n g , that fa m o u s painting, the Mona Lisa,
is kept there.
B: N o kidd i n g ! I 've a l ways wa nted t o se e t h e M o n a Lis a !
A: Wel l , they have a g reat co l l ectio n of pa i nti n g s . Yo u ' l l l ove it.
B: Tha n ks fo r the s u ggestio n !
B :4 ; R HYTH M A N D I NTONAT I O N Listen agai n a n d re peat.

Then p ractice the Co nve rsation Model with a partner.
... "�rJE� P R O N U N C I ATI O N

COACH
Emphatic stress
A iI· 9 Notice how stress is e m p h asized to sh ow enth usias m .

Read a n d l i ste n . Then l i sten a g a i n a n d re peat.
1 No K I D D i n g ! 2 That's fa nTAstic ! 3 That's PE Rfect! 4 How I N te resti n g !
B N ow practice sayi n g the fo l l owi n g state m e n ts with em phatic stress.

1 That's te rR ific! 2 That's WO N derfu l ! 3 H ow exCi t i n g ! 4 H ow N I CE !
Recom mend a museum
u l'�rJE� CONVERSAT I O N ACTIVATOR With a partner, c h a n g e

t h e Co nversatio n M o d e l t o reco m m e n d a m u seu m . Use t h e
i nfo rmation i n the pictu res o r m u seu m s yo u know. Use t h e
passive voice a n d e m phatic stress. Then ch a n g e ro les.
A: Be s u re not to mi ss . . . . . . . . . w h i l e yo u 're i n . . . . . . . . .
.

A: Wel l , fo r one th i ng, . . . . . . . . . is kept the re .
B: . . . . . . . . . ! I 've a l ways wa nted t o se e . . . . . . . . .
A: Wel l , they have a . . . . . . . . . co l lectio n of . . . . . . . . . . Yo u ' l l l ove it.
B: Tha n ks fo r the s u g g estion !
DDN'T STDPl
• Reco m m e n d other
t h i ngs to see o r do.
• tried ?
• c l i m bed 7
• gone to the top of _7
• go n e sightseei n g in _?
• taken a tou r of ?
C O N V E RSATI O N M ODEL
A 4:20 Read and l i sten to someone asking about an object.
A: Excuse me. What's th is fig u re made of?
B: Wood . I t's h a n d made.
A: Rea l ly? Where was it made?
B: Mexico. What do yo u th i n k of it?
A: It's fa n tastic!
B 4:21 R HYTH M A N D I NTO NATI O N Listen aga i n and re peat.

Then p ractice the Co nve rsation Model with a pa rtne r.
HH H I�\,,!�!� VOCABULARY Objects, handicrafts, and materials

CARDS
A � :2 Read a n d l iste n . Then l isten a g a i n a n d re peat.
,----- meta l (meta l jewe l ry) -------,
g lass s i lver gold

(a g l a ss pitcher) (a si lver neckl ace) (a gold brace let)
wood cloth cera m ic stone

(a wood fig u re) (a cloth bag) (a cera m ic p late) (a stone bowl)
B PAI R WO R K Te l l yo u r pa rtne r about some of

" On my vacation last yea r, I bought
you r favo rite o bjects i n yo u r h om e . a l a rge sto ne bow l . It's i n my
kitchen, a n d I use it fo r servi n g . "
G RA M MAR The passive voice: questions
Was this stone figure carved by h a n d ? Yes, it was. / No, it wasn 't.
Were t hese w o o d b racelets m ad e i n Thaila n d ? Yes, they were. / No, they weren 't.
What is t h i s m a d e of? It's made of woo d .
What is t h i s cera m i c bowl used for? I t ' s u s e d f o r prepa ring food.
When was t h is picture pai nted? It was pa i nted in the 1 980s.
G RA M M A R BOOSTER p . 138
Where were these cloth figures made? In B razil.
• Yes / n o questions in the passive
How were t hose hand bags manufactured? By machi ne.
voice: other tenses
90 U N IT 8
A G RA M M A R P R ACTI C E Com plete the q uestions i n the interview. Use a q uestion word and the passive voice.
We inte rviewed Brian Tardiff at the Sanford Gallery about the exhibit of modern Hmong cloth q u i lts.
Q . . . 'vf�.�.� f!. .,!.r f!. . . these q u i l ts . . . . . . . � ��.� . . . . . ?

1 m a ke
A These bea u t i fu l q u i l ts a re made i n V i et n a m by women fro m the H mo n g tri be.
Q . . . . . . . . . . . . . . . . . . . . . they . . . . . . . . . . . . . . . . . . . . . of?
2 m a ke
A They're made of c l ot h . The p i eces of c l oth a re c u t by h a n d a n d sewn together.
Q ..................... the c l oth . . . . . . . . . . . . . . . . . . . . . ?

3 dye
A I t's dyed i n d i fferent c o l o rs, u s i ng p l a n ts a n d beeswa x . It takes a l ot of ti m e .
Q . . . . . . . . . . . . . . . . . . . . . t h ey . . . . . . . . . . . . . . . . . . . . . ?
4 sew
A They a re sewn by h a n d . Each is u n i q u e .
Q ..................... they . . . . . . . . . . . . . . . . . . . . . fo r ?
5 use
A Many peop l e j ust u se them for decorat i o n . H owever, H mong c u l tu re doesn't
h ave a written trad ition, so some are used to tel l stories about the women's l ives.
B C o m p l ete the conversati o n s . Write i nfo rmation q u estions, u s i n g the passive voice.
1 A: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ? 4 A: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ?
B : The g lass cu ps? They were made by h a n d . B : These wood chairs? They were made i n Venezuela .
2 A: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ? 5 A: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ?
B : That si lver bow l ? It's u sed fo r servi ng s u g a r. B : That C h i n ese bag? I t was made by mach i n e .
. . . . . . .1!lI!U1.il!I
3 A: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ? 6 A: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ?
MORE
EXERCISES B : This bea utifu l fig u re? It's made of g o l d . B : T h i s c u p ? It's m a d e o f cera m i c .
1o..-_........
.iiIoI ...
.. ........
. .. . Ask about and describe objects
p "erJ�� A CO NVERSAT I O N ACTIVATO R With a partner, change the Co nversati o n Model to a s k about
and descri be o n e of the obj ects . Use the Vocab u l a ry. Then change ro les.
A: Exc u se m e . What . . . . . . . . . made of? DON'T STOP!
B: ......... • Ask a bo ut other objects.
A: . . . . . . . . . . Where . . . . . . . . . made? • Ask other passive voice
q u estions.
B: . . . . . . . . . . What do you th i n k of . . . . . . . . . ?
A: ......... .
a fig u re / G reece
a vase / C h ina d o l l s / Russia
B C H A N G E PART N E RS P ractice the co nversatio n aga i n about othe r obj ects .
C D I SCUSS I O N Describe a n " I n my l iving room, I have a s ma l l

o bj ect i n yo u r o w n home. As k fig u re. It's made o f wood . It's a cool
yo u r classmates q u estions piece of traditional a rt. I bought awesome i nteresting
it o n my vacatio n last yea r. " terrific beautif u l
about the objects they describe.
B E FO R E YOU R EA D
" I paint someti mes.
WA R M - U P Do yo u do a nyth i n g a rtistic? Do yo u pai nt, I find it relaxi n g . "
.J
d raw, o r do h a n d i c rafts? Why o r w hy n ot?
, Actu a l ly, I'm n ot i n te rested i n a rt.
I d o n 't rea l ly th i n k I have a ny a b i l ity. "
R EA D I N G 4:23
Is it ta le nt
o r h ard woYk?
When children are asked to draw or paint a picture,
they are happy to oblige. And they are willing to talk
about and show their creation to anyone they meet.

But when adults are asked to do the same thing, they
typically get nervous and refuse to even try, claiming
that they have no talent.

, dle, a nd draw stick figu res.
Most adults see themselves as lacking the "artistic All you ng child ren s crib ble, doo
gene . " However, when you look at drawings made by
artists when they were children, their work doesn't differ hard work have played in the creation of great pieces of
much from the scribbles and stick figures all children art. In addition, most artists are successful because they
draw when they are young. When Don Lipski, who are passionate about their art-they love what they do.
makes a successful living as a professional artist, looks Their passion motivates them to continue to create
back at drawings that he made as a child, he doesn't and improve their ability-day after day. While natural
find any early evidence of his own artistic talent. "I was talent may be an advantage, hard work appears to be a
always making things . . . doodling and putting things necessary part of the creative process.
together. I didn't think of myself as a creative person.
In Drawing on the Right Side of the Brain, author Betty
I was just doing what all kids do. "
Edwards argues that while few people are born with
The general belief is that artistic talent is something natural artistic talent, all of us have the potential to
one is born with: a person either has talent or does not. improve our artistic ability. We just have to be willing
Clearly, great artists like Michelangelo or Picasso had to keep working at it. She claims that anyone can learn
natural talent and possessed more artistic ability than to use the right side of the brain, the side that governs
the average person . However, one factor that isn't often visual skills like drawing and painting . In other words,
considered is the role that years of training, practice, and artistic ability can be learned.
A R ECOG N IZ E T H E M A I N I D EA C hoose the m a i n idea of the a rticl e .

a Artistic s ki l l can be ta u g ht. c To d raw wel l , yo u have to be born with a rtistic ta l e nt.
b C h i l d ren a re better a rtists than a d u lts. d Few peo p l e a re born with a rtistic ta l ent.
92 U N IT 8
B I D ENTIFY S U PPORTI N G D ETA I LS Read each statem e nt. Check True o r Fa l se, acco rd i n g
t o t h e a rticle. S u pport yo u r choice with deta i l s fro m t h e a rticle.
-
� �
1 Yo u n g c h i l d re n g e n e ra l ly d o n ' t wo rry if they a re ta lented o r not. 0 0
2 M ost ad u lts th i n k they a re n ot ta lented . 0 0

It's easy to see w h ich c h i l d re n a re g o i n g to be a rtists when you look at
3 0 0
the i r d raw i n g s .
4 There i s n ' t m u c h d ifference between fa m o u s a rtists a n d othe r peo p l e . 0 0
5 Ta lent is a l l on e needs to create g reat a rtistic work. 0 0
6 Peo p l e who d o n ' t have natu ra l ta lent ca n i m p rove thei r a rtistic s ki l l . 0 0
�
C PARAPH RASE Read the parag ra ph i n the a rticle about Dra wing on the Right Side of the Brain
aga i n . I n yo u r ow n words, restate Betty Edwa rd s's 't heory about a rtistic a b i l ity.
to B etty Ed "'Md , . . .
. Jlll!IIliIlI
MORE
EXERCISES
1...-_...........
. ......
. .. Talk about artistic talent
A F R A M E YO U R I D EAS C o m p l ete the s u rvey. Then com pare res ponses with a pa rtn e r.
Who s LJot \lalent?

1 . Do a ny of yo u r fa m i ly m e m b e rs o r fri e n d s h ave 5 . In w h i c h of the a rts d o you t h i n k yo u may have ta l e nt?
a rtistic ta l e nt? 0 yes 0 no Exp l a i n .
Re l ati o n s h i p to yo u : example
® music I )i 119 a l1 d play )evera l m v ) i c a l i l1 )trvm el1t).

I n w h i c h o f t h e a rts? _________
o music
W h e re d o you t h i n k t h i s ta l e n t comes fro m ?
o d rawing / pai nting ___________
o h a n d i c rafts
2 . D o yo u t h i n k y o u h ave natu ra l a rtistic ta l e nt?
______________
o yes 0 no 0 n ot s u re o acting ________________
3 . Do oth e r p e o p l e t h i n k yo u 're ta l e nted ? o p h otogra p hy _____________
o yes 0 no 0 n ot s u re
o other ________________
4. H ow wo u l d yo u rate yo u r own a rtistic ta l e n t o n

a s c a l e of 1 t o 5 ?
2 3 4 5
POOR AVERAC E EXCELLENT
B DISCUSS I O N Do you th i n k peop l e a re born with a rtistic ta l ent? O r is it deve l o ped

th ro u g h yea rs of tra i n i ng, p ractice, a n d h a rd work? Text'mining (optional)
Find a n d u n d e r l i n e t h ree words or p h rases in the Read i ng
that were new to you. Use them in your Discussion.
For exa m p l e : "have tale nt."
B EFO R E YOU L I ST E N
.. . 1lll!Ii!1!
l�5� A 4:24 VOCA B U LARY . Passive participial phrases Read a n d l iste n .

Then l i sten a g a i n a n d repeat.
be inspired by He i s i n s p i red by natu re. H e tries
to ca ptu re n atu re's bea uty in h i s
photog ra p h s .
be i nfluenced by She w a s infl u e n ced by Ste l l a

McCa rtney's work. You ca n see
s i m i l a rities between McCartney 's Vincent va n Gogh
desig n s a n d h e r ow n . pai nte r
b e fascinated by H e h a s a l ways been fascinated by

the l ife of Vi n cent va n Gog h . H e
th i n ks the a rtist w a s extremely Ste l l a McCa rtney
designer
fasci nati n g .
be moved by Yo u wi l l be moved by Charlie C h a p l i n 's fi l m s .

Eve n tho u g h they a re fu n ny, thei r themes of
l ife a n d l ove rea l ly to uch yo u r hea rt.
B PAI R WO R K Te l l yo u r partner what i n s p i res, i nfl u e n ces, i n te rests,

Charles C h a p l i n
fasci nates, a n d m oves yo u . Use pass ive pa rtici pial p h rases.
actor, f i l m m a ker
" I 'm i n s p i red by my parents. They work rea l ly h a rd . "
L I STE N I N G CO M P R E H E NS I O N
A :25 U N D ERSTA N D FROM CO NTEXT Liste n to the i n te rviews .
C o m p l ete each statement w ith the n a m e of the a rtist.
1 B u rt H i l deg a rd is fasci nated by the work of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 S u s a n Wa l lach is i nfl u e n ced by the work of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3 Katheri n e Wolf is i n s p i red by the work of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4 N i c k J e n k i n s is m oved by the work of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
B .t. 6 LISTEN TO TAKE N OTES Liste n ag a i n to each i n te rview a n d write some of
the d eta i l s you hear about each a rtist. Com pare notes with a pa rtne r.
1 Ang Lee 12 H e n ri Ca rtier-Bresson 13 Va l enti no 14 Frida Ka h l o

ex p l o re S" c ultu re to o k b l a c k - a n d - wh i te Ph otOS" i s" Ita l i a n W a S" S"i c k as" a ch i ld
C D I S C U SS I O N Wh ich of the a rtists descri bed i n the Liste n i n g do you fi n d the m ost
fasci na ti n g ? Use yo u r n otes to exp l a i n why.
Discuss your favorite artists
A FRA M E YO U R I D EAS Co m p l ete the q u estio n n a i re. Then com pa re a n swers with a pa rtn e r.
WH I C H Q!JALITI E S ATTRACT YOU TO AN ARTI ST?

Check all that apply.
HIS O R H E R WORK . . . HE OR SHE . . .
o i s rea l istic / trad itio n a l . o is a re bel.

o i s a bstract / modern. o i s c reative.
o i s easy to u n d e rsta n d . o tries new t h i ngs. Types of a rtists
o m a kes y o u t h i n k. o has his o r her own styl e. a pa i nter

a writer
o to uches yo u r h e art. o i n s p i res peo ple. a scul ptor
a fi l m m a ke r / d i rector
o m a kes you laugh. o other: ___-::-:
=
an a rch itect
o other: _____ a photograph er
a n actor
a si nger
B N OTEPA D D I N G O n you r n otepad, w rite about some of yo u r favo rite a rtists . Types o f art
d rawing
Type of a rtist Why I l i ke t h i s a rtist painting
Artist's n a m e
scu l pture
1 photography
jewelry
2 pottery
-
fashion
3 - -
handicrafts
C G R O U P WORK Discuss you r favo rite a rtists . Te l l yo u r class why you l i ke the m .
As k yo u r classmates q uestio n s about t h e a rtists they describe.
I'm a rea l fan of the Mexican Donate l l a Versace is my One of my favorite Japa nese
painte rs Frida Ka h l o and favorite designer. Her a rti sts is Naoki U rasawa. His
Diego Rivera. I 'm fasci n ated fas h i o n s a re so creative! d rawings i n the comic book
by thei r l ives . Yawara ! a re rea l ly exciti n g .
I'"
I . , I
I :l ' I
A 4:2 Z Listen a n d write the l ette r of the piece of a rt each person is ta l ki n g about. Then l i ste n
a g a i n a n d c i rc l e the best way to com p l ete each statem ent.
a c d
..................... 1 S h e th i n ks it's (bea utifu l / u g ly / abstract) .

..................... 2 He th i n ks it's (trad itio n a l / u g ly / fascinating) . She th i n ks it's (fa ntastic / OK / abstract) .
..................... 3 She thi n ks it's (OK / awfu l / g reat) . He th i n ks it's too (abstract / d a rk / trad itio n a l ) .
B O n a separate sh eet of paper, change each se nte n ce fro m active to pass ive voice.
1 Cesar Pel l i desig n ed the Petro nas Twi n Towers in K u a l a Lu m p u r.
2 The g reat I ra n ia n fi l m ma ker Majid Maj i d i d i rected Children of Heaven in 1 998.
3 H e n ri Matisse made the print Icarus in 1 94 7.
4 A n n i e Leibovitz too k that ph otog ra p h of J o h n Len n on i n 1 9 80.
5 The J a pa n ese a rtist H o ku sa i p rod u ced The Great Wave o f Kanag a wa i n the early 1 8 30s.
C List materia l s u n d e r each catego ry. An swers m ay va ry.
D C o m p l ete the state m e nts.

1 The a rt of des i g n i n g c l othes is ca l l ed
2 One type of . . . . . . . . . . . . . . . . . . . . . is a fig u re ca rved fro m wood or stone.
3 Two types of m eta l often u sed t o m a ke jewe l ry a re . . . . . . . . . . . . . . . . . . . . .
and . . . . . . . . . . . . . . . . . . . . . . n TOP NOTCH I'!l'iI'!J
... . Lyrics p. 1 54
"To Each H is Own"
�
4 Art i n a co nservative sty l e fro m the past is ca l l ed . . . . . . . . . . . . . . . . . . . . . a rt.
5 A piece of a rt made with a pen or pencil is ca l l ed a . . . . . . . . . . . . . . . . . . . . . . " ' �I " ' KA=I
WRITI N G
Ideas
C h oose a favo rite o bj ect that decorates
• a painting o r d rawing
you r h o m e . Describe it in a p a rag ra p h . • a p h oto o r poster
• a p iece of furniture
W R I T I N G BOOSTER p . 1 50 • a figure or scu l pture
• Provi d i ng supporti ng details • a p late , bow l , or vase
• Guidance for this writi ng e x e rcise • (you r own idea) _
96 U N IT S www.pardistalk.ir/library
O RA L R EV I EW
CONTEST Loo k at the page fo r on e m i n u te
a n d c l ose yo u r books. U s i n g the pass ive
voice, w h o can describe the m ost objects
a n d a rt?
Th e h o rS"e fi 9 u re is" m a d e of
_. Th e p
S"tatu e of David i s" kept i l) th e _ . •
PA I R W O R K
1 C reate a co nversati o n fo r the man a n d
woma n . Reco m m e n d a m u se u m . Sta rt
l i ke th i s :
B e S" u r e I)ot to m i » th e _ lNh i ) e you're
I I)
2 C reate a co nversatio n fo r the c u sto m e r

a n d the store clerk. As k a b o u t the objects .
Sta rt l i ke this: Th e wo rld's largest
coll ecti on of
Exc u S"e m e. What'S" th i S" m a d e of ? stat u es by M ich elan
gel o!
DISCUSS I O N Ta l k about the pieces of a rt i n David by M ich elan gelo
t h e photos. Say what y o u l i ke or don't l i ke
about each one.
MIMe& qfOrs£ltj
PA RI S , FR A NC E
J
Ho m e of the best
-�� co lle ction
of
1 9th -ce ntu ry fren ch
a rt, i n cl u d ing fa m o
us
pa i n ters s uch as M
on et,
Dega s, a n d Ren oir
Apples a nd Oranges
by Pa u l Ceza n n e
NOW I CAN
o Reco m m e n d a m u seu m .
o A s k about a n d describe objects.
o Ta l k about a rtistic talent.
o Discuss my favo rite a rtists .
U N IT 8 97
lijl]�II 1'1111�I [@!ii [I ]�(RIM �i
1 Tro u b leshoot a p ro b l e m .
2 Compare product featu res .
3 Describe how y o u u se t h e I n ternet.
UNIT 4 Discuss the i m pact of the I n ternet.
L iv i ng i n Cyberspace
PREVIEW x
Our Community
F ra n k Ca ruso H ey, I ' m in Rome now! How do
you l i ke my n ew profi l e pic? That's the C o l osse u m
beh i n d me. T h i s p l ace i s aweso m e !
Kathy C h u Wow ! You take good selfi es, Fra n k ! You

look l i ke yo u ' re havi ng fu n ! H ey, d i d n 't you j ust post a
m essage from Tokyo two days ago?
F ra n k Ca ruso I d i d . But I 've a lways wa nted to see

FRAN K CAR U SO Ita ly, so someone suggested visiting my a i r l i ne's web
page to look for spec i a ls. I got a great deal on a retu rn
tic ket with a stop h ere. I'm head i ng back home to
Boston o n Friday. D i d you all catch the Japan photos
./ Edit I posted?
q S e a rc h N a rd o M a d u re i ra No. What a l b u m a re they i n ?
� M essages
!I9l My p h oto a l b u m s F ra n k Ca ruso Actu a l ly, they' re n ot h e re. They're o n

that new photo-s h a r i n g site, G l o b a l Photo. Log o n
a n d a d d m e t o yo u r fri ends. O r I c a n send you a l i n k .
iii. V i d eos C l i c k o n it t o g o right t o t h e p i cs.
:.:.:. G r o u ps Kathy C h u We l l , I j ust l ooked a n d they're very coo l .

C a n ' t wa it t o see t h e ones from Ita ly. I hope they're a s
n i ce as t h e ones from J a pa n ! N i ce chatt i n g with you
1 U p load guyS ! C i a o !
A PAI R WO R K Read the posts o n the socia l n etwo rk website. Are yo u o n a ny s i m i l a r sites? Do you
post reg u l a rly? Why o r w hy n ot?
B D ISCUSSI O N Discuss these q u estion s .

1 What p h oto-s h a ri n g services d o y o u k n ow a b o u t o n l i ne? Do y o u sto re yo u r ph otos o n a ny of
these sites? What a re the adva ntages a n d d isadva ntages of ph oto-s haring services?
2 H ave you ever posted p hotos w h i l e you were trave l i n g ? Do yo u know a nyone who has?
98 U N IT 9
c :02 PH OTO STORY Read a n d l iste n to a co nve rsation i n a n office.
Amy : W hat are you doing here at t his Amy: I just got t his e-mail from Amy: I know. I don 't know what I was
hour? I wasn't sure I 'd find you . so meone I don't know, and I thinking! It just hap pened so fast .
Dee: Oh hi, Amy. I 'm j yg !<?? !i !1Sl clic ked on the attac h ment to see Dee: Loo k. First, try shutting down
around online. I guess I forgot what it was. My com puter tota lly and restarting, OK? Sometimes that
�b'o�t' the ti me! crashed . Everyt hing froze, and takes care of it.
no matter what I do, not hing
0 • • • • • • • • • • • •
Amy: Am I interr u pting you? Amy: You t hink that would work?
happens .
Dee: Not at all. Paul and I are just Dee: It couldn't hurt . Listen, Paul's
Dee: Actua lly, you should never
inst ant messaging. sti il 'th'e'r e: Let 'n;e 'send a quick
o pen an attachment if you don't response, OK? 1: 1.1 N g �. e. � s.��!1.�'
Amy: Sorry to bother you . But I 'm a
know t he sender. It could be
little worried about so met hing. Amy: No problem. I 'll go and try
malware or carry a virus.
Dee: What's wrong? restarting to see if that ?��s.t.�� r! � �.
D FOCUS O N LAN G UAG E Loo k at the five exp ressi o n s fro m the Ph oto Sto ry. Write the lette r of
the mea n i ng of each exp ressio n . (Two exp ressions have the same m ea n i ng . )
......... 1 j ':1 � � .f �.q l.i ':1g �.r�l! ':1�. a wo n 't ta ke a l o n g t i m e
......... 2 �?��.s. �?r�.<?! ! � b n ot d o i n g a nyth i n g seri o u s
......... 3 �.� l;l I. � ':1 : ! .h. l;l � � c is worth tryi n g
. . . . . . . . . 4 1: �I . i .� s.t. � �. � .s.�� <? ':1�. d fixes the pro b l e m
......... 5 d o e s t h e trick
S P EA K I N G
D o you k n ow how to solve com pute r p rob l e m s? C o m p l ete the chart . Then com pa re
a n swers with a pa rtner a n d discuss some poss i b l e sol utio n s .
Do you know what to do if . . . So me co mp uter solu

tio ns
Yes No N ot s u re • try restartin
g
• che ck if it's
t urned on
1 you th i n k you have a virus? D D D • b u a ne w comp
y uter
2 yo u r pri nte r wo n ' t p ri n t? D D D • [Your own id
eal
3 you c l i c k o n a l i n k a n d n oth i n g happens? D D D

4 yo u r co m puter is rea l ly s l ow? D D D
5 yo u r co m p uter c rashes? D D D
6 you fo rget yo u r passwo rd ? D D D
C O N V ERSAT I O N M O D EL
A � 5:03 Read a n d l i sten to peo p l e tro u b l es h ooti n g
a co m p uter p ro b l e m .
A: Eugene, cou l d y o u ta ke a look at this?
B: S u re . What's the p ro b l e m ?
A : We l l , I c l i c ked o n t h e too l ba r t o save
a fi l e, a n d the co m p uter c rashed .
B: Why d o n 't you try resta rti n g ? �� .I!1.�tj ':l: �? »,.� � � s:
.
A: O K . I ' l l g ive that a try.
B .Q R HYTH M A N D I NTO N AT I O N Liste n agai n a n d re peat.

Then p ractice the Co nversatio n Model with a pa rtn e r.
u u l��!� VOCA B U LA RY The computer screen, components, and commands

CARDS
A � 5: 06 Read a n d l i ste n . Then l i sten a g a i n a n d re peat.
" ;,mn"u 5 a pul l-down menu
File Home I n sert View Help
o � open a file ® >€ cut text
® � save a file CD� copy text
@ ® Oil paste text
@ close a file
" ;';!.!ii"
' '''' ''' I h;,hl;,,. ,,,' scroll up
,ijt!!t"iS
•• tomorrow .
scroll down
..•.,
.J.
B 5 :0Z LISTEN TO ACTIVATE VOCA B U LARY Liste n . Check the co m pute r co m m a n d each person need s .
� � GJ Li 0 �
1 He needs to c l i c k on . . . 0 0 0 0 0 0 0 0
2 She needs to c l i c k o n . . . 0 0 0 0 0 0 0 0
3 He n eeds to c l i c k o n . . . 0 0 0 0 0 0 0 0
5 H e needs to c l i c k o n . . . 0 0 0 0 0 0 0 0
1 00 UNIT 9
G RA M MAR The infinitive of purpose G R A M M A R BOOSTER p . 139
• Expressing pu rpose with
An i nfi n itive ca n be used to express a pu rpose . i n order to and for
I scrolled down to read the text. (= beca use I wanted to read the text)
Put the c u rsor on the tool ba r to choose a file. ( if you want to choose a file) =
Answering a Why q u estion with an i nfin itive of pu rpose is s i m i l a r to a nswering with Because.
Why d i d you click on that icon? To save the file before I close it. (= Because I want to save it.)
Why did you h ighlight that word? To select it so I can copy it. (= Because I want to copy it.)
A FI N D T H E G RA M M A R Loo k at the Co nversation Model o n page 1 00 .

Find a n i nfi n itive of p u rpose. Restate the sente n ce, using beca use.
B PAI R WO R K Loo k at Cathy's to-do l i st. As k a n d a n swer q u esti ons, TO DO TODAY

u s i n g i nfi n itives of p u rpose.
" Why i s Cathy g o i n g shopping? "J go s h opp i ng - get
fo r d i n n er
so m et h i ng
o c a l l Dad - w ish h
im H a p py
" To get someth i n g fo r d i n ner. B i rth day!
-
o m eet B ra n dy - tal k
a bo ut
n ext w ee ke n d
C G RA M M A R PRACT I C E Co m p l ete each sente n ce i n yo u r own way. Use tal k to M a rk - ask
fo r h e lp
i nfi n itives of p u rpose. with sca n n er
1 D on' t fo rget to c l ic k o n the save icon JO. ?Qy� 'y'0 .� r. .d t� .c � � � I).t. . . . . . .

. .
o e -m a i l H i l la ry - se
n d h e r my
ne w p h otos
2 You ca n c l ick o n the print icon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
drop off ca r at serv

3 Put the c u rsor o n the p u l l-down m e n u . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . o fix wi n dsh i e ld wipe
ice stati on
rs
4 I bought a new sca n n e r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . o visit Kat o na h M use
u m - s ee
5 I e- m a i l ed my friend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . new a rt ex h i b it
. . . .I!ll!Jl1.[!I
MORE
JeERCISES 6 I co n n ected to the I n ternet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ca l l sa l o n - m a ke
a pPo int m e nt for
ma n i cu re
1o...-�1ooI.IIOoI1oIoAI""'�A.I Troubleshoot a problem
d l'em�g A CONVERSAT I O N ACTIVATO R With a pa rtn er, c h a n g e the

Co nversati o n M od e l . C reate a conve rsatio n in which o n e
o f yo u a s ks fo r h e l p w i t h a co m p uter p ro b l e m . Use the
com p uter voca b u l a ry from page 1 00 and an i nfi n itive
of p u rpose. Then c h a n g e ro les.
A: . . . . , co u ld yo u ta ke a look at th is?
. . . . .
B: S u re . . . . . . . . . . ?
A: We l l , I c l i c ked o n . . . . . . . . . to . . . . . . . . . , a n d . . . . . . .
B : Why d o n ' t yo u try . . . . . . . . . ? That . . . . . . . . . .
. . <'I;J¥MUiWh',WdiUd •
• The computer crashes.
A: . . I ' l l g ive that a try. • The screen freezes.
DON'T STOP!
. . . . . . . .
• The pri nter won 't pri nt.
• The fi l e won't [open I close I print] .
• D iscuss other problems. • The [mouse] doesn't work.
• Offe r other suggesti ons . • N oth i n g happens.
• (yo u r own idea) _
B C H A N G E PARTN ERS Practice the conversatio n

aga i n with other p rob l e m s .
www.pardistalk.ir/library UNIT 9 1 01
G RAM MAR Comparisons with as . . . as
To express s i m i l a rity G RA M M A R BOOSTER p. 139

Use as . . . as with a n a dj ective to i nd i cate how two t h i ngs a re equal or • As . � to compare adverbs
. .
the same. Use the adverb just for e m p hasis. • Comparatives and superlatives:
review
The new spea kers a re as good as the old ones.
• Comparison with adverbs
The i Friend tablet is j u st as n i ce as the F40 .
Use the adverb a l most i n affirmative statements to i n d i cate that two t h i ngs a re
very similar but not exactly the same.
The Zeta B is a l m ost as fast as t h e Pa nasox.
To express d ifference
Use not as . . . as to i n d i cate how two t h i ngs a re d ifferent. Use not gu ite when the d ifference
is very sma l l . Use not nearly to i n d i cate that there ' s a big d ifference.
Our new pri nter i s n t as noisy as the old one.'
The G4 i s n t q u ite as expensive as the Z90.

'
The Panasox is n t nearly as afforda ble as t h e Zeta B.

'
You can use shortened statements with as when the mea n i n g is clear.
The o l d m o n itor was great. But the n ew one is j u st as good . (= j ust as good as the old one)
H ave you seen Carl's n ew la ptop? My laptop i s n ' t as n i ce . (= as n ice as his laptop)
A G RA M M A R PRACTI C E Read each state m e nt about a p roduct. Write a sentence

with as . . . a s and the c u e to co m pa re the p rod u cts .
1 The new S h i n e keyboa rd is po p u l a r. The o n e fro m Dig ite k is po p u l a r, too.
(j u st) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 The XCu e joystic k is easy to u se . The J Rock j oystic k is a l so easy to use.

(j u st) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3 The C50 m o n ito r is l a rg e. The C 3 0 m o n itor is a l ittl e l a rg e r tha n the C50.

(a l m ost) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4 Comtec 's new m i n i-tab l et is ve ry s ma l l . Sango's new m i n i-ta b l et is a l so
ve ry s m a l l .
(j u st) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5 The CCV s pea ke rs a re very powerfu l . The S o u n d tec speake rs a re m u ch

m o re powerfu l .
( n ot / nea rly) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6 The Icon m o n itors a re ve ry i n expensive. The Senti n e l m o n itors a re a l ittl e a j oystick

m o re expe n s ive.
( n ot / q u ite) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
B O n a separate sheet of paper, w rite five state m en ts com pa ri n g th i ng s yo u a re

fa m i l ia r with . Use as . . . as.
Ideas for com paris ons
• cars
• ele ctroni c
H . • • .Illl!liIi!!
MORE
prod ucts
EXERCISES • sto res
• resta ura nts
• (your Own ide
a)_
1 02 U N IT 9 www.pardistalk.ir/library
"�rJ�g P RO N U N CIAT I O N
COACH
Stress in as . . . as phrases
A 5:08 Read a n d l i ste n . Then l i sten aga i n a n d repeat.

• • • • • • •
1 The n ew p ri nte r is as s l ow as the o l d on e . 3 The X 1 2 m o u se i s n ' t n ea rly as n ice as the X30.
• • • • •
2 My oid s m a rt phone is j u st as s m a l l as the new one. 4 The M200 keyboard i s n 't q u ite as cheap as the Z6 .
B Read the stateme nts yo u w rote i n Exercise B o n page 1 02 a l o u d , pay i n g attention to stress.
CO NVERSATI O N M O D EL
A 5:09 Listen to someone co m pa re p rod u ct featu res.
A: I 'm th i n ki n g about getti n g a new g a m e contro l l e r.
B: O h , yea h ? What k i n d ?
A: Eve ryo n e says I s h o u l d get a Macro.
B: We l l, I 've hea rd t h a t t h e Pa n atel is as g ood as
the Macro, but it costs a l ot less.
A: Rea l ly? I ' l l check it o ut.
B 5' R HYTH M AND I NTO NAT I O N Listen a g a i n a n d

re peat. T h e n p ractice t h e Co nversatio n M o d e l with
a pa rtne r.
Com pare product features
H H I'�rJE� A CONVERSATI O N ACTIVATO R With a partner, c h a n g e the

Co nversatio n Model, u s i n g the magazi n e rati n g s to
co m pa re featu res of d iffere nt p rod u cts . Use as . . . as.
Then change roles. Our recommendations '
A: I 'm th i n ki n g about getti n g a n ew . . . . . . . . . • eMax Wireless Mouse very good US $25

B: . . . . . . ? What k i n d ?
. . .
• eMax XIS Wireless Keyboard very comfortable U S $30
A: Eve ryon e says I s h o u l d g et . . . . . . . . . .
• eMax Y80 Webcam easy to use US $52
B: Wel l , I 've heard that . . . . . . . .
DON'T STOP!
.
A: Rea l ly? . . . . . . . . . . • eMax Z40 Monitor 15 inches / 38 centimeters US $250
Which . . .
is more p o p u l a r? is newer?
is easier / harder to use? is q u i eter / noisier?
is l ighter / heavie r? is slower / faster?
is la rger / sma l l er? has m o re features? very good
is less / m o re expensive? looks nicer? �_�US $ 7 2
costs less / m ore? gets better reviews?
US $25
B CHAN G E PARTNERS Now p ractice the conve rsatio n US $52

a g a i n , u s i n g oth e r p rod u cts a n d featu res . ---..:..:
...: �_-L�
:.: 7 9 I"(}-es / 483 Cffillrretr:m US $99
,
'-'.0
www.pardistalk.ir/library U N IT 9 1 03
B E FO R E YO U L I ST E N
. . . . Jillllilil)
FLASH 5 : 11 VOCA B U LARY . Internet activities Read a n d l i ste n . T h e n l i sten ag a i n a n d re peat.
CARDS
visit a website go to a s pecific a d d ress o n the I nternet a n d read its conte n t

surf the Internet v i s i t a l ot o f d ifferent websites fo r i nfo rmati on that i nte rests yo u
join (an online g roup) beco m e a m e m be r of a n I n ternet g ro u p to m eet friends
a n d s h a re i nfo rmation about yo u r h o bbies a n d i n te rests
post (a message) add yo u r com m ents to an o n l i n e discussion on a message boa rd,
a b log, o r a socia l n etwo rki ng site
attach (a file) p l ace a doc u ment o r ph oto i n to a n e- m a i l
u pload (a file) m ove a docu m e nt, m u sic fi l e, o r pictu re fro m a perso n a l co m pute r,
pho n e, o r M P 3 p l ayer onto the I nternet
share (a link) send a n e- m a i l o r post a m essage with the address of a n i n te resting
website yo u wa n t someone to visit
download an application dow n l oad a u sefu l prog ra m that yo u ca n u se
to p l ay g a m es, get i nfo rmatio n , o r perfo rm tasks
send an instant message "chat" with someone o n l i n e i n rea l ti m e by ty p i n g messages Re me m b er also:
look u p information g o to a website to learn about som eth i n g • do wnl oad (a file)
• s t ream a vi
deo
• c h e ck e- mail
A 5:1 2 LISTEN FO R T H E M A I N I D EA Liste n to peo p l e describe how they use the I n ternet. Write a
chec k m a r k next to the person who see m s to enjoy the I nternet the l east. Exp l a i n yo u r a n swer.
D 1 George Thomas D 2 Sonia Castro D 3 Robert Kuan D 4 Nadia Montasser
B : 1 3 LISTEN FOR D ETA I LS Listen a g a i n a n d check the activities each pe rson does.
G e o rg e Thomas Sonia Castro Robert Kuan N a d ia M ontasse r

b uys p rod u cts 0 0 0 0
dow n loads m u s ic 0 0 0 0
checks the latest n ews 0 0 0 0
pa rtici pates i n o n l i n e g ro u ps 0 0 0 0
p l ays o n l i n e ga mes 0 0 0 0
sends i n stant messages 0 0 0 0
s u rfs the I nte rnet 0 0 0 0
u p l oads photos 0 0 0 0
u ses a co m puter at work 0 0 0 0
1 04 U N IT 9 www.pardistalk.ir/library
Describe how you use the Internet
A FRAM E YOU R I D EAS Co m p l ete the s u rvey about yo u r own I nternet use.
x
1:] _
I usua l ly spend _ h o u rs a week o n l i ne.

r- 0 - 1 0 r 11 - 20 r 21 - 30 r 31 - 40 r 4 1 - 50 r ove r 50
I use . . .
r a d e sktop r a l a ptop r a s m a rt phone r a ta b l et r (none of these)
I use the I nternet . . .

r fo r work r fo r study r fo r fu n r I never use t h e I n ternet .
II I use the I n ternet . . .

r to sea rch fo r new websites r to se nd i n stant m essages r to down load m u s i c
r to u p l oad photos r to keep in to uch with fri e n d s r t o u p load vid eos
r- to d own load p h otos r t o k e e p i n to u c h w i t h fa m i ly r- to down load videos
r- to design we bsites r to meet new people r to send a n d receive e-ma i l
r to l oo k up i nfo rmation r to watch movies r t o p l ay ga mes
r to c reate a rt r to look at my b a n k accou nts r to pay b i l l s
r to s h o p fo r th i ngs r to se l l t h i n gs r t o read o r watc h t h e n ews
r to ta ke c l a sses r to p ractice E n g l i s h r to j u st fool a ro u n d
r oth e r: . . . . . . . . . . . . . . . . . . . . . . . . . .
II Check the statements t h a t a re t r u e a bout you .

r people con s i d e r me to be a tech n o l ogy expert. Th ey come to me fo r h e l p.
r Yo u co u l d say I'm an I nternet a d d i ct. I ' m a lways o n l i ne.
r C o m p a red to m ost peo p l e, I spend a l ot of time o n t h e I nternet.
r I spend j u st as m u c h time o n the I nte rnet a s m ost peo p l e.
r I d o n 't spe n d nea rly as m u c h t i m e on t h e I nternet as m ost people.
r I'm rea l ly not comfo rta b l e using t h e I nternet.
B G R O U P WO R K Wa l k a rou nd yo u r classroom a n d a s k yo u r Ide as for questions

c l a s s m ates about thei r I nternet u s e . As k q uesti o n s Why . . . ?
When
Where . . . ?
7
t o g et m o re i nfo rmation a n d ta ke n otes . How . : : ?.
F i n d someone who . . . Name No t e s
i s a n I n ternet expert. I
.; ;F ...
is a n I n te r n et add ict.
i s n 't comforta b l e u s i n g the I n ternet.
u ses the I n ternet to m eet peo p l e .
u ses the I n ternet to avoid people.
C D I SCUSS I O NTel l yo u r c lass what you " M ay spends a l ot of time o n l i ne. She uses her
tab l et to meet new peo p l e a n d keep i n touch
fo u n d out about yo u r classmates a n d with friends. G a ry spends a lot of time o n l i n e
h ow they use t h e I nternet. with h i s s m a rt p h o n e . He u p l oads photos a n d . . . "
Discuss the i m pact of the Internet
B E FO R E YO U R EA D
1 W h a t k i n d s o f p ro b l e m s have y o u h a d o n t h e I nternet?
2 What k i n d s of I nternet p ro b l e m s have yo u heard about on the n ews?
R EA D I N G
Cyberbullying Leads
Identity Thieves Steal 40 Million Credit Card Numbers to Teenager's Death
Eleven hackers around the world were accused of stealing more than 40 million Megan Taylor Meier, age 1 3, joined an
credit card numbers on the Intemet. They included three people from the U. S. who social networking group where
online
are accused of hacking into the wireless networks of popular online stores. she became online friends with a
1 6-year-old boy named Josh . Megan
Once inside these networks, they searched for
and Josh never communicated by
customers' credit card numbers , password s , and
phone or in person , but she enjoyed
personal information so they could pretend to be those
exchanging messages with him i n
customers . When the identity theft was com pleted ,
t h e group .
cred it card num bers and other details were then sold
Over time, Josh changed . H e
on the I nternet , allowing criminals to withdraw
began t o bully h e r daily - criticizing her
thousands of dollars at a time from ATM s .
personal ity and telling her what a bad
person she was . Some of their
communications were posted so
everyone could see them . Josh's last
Computer Viruses Are Getting Harder to Prevent message to her said , "The world would
be a better place without you . " A short
"We're losing the battle against computer small com pan ies . In one year alone , they
time later, Megan committed suicide.
viruses , " says David Farber, professor were reported to have caused $1 3 b i l l ion
After her death , it was discovered
of com puter science at Carnegie Mellon USD in damag e .
that there was no "Josh . " The
Un iversity. These viruses , which can enter
Companies have been trying for years messages came from the mother
computer systems through junk e - mail from
to protect themselves with anti-virus of one of Megan's classmates . The
hackers , have reached epidemic
programs , but cri m inals are creating mother had been angry with Megan
proportion s , slowing down computers
newer, improved viruses faster than these because she believed Megan had said
and sometimes causing whole office com
programs can keep up with . some untrue things about her daughter.
puter systems to crash - in both large and
A U N D E RSTA N D FROM CONTEXT Use the context of the a rticles to h e l p yo u to co m p l ete each defi n itio n .
. . . . . . . . . 1 A hacke r is . . . a a softwa re p rogra m that cau ses p ro b l e m s i n co m pute rs .
. . . . . . . . . 2 A co m p ute r virus is . . . b a softwa re p rog ra m that tries t o sto p t h e s p read o f vi ruses .
. . . . . . . . . 3 A c ri m i n a l is . . . c a person who enters com p uter system s without perm issio n .
. . . . . . . . . 4 J u n k e- m a i l is . . . d a person w h o stea l s othe r peo p le's personal i nfo rmati on .
......... 5 An a nti-virus p rog ra m is . . . e a n adve rtisement you d i d n ' t req u est.
. . . . . . . . . 6 A cyberb u l ly is . . . f a person who brea ks the l aw; fo r exa m ple, by stea l i n g m o n ey.
......... 7 An identity thief is . . . g a pe rso n who sends cruel a n d negative messages to a n other
person o n l i ne .
. . . . . . . . . . . . Jill!lI1J) B R ELATE TO PERSO NAL EXPE R I E N C EWhat n ews sto ries have yo u hea rd about the
MORE
EXERCISES I nternet? Do you ever wo rry about u s i n g the I n ternet? Why o r why not?
1 06 UNIT 9 www.pardistalk.ir/library
Discuss the im pact of the Internet
...
A N OTEPA D D I N G With a pa rtne r, discuss each statement. Write at least one

good change and one bad change for each.
1 The I nternet has c h a n q ed the way geog le 2 The I nternet has chanqed the waY- J!eople
fi n d i nfo rmati o n . work i n offi ces.
G o o d chanqes: Good chanqes:
Bad changes: Bad chanqes:
3 The I nte rnet has changed the way 4 The I nternet has chanqed the way
geop-Ie shop-. geog le com m u n icate.

- -
r-
Good chanqes: G ood chanqes:
Bad cha nqes: Bad chanqes:
, -
B D ISCUSS I O N Do yo u th i n k that com pute rs a n d the I nternet Text'm ining (optional)

have b ro u g h t m o re benefits o r m ore p ro b l e m s ? S u p po rt Find a n d un derli n e t h ree words or p h rases i n t h e Read i n g
you r o p i n io n s with exa m ples. t h a t were n e w t o yo u . U s e them i n yo u r Discussion.
For example: "exchanging messages."
I n my opinion, there are more

benefits than problems. For
example, it's easy to look up
�nformation, and it's real ly fast.
I think the I nternet is OK, but there

are real ly too many problems. First
of all, you have to be very careful if
you shop online with a credit card.
A 5'15 Liste n to the conve rsatio n s . C i rc l e T fo r true a n d F fo r fa l se. Then l i sten aga i n
a n d i nfer how t o co m p l ete each state m e nt.
1 The C40's m o n ito r is . . . . . . . . . the X8's .
1 She reco m mends the C40. T F
a the same s ize as b l a rger tha n c s m a l l e r tha n
2 She recom m e nd s the H i p 2 T h e H i p web camera i s . . . . . . . . . t h e Pentac web ca m e ra .
T F
web ca m e ra . a the s a m e price as b cheaper tha n c more expensive than
3 He reco m m e n d s the new 3 Sender's new model is . . . . . . . . . Sender's o l d m ode l .
T F
Sender ta b l et.
a the same as b n icer tha n c wo rse tha n
4 He reco m m e n d s the 4 P l ay Zo ne 3 i s P l ay Zon e 2.
T F
P l ay Zo ne 3 .
a as cool as b less cool tha n c more cool tha n
B Answer each q u estio n i n yo u r ow n words, u s i n g i nfi n itives of p u rpose .

1 Why d o peo p l e j o i n soci a l netwo rki ng sites? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 Why d o peo p l e send i n sta nt messages? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3 Why do peo p l e s u rf the I nternet? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4 Why do peo p l e s h o p o n l i n e? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5 Why a re you studyi ng E n g l i s h ? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
C Co m p l ete each state m e nt.

1 . . . . . . . . . . . . . . . . . . . . . o n a n icon o n the screen to select it.
2 If you wa nt to p ri n t a docu ment, c l i c k o n the p ri nt icon o n the . . . . . . . . . . . . . . . . . . . . .
3 To read m o re text o n yo u r m o n ito r 's . . . . . . . . . . . . . . . . . . . . . , use the scro l l . . . . . . . . . . . . . . . . . . . . . to scro l l dow n .

4 C l ic k o n F i l e o n the tool b a r so yo u c a n choose a n icon from the . . . . . . . . . . . . . . . . . . . . . m e n u .
5 When you 're fi n i s hed worki n g o n a docu m e nt, d o n ' t fo rget to . . . . . . . . . . . . . . . . . . . . . i t befo re you c l ose the f i l e .
D U n sc ra m b l e the l ette rs of the word s i n the box to com p l ete each sentence.
chatated clorls doalwond esmou re kch a ru svi
1 Last yea r, a . . . . . . . . . . . . . . . . . . . . . got i n to the co m pa ny 's co m p ute r system s and sto l e i m porta nt i nfo rmatio n .
2 Use the . . . . . . . . . . . . . . . . . . . . . to c l i c k o n a f il e a n d open it.
3 It i s n ' t d ifficu lt to . . . . . . . . . . . . . . . . . . . . . songs fro m the I nternet.
4 Use the . . . . . . . . . . . . . . . . . . . . . bar to see m o re text on the screen .
5 H e r co m pu te r i s n ' t worki ng n ow beca u se s h e dow n l oaded a . . . . . . . . . . . . . . . . . . . . . fro m a piece o f j u n k e- m ai l .
6 I . . . . . . . . . . . . . . . . . . . . . the p hotos to the e- m a i l I sent this m o rn i n g .
n TOP NOTCH I'!l"iT!J

_ . Lyrics p. 154
" Life i n Cyberspace"
WRITI N G
Write two parag ra p h s about the benefits a n d the p ro b l e m s of the I nternet. HH �l I HKA=l
Use yo u r n otepads fro m page 1 07 fo r s u p po rt.
W R I T I N G BOOST E R p . 151
• O rga n izing ideas
• G u i dance for this writi ng exercise
108 U N IT 9 www.pardistalk.ir/library
O RAL R EV I EW
CONTEST Loo k at the p hotos fo r o n e m i n ute. Then
cl ose yo u r books. Who ca n name all the co m p ute r
pa rts a n d activities i n t h e p h otos? For exa m p l e :
Th ere ', a pri l'lte r a l'l d
. . OR.
H e ', tryi l'l 9 to pri l'lt Photo, . . .
PAI R WO R K
1 C reate a conversation fo r the m a n a n d the wo m a n .
They a re tro u b l eshooti n g a p ro b l e m . Sta rt l i ke th i s :
Co vld yo v ta ke a l o o k at th i , ?
2 C reate a conversation fo r the two m e n . O n e is a s k i n g
fo r a p rod u ct recom m e ndati o n . Sta rt l i ke th i s :
I'm th i l'l k i l'l 9 a b o vt g etti l'l 9 a l'l e W . . .
3 C reate a co nve rsation fo r the two wo m e n o n the
phone. O n e is asking the other about what sh e i s
d o i n g o n t he co m p uter. Sta rt l i ke this:
Am I i l'lte rrvpti l'l 9 yo v ?
1 Discuss eth ical choices.
2 Retu rn someone e l se's property.
3 Express pe rso n a l va l u es.
4 Discuss acts of kind ness a n d h o nesty.
Eth i cs a nd Values
PREVIEW
M O RAL D I L E M MAS
What should they do?
V i cto r i a
,O,AL
A G R O U P WO R K Have yo u ever bee n faced with a m o ra l d i l e m m a s i m i l a r

to t h e o n e s i n t h e pictu res? Te l l yo u r classmates what h a p pe n ed .
110 UNIT 1 0 www.pardistalk.ir/library
B ' 1 8 PH OTO STORY Read a n d l i sten to a conversatio n about a m o ra l d i le m m a .
M att: I c an't believe it! I j ust picked Noah : Just put it b ack on the shelf. Well I'm not the owner.
N oa h :
this u p to look at it and the thing The pl ace is empty. No one s aw . And, anyw ay, for him it would be
b roke in two . And w ith these Let's j ust � p li � . . . !�� .�l;l��. To you
just ? 9 r<? p . in
ridiculo us pr ices, it's going to cost M att: I cou ld n't do th at. it's a lot of money.
me f.n. � rr.r! ?!1.q ? I �.9' N o a h : Why not? You s aid it yourself. Matt: May be so . But if I r an out
N oa h : Oh, forget it . I'll bet it w as The p rices are rid iculous . without telling him, I co . . uldn't
. ...
f�� !1:'y'��I !.
. .
al re ady b roke n . Matt: Well, P.L!t. y'<?� �s.e.l� i.n. !�� ?.vY ��r'�.
M att: You're pro b a bly right. shoes. Suppose the pl ate we re yours?
H·o� �ould you fee l if someone
broke it and didn't tell you?
C FOCUS O N LANG UAG E M atch each i d i o m fro m the Photo Sto ry with its m ea n i n g .
1 a n a rm a n d a leg a a s m a l l a m o u n t of m o ney
2 s p l it b I wo u l d feel bad about it.
3 put you rself i n someone's s hoes c a l ot of m o n ey
4 a d ro p in the b u c ket d i m a g i n e a nother pers o n 's point of view
5 I co u l d n ' t face myse lf. e l eave
o TH I N K A N D EXPLA I N Answer the fol lowing q u estions. S u p po rt you r answers with q u otations from the Photo Story.
1 Does Noah th i n k M att b ro ke the p l ate?
2 Why does Noah th i n k it wo u l d be easy to l eave without sayi n g a nythi n g ?
3 What does Matt wa nt t o do a b o u t t h e p late?
S P EAKI N G
A S U RVEY Loo k at " M o ra l D i l e m m a s " a n d the P h oto Sto ry a ga i n . Do you ag ree with the state m e n ts below?
C i rc l e ru o r n o , a n d then g ive a reason fo r yo u r a n swers .
1 And rew s h o u l d buy t h e chocolate with t h e l ower p rice. yes / no

2 Victoria s h o u l d keep the watc h . yes / n o
3 A m b e r s h o u l d tel l t h e waiter there's a m i stake. yes / no
4 Da n i e l s h o u l d send the second jacket back. yes / no
5 Matt should tel l the store owne r what h a p pened . yes / n o
B G R O U P WORK Form s m a l l g ro u ps . Co m pa re yo u r a n swers a n d exp l a i n yo u r rea s o n s .

Remember: Conditional sentences express the results of
G RA M MAR The unreal conditional actions or conditions. The real conditional expresses the
resu lts of real cond itions-cond itions that exist .
If I don't use English i n class, I won't learn to speak it .
M ea n i ng
U n rea l con d itional sentences describe the resu lts of u n real conditions-cond itions that d o n 't exist.
u n real action or condition result (if it were true)
Contraction
If I fou n d a wallet in the street, I 'd try to retu rn it. ( u n real: I have n 't fou n d one.)
wo u l d -+ ' d
Formation
I n the if cla use, use the simple past tense. For the verb be, always use were .
I n the resu lt clause, use wou ld + a base form.
u n real action or condition result (if it were true)
If I had to m a ke a hard decisi o n , I wou l d try to do the right t h i n g
Be carefu l !
If s h e knew h o w t o spea k French, she'd h e l p them.
D o n ' t u s e wou l d i n the if cla use.
If you broke somet h i n g i n a store, wou l d you pay for it?
If I knew h i s name, I wou ld tel l you .
If you were Matt, what wou l d you d o? N OT If I '(fouls I\ROW h i s name . . .
If I were you, I wou l d n 't do that.
If you weren't my friend, I wou ld n 't tel l you what happened .
N ote : I n rea l and u n rea l con d itiona l sentences, the clauses can occur
G R A M M A R BOOST E R p. 140
i n either order. Use a comma if the if clause comes fi rst.
Expressing ethics and obl igation: expansion
If I knew, I would tell you. OR I would tell you if I knew . • should, ought to, had better
• have to, must, be supposed to
A U N D ERSTA N D T H E G RA M M A R Check the conditi o n a l sentences that descri be a n u n real co n d itio n .

o 1 I f w e ate i n a resta u ra n t, I wo u l d pay the b i l l . o 5 I f I we re yo u , I 'd tel l h i m the truth .
o 2 I ' l l pay the b i l l if we eat i n a resta u ra nt. o 6 If I have p roblem with my office co m p u te r,
I a l ways ask my co-worke r J i m to h e l p .
o 3 If yo u get a h a i rcut, yo u ' l l look yo u ng e r.
o 7 If they s e n t m e t h e w ro n g pants, I wo u l d
o 4 H i s wife wo u ld wo rry if he ca m e h o m e
retu r n the m .
rea l ly late .
B G RAM M A R PRACT I C E C o m p l ete each u n real co n d itio n a l sentence with the correct fo rms of the ve rbs.
1 If they . . . . . . . . . . . . . . . . . . . . . the w ro n g p rice o n the coat, . . . . . . . . . . . . . . . . . . . . . yo u . . . . . . . . . . . . . . . . . . . . . it without tel l i n g
put buy
the c l e rk?
2 I 'm s u re yo u . . . . . . . . . . . . . . . . . . . . . someth i n g if the resta u ra n t check . . . . . . . . . . . . . . . . . . . . . w ro n g .

say be
3 If I . . . . . . . . . : . . . . . . . . . . . a n expe nsive p iece of jewe l ry i n a p u b l i c bath roo m a n d . . . . . . . . . . . . . . . . . . . . . fi n d the ow ne r,

find can not
I . . . . . . . . . . . . . . . . . . . . . it.
not kee p
4 If you . . . . . . . . . . . . . . . . . . . . . friend s with someone who did someth i n g w rong, . . . . . . . . . . . . . . . . . . . . . yo u . . . . . . . . . . . . . . . . . . . . .

� �
someth i n g to h i m o r h e r?
5 If yo u . . . . . . . . . . . . . . . . . . . . . two tickets, . . . . . . . . . . . . . . . . . . . . . you . . . . . . . . . .: . . . . . . . . . . one to a friend?

have g ive
6 What . . . . . . . . . . . . . . . . . . . . . if it . . . . . . . . . . . . . . . . . . . . . h e re to m o rrow?
h a p pe n s n ow
7 They . . . . . . . . . . . . . . . . . . . . . to I nd i a if they . . . . . . . . . . . . . . . . . . . . . the m o n ey.

go have
8 If you . . . . . . . . . . . : . . . . . . . . . two jackets i n stead of the one yo u o rdered, . . . . . . . . . . . . . . . . . . . . . you . . . . . . . . . . . . . . . . . . . . . o n e

receive send
of them back?
_ . . .
MORE
Emlil.l.!!
9 If they . . . . . . . . . . . . . . . . . . . . . h e re, I . . . . . . . . . . . . . . . . . . . . . them what h a p pened.
EXERCISES be te l l
112 U N IT 1 0 www.pardistalk.ir/library
C O N VERSAT I O N M O D EL
A 5:19 Read a n d l i sten to peo p l e d iscussing a n
eth ical choice.
A: Loo k at th i s . They d i d n 't c h a rge u s fo r the desserts .
B: Rea l ly? I th i n k yy�:�. �� t� I � the waite r. . .
A: Yo u thi n k so?
B: Absol ute ly. If we d i d n 't tel l him, it wo u l d be w ro n g .
B 5:20 R H YTH M A N D I NTONAT I O N

Listen again
and repeat. Then practice the Conversation
Model with a partner.
5:2 Express an ethical obligation
We'd better te l l
u "VrJE� P RO N U N C IATI O N Blending of Q + .y: in would you W e should te l l

W e ought t o te l l
the waiter.
COACH
A 5:22 N otice how the /d/ a n d /y/ so u n ds b l e n d to /et/ in q u estions

with "wo u l d yo u ." Read a n d l iste n . Then l i ste n a g a i n a n d re peat.
1 What wo u ld\.3'you do if the waiter d id n 't c h a rge you fo r the desse rt?
2 What wo u l d\.3'you d o if yo u fo u n d a wa l l et o n the street?
3 Who wo u l d\.3'you ca l l if you we re sick?
4 Where wo u l d� o u g o i f yo u wa nted a g reat m ea l ?
B PAI R WO R K Co m p l ete the fo l l ow i n g q u esti o n s . Ask a partner the q u estions, u s i n g b l e n d i n g

with wo u l d yo u . Then a n swer yo u r partner's q u estio n s .
1 W h a t wo u l d yo u do i f . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ?
2 Where wo u l d you g o if . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ?
3 When wo u l d yo u eat if . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ?
.wWllH1I�!m Discuss ethical choices

"vm�� A CONVERSAT I O N ACTIVATO R With a p a rtner, 5:23 Situations that req u i re an ethical choice
c h a n g e the Co nversatio n Mode l . Discuss
eth i ca l choices, using the situatio ns i n the
pictu res . Then c h a n g e ro les.
A: Loo k . . . . . . . . . . They . . . . . . . . . .
B: . . . . ? I th i n k . . . . . . . . . 'd bette r . . . . . . . .
. . . . . .
A: You th i n k so?
B : Absol utely. If . . . . . . . . . , . . . . . . . . . They did n't c h a rg e us for the ca ke. They u n d erc h a rged me.
DON'T STOP!
I co u l d n 't face myself.

Put you rself i n [his / her / t h e i r] shoes.
If you don't tel l the [cl e rk] , [she' l l have to pay for it] .
If [he d i d n ' t charge us] , [we would tel l h i m] . They gave me too much c h a n g e. They gave me more t h a n I o rd e red.
B D I SCUSS I O N Te l l yo u r classm ates about a n

eth ica l choice yo u had to m a ke i n the past.
C O N VE RSATI O N M O D EL
A 5:24 Read a n d l i sten to a co nve rsatio n about
retu r n i n g p roperty.
5' 6 Ack nowled ging th
anks
A: Excuse me. I th i n k yo u
Do n 't me ntion it.
fo rg ot someth i n g . . .
.� . . . . . . . . . .
.
My p leas u re .
B: I d i d ? Yo u ' re wel co m e.
N ot at al l .
A: I s n ' t th i s jacket h e rs?
B: Oh, you 're right. It i s .
That's n ice o f yo u .
A : D o n ' t mention it.
B 5:25 RHYTH M A N D I NTONATION Listen aga i n and

repeat. Then practice the Conversation Model
with a partner.
G RAM M A R Possessive pronouns / Whose Be ca reful !

• Don't use a possessive adjective i n p lace o f a
possessive prono u n .
Possessive pronouns can replace nouns and noun ph rases. I s t h i s yours? N OT Is t h i s yoof ?
They a nswer q u estions with Whose and clarify a nswers • Don't use a noun after a possessive p ro n o u n .
to q u estions with Which . These shoes a re min e . N OT These a re miRe shoes.
A: Whose coat is that? B: It's m i n e . (= It's my coat.)
A : Which is her cup? B : This one i s hers .
subject possessive possessive G R A M M A R BOOSTER p . 141

pronouns adjectives pronouns • Possessive nouns: review
I my m i ne That's my jacket. / It's m i n e . and expansion
you yo u r you rs You r d i n ne r was great. / You rs was great. • Pronouns: summary
he his his Are these his keys? / Are these his?
she her hers She d rives her car to work. / She d r ives hers to work.
we our ours These are our shoes. / These a re o u rs .
they their theirs They f i n ished t h e i r assign ment. / They f i n ished theirs.
A G RA M M A R PRACT I C E Re p l ace th e n o u n p h rases with possessive p ro n o u n s .

m I. n e
1 Those g l oves a re my gloves.
2 That is her coat.
3 The books o n that ta b l e a re Mr. Davison's.
4 Their ca r a n d our car a re pa rked o n the same street.

S Are those my tickets or her tickets?
6 The wh ite house is my mother's house.

7 I s this pai nti ng your painting o r her brother's painting?
8 The news paper u n der the c h a i r is his daughter's paper.
9 I s this DVD your DVD o r your friends' ?

10 Are these your son's shoes?

B G RA M M A R PRACTI C E Co m p l ete the co nversatio n s . C i rc l e the correct adjectives a n d p ro n o u n s .
1 A: Whose u m b re l l a is this, ( h e / h is) o r ( h e r / h e rs)?
B : I 'm not s u re. Ask them if it's (the i r / thei rs) .
2 A: Who is m o re conse rvative about clothes? Yo u r pare nts o r yo u r h u sba n d 's pa ren ts?
B : (H e / H i s), I th i n k. (My / M i ne) pare nts a re p retty l i be ra l .
3 A : I s this (o u rs / o u r) s u itcase?
B : No, I a l ready got (o u r / o u rs) s u itcase, so th is o n e can't be (o u r / o u rs) .
4 A: I fo u n d th i s necklace near Carrie's desk. I s it (her / hers)?
B : No, it's (my / m i n e) necklace. I 'm so h a p py someone fou n d it!
5 A: I s that (their / the i rs) ca r?
B: No, (thei r / th e i rs) is the black one ove r the re.
6 A: Where should we m eet? At (yo u r / yo u rs) house o r ( my / m i ne)?
B : Neither. Let's m eet at (my / m i n e) office.
C 5:2Z LISTEN TO ACTIVATE G RA M M A R Liste n to the co nversatio n s and co m p l ete each

state m e n t with a possessive p rono u n .
1 The bag i s . . . . . . . . . . . . . .
2 The phon e is . . . . . . . . . . . . . , b u t the keys be l o n g to B rad's wife. They're . . . . . . . . . . . . .
3 The coat i sn ' t . . . . . . . . . . . . . .
. 1!lI!D1.il!I
XER�g� 4 The concert tickets a re n't . . . . . . . . . . . . .
Return someone else's property
h�rJ�!g A CONVERSATION ACTIVATOR With a p a rtner, c h a n g e the

Co nve rsatio n Model to ro le-p l ay retu rn i n g the ite m s
i n the pictu res . T h e n c h a n g e ro les.
A: Excuse m e . I th i n k you fo rgot someth i n g .
B: I did?
A: . . . . . . . . . you rs?
B: Oh, yo u 're right. . . . . . . . . . . That's
n ice of yo u .
A: ......... .
B GROUP WOR K Fi rst, col lect personal items from

you r classmates. Then role-play retu rning
someone else's property. Wa l k a ro u nd the room
to find the owners . Use possessive pronouns.
C EXTE N S I O N Place a l l you r classmates' personal

ite ms on a table. As k about each ite m . Identify
the owner, using possessive p ronouns.
" Whose p h o n e is this?

...
" It's his. " J
...... Ex press personal values
B EFO R E YO U L I STEN
EXPLO R E YO U R I D EAS W h ich actions do y ou do and how " I a l ways write a 'th a n k yo u ' lette r i f someone
i m po rta nt a re they to you and the peop l e a ro u n d you ? did m e a favo r. It's very i m porta nt to feel good
about someth ing n ice you d i d . "
wea r a t i e write a 'th a n k y o u ' letter open a door for someone
A 5 : 2 8 L I STEN FOR M A I N I D EAS
Liste n to each co nversati o n . Then c i rc l e the correct
word or p h rase to com p l ete each state m ent.
1 a Beth th i n ks it's (OK / not O K) fo r a man not to wea r a tie at the office.
b Beth (co nvi nces / does n ' t convi nce) Lu ke.
2 a Celia's h u sband th i n ks it's (OK / wrong) fo r a wo m a n to wea r a tie.

b Celia's h u sba n d th i n ks it's (OK / w rong) fo r a man to wea r a tie.
3 a The fi rst man i s (ha p py / n ot h a p py) that his d a u g hte r is going to l aw schoo l .
b H e wants h i s d a u g hte r to (stay h o m e / wo rk) .
4 a Kate's dad is (wo rried / not wo rried) about what peo p l e th i n k of Kate.
b Kate i s (worried / not worried) about what peo p l e th i n k of her.
B U N D ERSTA N D VOCA B U LARY FROM CO NTEXT Read the fo l l owi n g q u otati o n s fro m the
co nve rsati o n s . Then ch oose the m ea n i ng of each u nderl i ned word o r p h rase.
Liste n again if necessa ry.
1 " B u t l ots of peo p l e a re o l d-fa s h i o ned, and they 3 "That's a l ittl e sexi st, if you a s k m e ! "
th i n k men s h o u l d a lways wea r a tie." a not treati n g men a n d wo m e n i n the same way
a p refe rri n g the way th i ngs were i n the past b treat in g men a n d wo m e n in the sa m e way
b p referri n g the way th i n g s a re now
4 " B ut modesty is ve ry i m po rta n t fo r g i rls."
2 "What a d o u b l e sta n d a rd ! " a wea ri n g c l othes that cover one's body
a h avi n g the same ru les fo r eve ryo ne b wea ri ng c l othes that show one's body
b h av i n g d iffe rent ru les fo r d iffe re nt peo p l e

C APPLY N EW VOCA B U LARY Write an exa m ple for each
word o r phrase fro m you r own experience. Compare
exa m ples with a partner.
" I t h i n k an exa m p l e of o ld-fa s h i o ned is

a lways p h o n i n g peo p l e, not text i n g . "
o PAI R W O R K Discuss the pictu re. Use the

fo l l ow i n g words and p h rases in yo u r discussi o n :
o l d -fash i o ned, sexist, d o u b l e sta n d a rd, m odesty.
" She's g iving a m a n flowers. We norma l ly
expect m e n to g ive women flowers, not
the other way ro u nd-she's c h a l l e n g i n g
the d o u b l e sta n d a rd . "
_wH'liHlI�!m Ex press personal values

A I D EA FRAM I N G Co m p l ete the Va l ues B N OTEPA D D I N G Answer each q u estio n a n d exp l a i n yo u r
Self-Test. Then co m pa re a nswers with a o p i n ion , u s i n g exa m p l es.
pa rtn er. Do yo u have the same va l u es?
I s i t sometimes OK to have a double sta ndard for men and women? Fj
Valu es Self-Tes t
Check the boxes that best describe
,
your values. Include a specific examp le.

I. 0 I'm modern i n my attitudes about modesty. Ca n people be sexist when they ta l k about men, or o n ly about women?
o I'm old-fashi oned i n my attitudes
about modesty.
Explai n. ____________
2. 0 I think ties are OK for both men and women. Are o ld-fa shio ned ideas u su a l ly better or wo rse than modern ideas?
o I think ties are OK for men only.
Explain. _________ ,
3. 0 I think it's OK to have a double standard

for different people.
o I th ink the rules should be the same for
everyone. C G RO U P WORK Now discuss each q uestion , exp ressi n g yo u r
Explain. _________ pers o n a l va l u es. Expect peop l e to disag ree with yo u !
4. 0 Some people might say I'm sexist.

o Nobody would say I'm sexist. Agreement and li kes and d islikes
Explain. d isagreement I l i ke
_________
I agree. I d i s l i ke conservative
I d i sagree. I hate strict
It depends . I ca n't sta nd mod est
I d o n 't m i n d
_ d rives me crazy!
B EFO R E YO U R EAD
P R E D I CT Loo k at the head l i nes of the th ree n ews sto ries. In what
way do yo u th i n k the sto ries wi l l be s i m i l a r?
R EA D I N G
Man Risks Life to Save Another
Many people who ride a busy u rban

su bway wonder, "What wo u l d happen
Homeless M a n Returns if I fel l off the platform and onto the
Wal let with $900 tracks? What would I do?" Others
Posted on: Monday, 17 April wonder, "What wou l d I do if someone
else fel l?"
SANTA ANA, Cal if. - A homeless man That questio n was answered in a
searching through trash bins for recyclable
spl it-second decision made by "subway
hero" Wesley Autrey, a fifty-year-old
cans found a missing wallet and returned it New York City construction worker o n
to its owner. Kim Bogue, who works in the his way t o work. Autrey j u m ped onto the tracks t o save a fel l ow passenger
city, realized that her wallet was missing from a n oncom ing New York City su bway tra i n .
T h e passenger, Ca meron H o l l opeter, 2 0 , a fi l m student a t t h e N e w York
last week and doubted she'd ever get back
Film Academy, had fa l l e n between the tracks after suffering a seizure.
the $900 and credit cards inside. "I prayed Autrey ro l led H o l l o peter i nto a ga p between the ra i l s and covered him with
that n ight and asked God to help me," said his own body j ust as the tra i n entered the station. Both men survived .
Bogue, who was saving the money for a trip " I don't feel l i ke I d i d something spectacular; I just saw someone who
needed h e l p ," M r. Autrey sa i d . " I d i d what I felt was right."
to her native Thailand.
Days later, a homeless man found the
wallet wrapped in a plastic bag in the trash ,
where Bogue had accidentally thrown it
away with her lunch. He gave it to Sherry
An act of honesty by airport screener
Wesley, who works i n a nearby building.
NEW DELHI: In a display of honesty, come forward to claim it. However,
" He came to me with the wad of money and
a security agent at the Indira Gandhi when no one claimed it, Singh
said, This probably belongs to someone International Airport handed over a inspected the baggage tag and guessed
that you work with . Can you return it?' " small plastic bag with US $3,000 in cash it probably belonged to a passenger en
Wesley said . to a passenger who had completely route to Mumbai. An announcement
forgotten the bag after it passed was made on the next flight to Mumbai,
" He has a very good heart," said Bogue,
through the airport screening machine. and the owner of the bag came forward
who gave the man a $1 00 reward . " If Noticing that the bag had been to collect it.
someone else had found it, the money left behind, Dalbir Singh made an Singh was given a cash reward for
would have been gone . " announcement asking passengers to his honesty.
A S U M MARIZE S u m ma rize o n e of the a rticles. C l ose yo u r boo k a n d te l l the sto ry i n yo u r own wo rd s .
B I NTERPRET I N FO R M AT I O N Discuss each perso n 's m otives fo r h i s o r h e r acti o n s .

1 Why di d Ki m Bog u e g ive t h e h o m e l ess m a n a rewa rd ?
2 Why did Wes l ey Autrey ris k h i s l ife to save a stra n g e r?
3 Why do you th i n k Da l b i r S i n g h retu rned the m o n ey to the passenger?
. . . . . . . . . . .1lll!lIlilJ C RELATE TO PERSO NAL EXPER I E N C E Th i n k of a story you have heard a bout someone who hel ped
MORE
EXERCISES a stra n g e r in need . Te l l it to the class.

Discuss acts of kindness and honesty
A N OTEPA D D I N G Answer the q u esti o n s about each situati o n .
What c o u l d u do? What cou l d do?
What s h o u l d u do? What should do?
What wo u l d u do? What wo u l d do?
W h a t wo u l d most Ie do? W h a t wo u l d most do?
S ituati o n : You fi n d cash at f

a n ATM .
- --------- - -- .- - - - _. - -------
What co u l d ou do?
What s h o u l d u do? What should ou do?
What wo u l d u do? W h a t wo u l d ou do?
W h a t wo u l d most eo I e d o ?
'� ,
S ituati o n : T h e ca s h i e r S ituati o n : You fi n d a g o l d watc h i n a
u n d e rc h a rges you . d e pa rtm e nt store d ress i n g roo m . :
I
- - - - �
I'
What cou l d ou d o ? What c o u l d you d o ? i
F"
What should o u do? What should you do?

G �
..-' �
What wo u l d X-"-
o= u....:d:.;: ?
oc.:. ____________ r•.. What wo u l d yo u d o ?
,
What wo u l d most eo Ie d o ? W h a t wo u l d m o s t peo p l e d o ?
Text'mining (optional)
B G R O U P WO RK Compare you r notes. Wou l d you a l l do the same things i n these situations? Find and u n d e r l i n e t h ree words
Use the u n real cond itional and expressions from the Photo Story on page 1 1 1 . or p h rases i n the Read i ng that
were new to you. Use t h e m in
yo u r Group Work
" If I fou n d cash near a n ATM, I wou l d keep it. For exa m p l e : "a spl it·
There wo u l d be n o way to find the owner. " second decision."

A 5:30 Listen to the co nversatio n s . Check Yes o r No to a n swer each q u estio n a n d
exp l a i n yo u r a n s we rs .
Yes No
1 Do yo u th i n k J a n e h a s a d o u b l e sta n d a rd ? D D
Exp l a i n yo u r a n swer: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 Do yo u th i n k Jessica's m o m is sexist? D D
Exp l a i n yo u r a n swe r: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3 Do you th i n k Alex's dad is o l d -fashioned? D D

Ex p l a i n yo u r a n swer: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
B C o m p l ete the q u esti o n s with Whose. Then a n swer each q u esti on, u s i n g possessive p ro n o u n s .
F o l l ow t h e exa m p l e .
1 T h o s e shoes be l o n g t o m y d a u g h te r. . . �� r � .
. . . . . . . . . . . . . . . . . they? .Th.� y'r.e h�t�·. . . . . . . . . . . . .
. .
2 That sweate r belongs to my son . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . it? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3 The h o u se across the street is my pare n ts' h o u se . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . it? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4 These tickets a re my h u s ba n d 's a n d m i n e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . they? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5 The ta b l e over there is yo u r ta b l e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . it? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
C C o m p l ete each co n d itio n a l sente n ce i n yo u r own word s .

1 If the weath e r were g o o d , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 If . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . , I 'd go out to eat to n i g ht.

3 If I fo u n d yo u r wa l l et, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4 If . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . , I 'd ca l l hom e.
5 I 'd be a n g ry wit h my c h i l d re n if . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6 If I had a new ca r, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7 I wo u ld choose a new ca reer if . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
D What wo u l d yo u d o? Co m p l ete each u n rea l co ndi ti o n a l sente n ce.

1 You o rder two sa n dwiches fo r l u nch, b u t they o n ly c h a rg e you for one.
� " If the resta u ra n t u nd e rc h a rged m e, I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "
2 You pay fo r a n ewspaper that costs o n e d o l l a r with a five-d o l l a r bil l .

The m e rchant g ives yo u n i n e d o l l a rs change.
� " If the m e rchant gave me too m u c h c h a n g e, I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "
3 Yo u buy a s m a rt p h o n e fro m a website . When the package a rrives, yo u see

that the co m p a ny has sent yo u two M P 3 p l ayers and the s m a rt phone.
� " If the com p a ny sent m e m o re ite m s tha n I paid fo r, I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "
WR ITI N G
Write th ree pa rag ra p h s about Matt's d i l e m m a i n the Photo Sto ry o n page 1 1 1 .
I n the fi rst pa ra g ra p h , s u m m a rize the situati o n . I n the secon d parag ra p h , w rite WRITI N G BOOSTER p . 152
about what Matt cou l d o r s h o u l d do. I n the th i rd p a rag ra p h , w rite what you • I ntroducing confl icting ideas
• G u i dance for this writi ng exercise
wo u l d do if yo u were Matt. Exp l a i n yo u r rea sons, u s i n g the u n rea l cond itio n a l .
1 20 UNIT 1 0 www.pardistalk.ir/library
O RAL R EV I EW
CO NTEST Form tea m s . With yo u r tea m , l o o k at the two pictu res fo r
o n e m i n ute. Then close yo u r books a n d tel l the sto ry you saw i n the
pictu res . The tea m that re m e m be rs m o re deta i l s w i n s .
Tel l you r pa rtn e r w h a t y o u wo u ld do i f y o u were t h e wo m a n w h o

fou nd t h e lost obj ect. Use t h e u n real cond itio n a l . Sta rt l i ke th i s:
I f I fo u l) d . J I would . . .
. .
C reate a conversation fo r the peo p l e i n the seco nd pictu re . Use

possess ive p ro n o u n s . Sta rt l i ke this:
Exc u )e m e. 1> tJ., i ) yo u r . . .
J
Refe re n ce C h a rts
P RO N U N C IAT I O N TAB LE
Vowels Consonants
Symbol Key Words Symbol Key Words Symbol Key Words
i beat, feed p pack, happy z zi p, please, goes
I bit, d id b back, ru bbe r J ship, machine, station,
eI date, paid t tie special, discussion
e bet, bed d die 3 measu re, vision
re bat, bad k ca me, key, qu ick h hot, who
0 box, odd, father g game, guest m men
::> bought, dog tJ chu rch, natu re, watch n sun, know, pneumonia
ou boat, road d3 j udge, general, major rJ sung, ringing
u book, good f fan, photog raph w wet, white
u boot, food, flu v va n I light, long
II but, mud, mother e thing, breath right, wrong
a banana, among 0 then, breathe y yes
"'- sh irt, murder s si p, city, psychology
al bite, cry, buy, eye t butter, bottle
au about, how f button
::>1 voice, boy
Ir deer
er bare
or bar
::>r door
or tour
I R REGU LAR VERBS
base form simple past past participle base form simple past past participle
be was I were been leave left left

become became become let let let
beg i n began beg u n lose lost l ost
break broke broken make made made
bring b rought brought mean meant meant
build b u i lt built meet met met
buy bought bought pay paid paid
catch caught cau g ht put put put
c hoose chose chosen q u it q u it q u it
come came come read Irid/ read IrEdl read IrEdl
cost cost cost ride rode ridden
cut cut c ut ring rang rung
do did done rise rose risen
d raw d rew d rawn run ran run
d ream d reamed I d reamt dreamed I d reamt say said said
d ri n k drank drunk see saw seen
d rive d rove driven sell sold sold
eat ate eaten send sent sent
fal l fel l fal len shake shook shaken
feed fed fed sing sang sung
feel felt felt sit sat sat
fight fou g ht fought sleep s lept s lept
find found found speak spoke spoken
fit fit f it spend spent spent
fly flew flown stand stood stood
forget forgot forgotten steal stole stolen
get got gotten swi m swam swum
give gave g iven take took taken
go went gone teach taught taught
g row g rew g rown tell told told
h ave had had think thought thought
hear h eard heard throw threw thrown
h it h it h it understand u n derstood understood
hold held held wake u p woke u p woken u p
h u rt h u rt hurt wear wore worn
keep kept kept win won won
know knew known write wrote written
1 23 REFERENCES www.pardistalk.ir/library
VERB TENSE R EVI EW: PRESENT, PAST, AN D FUTU R E
1 THE PRESENT OF BE 3 T H E P R E S E N T CO N T I N U O U S
Statements Statements
I am I am watching 1V.
You You
We are We are studying English.
They late . They
He He
She is She is arriving now.
It It
- I -
Yes no questions
2 T H E S I M PL E P R E S E N T T E N S E
Am I
Statements you
I Are we
You they going too fast?
speak English.
We he
They Is she
He it
speaks English .
She Short answers
Yes I -
- no questions I am. I'm not.
I you are. you aren't / you ' re not.
you he he isn't / he's not.

Do know them?
we Yes, she is. No, she isn't / she's not.
they it it isn't ! it's not.

we we aren't / we're not.
he are.
Does eat meat? they they aren't / they ' re not.
she
I nformation questions
Short answers
you
I I
What are we doing?
you you
do. don 't. they
we we
they they he
Yes, No,
When is she leaving?
he he
it
she does. she doesn 't.
it it Where am I staying ton i ght?
Who is driving?
I nformation questions
you
4 T H E PAST OF B E
What do we need?
they Statements
he I
When does she start? He
was l ate .
it She
It
wants
Who needs this book? We
l i kes You were early.
They
REFERENCES 1 24
(The past of be-continued)
- I -
Yes no q uestions I nformatio n questions
I I
he you
Was on ti me?
she he
it W h e n did she read that?
we it
Were you i n the same class? we
they they
Who cal led?

Short answers
I I
he he 6 T H E F U T U R E W I T H BE G O I N G TO
was. wasn 't.
she she Statements
Yes, it No, it
I'm
we we You ' re
you were. you weren 't. He's
they they She's going to be here soon.
I nformation q uestions It's

We' re
we?
They' re
Where were you?
they? I'm
he You ' re
When was she here? He's
it She's not going to be here soon.
Who were they? It's

We' re
he?
They' re
Who was she?
it ? - I -
Yes no questions
you
Are we going to want coffee?
5 T H E S I M PL E PAST T E N S E
they
Many verbs are i rregular in the s i m p l e past tense.
Am I going to be late?
See the list of i rregu lar verbs on page 1 23.
he
Statements
Is she going to arrive on ti me?
it
You You
He Short answers
He
She stopped workin g . She d i d n 't start agai n . I am. I ' m not.
It It you are. you aren't / you ' re not.
We We he he isn't / he's not.
They They Yes, she is. No, she isn't / she's not.
it it isn't / it's not.
Yes I -
n o q uestions
we aren't / we ' re not.
-
we
I are.
they they aren't / they' re not.
you
he I nformation questions
Did she make a good d i nner? you

it What are we going to see?
we they
they he
Short answers When is she going to shop?

it
I I
you you Where am I going to stay tomorrow?
he he Who is going to call?
Yes, she did. No, she d i d n 't.
it it
we we
they they
1 25 REFERENCES
G ra m ma r Booster
L e ss o n 1
Use to / used to: use and form

I
Use to and used to express a past habitual action, but one that is no longer true today.
Note: The s i m p l e past tense ca n exp ress a
When I was a kid, I d id n 't use to eat vegetables. But now I d o .
past habitual acti on if there is a refe rence
Remember: I n � / no questions and negative statements, u s e u s e t o N OT used to. to a period of time i n the past.
I used to stay up late . Now I don 't. When I was a kid, I didn't eat peppers.
I d i d n 't use to (NOT tiSefr-te) get up early. Now I do. I sti l l d o n 't today.
Did you use to (NOT tiSefr-te) go swi m m i ng more often?
A O n a sepa rate sheet of paper, change each statement i n to a � / no q uesti o n .

I u sed t o g o ru n n i ng every day. D i d yo v vS'e to 9 0 rV I)I) i l'l 9 eve ry d ay ?
1 There u sed to be a l a rge tree i n front of you r h o u se. 3 Thei r g ra n d m other u sed to put sug a r i n the i r o range j u ice.
2 M r. and M rs. Pal mer u sed to go swi m m i n g every weekend. 4 Lu ke u sed to be very overweight.
B On a sepa rate sheet of paper, u se the prom pts to write l ogical sentences with negative or affi rmative form s
of u se to / u sed to.
1 Jaso n a n d Tri sh / get lots of exe rci se, but now they go swi m m i n g every day.
2 There / be a movie theater on S m ith Street, but now there i sn 't.
3 No one / worry about fatty foods, but n ow m o st peo p l e do.
4 Eng l i sh / be a n international l a n g uage, but now everyo ne u se s E n g l i sh to com m u n icate a ro u n d the world.
5 Women i n North America / wea r pants, but now it's very co m m o n for them to wear them .
B e used to + a noun phrase means to be accustomed to something. Compare use to / used to -- ---
with be used to.

I d i d n 't use to l i ke spicy food. But now I do. (used to + base form)
I ' m used to the noise n ow. But at fi rst, it really bothered me. (be used to + a noun ph rase)
Get used to + a noun phrase means to become accustomed to something.

You ' l l get used to the new menu after a few days.
Be carefu l ! With be used to, don't change used in negative statements or q uestions.
H e wasn't used to the weather there. N OT H e was n 't ttSe to . . .
Are you used to l ife here? NOT Are you ttSe to . . .
C Check the sentences i n which u sed to m ea n s "acc u stomed to so methi n g ."

o When the school term ended, I was fi n a l ly u sed to the new teacher.
o 2 I n o u r othe r class, the teacher u sed to be very strict.
o 3 They u sed to l i ke red meat, but now they don 't.
o 4 Beca u se we l ived in the m o u nta i n s, we were n ' t u sed to fresh seafood .
o 5 I 'm su re she ' l l get u sed to her new apartment soo n .
o 6 These shoes u sed t o be comforta b l e, b u t n o w they're too loose .
o 7 I 'm su re she' l l g et u sed t o weari ng high-heeled shoes.
D Write ,/ if the sentence i s correct. Write X if it is i ncorrect a n d m a ke corrections.

o 1 I ' l l n ever g et u se to the traffic here .
o 2 W e d i d n 't u se t o ta ke vacati o n s very ofte n .
o 3 I s he u se to h i s n ew room mate yet?
o 4 Wi l l she ever get u se to l ife in the city?
o 5 What did you u sed to do o n weekdays when you weren't worki ng?
E On a sepa rate sheet of paper, w rite two sentences about somethi n g you 're u sed to and
two sentences about som ethi n g you 're n ot u sed to.
134 GRAMMAR BOOSTER
Repeated actions in the past: would + base form
You can a lso use would + the base form of a verb to describe repeated past actions. I n this use, --
would
has the same meaning as used to.
When we were young, o u r parents would go camping with us. (= used to go camping with us. )
Be careful ! With non-action verbs that don't descri be repeated actions, use used to, not would.
I used to have a lot of clothes. N OT I waHlcl have a lot of clothes.
My hometown used to be Dakar. N OT My hometown waHlcl be Dakar.
I used to be a terri ble Engl ish student. N OT I waHlcl be a terri ble Engl ish student.
My friends a n d I used to hate baseba l l . N OT My friends and I waHlcl hate baseba l l .
F If it is possible, com plete the sentence with wou l d . If n ot, u se a fo rm of u sed to.
1 They . . . . . . . . . . . . . . . . . go to the beach every Satu rday in the su m me r.
2 I . . . . . . . . . . . . . . . . . have a real ly l a rge kitchen i n my oid h o u se.
3 My h u sba nd n ever . . . . . . . . . . . . . . . . . l i ke coffee, but now he ca n't get enough of it.
4 Almost every eve n i n g of o u r vacation we . . . . . . . . . . . . . . . . . eat at a terrific outdoor restau rant.
5 Before the microwave, people . . . . . . . . . . . . . . . . . heat up sou p o n the top of the stove.
6 Sig rid . . . . . . . . . . . . . . . . . be a to u r g u ide, but now she's a p rofessional chef.
7 There . . . . . . . . . . . . . . . . . be th ree o r fo u r Ita l i a n resta u ra nts in town, but now there a ren't a ny.
Less o n 2
Negative l!!.! / no questions: short answers
Answer negative � / no questions the same way as you would answer affi rmative � / no questions.
I s Jane a vegetarian?
Yes, she is. / No, she isn 't.
Isn 't Jane a vegetarian?
Do they have two sons?
Yes, they do. / No, they d o n 't.
Don't they have two sons?
Answer each neg ative q u estion with a s h o rt a n swer. (Use the i nfo rmation fo r yo u r a n swer. )
A: I sn ' t J e remy a lawyer?

B : . . . . . . . . . . . . . . . . . . . . . . . . . . He's n ot a l awyer.
2 A: Doesn 't Bob have two b rothers?
B: . . . . . . . . . . . . . . . . . . . . . . . . . . He h a s two you nger brothers.
3 A: Haven't you been to Si beria before?
B : . . . . . . . . . . . . . . . . . . . . . . . . . . I 've never been here befo re.
4 A: Are n 't you learn i n g E n g l i sh rig ht n ow?
B: . . . . . . . . . . . . . . . . . . . . . . . . . . I 'm studyi n g Eng l i sh at the i n stitute.
5 A: Wasn't Na ncy at the movies l a st night?
B: . . . . . . . . . . . . . . . . . . . . . . . . . . She d i d n 't go to the m ovies.
6 A: Don't Sachi ko and Tom ofu m i have a car?
B: . . . . . . . . . . . . . . . . . . . . . . . . . . They own a m i n ivan .
GRAMMAR BOOSTER 1 35
Lesson 1
Gerunds and infinitives: usage within sentences
Gerunds ti.!!g form of a verb) and i nfinitives (!Q + base form) function as nouns within sentences.
Gerunds
Like nouns, gerunds can be su bjects, subject complements, d i rect objects, and objects of prepositions.
Pa i nti ng is my favorite leisure-time activity. (su bject)
My favorite activity is pai nting. (su bj ect complement; usually fol l ows �
I enjoy painting. (d i rect object)
I read a book a bout the h istory of painting. (object of the preposition Qf)
I nfinitives
I nfinitives can be subjects, subject complements, and d irect objects.
To pai nt wel l is a talent. (su bject)
The o n ly t h i ng he needs is to pai nt. (su bject complement; usually fol l ows �
I want to paint . (d i rect o bject)
U nderl i n e the geru nds a n d circle the i nfi n itives in these sentences. How is each u sed in the
sentence? O n the l i n e n ext to each sentence, write S fo r s u bject, C fo r su bject co m p lement,
DO for d i rect object, or OP fo r object of a p reposition .
......... 1 I enjoy watching old movies eve ry n ight on TV.

......... 2 Her g reatest d ream was to see a l l of her c h i l d re n attend co l l ege .
......... 3 What's the point of creati ng a n ice enviro n ment at h o m e if genetics is the o n ly th ing that cou nts ?
......... 4 Avoiding too m uch p ressu re h e l p s c h i l d re n become less critica l .
......... 5 My n iece p l a n s to study person a l ity development next semeste r.
Lesson 2
Negative gerunds
A gerund can be made negative by using a negative word before it.

I l i ke not going to bed too late.
They complained a bout never havi ng enough time.
C o m plete the parag ra p h with affi rmative and n egative geru nds.
I rea l ly want to do somethi n g to i m p rove my a p peara nce and lose weig ht. I'm sick of . . . . . . . . . . . . . . . . . . . . . able to fit into my
1 be
clothes. I know it's not e n o u g h to co m p l a i n about . . . . . . . . . . . . , . . . . . . . . weight-I need to do someth ing about it! I p l a n to spend
2 gam
every afternoon . . . . . . . . . . .. .j" . . . . . . my b i ke . Also, I want to go on a diet, but I 'm afraid of . . . . . . . . . . . . . . . . . . . . . h u ng ry a l l the time.
3 nue 4 fee l
I worry about . . . . . . . . . h. . . . . . . . . . . enough energy to exercise if I 'm . . . . . . . . . . . . . . . . . . . . . enough to eat.
S ave 6 get
1 36 GRAMMAR BOOSTER
Less o n 1
The passive voice: transitive verbs and intransitive verbs
A transitive verb can have a d i rect object. Transitive verbs can be used in the active voice or Remember: The s u bject of a
passive voice. sentence performs the action of
active voice passive voice the verb. A d i rect o bject receives
Picasso pa i nted Guernica i n 1937 . -+ Guernica was painted in 1937. the action of the verb.
An i ntransitive verb cannot have a d i rect object. With a n i ntransitive verb, there is no " receiver"
r
of an action. Common i ntransitive verbs
i
The painting a rrives tomorrow. a rrive happen s it
The Mona Lisa will stay at the Louvre. come laugh sleep
That new scu l pture looks l i ke a Botero. die l ive sta nd
fa l l ra i n stay
go seem wa l k
A
. .
Check each sentence that has a n i ntransitive verb .
o Ped ro Al mod6var's new fi l m a rrives i n theaters thi s fa l l .
o 2 A Canadian a rt co l l ector h a s bought two of M ichelangelo's d rawings.
o 3 Someone stole Edva rd M u nch's painting The Scream i n 2004 .
o 4 The pai nter Georgia O ' Keeffe l ived i n the southwestern part of the U nited States.
o 5 The Va n Gogh M u seu m i n Amste rd a m sent Sunflowers on a world tou r.
o 6 The trave l i n g co l l ection of ancient Ro m a n scu l ptu re is co m i n g to San Diego this week.
o 7 The M etropol ita n M useu m of Art opened a new g a l l ery last yea r.
The passive voice: form
Form the passive voice with a form of be and the past participle of a verb.
Active voice Passive voice

Art collectors buy famous painti ngs a l l Famous paintings a r e bought by a rt collectors a l l
Sim ple present tense
over the worl d . over t h e world .
The Film Center is showing Ku rosawa's Ku rosawa's films are being shown at the Film
Present continuous
fil ms. Center.
Some world leaders have bought Yu Yu H u ng's pai ntings have been bought by some
Present perfect
H u ng's pai ntings. world leaders.
I. M. Pei designed the Grand Pyramid The Grand Pyra m i d at the Louvre was designed by
Simple past tense
at the Louvre. I. M. Pei .
In 2010, the museum was sel ling I n 2010, copies of Monet's pai ntings were being
Past conti nuous
copies of Monet's pai ntings. sold by the muse u m .
Future w i t h will Ang Lee will d i rect a new film next yea r. A new film will be d irected by Ang Lee next year.
The Tate Modern is going to show Van Van Gogh's d rawi ngs are going to be shown at the
Future with be goi ng to
Gogh's d rawi ngs next month. Tate Modern next mont h .
B O n a separate sheet of paper, rewrite each sentence i n the passive voice. Use a Qy phrase
o n ly if it is i m porta nt to know who is perfo r m i n g the actio n .
1 Someone actua l ly stole t h e Mona Lisa i n 1 91 1 .
2 Pa loma Picasso desi g n ed these pieces of silver jewel ry.
3 Someone w i l l repa i r the scul ptu re when it gets o l d .
4 Peop l e have p a i d m i l l io n s o f U . S . d o l l a rs fo r s o m e o f Van Gog h 's paintings.
5 They a re showi ng some new paintings at the S m ith G a l l ery this week.
6 The M a l co l m M us e u m is going to exhibit ten scu l ptu res by Asi a n a rtists.
7 Frida Kah l o was painting these pieces w h i l e she was sick i n bed .
8 Peop l e b u i l t g reat pyra m id s th roughout Centra l America d u ri n g the height of the Maya n civil izati o n .
C O n a sepa rate s heet of paper, rewrite the sentences i n Exercise A that h ave a tra n sitive verb,
cha n g i n g the active voice to the passive voice.
www.pardistalk.ir/library GRAMMAR BOOSTER 1 37

Lesson 2
The passive voice: � / no questions
To form � / no questions i n the passive voice, move the fi rst auxi liary verb before the subject.
Are famous painti ngs ere bought by a rt collectors?

Simple present tense � ---
Are Ku rosawa's films ere being shown at the Film Center?

Present continuous � ----
Have Yu H u ng's painti ngs have been bought by some world leaders?
Present perfect � ---
Was the G rand Pyra m i d at the Louvre W85 d esigned by I . M . Pei?

Simple past tense � ---
Were copies of M onet's painti ngs were being sold by the museum?
Past contin uous � ----
Will a new f i l m wiD be d irected by Ang Lee next year?

Future with will � --
Is a collection of Va n Gogh 's d rawings is going to be shown next month?

Futu re with be goi ng to - -
On a sepa rate s heet of paper, rewrite the sentences as ill / no q u estions i n the passive voice.
1 That new fi l m about fa m i l ies is bei ng d i rected by G i l l ia n Armstro n g .
2 O n e o f da Vinci's m o s t fa mous d rawi ngs has been s o l d b y a Germ a n a r t col lector.
3 A ra re cera m i c fig u re fro m the Nati o n a l Palace Museu m i n Tai pei wi l l be sent to the
Metropolitan M useu m of Art i n New York.
4 A new exhibit is going to be opened at the Photogra p hy G a l l e ry this week.
5 Some new paintings have been bought by the Prado M us e u m for thei r permanent co l l ecti o n .
6 Las Meninas ca n be s e e n at t h e Prado M u seu m i n Madrid.
7 The Jupiter Sym phony was written by Mozart.
8 Some of M ichelangelo's work was bei ng shown a ro u n d the world i n the 1 960s .
Lesson 1
Other ways to express a purpose
In order to
You can use in order to with a base form of a verb to express a purpose. The fol lowing three sentences
have the same mea n i ng.
I scrolled down in order to read the text.
I scro l l ed down because I wanted to read the text.
I scrolled down to read the text.
For
You can use for to express a purpose before a noun phrase or gerund phrase.
She e-mai led me for some advice .
They shop o n l i n e f o r electronic products .
I use my smart phone for e-mailing clients.
Be carefu l ! Don't use for before an i nfinitive of pu rpose.

D O N 'T SAY She e-mailed me fflf to ask a question .
1 38 GRAM MAR BOOSTER www.pardistalk.ir/library

A O n a separate sheet of paper, rew rite the sentences with i n order to.
1 She joined Facebook to meet new people. 4 They a lways print their docu m ents fi rst to read them carefu l ly.
2 Jason s u rfs the I n ternet to see what's n ew. 5 I never u se the p u l l-down m e n u to open fi les.
3 Alison u ses o n l i n e ba n ki n g to pay a l l her b i l l s . 6 He used a n o n l i ne telephone service to ca l l his fa m i ly.
B C o m p l ete each sentence with for or to.
My friend e-mai led m e . . . . . . . say he's getting 5 Sometimes I use my com puter . . . . . . . dow n l oad m ovies.
ma rried. 6 We both log o n to the I n ternet . . . . . . . i nformatio n .
2 J a n e shops o n l i n e . . . . . . . cloth i n g . 7 J u st cl ick the icon . . . . . . . o p e n the file.
3 I went o n l i n e . . . . . . . fi nd a n e w keyboa rd . 8 When Gina's com puter crashed, her brother ca me over
4 Matt created a web page . . . . . . . kee p i n g i n . . . . . . . hel p her.
touch with his fa m i ly a n d friends.
Lesson 2
Comparison with adjectives: review
As . . . as
Use as . . . as to indicate how two thi ngs a re equal or the same. Use --
not as . . . -
as to indicate how two
thi ngs are different.
The new Jax 10 mon itor is j ust as good as the Jax 20.
The Jax 1 0 mon itor is not as big as the Jax 20.
Comparatives
Use comparatives to show how two things a re not equal. Use than if the second item is mentioned.
My la ptop is heavier than John's ( is) . OR My la ptop is heavier.
Regular mail is less conven ient than e-ma i l . OR Regu lar mail is less conven ient.
Su perlatives
Use superlatives to show how one thing is d ifferent from two or more other things. Remember to use
the with the superlative.
The M2, LX, and Bell pri nters are all good. But the Bell is the best.
The Gatt 40 mon itor is the l east expensive one you can buy.
A Correct the e rro r i n each sentence_
The O rca s peake rs a ren't as heavier as the Ya ltas. 4 Maxwe l l 's web ca mera is much m o re expensive as
2 My o i d l a pto p d i d n ' t have as m a ny p roblems tha n my thei r dig ital camera .
new l a pto p . 5 O f a l l t h e mon itors I looked at, t h e X 6 0 is
3 I checked out t h e th ree to p bra nds, a n d t h e Piston was defi n ite ly l a rger.
defi n itely the better. 6 The Jaguar is m ost powerfu l com puter i n the world.
Comparison with adverbs
Comparatives I
My new com puter runs faster than my oid one. Remember: Adverbs often give i nformation a bout verbs.
The X20 operates more quietly than the X30. My phone works wel l . My pri nter pri nts fast.
Many adjectives can be changed to adverbs by adding -]yo
� ... � l o u d -+ loudly quick -+ qu ickly q u i et -+ qu ietly
My new phone works as wel l as my oid one. :>
poor -+ poorly bad -+ badly slow -+ slowly
The Macro laptop doesn't run as slowly as the Pel l does. L-------��--��J
It'
Superlatives Ii'
Of these t h ree laptops, the M Pro starts up the most slowly.
In

B O n a separate sheet of paper, rew rite each pair of sentences i nto a s i n g l e sentence u s i n g
co m pa ratives. T h e n write single sentences u s i n g as . . . as.
My b rother's s m a rt phone dow n l oads m u sic q u ickly. My M P 3 player does n't dow n l oad q u ickly.
2 My new com puter does n't log on slowly. My o i d compute r logs on slowly.
3 You r old mon itor works wel l . My new mon itor doesn ' t work wel l .
4 The Rico printe r prints q u ickly. The G rant pri nte r doesn't print q u ickly.
S The Pace sca n n e r does n't ru n q u ietly. The Rico sca n ner ru ns q u i etly.
Lesson 1
Should and � had better
Use should or ought to + a base form to state an opinion or give advice , especially about a n I
ethical choice. Ought to has the same meaning as shou l d , but should is slightly less formal. Note: I n American English it's
You should (or ought to ) return the wallet. You shoul d n 't keep it. very uncommon to use ought to i n
negative statements o r q u estions.
Use had better + a base form to state an opinion or give stronger advice. The meaning is similar Use should or shouldn't i n stead .
to should and ought to, but had better expresses the idea that there is a consequence for not
doing something.
You 'd better tel l the waiter that the check is wrong. If you don 't, he w i l l have to pay.
You 'd better not eat at the Fa i rway Cafe . I got sick there the last time I d i d .
Remember: Shou l d , ought to, and had better precede other verbs and give them a special
mea n i ng. They never change form .
A O n a sepa rate sheet of paper, com p l ete the statements about an ethica l choice, expressi n g you r own ideas.
Col leagues i n a n office s h o u l d a lways . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 Parents of you ng c h i l d re n should not . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3 We ought to tel l the store owner when . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4 You forgot to pay you r check? You had better . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

S We had better not . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . It's too expensive.
B O n a separate sheet of paper, write five suggestio n s to a " Yo u 'd better n ot ta ke the l ocal
visito r to you r cou ntry, u s i n g had bette r or had better n ot. tra i n to B rad b u ry. It's too s l ow. "
�
Have to and must
Use have to or the modal must + a base form to express obl igation when there is no other choice of
--
action available.
Students must take this exam . Note: M ust is very formal and
You have t o take the 6 : 0 0 tra i n if y o u want t o a rrive on time. not ve ry common i n speaki ng.
It is genera l ly used by a person
Use don't have to ( NOT m ust) to express a lack of obligatio n . in authority (e . g . , a teacher or
You d o n ' t have t o p a y f o r the s h o e s if y o u d o n 't l i ke them. You can return them. boss) to state policy or law. Have
!Q is much more common i n
Use m ust not ( N OT don't have to) for a strong or legal prohi bition. both speaking a n d writi ng. The
Passengers must not leave t h e i r baggage unattended i n the waiting a rea. more i nfo rmal have got to is also
common i n spoken Engl i s h .
Be supposed to Sorry. I 've got to h urry. I ' m
Use be supposed to (or not be supposed to) + a base form to express an expected, but not a going t o b e late .
req u i red, action. The degree of obl igation is weaker than with have to or must.
We're supposed to pay our check at the front of the coffee shop, not at the ta ble. (The restau rant
expects d i ners to pay at the front.)
Don't use must not for a lack of
obl i gat i on . Use don't have to or
doesn't have to.
!::il"
Hotel guests a re not su pposed to use the towels from their rooms at the pool.
r
1 40 GRAMMAR BOOSTER www.pardistalk.ir/library

C O n a separate sheet of paper, write each sentence two ways: with m ust a n d with have to.
1 Drivers / obey the s peed l i m it.
2 Students / arrive on time for class.
3 In this beach restau rant / d i n e rs / wear shoes. If you a re ba refoot, don't come i n .
4 You / have a reservation to eat a t the Pa lace Restau ra nt.
D O n a separate sheet of paper, w rite five sentences that describe actions you r school expects
fro m its students. Use be supposed to.
StlJ d el)t� a re �lJPpo�ed to C O m e 0 1) ti m e to c 1 a ��. Th ey 're I)ot �lJPp o�ed to be late.
E Choose the sentence closer i n mea n i n g to each n u m bered statement or q uesti o n .

1 Do y o u th i n k t h e M i lton Resta u rant is a good 3 They don't accept credit ca rds in this store. They o n ly
p l ace to eat? accept cash .
a Do y o u th i n k I s h o u l d eat at t h e M i lto n Resta u ra nt? a You have to pay with cas h .
b Do you th i n k I have to eat at the M i lto n Restau ra nt? b Yo u o u g ht t o pay with cash .
2 I f you d o n 't have a reservation, the restau rant wo n't 4 Don't wea r shorts i n the restau ra nt.
g ive you a table. a You m ust n ot wea r shorts in the resta u ra nt.
a The resta u rant is s u p posed to g ive you a tab l e . b You d o n ' t have to wea r shorts i n t h e restau rant.
b Yo u h a d better have a reservatio n .
Lesson 2
Possessive nouns: review and expansion
Add � (an apostrophe + � to a name or a singular noun.

Where is Glenn 's car? What's you r daughter's married name?
This is Ms. Baker's class. I love Dickens's novels.
Add an a postrophe to plura l nouns that end i n �. For irregu lar plurals, such as women or children,
add �.
the women 's room the boys' clothes the Jacksons' ca r
Add � to the name or noun that comes last in a l ist of two or more.
Jean and Ral p h 's house
A Correct the fo l l owi n g sentences, adding a n a postrophe or a n a postrophe + � to the possessive n o u n s .

Carmen /� jacket is u nder t h e table.
1 The two girls keys a re lost. 5 That man car is pa rked i n a no-parki ng zone.
2 M r. Sti l ler E n g l i s h is rea l ly fl uent. 6 l u lia friend b rothe r is g o i n g to get ma rried to n ig ht.
3 The doctor office is downsta i rs. 7 The Sm iths g a rden is beautifu l .
4 Sara h and Tom c h i l d re n a re at the Tayl o r Schoo l .

Pronouns: summary
S u bject pronouns
Subject pronouns represent subject nouns and noun phrases. The subject pronouns are 1, YQl,! he, she, ,
l!, we, and they.

Matt d i d n 't break the plate H e d i d n 't break the plate.
=
O bject pronouns
O bject pronouns represent nouns (and noun phrases) that function as d i rect objects, indi rect objects,
and objects of prepositions. The object pronouns are me, YQl,! h i m , her, it. us, and them.
,
They gave Susan the toy ca r for the children.

They gave it to her for them.
B O n a separate sheet of paper, rewrite the sentences, replacing the u nderli ned n o u n s
a n d n o u n p h rases with p ro n o u n s .
Matt d i d n 't brea k the plate . H e d i d "Jt b rea k it

1 Our chi l d re n love TV. 6 M r. Ha rris is teach i n g the students with M r. Cooper.
2 lanet a n d I never buy food at that sto re . 7 A l l the students a re speaking English very wel l this yea r.
3 D o you a n d I have the car this afternoon ? 8 Does Carl need to g ive the paper to his teachers?
4 Sylvia's fa m i ly laughs at her jokes. 9 M a rtin and Larry retu rned the money to the wom a n .
5 My friends a re speaki ng with Ms. Rowe today.
1 42 GRAM MAR BOOSTER www.pardistalk.ir/library

Writi ng Booster
U N IT Co n n ect i n g i d ea s : s u b o rd i nati n g conj u n ct i o n s
A subordi nating conjunction connects a dependent clause t o an i ndependent clause. Subordi nati ng conjunctions
--- independent clause -- dependent clause -- because u n l ess
since altho ugh
People are eating more fast foods today because they want to save time.
if (even) though
I generally avoid carbohyd rates even though it isn't easy.
A dependent clause can also come at the begin n i ng of a sentence. Use a comma after the
dependent clause when it comes first.
--- dependent clause --- independent clause --
Because people want to save time, they are eating more fast foods today.
Even though it isn't easy, I generally avoid carbohydrates.
Use the su bordi nati ng conj unction !! to express a condition. Use un less to express a negative condition.
You will be healthy if you eat right and exercise regu larly.
You will gai n weight unless you eat right and exercise regu la rly. (= if you d o n 't)
Use the subordinating conjunctions a lthough , even though , or though to express a contradiction.
Although
Even though they knew fatty foods were u n healthy, people ate them anyway.
Though
Remember: Use because or si nce to give a reaso n .
A Choose the best su bord i nati ng conju nctio n to co m plete each sentence.
(Th o u g h / If / U n less) I learn to speak E n g l i s h wel l , I 6 He cut back on desserts and sodas (eve n tho u g h / if /
wi l l be very h a p py. becau se) he didn't want to.
2 (Even though / Because / If) she is an a rtist, she is 7 (Even tho u g h / Beca use / U n l ess) my g ra n d m other is
interested i n science. 80 yea rs old, she is in very good hea lth .
3 Studyi ng English is i m po rtant (a lth o u g h / because / 8 (Un less / Beca use / Though) I th i n k I 'm going to get
u n l ess) it ca n h e l p you do m o re . sick, I don't want to change my eati ng habits.
4 ( U n less / Although / S i n ce) English g ra m m a r isn't easy, 9 She wo n't eat red meat (beca use / u n less / a lthough)
I l i ke studyi ng it. she has to.
5 They h ave to go on a diet (becau se / u n less / though) 10 ( U n l ess / Even tho u g h / S i n ce) she's a vegeta ria n , she
they're overweig ht. sometimes eats fish .
B Read each sentence. Then, on a sepa rate s heet of paper, write and co n n ect a clause to the
sentence, u s i n g the s u bord inati n g conj u ncti o n .
M o s t peo p l e don't w a n t t o c h a n g e the i r eati ng habits.
(even though)
2 C h i l d re n becom e overweig ht. (if)
3 Obesity w i l l conti n u e to be a g l obal p roblem . ( u n less)
4 Eati ng too m uch fast food is bad for you . (beca u se)
5 Most people conti n u e to eat u n healthy foods. (although)
C G u i d a nce for t h e Writing Exercise (on page 72) Using fou r d ifferent s u bo rd i nati n g conj u n ctions, write fou r
sentences: two about eating habits i n the past a n d two about eati ng habits i n the p resent. Use you r
sentences i n you r pa rag ra p h about eatin g habits.
148 WRITING BOOSTER www.pardistalk.ir/library

U N IT Pa ra l l e l struct u re
When writing a series of words or phrases in a sentence, be sure that all items in the series are i n
t h e same grammatical form . This feature o f good writing is called " pa rallel structu re."
La nce is creative. He l i kes painting, playing the piano, and acting. (al l items in the series are geru nds)
Be ca reful ! Don't combine gerunds and i nfinitives in the same series.

Don 't write: La nce is creative. He l i kes painting, � the piano, and acti ng.
I n a series of i nfinitives, it is correct to use !Q before each item i n the series or to use !Q only before
the first ite m .
)( I decided t o study medici ne, get married, and re have children before m y thirtieth birthday .
./ I decided to study medicine, to get married , and to have c h i l d ren before my t h i rtieth b i rthday .
./ I decided to study medicine, get married, and have c h i l d ren before my t h i rtieth birthday.
Remember: When a sentence incl udes a series of more than two words or phrases, sepa rate them
with commas. Use and before the last item i n the series. The comma before and is optional .
no comma (two items) commas (three items)
Jake and N ick have t h ree favorite activities: pai nting, singi ng, and acting.
A Correct the e rrors i n para l lel structure i n the sentences.

I have beg u n studyi ng psychology and to learn about personal ity development.
2 They avoid a rg u i ng about the n atu re- n u rtu re controversy and to disagree about w hich is more i m portant.
3 The Bersons love to ru n , to swi m, and l ift weights.
4 She's both responsible and soci a l . She p refers to study early i n the eve n i n g and going out afterwa rds.
5 I ntroverts hate to ta l k about thei r fee l i ngs and bei ng with a lot of peo p l e .
6 Marjorie is a classic extrovert. She l i kes t o be very active, knowing a lot o f peo p l e, a n d t o s e e k excitement.
7 To be q u iet, be h a rd to k now, a n d to seek peace a re traits typical of the i ntrovert's personal ity.
8 Psychologists of the n i n eteenth centu ry conti n ued bel ievi ng in the i m portance of genetics and to write about it
in books and a rticles.
B G u i d a nce for the Writing Exercise (on page 84) O n a sepa rate sheet of paper, w rite sentences to a n swer some
o r all the fol lowi ng q u estions about the person you chose. If a p p ro p riate, use verbs a n d p h rases from the
box o n the right. Be ca ref u l to u se para l l e l structu re. Use the sentences i n you r paragra p h s about the person .
• Who i s the person ? Words t o describe l i kes / disl i kes
• What is h i s o r h e r relation to you ? avoids hopes
• Who a re the peo p l e i n his o r her fam i ly?
hates
ca n't sta nd
wou l d l i ke
is h a p py a bout [:1::�
• How m a ny siblings does he or she h ave? doesn't m i n d is excited a bout fi�:
enjoys is bo red with
What kind of persona lity does h e o r she have?
expects is sick and ti red of
•
• What a re his or her l i kes and d is l i kes?

• Are there some th i n g s he or she is excited about,
bored with, a n g ry about, or worried about right n ow?
• Are there some thi n g s he or she is excited about, bored with, a n g ry a bout, or wo rried about rig ht n ow?
www.pardistalk.ir/library WRITI NG BOOSTER 1 49

U N IT S u p p o rti n g d eta i l s
�
Remem ber: A good paragra ph has a topic sentence that clearly states what In my livi ng
ro m my
, fa vori te
the main idea of the paragraph is. ss
PO es si on i s an ol
wo o den ch
air. My
parents gave i t to me
In a d d ition, a paragra p h should have supporting details t hat is, i nformation Wh en I left ho
m e.
-
*i
�: :::::
.
0
t hat provides support for, and is clea rly tied to , the topic sentence. • Ir ean be .er> elF pensh.
e-if.
•
It ha s 1 ots of
.
for m e be ca me mo ri es
Be carefu l ! If a deta i l doesn't support the topic sentence or isn't tied to it us e I. t WaS lll
.
be dro om my arents ,
clearly, then it may not belong i n the paragra p h . wh en I was p
. gr o Wing u Ws-
tm peftaflt te
talee o
er> gee.d fa p
I n the writing m o d e l t o the right, the topic sentence o f the paragraph i s WOedefi flit f1i
tlife;
Th . re �
highl ighted i n yel low. T h e sentences that follow a re details. Two o f t h e e ch al IS ver
sentences a re crossed o u t because t hey do n o t support the topic sentence
com for tab
a ch i ld.
l e, an d i �
u se d to sit
y
III i t a lot
as
and should not be included in the paragra p h . These two sentences do not
provide i nformation a bout the chair and do not i n d i cate why the writer l i kes
the chair. The remaining sentences are supporting details-they all support
the topic sentence and are clea rly tied to it. They provide more i nformation
about the chair and they explain why the writer l i kes the chair.
A Read each topic sentence. Circle the detail that does n ot su pport the topic sentence.
1 M a ny French a rtists i n the n i n eteenth centu ry were i nfl u enced by Japa n ese a rt a n d printmaking.
a Today, the work of Ho kusai, Japan's m ost fa mous printmaker, is popu l a r i n Western cou ntries.
b Loo king at the work of the French i m p ression ists, it is clear that they chose to i m itate the
Japanese a rtistic styles of the time.
e A n u m be r of French a rtists had col lections of Japanese a rt.
2 I love my poster of A lva ro Sabo rfo, the Costa Rican soccer player, but my wife hates it.
a I th i n k Saborio is a g reat player.
b My wife doesn ' t thi n k I s h o u l d keep it i n o u r bed room .
e The n u m ber on Sabo rfo's u n iform is 1 5 .
3 Rod i n 's statue, The Thinker, is p robably o n e of the most famous scul ptu res i n the world.
a This m eta l scul ptu re of a m a n deep i n thought is recogn ized a l l over the world.
b Rod i n was born o n November 1 2, 1 840.
e The i mage of The Thinker ca n be seen i n popu lar a rt and advertisements .
4 O n a s i d e table i n m y d i n i n g room, I have two s m a l l cera m ic fig u res o f lions fro m m y tri p to Tai pei.
a They h ave beautifu l colors including red, g reen, b l ue, and yel low.
b You s h o u l d visit the National Pa lace M useu m when you a re in Taipei.
e I bought them togethe r from a small shop at a tem ple I was visiti n g .
5 My brothe r has a lways shown a l o t o f ta lent i n t h e performing a rts.

a We've had o u r d ifferences, a n d we have n ' t a lways ag reed on everythi n g .
b He has acted i n school p l ays si nce he w a s a b o u t ten yea rs o l d .
e I thi n k he's going t o fol l ow a ca reer as a n acto r.
6 I thi n k a rtistic ta lent is someth i n g you 're born with .

a I 've tried m a ny times to i m p rove my abil ity at d rawing, but it hasn't worked .
b I have friends who a re very talented i n a rt, but they've n ever taken a ny special classes.
e My a u nt stud ied a rt at the Art I nstitute of Chicago for fou r yea rs .
1 50 WRITING BOOSTER www.pardistalk.ir/library

B G u i d a nce fo r the Writing Exercise (o n page 96) O n the notepad, w rite the favorite object you chose. .",
C reate a topic sentence that states the most i m portant thing you want to say about that object.
Then w rite five s u p porti ng deta i l s to u se in you r paragra p h .
Favorite o b i ect:
To p i c sente n ce:
Deta i l s to s u p �ort my top i c sentence:
1.
2.
3.
4.
5.
\··"i"""�' ''';'.''I�p��,'�.'f0 1"'_. "'"I" " "'!!'"I:H"mH�I"" 'l�'fi�;"'�:�'1I!�'r,� m,F7!p�""",-::-;· ,t·*·,,· :'1,Wflimtim".",�;",,:_ �""'l""i" " "'",!!" "':', 'l'!F :!:;""n "';�.' ." n""':�4'
U N IT O rga n iz i n g i d eas
When you want to describe the benefits and problems of an issue, there are d ifferent ways you can organ ize your ideas.
Here a re some approaches.
Approach 1 : I n one paragraph

One way is to describe all the advantages and disadvantages i n one paragraph. Fol lowing a re notes of the details that
will be included in the paragraph.
TH E A D vA NTA G ES A N D DISA D vA NTA G ES O F SM A RT PH O N ES

A d v a n ta g e r : a r e e a ry to c a r ry, d o n 't m i r r c a l l r, k e e p y o v c o n n ected \N i th fa m i ly a n d fri e n d s
D i s a d v a n ta g e s : b o th e r o th e r p e o p l e, m a k e p e o p l e d e p e n d e n'lj a r e e a ry to l o se
This approach is good for a short piece of writing consisti ng of only a few sentences. However, if you want to develop
those ideas i n more than just a few sentences, it is easier for the reader to follow if you can organize the deta i ls i n one
of the following ways:
Approach 2: I n two paragraphs

I n this approach , you can use a first paragraph to describe all the advantages. Then you can use a second paragraph to
describe all the disadvantages. Following a re notes of the deta i ls that will be i ncluded i n each paragraph.
Pa r a 9 r a p h 1 : S M A RT P H O N ES H A vE A D vA NTA G ES
a re e a ry to c a r ry, d o n 't m i r r c a l l r, k e e p y o v c o n n ected \N i th fa m i ly a n d fr i e n d r Ii

Pa r a 9 r a p h 2 : f3 l!T TH EY A LS O H A vE D I SA D VA NTA G ES
b o th e r oth e r p e o p l e, m a k e p e o p l e d e p e n d e n'lj a re e a ry to l o se
-
,:·!f¥;;;",F'�' ';""F'J!'tr: ' p. ow
Approach 3: In more than two paragraphs

In this approach, you can use a separate paragraph to focus on each d ifferent topic. In each paragraph, you can
describe both adva ntages and disadvantages. Followi ng a re notes of the deta i ls that will be i ncluded in each paragraph.
Pa ra 9 r a p h 1 : (TH EY' R E S M A L L . ) r m a rt p h o n e r e a ry t o c a r ry, b vt a l ro e a ry t o l o se

I
Pa ra 9 ra p h 2 : (TH EY' RE C O N VEN I ENT.) \N o n 't m i r r c a l l s, b vt y o v c a n a l so b o th e r oth e r p e o p l e I
I
Pa ra 9 ra p h ) : (TH EY'VE C H A N G E D O U R LIVES.) k e e p p e o p l e c o n n ected \N i th fa m i ly a n d fr i e n d s, b vt a l so
c a n m a k e p e o p l e d e p e n d e nt
I
1'"", ,'P' ..."." 'T"""''''''lP'''· 'j.iC''''ti1!l'iC' T.'''''''''W ' ' nPW' "!" .,,,",' ."" . " ..,," .""."" .�• .,••"w
www.pardistalk.ir/library WRITING BOOSTER 1 51

A U s i n g Approach 2, organ ize the ideas i nto two paragraphs: paragraph 1 is about the benefits of re nti ng a ca r; paragra p h 2
is about the p roblems. Write 1 or 2 next to each idea.
_ It g ives you the freedo m to go wherever you want to go _ If you 're trave l i n g with a g ro u p of peop le, it cou l d cost
whenever you wa nt. less than payi ng for bus and tra i n tickets .
_ You might see p l aces you ca n't see by bus or tra i n . _ You may have to u ndersta nd road s i g n s that a re i n a
_ You cou l d have a n accident d u ring you r tri p . different lang uage.
_ Yo u have more contro l over whether or not you will have _ If y o u h ave t o do a l l the d rivi ng, i t ca n b e very stressf u l
an accident d u ri n g you r tri p . and ti ri n g .
_ You c a n ca rry more l uggage a n d other th ings yo u m ight _ If you 're trave l i n g a l o n e or with one other person, it
need . cou ld cost a l ot of m o n ey i n rental fees and gas.
_ To d rive safely, you have to become fa m i l i a r with the
local d rivi ng rules.
B Now, on a sepa rate sheet of paper, p ractice u s i n g Approach 3 . O rgan ize the sentences fro m Exercise A
by to pic into th ree or m o re separate paragraphs. Don't fo rget to include a topic sentence.
C G u i d a n ce for the Writing Exercise (o n page 108) Use you r notes on page 1 07 to write you r parag ra p h s
a b o u t t h e benefits a n d p roblems o f t h e I nte rnet. Choose Approach 2 or Approach 3 t o organ ize you r writi n g .
U N IT I ntrod u c i n g confl i ct i n g i d ea s : O n t h e o n e h a n d ; O n t h e ot h e r h a n d
{
Use On t h e o n e hand a n d On t h e other hand t o present confl icting ideas or two sides B eing hone
of an issue. The fol lowing two sentences present the two sides together, one right st h as m an
If you al wa ad va ntages
ys tell th e t .
� �
after the other. r ut , yo u do
h ave to rem n't
emb r an
�
On the one hand , I would want to tell the trut h . On the other hand , I wou l d n 't want to ntr uth yo u
be fore. Pe op s aid
get in trouble. le w tel th e tr ut
h ave tro u b h don't
le sle ep
Remember: You ca n a lso present confl icting or contradictory i nformation with th em selves
in th e mirr
? Th ey can
lo ok at
Even though , Although , and However. or an d feel
o n th e oth go od .
er han d th er
Even though I ' m basica l ly an honest perso n , I d o n 't always tel l the trut h . wh en telli ng ' e are ti m es
a lie m akes
sense. For
Although Matt d i d n 't t h i n k he broke the d i s h , it's possi ble that he d i d . exa mp1 e, yo
ur fri end An
Matt wanted t o t e l l the owner o f the store what happened. However, N o a h d i d n 't agree. as k yo u if yo dre w m ig . ht
u like his n
yo u thi nk
its ug1 Y. If yo
�
ew ). a ck t,
an d
When one paragra ph presents one side of an issue and the next one presents the other, u tol d hi m
it Would h u th at'
writers don't usually use On the one hand in the first paragraph. I nstead , they just begin rt h IS feelin
gs. It 's Po ss
th at n ot be i ble
the next paragraph with O n the other hand to let the reader know that the conflicti ng idea 1
ing a b so ute
ly tr uthful
will follow. Look at the writing model to the right. m ake m o re m ight
sen se.
A Reread the Photo Story on page 1 1 1 . Write a s u m mary of the sto ry i n

th ree to five sentences. Answer the q u estions be low.
• Where was M att? • What h a p pened?
• Who was he with ? • What did the two friends discuss?
B An swer the q uestions below. Write th ree to five sentences about Matt's choices. Then write the
conseq uences of each choice. Use !f and the u n real conditi o n a l i n at l east one sentence.
• What s h o u l d he do? • What cou ld h e do? • What wou l d most peo p l e do?
C Write th ree to five sentences about what you wou l d do if you were Matt. Answer the q u estions below.
• What wou l d you do? • What wou l d happen if you did that? • What wou l d h a p pe n if you didn 't?
o G u i da n ce for the Writi n g Exercise (on page 1 2 0)

In you r paragraphs about Matt's d i l e m ma, use
O n the o n e hand, O n the other ha nd, Even though, Although, and H owever to co n n ect confl icti ng ideas.
1 52 WRITI NG BOOSTER www.pardistalk.ir/library

��.? Top N otch Pop L}'ri cs
: 1 6-1 : 1 7 G reetings a n d Small Ta l k
So why don't we rent it and bring it (CHORUS)
[Unit 1 ]
back home? Wheels a round the World
You look s o fami liar. Have w e met before? Let's get in the car and go. a re waiting here with your car.
(CHORUS) Pick it u p .
I don't think you ' re from around here.
Turn it on.
It might have been two weeks ago, but I ' m Didn't you mention, when we made our
Play the rad i o .
not sure. plans, that you've seen this movie recently?
W h e e l s a r o u n d the Worl d
Has it been a month or a year? It sounds so dramatic, and I ' m so u pset,
"helping you t o g o far."
I have a funny feeling that I 've met you twice. I ' d rather see a comedy!
You can drive a nywhere.
That's what they call deja vu. Wel l , which comedy do you recommend?
Buckle u p and g o .
You were saying something friendly, trying to It really doesn't matter to me.
be nice- and now you 're being friendly, too. I stil l haven't seen The World and a Day'. Did I hit the red sedan,
One look, one word. I ' ve heard that one is pretty funny. or did it hit me?
It's the friendliest sound that I 've ever heard . I was talking on the cell phone
(CHORUS)
Thanks for your g reetings. in my SUV.
I'm g lad this meeting occurred . Nothing was broken,
2: 1 7-2: 1 8 Checking Out [Unit 3]
(CHORUS)
and no one was h u rt,
Ms. Jones travels all alone. but I did spi l l some coffee
G reetings and small ta l k She doesn't need much space
make the wo rld go rou n d .
on my favorite shirt.
a single room with a nice twin bed Oh no!
On every winding road I 've walked, and a place for her suitcase.
this is what I 've found.
Thank goodness you ' re stil l alive!
Her stay is always satisfactory, I'm so happy that
Have you written any l etters to your friends but in the morning she's going to be you survived .
back home? checking out.
(CHORUS)
Have you had a chance to do that? M r. Moon will be leaving soon,
Have you spoken to your family on the and when he does I ' l l say, What were you doing when you hit that tree?
telephone? "Thank you, s i r, for staying with us. I was racing down the mountai n , and the
Have you taken time for a chat? How do you want to pay?" brakes fai led me.
Bow down, shake hands. And in the end it isn't hard . How did it happen? Was the road sti l l wet?
Do whatever you do i n your n ative land . He'll put i t on h i s credit card . He's Well , there might have been a danger sign,
I ' l l be happy to g reet you checking out. But I forget.
in any way that you understand. Would you l ike to leave a message? The hood popped open and the door fel l off.
(CHORUS) Could you call back later? The head l i ghts b l i n ked and the
Do you need some extra towels engine coughed.
Have you seen the latest movie out of The side-view m irror had a terrible crack.
Hollywood? or today's newspaper?
Can I get you anything? The gearshift broke. Can I bring the
Have you read about it yet? car back?
If you haven 't eaten dinner, are you in the Would you l i ke room service?
I ' m so sorry. Oh no!
mood for a meal you won't forget? Thank goodness
Bow down , shake hands. Am I making you nervous?
Good evening. you're sti l l alive!
Do whatever you do in your native land . I ' m so happy that
I ' l l ring that room for you .
I ' l l be happy to greet you you survived .
in any way that you u nderstand. Is that all?
I'll be glad to put you through. (CHORUS)
(CHORUS)
I'm sorry, but he's not answering.
The phone j ust rings and rings. 3 : 1 Z-3:1 8 Piece of Cake [Unit 5]
1 : 35-1 : 36 Better Late Than Never The couple in room 586 I need to pick u p a few things
[Unit 2] have made a king-size mess. on the way back to school.
Where have you been? I 've waited for you . Pick u p the laundry. Turn down the beds. Feel like stopping at a store with me?
I ' d rather not say how long. We have another g uest I'd like to, but I think I ' l l pass.
The movie began one hour ago. coming with his fam i ly. I don't have time today.
How did you get the time all wrong? You ' d better hurry or they will be It's already nearly a q uarter to three.
Wel l , I got stuck in traffic, and when I arrived checking out. . . (CHORUS)
I couldn't find a parkin g place.
Don't worry. We ' l l be fine.
Did you buy the tickets? You ' re kidding 2: 36-2:37 Wheels a ro u n d the How long can it take?
for real?
World [Unit 4] It's ea sy. It'll be a piece of c a ke.
Let me pay you back, in that case.
Was I going too fast I need a tube of toothpaste and
(CH O RUS)
or a little too slow? a bar of Luvly soap,
Sorry I'm late.
I was looking out the window,
I know you've waited here forever.
some sunscreen, and a bottle of shampoo.
and I j ust don't know. Where would I find makeup?
How long has it been?
I m ust have turned the steering wheel How about a comb?
It's a lways better late than never.
a little too far Have a look in aisle one or two.
When that kind of movie comes to the when I drove into the bumper (CHOR US)
big screen, of that lUXUry car.
it always attracts a crowd , Oh no! I have an appointment
and I 've always wanted to see it with you How awful ! for a haircut at The Spa.
but it looks l i ke we've missed it now. What a terrible day! On second thought, they're always
I know what you ' re sayi ng, but actually, I ' m sorry to hear that.
running late.
I would rather watch a video. Are you OK? My class starts i n an hour.
I ' l l never make it now.
How long do you think we' l l have to wait?
www.pardistalk.ir/library TOP N OTCH POP LYRICS 1 53

(CHORUS) The col ors of love (CHORUS)
They say there's someone waiting shine o n everyon e i n the worl d . Let's face it - that's l ife.
for a trim ahead of me. Are negative thoughts and emotions painful That's l ife in cyberspace.
Can I get you some coffee or some tea? to express? When you download the pictures,
OK. In the meantime, They're just tiny d rops in the ocean of then you open the files.
I'll be getting something strong happiness. If your computer's slow,
for this headache at the pharmacy! And these are the feelings you must learn to then it can take a l ittle while.
(CHORUS) rise above. From the pull-down menu,
You r whole life i s a picture you paint with the you can print them , too.
3:37-3:38 A Perfect Dish [Unit 6] colors of love. But don't forget to save
I used to eat a lot of fatty foods, (CHORUS) everything you do.
but now I just avoid them. Scroll it up. Scroll it down.
I used to l i ke chocolate and lots of sweets, 4:28-4:29 To Each H i s Own [Unit 8] Put your cursor on the bar.
but now those days are gone. He doesn't care for Dal i . Then click on the icon ,
To tell you the truth, The colors are too bright. and you ' l l see my new car!
it was too much trouble. He says that Picasso The car goes as fast
They say you only l ive once, got everything just right. as the one I had before.
but I'm not crazy about feel ing sick. She can't stand the movies Check it out. Check it out.
What was going wrong? that are fi lmed in Hollywood . You should really check it out.
Now I know I could n 't live without this. She likes Almod6var. (CHORUS)
Everything's ready. She thinks he's really good . Am I talking to myself, or are you sti ll there?
Why don't you sit down? He's inspired by everything This i nstant message conversation 's
(CHORUS) she thinks is second-rate. going nowhere.
It looks terrific, She's moved and fascinated I could talk to Liz.
but it smells pretty awful. by the things he loves to hate. She isn 't nearly as nice.
What i n the world can it be? He's crazy about art that only It isn't quite as m uch fun.
It smells l i ke chicken, turns her heart to stone. I 've done it once or twice.
a n d it tastes like fish - I guess that's why they say What's the problem?
a terrific dish to each his own. Come on. Give it a try.
for you and m e - He likes penci l d rawings. If you don't want to be friends,
a perfect d i s h f o r you She prefers photographs. at least tell me why.
and me. He takes her to the the art museum , Did you leave to make a call
I used to be a big meat eater, b u t she j ust laughs a n d laughs. or go out to get some cash?
now I ' m vegetarian , He loves the Da Vinci Did the photos I sent make your
and I ' m not much of a coffee drinker. that's hanging by the door. computer crash?
I can't stand it anymore. She prefers the modern art (CHORUS)
I ' m avoid ing desserts with sugar. that's lying on the floor.
I ' m trying to lose some weight. "No kidd ing! You ' l l love it. Just wait and see.
Some things just don't agree with me. It's perfect in every way. "
They're bad for me, I ' m sure. She shakes her head . "It's not for me.
Would you like some? It's much too old and gray. "
Help yourself. She thinks he has the worst taste
Isn't it so good for you health? that the world has ever known .
I g uess that 's why they say
(CHORUS)
to each his own .
Aren't you going to have some? B ut when it's time to say goodbye,
Don't you like it? they both feel so alone.
Wasn't it del icious? I guess that's why they say
Don't you want some more? to each his own .
(CHORUS)
5 : 1 6-5: 1 7 Life in Cyberspace [Unit 9]

4 : 1 3-4: 1 4 The Colors of Love [Un it 7] I ' m j ust fooling around.
Are you sick and tired of working hard day Am I interrupting you?
and night? Wel l , I wanted to know -
Do you l i ke to look at the world in shades of what are you u p to?
black and wh ite? I tried to send some photos,
Your l ife can still be everything that you were but it's been so long
d reaming of. that I almost don't remember
J ust take a look around you and see all the how to log on.
colors of love. So I'm thinking about getting a
You wake up every morning and go through new computer.
the same old grind. I don't know what kind. I shou l d have done
You don't know how the light at the window it sooner.
could be so unkind. If blue is the color that But I heard the Panatel is as good as
you choose when the road is rough, you know the rest.
you really need to believe in the colors of love. Check it out. Check it out.
(CHORUS) You should really check it out.
The colors of love
a re as beautiful as a rai nbow.
1 54 TOP N OTCH POP LYRICS www.pardistalk.ir/library

WO R K B O O K
J OAN SAS LOW

ALLEN ASC H ER
with Te rra B rockman a n d J u l i e C . Rouse
Eati ng We l l
1 Loo k at the H ea lthy D i et P l ate. Then read the state ments. Check true o r fa lse.
true fa lse
1. Yo u s h o u l d eat 3 servi n g s per day of ca rbohyd rates. 0 0
2. Yo u should eat m o re vegeta b l e s t h a n fruit. 0 0
3. Yo u s h o u l d avoid b reads a n d g ra i n s . 0 0
4. Da i ry p rod u cts a re a good sou rce of fiber. 0 0
5 . Yo u s h o u l d eat fru it fo r ca rbohyd rates. 0 0
6 . Exe rcise is a n i m portant p a rt o f a healthy l ife. 0 0
2 Rewrite the fa lse state m e nts i n Exercise 1 to m a ke them true.
-- - - ---- - - -- -- ---------- 1
-- ------------------------------- -------------- 1
..... --
-
W45
3 Com p l ete the state m ents with p h rases from the box.
I 'd better pass I have no idea I 'm watc h i n g my wei g ht

, h ave to ad m it I cou l d n 't res i st
1. I ' m o n a l ow-fat d i et because ___________
2. The pa sta look s d e l icious, b u t _______ . I ' m on the Atki n s d i et.

3. I u s u a l ly avoi d a n i m a l p ro d u cts, but the ice crea m they se rved fo r
dessert. I j u st had to have it!
4. _______ how m u c h fat is i n t his cheese b u rg e r-a n d I d o n 't want to kn ow. I j u st
wa nt to enjoy it!
5 . Eati n g a l ow-fat, h i g h -fiber d iet h a s n 't been easy, but _______ 1 l o o k a n d fee l
bette r as a resu lt.
4 Look at the p ictu res. What d o yo u th i n k the peop l e a re sayi ng? Write sente n ces about
the people a n d t h e i r food pass i o n s . Use the words and p h rases from the box.
add ict big __ eater can't sta n d crazy about don't care for l ove
1. I 'm crazy abovt 2. __________ 3. ___________
l;-l l;-l 6. __________
W46 U N IT 6
5 Read a bout Kate's food pass i o n s . Then com p l ete each sentence
with used to o r d i d n 't use to a n d the ve rb.
When I was a kid, I loved sweets. I think I ate about five
cookies a day! When I Was a teenager, I startea eating a l at
of meat. I haa steaks ana fries almost every aay. I aian't
care for vegetables or fruit. Then on my 20th birthaay, I
aeciaea I neeaea a change, so I became a vegetarian.
These aays I eat meat again, but I avoia fatty fooas ana
sugar. l 've lost a lat of weight ana I feel much belter.
Kate
1. Kate _______ a l ot of sweets, b u t now she avoids s u g a r.

eat
2. W h e n she was a tee n a g e r, she ___ ----,-_____ fatty foods.

have
3. Befo re she tu rned 20, she ___ --:-:--____ vegeta b l e s .

l i ke
4. She ___ ----,,.--____ a vegeta rian, b u t n ow she eats meat.

be
5 . Kate ____ ---,-_

--- ___ care of h e rse lf, but now s h e eats we l l .
ta k e
6 Choose the correct response. Write the l ette r on the l i ne.

1. __ " P l ease h e l p yo u rse lf." a . Actu a l ly, I 've b e e n c u tti n g back.
2. __ " I ' l l pass o n the chocolates." b. Tha n ks. Eve ryt h i n g s m e l l s so good.
3. __ " Do n 't yo u eat c h ic ke n ? " c. I t's not a pro b l e m .
4. __ " I 'm sorry. I d i d n't know you we re on a d iet." d . D o n 't you eat sweets?
5. __ " I 'm a coffee add ict. W h a t a b o u t yo u ? " e. Act u a l ly, no. It's against my re l i g i o n .
7 Co m p l ete the statements with a food o r d ri n k to descri be you r own food prefe rences.
1 . I ' m n o t c razy a b o u t
2. I 'm avo id i n g
3. I d o n 't c a re fo r
4. I 'm n ot m uch of a ______ d r i n ke r.
5. ______ doesn't / d o n 't ag ree with m e.
Eati ng Wel l W47

8 Co m p l ete the conve rsatio n with p h rases fro m the box.
i s a vegetarian is on a d iet i s a l lergic to doesn't ca re for is avoid i n g
A: Let's have a d i n n er pa rty Fri day n i g ht. H e l p m e p repare the m e n u .

B: O K . Re m e m be r that m y s i ste r , so w e c a n 't
m a ke a nyth i n g too fatty. Why d o n 't yo u m a ke some chicken?
A: I wo u l d , b u t Ste l l a . S h e n ever eats m eat.
Maybe I can m a ke that rice d i s h .
B: I d o n 't k now. M i g u e l is try i n g t o e a t h ea lthy, w h o l e - g ra i n foods,
so he wh ite rice t hese days .
A: O K . . . Then h ow about b l a c k bea n s o u p with peppers?
B: Uh, I d o n 't th i n k J u l i o wo u l d l i ke that. He ________
s pi cy food .
A: I s there a nyth i n g that eve ryo n e can eat?
B: H m m . . . I d o n 't k now, b u t I h o p e yo u ' l l m a ke that d e l icious chocol ate ca ke fo r d esse rt!
A: I c a n 't. D o n 't you re m e m be r h ow sick Pa u l was at ou r last d i n n e r? He ______ choco l ate !
B : I 've got a n idea-why d o n 't we j ust g o out to eat? Then eve ryo ne c a n o rd e r what they want!
9 Com plete each negative � / no q uesti o n .

1 . A: D i d l) ' t )'.o u go to Latv i a last yea r? 4. A: a g reat p lay?
B: Yes, I did. I went to Latvia i n Aug u st. B: Yes, it was terrific.
2. A: meat? 5. A: m o re n ood les?

B: N o, I d o n 't. I n ever tou c h m eat. B: N o, tha n ks . I 'm fu l l . I 've had e n ou g h .
3. A: a docto r? 6. A: C h i n a befo re?

B : N o, s h e's n o t . David 's m oth e r i s a de ntist. B: Actu a l ly, no. B u t I 've been t o Ko rea .
LESS O N
10 Read the a rticle " H ow Can I t Be?" o n page 6 8 of the Student's Book aga i n . Then complete the chart.
EXTRA READING America n eati n g h a bits French eatin g h a bits

COMPREHENSION
co n s u m e rich foods, but stay th i n

"cl e a n t h e i r p l ates"
spend a l o n g t i m e at t h e ta b l e
d rive to the su perma rket
buy fresh food d a i ly
W48 U N IT 6
11 Answer t h e q u estions with i nformati o n fro m t h e a rticle on page 68 o f t h e Student's Book.
1. H ow d o the F re n c h see eati n g ? H ow d o A m e rica n s see eati ng?
2. Why d o A m e rica n s " keep eat i n g long afte r the F rench wou l d h ave sto p ped "?
3. What l ifesty l e change has affected Fre n c h eati n g h a b its rece ntly?
12 Read t h e on l i ne a rticle about m a k i n g l ifestyle changes.
D ·�B
How to make healthv lilestvle changes that last A
If you've ever to cut back on or add to you r diet. Maybe resolve

tried to change to stop drinking soda or eat some vegetables or
the way you eat fruit with every meal. When a new healthy behavior
or to lead a more becomes part of your normal daily routine, you can
active lifestyle, take on another change.
you know it isn't
easy. Making a
EI Start sma l l . Changes are often easier to make if
they are smal l . Don't expect yourself to go from lying
lifestyle change
on the sofa watching TV every night to spending an
is challenging
hour a n i g ht at the gym. I nstead, take "baby steps."
and it's especially
For example, you could start by exercising twice a
difficult to make
week for 30 minutes. Then, when you've done this
changes that
successful ly for a few weeks, try three times a week
last. Often people
for 45 minutes.
try to make many
big changes all El Make a real istic plan. When you decide to make a
at once without lifestyle change, you need to plan what you will do
a clear idea of and when, where, how often, etc. If more exercise
how they will is your goal , figure out how you will schedule it into
accomplish their your week and put it on your calendar. If you want
goals. They to eat healthier, write down meals and snacks for
may struggle, get disappOinted, and give up after a the week. Keep the foods you 'll need on hand, and
short period of time. Here are some tips to help you consult your plan before you eat. Make sure the plan
make healthy changes that become l ifelong habits: you create is achievable and that it works for your
D Make one change at a tim e . Replacing unhealthy lifestyle. For example, if you' re a big meat eater, a
plan to eat only vegetables is not going to happen!
behaviors with healthy ones takes time. If you try to
Likewise, if you're not a morning person, don't plan
change too much too fast, you won't be successful.
daily workouts at 5:00 A.M. !
Focus on one change you'd like to make. If you r goal
is to improve your eating habits, choose one thing
�------� �
Eati ng We l l W49
13 Com p l ete the state me nts with words a n d p h rases from t h e box.
" b a by step" cha l l e n g i n g ha bits real i stic strug g l e successfu l
1. Yo u wa nt the changes yo u m a ke to beco m e _______ which yo u d o reg u l a rly

without th i n ki n g .
2. It's d iffi c u l t t o m a ke l ifesty l e c h a n g e s . You may _______ , b u t d o n 't g ive u p .
3. If yo u try t o m a ke m a ny b i g changes a l l at on ce, y o u p robably wo n 't be _______
4. If yo u wa nt to sto p d r i n k i n g coffee, yo u co u l d start by d r i n k i n g two c u ps eve ry m o rn i n g i n stead of

th ree. T h i s is a _______
5 . When you p l a n to m a ke a c h a n g e, be _______ . Set goal s yo u ca n acco m p l i s h a n d that

work fo r yo u r l ifestyle.
6. Try i n g to change the way yo u eat is _______ . It ta kes a l ot of effo rt.
14 Th i n k about a l ifestyle change yo u have tried to make. Was you r change s u ccessfu l ? O n a sepa rate
sh eet of paper, expla i n why or why not .
... ;50(, j :'" <C 1?'P
LESS O N r'
15 Com p l ete the postca rd with the correct form of taste, s m e l l , o r l o o k .
Hi Re i ko,
I 'm havi ng a great time in Marrakech!

'testero.ay I walkeo. i n the main square, ano. it
_______ like a scene from a movie!
1.
People i n long, beaUtiful robes were every.Jlhere,

ano. there Was so much fooo.! I saW some fish
that like the ki nO. We have
2.
at home. Somewhere else i n the market,

I coulo.n't see Where, there was a ki nO. of gri lleo. meat
that terrtfic. I founo. it, but o.io.n't know tf I shoulo. try it. It
3.
_______ ki nO. of strange, but I bought some anyway. It Was o.elicious!

4.
It ______ both spicy ano. sweet. It wasn't at all What I expecteo.!

5.
'tou shoulo. come here on your next vacation!

See you soon,
Junko
W50 U N IT 6
16 Co m p l ete t h e wo rd webs. Write t h ree exa m p les o f foods that match each adjective.
c ru n chy
s p i cy
sweet
so u r
FACTOID:
c hewy
I n pa rts o f Africa, a n ts, term ites,
beetl e g ru bs, cate rpi l l a rs, a n d
g rassh o p pers a re eate n . Some
i n sects, s u c h as term ites, a re
eate n raw soon afte r catc h i n g ,
w h i l e othe rs a re ba ked o r fried
befo re eati n g .
17 Descri be a n u n u s u a l d i s h you have tried . W h e re a n d w h e n d i d you eat it? What d i d it look,

smell, and taste l i ke? Wo u l d you reco m m e n d it to someone o r not?
--- ------- ----
--f------- -------
- ------------o__- ___
-- -
Eating Wel l W51

G RAM MAR BOOSTER
A Read the state m e nts. Then write a sente n ce with u se to or u sed to a bout
a habitual actio n that i s no longer true today.
1. S i n ce C h a r l i e sta rted g o i n g to the gym every d ay, he's l ost so m uc h wei g ht.
C h a rl i e d i d l) ' t u �e to 90 to th e 9ym every d ay.
2. W h e n h e wasn't wo r k i n g , Scott m a d e d i n ne r eve ry n ig ht. N ow he doesn't have time.
3. Pau l beg a n getti ng up early eve ry d ay w h e n he had c h i l d re n .
4 . As C i n dy g o t o l d e r, h e r tastes c h a n g e d . N ow she actu a l ly l i kes vegeta b l e s .
5 . I c a n 't bel ieve J u dy doesn't e a t m eat a ny m o re !
6 . When Peter's docto r to l d h i m t h a t h e had bette r stop s m o k i n g , he q u it.
7. After Pa m e l a and Ed got m a rried, they b o u g h t th e i r fi rst car.
B Write a � / no q uestio n fo r each response, u s i n g a form of used to.

1. A: D i d yo u u�e to work i l) th at pa rt of th e c i ty?
B: Yes, I d i d . I u sed to work in that pa rt of the city a few yea rs ago.
2. A:
B: No, they d i d n't. Peo p l e d i d n't u se to read the n ews o n l i ne.
3. A:
B: Yes, it d i d . B rea kfast u sed t o be free at the W i n dfie l d I n n .
4 . A:
B: N o, they d i d n 't. F ood s d i d n 't u se t o have l abel s.
5. A:
B: Yes, I d id . I u sed t o l ive c l ose r t o work.
6. A:
B: Yes, they did. Ca rs used to use a l ot m o re gas.
7. A:
B: N o, I d i d n 't. My b rother u sed t o d rive a va n, b u t n ot m e .
W52 U N IT 6
C Com p l ete the sente n ces with be used to, affirmative or negative.
1. M i c he l l e has been on a l ow-fat, h i g h -fiber d iet for m a ny yea rs. She ______ fru its,
veg eta b l es, and w h o l e g ra i n s . She ______ rich food, s u c h as steak a n d ice crea m .
2. K a re n j u st g ot a h a i rcut. It's very d iffe re nt from h e r o l d sty l e . S h e ______ h e r n ew
l o o k yet.
3. We re nted a m i n iva n, but at h o m e I d rive a co m pact car. I ______ d ri v i n g such a
b i g ca r.
4. ______ b u d get h ote l s , so it's a treat to stay i n t h i s expensive hote l with so m a ny
a m e n ities.
5 . J eff i s c razy a b o u t acti o n m ovi e s . H e ______ watc h i n g a l ot of viole n ce o n the b i g
scree n .
o Com p lete the state m e nts i n you r own way.
1 . The B row n s j u st m oved from A l a s ka to Hawa i i . They c a n 't get u sed to ____________
2. Rose rece ntly m oved fro m a s ma l l tow n to a b i g city. S h e's g etti n g used to __________
3. Co n n o r u sed to be a vegeta ria n . H e sti l l h a s n 't g otten u sed to ______________
Write th ree se nte n ces about t h i n g s you d i d often when you we re a c h i l d . Use wou l d .
1.
2.
3.
E Com plete t h e conversations. Com p l ete the neg ative � / n o q u esti o n s and write s h o rt a n swers.
1. A: yo u have a ny vegeta rian friends?
B: · N o n e of my fri e n d s a re veg eta ria n .
2. A: you try i n g t o l ose weig ht?

B: · I 'm o n a d iet.
3. A: h e l i ke s p i cy food?
B: · He c a n 't sta nd s p i cy food .
4. A: there s a rd i nes o n that p izza?

B: · The p izza has s a rd i nes o n it.
5 . A: S a n d ra a l l e rg ic to fish?
B: · S h e d o e n 't h ave a ny p ro b l e m eati n g fis h .
Eating We l l W53
F Com p l ete each conversation with a s u g gestion u s i n g Why d o n 't or Why doesn't.
1 . A: I 'm too ti red to cook d i n n e r to n i g ht.
B: g o out t o eat?
2. A: M r. Lee's o l d va n kee ps b rea k i n g d ow n .
B: buy a new car?
3. A: My mother th i n ks the h otel roo m wi l l be too s m a l l .
B: reserve a s u ite?
4. A: That d o c u m e nta ry was rea l ly l o n g a n d bori n g !
B: watch a com edy n ext t i m e?
WRITI NG BOOSTER
A C i rcle the best subord i nati n g co nju nction to com plete each sente n ce .
1. It's i m portant t o e a t fru its a n d veg eta b l e s (beca use / u n less / a lthou g h) they a re sou rces o f vita m i n s
a n d fiber.
2. Yo u s h o u l d avoid fatty foods a n d sweets (u n l ess / eve n t h o u g h / if) yo u 're watc h i n g yo u r weig ht.
3. O n the Atki n s Diet, you can eat b u tter (s i n ce / eve n tho u g h / u n less) it has a l ot of fat.
4 . Yo u ' l l l ove the n ew Arg e nti nean stea khouse E I Matad o r-(u n l ess / if / because) yo u 're a veg eta ria n .
S . ( I f / S i n ce / Tho u g h) H a n na h doesn't c a re fo r fish o r seafood, w e d i d n't go o u t fo r s u s h i .
6. ( B ecause / I f / Alth o u g h) sh e's c u tti n g b a c k o n sweets, Da n i e l l e h a d a piece o f ca ke a t t h e bi rth d ay

pa rty.
7. Kate is avo i d i n g d a i ry p rod u cts (even tho u g h / u n less / beca u se) they d o n 't ag ree with h e r.
8 . ( U n less / If / S i n ce) he has to stay u p l ate studyi n g, A n d rew doesn't d ri n k coffee.
9. (A lth o u g h / If / U n l ess) c h i l d re n a re ta u g ht to a lways "cl ean t h e i r p l ates," they m ay beco m e
ove rwei g ht.
1 0. (U n l ess / Tho u g h / Beca u se) it's d iffi c u l t to c h a n g e yo u r habits, you can s u cceed by m a k i n g o n e
s m a l l c h a n g e at a ti m e .
B Th i n k about you r eati n g hab its today a n d you r eat i n g ha bits when you were yo u n g e r. Write
six se nte n ces: three a bout you r eati n g ha bits n ow a n d three about how you used to eat. Use
s u bord i nati n g conj u n ctions.
1.
2.
3.
4.
S.
6.
C O n a sepa rate s heet of pa per, write a para g ra p h about how you r eati ng habits have changed.
W54 U N IT 6
UNIT 7
About Pe rso na l i ty
1 Read each descri ptio n . Then g u ess the co lor being descri bed.
1. Peo p l e associate this co l o r with powe r, i n te l l ig e nce, a n d sometimes evi l . It's po p u l a r i n fas h i o n
beca use it m a kes people l o o k s l i m m e r. ______
2. Peo ple associate this co l o r with c l ea n l i ness a n d p u rity. It's po p u l a r i n decorat i n g beca use it goes
with eve ryt h i n g . ______
3. This is on e of the m ost a p pea l i n g co l o rs . The co l o r of the ocea n a n d the s ky, peo p l e fi n d it peacefu l
a n d ca l m i n g . It's a g reat co l o r fo r a bed roo m . It's not a good ch oice fo r a d i n i n g roo m - u n less you 're
on a d iet. ______
4. T h i s co l o r is associated with e n e rgy a n d excite m e nt. It m a kes yo u r h ea rt beat faste r- a n d i n c reases

yo u r a p petite. I t's a p o p u l a r co l o r fo r fast c a rs and resta u ra nts. In C h i na, it means good l uck.
2 Read the Photo Story o n page 75 of the Stud e nt's Book aga i n . M atch each
p h rase o r state m e nt with its m ea n i n g .
1. __ getti n g a l itt l e ti red of a . i n m y o p i n io n it was
2. __ to m e it was b. Th at's true. I had n 't thought of that.
3. __ p u l l i n g yo u r leg c. I d o n 't want to
4. __ G ood point. d . l o o k s g ood w i t h a l l t h i n g s
5. __ I 'd hate t o have to e . bored with
6. __ o n the w ro n g track f. n ot th i n ki n g correctly about this
7. __ goes with eve ryth i n g g . j o k i n g b y say i n g som eth i n g that i s n 't true
3 Write about you r own col o r p refe re n ces.

1. Wh at's yo u r favo rite co l o r? H ow does it m a ke you fee l ?
2. What room i n you r h o m e wou l d y o u l i ke to paint a d ifferent color? What color wo u l d you choose? Why?
3. Pa i nt colors have n a m e s that d escribe s pecific shades-such as "tomato red " o r "e m e ra l d g reen."
Create a n a m e fo r yo u r favo rite shade of yo u r favo rite co l o r.
FACTO I D: M e n , women, a n d colors

Stu d i es h ave fou n d that women
prefe r red ove r b l ue, but m e n prefer
b l u e ove r red .
W55
LESS O N
4 Com p l ete lucia's lette r. Use gerunds a n d i nf i n itives. Re mem ber to put the
ve rbs in the correct te nse.
H i R e b e c c a)
We l l ) I fi l) a l ly m a d e a c h a l) g e ! La�t w e e k I �a i d to my�elf) " I __-:----:-:---:--:--:-:---;-__ at o u r

1 . c a n ' t sta n d / l o o k
)
old k i tc h e ll wa l l � olle m o re d ay! ) So I __--=--:---:-:-...,._
.- ,..._
.-- _ th e m ! My roo m m ate S a ra �a i d
2 . d e c i d e / re p a i n t
W e �h o u l d __ ----=-�-----,,......,._
.-- --- a p l a ll b efo re We d o it. S h e evell __--;-___;--:__ _
3. d i sc u s s / m a k e 4 . s u g g e s t / ta ke
a m O l)th o r tWo to th i ll k a b o ut i t. Sh e �a i d We �h o u l d __-;:-_--;----:---:___

5. practice / p a i nt
)
fir�t) b ut I a l re a dy k ll o w h O W to p a i llt. I d O Il t __---::__--:-:-:----- . A llyway) I
6. n e e d / l ea r n
__ --=-:--_-:---:-:-____ Il e W th i Il 9 � ' fi Il a l Iy) We __--::---;-_---:---:-___ th e k i tc h e ll a

7. n o t m i n d / try 8. c h o os e / g i ve
c h eerfu l c o l o r - b ri 9 ht ye l l o w ! I ) m Il ot � u re ) b ut S a ra __ ----:_
:- :__--:-:::--- th e ll e W
9 . n ot s e e m / l i k e
c o l o r. I II fa ct) I d O Il ) t th i ll k �h e _______ ! B ut I h o p e �h e d o e �) b e c a u�e I

1 0. e n j oy / p a i n t
_______ th e I ivi ll 9 rOo m Il ex t. I _--::-::-_--;-;-;::-�__:_:__- it to m ato red !

1 1 . plan / paint 1 2 . wo u l d l i ke / p a i n t
What do yo u th i ll k a b o ut th at?
Lucia
5 Com p lete each sentence with a gerund o r i nfi n itive a n d a n adjective from the box.
a n n oy i n g bori ng depressing enjoya ble exciting relaxing
1 . I 've had the m o s t stressfu l w e e k at wo rk! I n e e d ____-..,.____ a faci al this weeke n d .

get
I f i n d it so _________
2. We d o n 't want ____--:-____ to n i g ht's g a m e . O u r favo rite tea m is i n the c h a m p i o n s h i p .

miss
It's going to be rea l ly _________
3. M ost kids h ate _______ s h o p p i n g . They th i n k it's not a ny fu n a n d com p la i n , IIThis is

go
so _______ "
4. I had to ask a c l assm ate to p l ease q u it ____;---____ h i s penci l o n the desk. I fo u n d it very
tap
5. I d o n 't fee l l i ke _____.,---___ that fi l m . I hea r it's ve ry _______ . I 'm n ot i n

watch
the mood fo r a sad m ovie.
6. M a x u s u a l ly doesn't m i n d ____----_
--, ___ . H e finds it p retty _________
e xe rci s e
W56 U N IT 7
6 Write a bout yo u r p l a n s for the wee ke n d . Use verbs with d i rect o bject i nfin itives, such
as need, pla n , wa nt, and wou l d l i ke.
---- ----- - -.
7 Co m p l ete the conversati o n . Use the co rrect p reposition with the verb o r
adjective, a n d a g e r u n d .
A: Yo u look a l ittl e b l u e . What's u p?
B: O h , noth i n g rea l ly. I ' m j u st __ > i_

--'- c,- f-,w_O_f--,
k--:-o--:- k_i l)'-.J'
9___ late eve ry n i g ht.
1 . s ick / work
A: I s that a l l ? Yo u look rea l ly dow n .
B: I 'm ___ ----=---:-_:-:-:--___ the s a m e th i n g eve ry day. And I a lso fee l

2 . b o red / d o
___----:;-_-;-;-_--;-___ too l ittl e t i m e at h o m e .

3 . sad / spe nd
A: H ave yo u __----:-_------:-
-: ----:-:------:-__ ove rti m e?
4 . co m p l a i n e d / wo r k
B: No. I 'm ___ --=---=--:-:-.,----,--___ my boss a n g ry. I had to __----;:_-;----:-----;--;:---:---;-- __ a re po rt

5 . afra i d / m a k e 6 . a po l og i ze / fi n i s h
l ate. And now my boss is _

__ -=----:-:-:-_:--:-____ u s m o re work.
7. ta l k i n g / g i ve
A: Wow ! I see why yo u a re fee l i n g b l ue. Why d o n 't yo u sta rt l o o k i n g for a new j ob?
B: M aybe I s h o u l d .
FACTO I O: Food t o I m p rove You r Mood

Stu d i e s s h ow that eati n g certa i n foods can help cheer you u p w h e n you a re fee l i n g blue. Eati n g
foods that conta i n vita m i n s 0 a n d B a n d o m e g a - 3 fatty a c i d s , such as fish, n uts, eggs, s p i nach,
and ba n a n as, i ncrease the c h e m i ca l s in yo u r b ra i n that m a ke you feel h a p py and rel axed .
About Personal ity W57

8 S u g g est someth i n g to cheer the people u p. Write co m p l ete sentences.
I'm rea l ly ti red of this job. A rai ny M o n day

I 've been worki ng late a lways puts me
eve ry n ig ht fo r a month! i n a bad mood.
1. 2.
3. 4.
t�f2::r::;:��··��'��
'
iLESSO N , ": ,
9 Read the article about personal ity on page 80 of the Student's Book again. Then answer the questions.
1. What a re peo p l e with easyg o i n g perso n a l ities l i ke? ___________________
EXl1IA READING
COMPREHENSION
2. What type of p e rso n a l ity is the o p posite of easyg o i n g? _________________
3. Why is it d iffi c u l t to settle the "n atu re- n u rtu re co ntrove rsy " ? ________________
4. Where d o most experts b e l ieve o u r pe rso n a l ities co m e from? _______________
5. Do you th i n k natu re o r n u rtu re is m o re i m portant i n fo rm i n g pe rso n a l ity? Ex p l a i n yo u r a n swer.
W58 U N IT ?
10 Read t h e posts o n a n o n l i n e m essage board . Ra n k the peo p l e from 1 to 5 , with 1 b e i n g the
l east i ntrove rted a n d 5 b e i n g the most extroverted.
File Edit Links Tools Help Chat
11 Are you a n i ntrove rt, a n extrovert, or a l i ttle of both? Write you r own re p ly to the
message boa rd topic in Exe rcise 1 0.
Posted by: __________

LESS O N
12 Read the facts a bout o n ly c h i l d re n . Then answer the q uestions.
W h a t does b e i n g a n o n ly child s a y a b o u t you?
FACT # 1 . They have h i g h e r FACT # 4 . They h ave a s m a ny

IQs. fri e n d s as a ny oth e r c h i l d .
A 20-yea r study showed that P rofessor a n d researcher
o n ly c h i l d re n had very stro n g Ton i Fa l bo spent 35 years
ve rba l s k i l l s that possi b ly resea rc h i n g o n ly c h i l d re n . He
ca m e from joi n i n g i n on their hasn't fou n d a ny p roof to say
p a rents' conversatio n s at the that o n ly c h i l d re n a re l o n e l ie r
d i n n e r ta b l e . than c h i l d re n w i t h s i b l i n g s .
FACT #2 . They a re m o re
confi d e n t t h a n oth e r FACT # 5 . T h ey a re h a p p i e r
c h i l d re n . t h a n c h i l d re n w i t h s i b l i n g s .
O n ly c h i l d teenagers have a A 201 0 study su rveyed 2,500
h i g h e r " i n d ex of confidence" c h i l d re n . The o utcom e was
about themselves a n d their that o n ly c h i l d re n were
a b i l ities than oth e r tee nagers. h a p p i e r than c h i l d re n with
They th i n k it is beca use they s i b l i ngs, o n ave rage. This
d i d n't g row u p with o l d e r h a p p i n ess was due to o n ly
s i b l i ng s tea s i n g them a n d c h i l d re n n ot having to
ca l l i n g t h e m n a m e s . compete fo r their p a rents'
attentio n .
FACT # 3 . T h ey a re n o t
spoiled.
Stu dies h ave s h ow n that o n ly
c h i l d re n a re n ot m o re spoiled aca d e m i c s .
than othe r c h i l d re n , even Research has s h ow n that o n ly
t h o u g h they do not h ave or o l d e r c h i l d re n score h i g h e r
the o p p o rtun ity to learn to o n ach ievement tests. M ost
s h a re their t h i n g s with other o n ly c h i l d re n also m ove on to
siblings. u n d e rg ra d u ate studies.
1. What i s the basic idea beh i n d o n ly c h i l d re n being h a p p i e r? ________________
2. Which of these fa cts a l so i nvo lves a c h i l d with s i b l i n gs? _________________
3. W h i c h fa ct p roves a m isco nceptio n about o n ly c h i l d ren to be fa l se? _____________
4. Are you a n o n ly c h i l d ? ______ Do a ny of these facts describe yo u? Why o r why

n ot? ______________________________________
W60 U N IT 7
5. Co m pa re the perso n a l ity traits of yo u r bi rth o rder with these fa cts . Are there a ny s i m i la rities? Which
describes you bette r?
G RAM MAR BOOSTER
A Com plete each sente n ce with a g e r u n d o r a n i nfin itive. Use verbs from the box.
If either a g e r u n d or a n i nfi n itive is correct, write both forms.
I coo k do drink p l ay ride study watch
1 . S u s a n ca n 't sta n d the d ishes afte r d i n ne r.

2. M i chael l oves the g u ita r.
3. M a ri a n n a hates for exa m s .
4. Joseph wou l d l i ke h i s b i ke.
5. Beth doesn't m i n d fo r h e r fa m i ly.
6 . J i m l i kes TV.
7. My fri e n d J a n e avo ids whole m i l k.
B U nscra m b l e the words a n d p h rases to com p l ete the co nversati ons.

Use a g e r u n d o r a n i nfi n itive.
1. A: J o h n c a l) ' t ,ta l'l d th i l'l k i l'lg a b o ut grad uati o l'l

th i n k / a b o u t / c a n ' t s ta n d / g ra d u a t i o n
B: I k n ow.
H e / l eave / hates / h i s f r i e n d s
2. A:
ref u s e / d i n n e r / to n i g h t / I / m a ke
B: F i n e b y m e .
d o n ' t m i n d / g o / I / o u t t o eat
3. A: ?
b u y / d i s c u s sed / H a v e / y o u a n d Pete r / a h o u s e
B: Yes .
f i n d / W e / wo u l d l i ke / s o m et h i n g b i g g e r
4. A:
to n i g h t / y o u / I / s e e / d i d n ' t e x p e c t
B: We l l,
at t h e l a s t m i n u te / I / d e c i d e d / c o m e

C Com p l ete each se nte n ce . C i rcle the l ette r.
1. I l ove __ TV i n the eve n i n g .
a . watch b. to watc h c. watched
2. I h u rt my knee l a st m o nth, so I q u it . __
a . jog b. to jog c. jog g i n g

3. __ too m a ny sweets is b a d fo r yo u .
a . Eati n g b . Eat c. Eate n
4. M y favo rite t h i n g to d o afte r work is __ magazi nes.
a . read b. to rea d i n g c . to read
5. If yo u g et an early sta rt, you ' l l have a bette r ch a nce of __ yo u r work on ti me.
a. finish b. f i n i s h i n g c. to f i n i s h
6 . I d o n 't m i n d __ the w i n d ow. It's freez i n g i n h e re !
a. closing b. close c. c l osed
7. __ o pe ra we l l i s a h a rd t h i n g to d o.
a . Si n g b. To s i n g c. To s i n g i n g
D F i n d a n d correct seve n errors i n the d ia ry.
US'ua l ly I d o /'/ t m i n d S'tudyi ( 9 ) b ut laS't n i 9 ht I WaS' S'O S' i c k of d o h o m e Work th at I d e c i d ed to
9 0 o ut with A my. 5he fe lt l i ke 9 0 to th e m ovieS'. I S'u9 g e S'ted a n e W c o m e dy that I ) m excited

)
a b o ut to S'ee. B ut A my S'a i d S'h e can t S'ta n d fu n ny m ovi e S' and S'v9 g eS'ted to WatCh a n a cti o n
m ovie inS'tead . To m e) WatCh vi o l e n c e n o t a p p ea l i n 9 . 50 fi n a l ly) We a 9 reed tryi n 9

i s'
)
)
a n a n i m ated fi l m fro m J a p a n . W e both fo u n d it rea l ly e nj oya b l e. We re p l a n n i n 9 rent S'o m e
oth e r a n i m e fi l m S' to WatCh th iS' weeke n d .
E Com p l ete each sente n ce with a n affi rmative or negative geru n d .

1. Yo u s h o u l d sta rt ______ eve ry d ay if you want to l ose weig ht.
exerc i s e
2. Sue was worried about ___ --,--____ e n o u g h m o n ey to pay h e r b i l l s .
have
3. When will you f i n i s h ____ -;-___ o n that p roject?
work
4. Avo i d a ce l l p h o n e whi l e you 're d rivi n g .
use
5. Ste l la and I have co nsi d e red ___ --:-____ a n ew car. We j u st d o n't h ave the m o n ey.
buy
6. I a p o l o g ize fo r ____ ...,.,-_
-- __ you that I 'd be late. I 'm so rry that yo u 've wa ited so l o n g .
te l l
7. Let's start ____ -;-:-___ . I 'm g o i n g to l ove ___ ----:-----:-___ at that o l d wa l l pa p e r
paint l ook
a ny m o re !
8. Nata l i e has been work i n g very l o n g h o u rs l ate ly. She's d e p ressed about ____ ----,-_
-- __ m uc h
spend
ti me w i t h h e r fa m i ly.
9. I s u g g est ____ .,--___ fatty food s . You ' l l be h ea l t h i e r.
eat
W62 U N IT 7
WRITI N G BOOSTER
A Com p l ete each sente n ce. C i rcle the l ette r. Be ca refu l to use para l l e l structu re .
O n e ite m has two co rrect a nswers.
1 . Robert has beg u n to exercise, eat a hea lthy d i et, and __ p l e nty of s l eep.
a . g etti ng b. t o get c. get
2. J u l ia hates wo rking l o n g h o u rs a n d __ e n o u g h ti m e with h e r fa m i ly.
a . n ot s p e n d i n g b. t o not s p e n d c . n ot spend
3. V i rgos l i ke to read a n d __ t i m e a l on e.
a. spending b. t o s p e n d c. spend
4. Altho u g h h e h a s b e e n seei ng a psychol og ist, he con ti n ues t o fee l d o w n , t o avoid i nte racti o n with
othe rs, and __ all the ti m e .
a . fee l i n g tired b . to fee l t i red c . feel ti red
5. Enjoyi ng bei ng a l o ne, b e i n g h a rd to get to kn ow, a n d __ a n d e m oti o n s i n side a re traits typical of

an Aries.
a . kee p i n g th o u g hts b . to kee p t h o u g hts c. kee p thoug hts
6. Some typica l behaviors of a m i d d l e c h i l d a re to break ru les, have a l ot of friends, and __ rebe l l io u s .
a . bei ng b. to be c . be
B Answe r the q u esti ons a bout you r own l i kes, d i s l i kes, a n d perso n a l ity. Answe r i n com p lete
sente n ces, u s i n g words a n d p h rases from U n it 7. Be ca refu l to use para l l e l structure.
1 . What a re yo u r l i kes? ______________________________
2. What a re yo u r d i s l i kes? _____________________________
3. W h i c h extrove rt pe rso n a l ity traits d o you have? ____________________
4. Which i ntrove rt p e rso n a l ity traits d o you have? ____________________
5. What is yo u r b i rth position i n yo u r fa m i ly? _____________
6 . W h i c h traits fo r t h i s positi o n describe yo u? _____________________
7. What is yo u r zod i a c sig n? ______________
8. W h i c h traits for th is s i g n describe you? _______________________
C O n a sepa rate sheet of paper, write at l east two para g ra p h s a bout yo u r perso n a l ity. I n
the fi rst pa ra g raph, te l l someth i n g a bout you rself. I n the second paragraph, d i scuss w h e re
you th i n k you r person a l ity tra its come fro m - n atu re, n u rtu re, bi rth order, a n d / or astrology.
Abo ut Personal ity W63

U N IT 8
T h e Arts
1 Look at the pa i ntings a n d read the conversati o n . Then read the statem e nts
and check true or fa lse.
A Quiet Night b y Charlotte G reene Henry by Min Kyu n g Paek
S o p h i e : I s this pai nti n g by C h a r l otte G reene? I Gera l d : H ey, this i s a n i n te resti n g p iece. It's by
had n o idea s h e h ad so m u c h ta le nt ! M i n Kyu ng Pae k . I l ove h e r work.
Gera l d : S h e doesn't rea l ly l o o k l i ke the a rtistic Sophie: I th i n k it's k i n d of d e p ressi n g .
type, d oes s h e?
Gera l d : You do? M aybe you 're j u st fee l i n g a
Sop h i e : I g u ess yo u c a n't a l ways j u d g e a book l ittle b l u e tod ay.
by its cover. I t's rea l ly q u ite good.
Sop h ie: N o, I mean it. I g u ess I 'm j ust not
What d o you t h i n k?
rea l l y i nto a l l the da rk co lors.
Gera l d : I f i n d it a l ittle wei rd, actu a l ly. It m a kes
Gera l d : We l l, to each h i s own, I g u ess.
m e fee l n e rvo u s .
Soph i e : B u t that's w h a t m a kes it i n te resti n g .
I n m y o p i n i o n , it's exciti n g .
true fa lse
1 . G e ra l d i s rea l ly i nto C h a r l otte G reene's pa i nti n g . D D
2. S o p h i e l i kes G reene. D D
3. G e ra l d i s a fa n of Min Kyu n g Paek's a rt. D D
4. S o p h i e finds Paek's pai nti n g d e p ress i n g . D D
5. S o p h i e p refe rs d a rke r co l o rs t o brig hter co l o rs . D D
6 . S o p h i e a n d G e ra l d l i ke the s a m e k i n d o f a rt. D D
W64
2 Write a p l u s (+) next to the statem ents that i n d i cate that the person l i kes the a rt, a n d
a m i n us ( ) next t o the state ments t h a t i n d icate t h a t the perso n doesn't l i ke i t .
-
1. __ I had n o idea h e had so m uc h ta le nt. 6. __ I g u ess I 'm j u st n ot rea l ly i nto

2. __ H e r work is ve ry i m p ressive. modern a rt.
3. __ This a bstract scu l ptu re is fasci nati n g . 7. __ It's a l ittle wei rd, but that's what m a kes
it so i n teresti n g .
4. __ I t's a n u nfo rgetta b l e p hotog ra p h .
S. __ I f ind it a l ittl e bori n g , actua l ly. 8. __ T h i s i s a n u n u s u a l piece, but I d o n 't
f i n d it a p pea l i n g .
3 What d o Sophie a n d Gera l d th i n k o f t h e pa i ntings on page 64? Com p l ete t h e chart.
G reene Paek
Soph ie's o p i n i o n
G e ra l d 's o p i n ion
".-
4 C H ALLE N G E . W h i c h pa i nt i n g i n Exercise 1 do you p refer? Why?

Write a few sentences express i n g yo u r o p i n i o n .
LE SSON
5 Read each sente n ce a n d decide if it is i n the active voi ce (A) o r passive voi ce (�).
1. __ M a ny peo p l e visit the M etro p o l ita n M u se u m of Art i n New Yo rk.
2. __ The g l ass pyra m i d i n f ro nt of the Lo uvre was f i n i shed i n 1 989.
3. __ A co l o r poster of the painting was made ava i l a b le.
4. __ The m u seu m cata log has been t ra n s l ated into m a ny l a n g uages.
S. __ A k i ra K u rosawa d i rected the fi l m Seven Samurai i n 1 954.
6. __ That vase was made i n a n cient Egypt.
7. __ The ph otog ra p h was taken fifty years ago.
8. __ M atisse painted La Musique i n 1 91 0.
The Arts W65

6 Use the i nformation i n the chart to write two sente n ces, o n e i n the active vo ice
and one in the pass ive voi ce. Be s u re to use the correct verb with the a rtwork.
Art O bject Artist Yea r

1 . Still Life with Wa termelon (painting) Pa b l o Picasso 1 946
2. Vines and Olive Trees (pai nting) J o a n M i r6 1 91 9
3. The Raven and the Firs t Men (wood fi g u re) B i l l Reid 1 994
4. Citizen Kane (fi l m) Orson We l l es 1 941
5 . Wa terfron t Demons tration ( p h otog ra p h) Dorothea Lange 1 934
1 . Active: Pa b l o P i c a Ho pa i nted Still L ife with Wa term elon in 1'1% .

Passive: Still L ife with Waterm elon Wa� pa i nted by Pa b l o P i c aHo i n 1'1% .
2 . Active:
Passive:
3 . Active:
Pa ssive:
4. Active:
Passive:
5. Active:
Passive:
7 Read a page from a tou r g u i d e a bout Pa ris. Co m p l ete the conversatio n . M a ke a reco m m e n d ation
to someone who i s visiti n g Pa ris, u s i n g the i nfo rmation i n the tou r g u i d e .
The Rod i n M u seu m I

There are many
� Be s u re _____________________________
1.
wonderful museums i n Paris.
to see while you are
v i siting Pari s . One
museum you should � We l l, _______________
2.
be sure to visit i s the
lovely Rod i n Mu seu m .

B: N o kidd i n g !
T h e Rod i n Museum houses over 6,600 C@),. They a l so ______________
3.
sculptures. There i s also an i mpressive
garden . A large nu mber of sculptures are
presented i n this setting, includ i ng yo u ' I I _______________
4.
Rodi n's most famous work, The Thinker.
I n addition to the sculptures, take a look
B: Tha n ks fo r the reco m m e ndati o n .
at the excel lent d raw i ng collection.
M any of Rodin's s ketches are there.
W66 U N IT S
8 Ch oose the correct res ponse. Write the l etter o n the l i ne.
1. __ " Is this vase h a n d made? " a . C l ay. It's h a n d made.
2. __ "What do y o u th i n k o f this pai nti ng?" b. Yes, it is.
3. __ "Where was the fig u re made? " c. It says it was made i n B u l g a r i a .
4. __ " D o you k n ow w h e n t h i s d . N ot m u c h . I ' m n o t c razy a b o u t
p h otog ra ph was taken?" the co l o rs .
5. __ "What's the bowl made of? " e. Aro u n d 1 980, I th i n k .
9 U n scra m b l e the words to write q u esti o n s .

1. we re / Where / b u i l t / th ose / wood c h a i rs _______ ?
2. made of / a re / those / bowl s / What ?
3. We re / p a i n ted / those / wood fig u res / by h a n d ?
4. was / pai nted / When / that / m u ra l ______ ?
5. this / made i n Tha i l a n d / g o l d jewel ry / Wa s ______ ?
6. a re / What / these / used fo r / c l oth bags _______ ?
10 look at the pictu res. Write sentences to describe the objects. Use words from the box or you r own ideas.
Material c l ay c l oth g l ass gold sto ne wood

Adjective bea u tifu l bori n g cool d e p ressing fa ntastic fa sci nati n g
i m p ress ive i nteresti ng p ractica l te rrific weird wonderf u l
1. Th e h a t i s- m a d e of c l oth . It ' s- fa ntas-ti c .
2.
so m b rero hat, M exico bag, S pa i n
3.
4.
e l e p h a n t fig u re, I ndia rocking chair, Canada
5.
ba l a l a i ka g u ita r, Russia
6.
va se, Fra n ce
The Arts W67
·
LESS O N '-
11 Read the a rticle a bout how to d eve l o p a rtistic ta l e nt.
O,
o S
yo u 'd l i ke to i m p rove yo u r artistic
a b i l ity, but you t h i n k you don't have any
natural t a l e nt? The truth i s you d o n ' t
h ave to b e b o r n w i t h t a l e n t t o be a g o o d
art i st - a n d t o enjoy m a k i n g a r t . Artist i c s k i l l
c a n be l earned .
M any peo p l e who try painti ng g et

frustrated and g ive u p because they feel t h ey
l a c k t h e "artist i c g e n e . " H owever, t h e real
pro b l e m i s that t h ey have j ust n ever been
trained to look at t h e wo r l d l i ke an art i st .
W h e n n o n -artists l o o k a t the s u bject of a
d raw i n g , t h ey see it with t h e l eft s i d e of t h e i r Peop l e who c l a i m they h ave no artist i c
b ra i n s . T h ey i m m e d i ately beg i n fi g u r i n g o u t talent may act u a l l y h ave talent. B u t they m ay
t h e mean i n g of w h at t h ey see. An artist pays not be a b l e to use it because they worry, "What
atte n t i o n to w h at is act u a l l y b e i n g see n - t h e w i l l peo p l e th i n k? W i l l I look s i l ly? W i l l my
l i n e s . Are t h ey stra i g h t o r c u rve d ? Dark o r p i ece be awfu l ? " You n g c h i l d ren rarely h ave
l i g ht? W h e re d o t h ey i ntersect?
o these fears . They j ust enjoy the experience of
creat i n g someth i n g . To be successfu l at art,
Want to l earn to see l i ke an arti st? Try
you w i l l need to ado pt the carefree attitude
t h i s exerc i s e . F i n d a l arge p h oto of a face
that you once had as a c h i l d . D o n ' t worry
and try to d raw it. It's OK if yo u r d raw i n g
about the res u lts. J u st re lax and enjoy the
looks bad . T h e n t u r n t h e p h oto u p s i d e d ow n
experience of c reat i n g art.
a n d try agai n . T h i s t i m e foc u s o n l y o n t h e
re l at i o n s h i ps o f the i n te rsect i n g l i nes a n d Anyo n e can develop the necessary s k i l l s
shapes. A l m ost a l ways , the u ps i d e - d ow n and u nd erstand i n g t o c reate a r t . Those with
o d raw i n g , w h e n tu rned r i g h t s i d e u p , w i l l be natural talent are able to learn more q u i c k l y
m u c h better than t h e r i g ht-s i d e - u p vers i o n ! and eas i l y, but even they w i l l n eed trai n i n g ,
H ow d i d t h i s happen? By t u rn i n g the p h oto p ract ice, a n d hard wor k . S o , stop m a k i n g
u p s i d e d ow n , the l eft s i d e of you r brai n excu ses and g et started ! Take a r t lesso n s ,
stopped l o o k i n g at the p h oto as a fac e . read books on art , and attend a r t exh i bits .
I n stead , the r i g h t s i d e of yo u r b ra i n took over Expose yourself to a vari ety o f tec h n i q ues,
and began see i n g the p h oto in a new way. kinds of art , and other artists. And t h i n k of
beco m i ng an artist as a l i fet i m e j o u rney. Stop
worryi n g about m a k i n g m i stakes and enjoy
the adventure!
W68 UNIT 8
Answe r the q uestions, acco rd i ng to the a rticle. C i rcle the lette r.
1. What i s the m a i n i d ea of p a rag ra p h 2?

a . Lac k i n g the "a rtistic g e ne" is a rea l p rob l e m .
b. You shou l d a lways d raw faces u pside dow n .

e . It's i m p orta nt t o l e a r n t o s e e l i ke a n a rtist.
d. Try to use the l eft side of yo u r b ra i n when you d raw.
2. What is the m a i n idea of pa rag ra p h 4?

a. C h i l d re n a re bette r a rtists th a n a d u lts.
b. Fea r of making m i sta kes p reve nts m a ny ad u l ts fro m c reati n g a rt.
c . Fea r h e l ps a d u lts find their a rtistic ta l e nt.
d . Beg i n n e rs' a rtwo rk is u s u a l ly s i l ly.
3. What is the m a i n i d ea of p a ra g ra p h 5?
a. Artists with natu ra l ta l e nt d o n 't h ave to work h a rd .
b. I t ta kes a ve ry l o n g ti m e to beco m e a good a rtist.

e . Artistic a b i l ity can be i m p roved by atte n d i n g a rt shows.
d . Anyo n e can m a ke a rt with practice a n d h a rd work.
12 Read the q u otations by fa m o u s a rtists. Find a pa ra g ra p h i n the a rticle that p resents a n o p i n i o n

s i m i l a r t o that expressed b y each a rtist. Write the n u m ber o f the para g ra p h o n the l i ne.
m
arti st. �he p ro ble
1.
---- " Every chil d is an
an a rtist on ce we
is how to re m ain
__
"
grow up .
_ Pa b lo pi ca s sO
2.
" I a m d o u btf ul of a ny tal ent
, so
wh ate ver I cho ose to be, w i l l be
__
dy
acco m p l ishe d o n ly by lon g stu
and wo rk. "
-Ja cks on Pol loc k
3. __
" Creatio n beg i n s with vision. The
a rtist has to look at everyth ing as
though seeing it for the fi rst time. "
- H e n ri M atisse
13 Rea d t h e th i rd para g ra p h of the a rticle aga i n . Try the d rawi n g exercise o n a separate
s h eet of paper. Then a n swer the q u estions.
1. Which d rawi n g was easier? ___________________________
2. Which d rawi n g too k m o re t i m e? _________________________
3. Which d rawi n g looks m o re l i ke the p h otog ra ph? ___________________
4. D i d the exercise h e l p yo u to see more l i ke a n a rtist? Exp l a i n . _______________
The Arts W69

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;r �
'L ESS'O�,,-,,,
'! -�
rr�<"I$;:t�j
..
,.�
14 Co m p l ete t h e b i o g ra p hy o f Pa blo Picasso u s i n g t h e pass ive voi ce.
Pa b l o R u i z Picasso beg a n study i n g a rt with h i s fat her. T hen fro m 1 895 u ntil 1 904, he pai nted
in B a rce l o n a . D u ri n g t h i s t i m e, h e made h i s fi rst tri p to Paris, w h e re he __--:--::---:-- __ by the

1 . i n s p i re
a rtwork of H e n ri d e Tou l o use- La u t rec. I n Paris, Picasso _---:;-:--;;- ___ by a l l the pove rty
2 . i nfl u e n ce
he saw. He was sad a n d a n g ry that so m a ny peop l e l i ved without e n o u g h food or c l oth i n g . H e
pai nted m a ny p ictu res of p o o r peo p l e t o b r i n g attention t o the i r situatio n .
I n 1 906, Picasso m e t t h e a rtist H e n ri Matisse, w h o was to beco m e h i s l o n gti m e fri e n d . Picasso
__ -;:--:--,----,__ i n Matisse's sty le, but h e d i d n ot i m itate it. The a rtists he rea l l y ad m i red were
3. i nte re st
Georges B raq u e a n d J o a n M i ro. Picasso __ -:--;---:---:-__ by B raq u e's a n d M i ro's wo rk.

4. fasc i n ate
Togeth e r the th ree a rtists sta rted the m ove m e n t k n own as C u b i s m .
O n e o f Picasso's m o s t fa m o u s a rtistic pieces is
Guernica. Picasso __ --::-____ by the vi ol e nce

5 . move
of the S p a n i s h Civil Wa r. This p ro m pted h i m to paint
the p i ece.
15 Read the b i o g ra p hy aga i n . Rewrite t h e five sente n ces i n the passive vo i ce,
chang i n g them to the active voi ce .
1.
2.
3.
4.
5.
16 C H A L L E N G E . Write a s ho rt para g raph a bout you r favo rite k i n d of a rt a n d you r favorite

a rtist. Use some of the p h rases from the box.
i nte rested i n fascinated by i ns p i red by m oved by i nfl u e nced by
W70 U N IT 8
G RAM MAR BOOSTER
A If poss i b l e, rewrite the sente n ces, cha n g i n g the active voice to the passive voice. If a sente n ce
ca n n ot be changed to the passive voice, c i rcle the verb a n d write i ntransitive o n the l i ne.
1. Leo n a rd o da Vinci pai nted the M o n a Lis a i n the 1 6th centu ry.
2. Pa b l o Picasso d ied i n 1 9 7 3 at 91 years o l d .
3. Pa u l K l e e u sed s i m p l e l i n es a n d stro n g co l o rs i n h i s m a ny painti n g s .
4. The a rtist's late r w o r k s e e m s q u ite d ar k a n d d e p ressi n g .
5. A n ew ex h i b it o f im p ress ionist pai nti n g s a rrives a t t h e P h i lade l p h ia M u seu m o f A r t this s u m me r.
6 . M a rc Jacobs w i l l s h ow h is s p r i n g co l l ecti o n at N ew Yo rk Fa s h i o n Week.
7. In F l o re n ce, we wal ked fro m The Uffizi G a l l e ry to the Accad e m ia Ga l l e ry to see M ic h e l a n g e l o's Da vid.
B Choose the best a n swer to com p l ete each se nte n ce . C i rc l e the l ette r.
1 . This vase __ made i n 1 569.
a . is b. has been c. was d . was bei n g
2. Tod ay, coffee __ g rown i n m o re tha n fifty co u ntries wo rldwide.
a . has bee n b. w i l l be c . was d . is
3. Rig ht now, b u s i n ess ca rds exc h a n ged at the m eeti n g .

__
a. were b. we re bei n g c . a re bei n g d . have been
4. The a rt exhibition atte n ded by ove r 1 , 000 peo p l e so fa r.

__
a . was b. has been c . is going to be d. is being
5. W e p rob a b ly __ i nvited t o the wed d i n g . It's g o i n g t o be ve ry s m a l l .

a . wo n 't b e b. were n 't b e i n g c . have n 't been d . were n 't
C Use the words to write sente n ces i n the passive voi ce.
1 . Fre n c h / s peak / i n Qu ebec, Canada ________________________
2. The Taj M a h a l / b u i l d / a ro u n d 1 63 1 ______________________
3. A new art m u se u m / open / n ext yea r _______________________
4. M a ny p ro d u cts / m a ke / i n C h i n a _________________________
5. " I mag i n e" / w rite / by J o h n Le n n o n ________________________
6 . You r DVD p l aye r / re p a i r / now __________________________
7. The Mona Lisa / see / by m i l l i o n s of peo p l e s i n ce it was pai nted ______________
The Arts W7 1
o Read the descri ption of a m useu m . F i n d a n d co rrect fou r more m istakes i n the use
of the passive voice.
The Frick Col l ection
The m a n s i o n of H e n ry C l ay Fric k�Ji "

�Jt i n 1 91 4 at t h e co r n e r of F ifth Ave n u e a n d
East 70th Street i n N ew Yo r k C ity. It was later open to the p u b l ic. Severa l i m p rove m e nts
have made ove r the yea rs. Wo rks of M a n et, EI G reco, Bern i n i , Degas, Ve rmeer, and m a ny
oth e r a rtists fou nd th ro u g h o u t the m a n s i o n . Some of the m u s e u m 's l a rg e col l ection of a rt
d i s p l ayed at te m po ra ry exhibitions a ro u n d the wo r l d .
E Rewrite the sente n ces i n the passive voi ce. Use a .b)' p h ra se o n ly if it is i m porta nt
o r necessary to know who or what i s pe rform i n g the actio n .
1. Peo p l e i n G uate m a l a ca rved t h i s wood f i gu re.
2. Artists h a n d - pa i nt these p lates in F ra n ce.
3. Va l e n t i n o i s s h owi n g a lot of bright co l o rs t h i s sea s o n .
4. Sto res everywh e re a re g o i n g t o se l l h e r jewe l ry.
5. Swiss co m pa n ies sti l l m a ke the worl d 's best watches.
6 . Sh a kespeare w rote King Lear.
F Rewrite the sentences i n the pass ive voi ce i n Exe rcise E as yes I no q uesti ons.
1. Wa£ tj., i£ lNood fi 9 vre c a rved i l) Gvate 1'l1 a l a?
2.
3.
4.
5.
6.
W72 U N IT 8
WRITI N G BOOSTER
A Read the pa ra g ra p h . U nderl i n e the topic sentence. C i rcle the su pporti n g deta i l s .
Cross out t h e two sentences that d o n 't belong.
I have b e e n t o m useu m s i n cou ntries a l l ove r t h e wo rld, but my favorite pa inting is i n a
m useu m close to my home. I a m a rea l fa n of The Master's Bedroom by And rew Wyeth becau se
I find it ve ry peacefu l . And rew Wyeth d ied i n 2009 at the age of 91 . The pai nti ng shows a dog
c u rled up o n a bed, ta king an afternoon nap. S u n l i ght i s com i n g i n t h ro u g h the window and
wa r m i n g the dog. The painti ng m a kes m e fee l relaxed because the dog an d the bed look so
co mfo rtable. The bed room is very s i m p l e, and the col o rs in the pai nti n g a re soft and neutra l,
m a k i n g the scene seem rea l ly cal m . Wyeth 's most fa mous pai nti n g is Christin a 's World, which is
at the M useu m of Modern Art in N ew York City.
B T h i n k about you r favo rite pai nti n g . Answer the q u estions.

1. W h a t i s the tit l e o f the p a i nting? __________________________
2. Who is the a rtist? _______________________________
3. Why d o you l i ke it? _____________________________
C Prepare to describe you r favorite pa i nti n g i n a para g ra p h . C reate a to pic sentence

a n d su pporti n g deta i l s .
a . What is t h e most i m p orta nt t h i n g yo u want to say a bout t h e pai nti ng?
b. Write five sente n ces to s u p p o rt yo u r top i c sente n ce.

1.
2.
3.
4.
5.
D O n a sepa rate s heet of paper, write a para g ra p h descri b i n g yo u r favorite pa i nt i n g .

F e e l free t o change the o r d e r o f yo u r sente n ces o r add more deta i l s if y o u th i n k
it wo u l d i m p rove yo u r writi n g .
The Arts W73

U N IT 9
L iv i ng i n Cybers pace
1 Read the P hoto Story o n page 99 of the Stu dent's Book aga i n . Then a n swer the q uestions.
1 . Wha t com p uter pro b l e m does Am y have? ______________________
2. What sol ution does Dee s u g g est? _________________________
2 Read the i n stant message conversation.

Then a n swer the q u estions.
ron22: Hey, D e b . Are y o u there?

d p i ke : Hi, Ro n . J u st catc h i ng u p
e-m a i l .
ron22: Am I i nte rru pti ng yo u ?
:
d p i ke N ot a t a l l . What's u p?
ron22: I j u st e m a i l ed you some
pictu res.
d p i ke : G reat! What of?
ron22: P h otos of my tri p ! ! ! dp ike : Hi R ? n .
g et th e p i X.
St i l l th e re ? I
d id n 't
d p i ke : Coo l ! Ca n ' t wa it to see
th e m . ro n22:
ron22:
So rry ! I a tta ch
e d th e p h oto
b u t I ca n 't s en s,
I t' l l j u st b e a seco nd . . . d th e m es s a g
�ays t h e fl. i es
a re to o la rg e !
e. It
dp ' k e: � ay be yo u s h o
u ld tr
�0 �2 2:
s e n d i n g th e
m o n e a t a ti
Yo u th i n k th
r:e.
a t wo u l d Wo rk
?
pi ke : It u s u a l ly
ron 22 : do es th e t riC
O K, I ' l l try it.
. k.
fl "
1 . What co m p ute r p ro b l e m does Ron have? ______________________
2. What sol ution does Deb s u ggest? _________________________
W74
3 Wh ich of the fol lowi n g com p ute r p ro b l e m s have yo u experienced?
o co m p ute r wo n 't sta rt 0 lost a fi l e 0 p ri nte r won't p r i n t
o co m p ute r is s l ow i n g d o w n 0 got a co m p ute r vi r us 0 fo rgot a password
o keyboa rd freezes 0 m o u se doesn't work 0 c a n 't attach a fi l e
4 C H A L LE N G E . H ave you eve r asked someone fo r h e l p with a com puter p roblem?

If so, who did you ask? What solution d i d the person suggest?
- - - - -----
5 C hoose the correct response. C i rcle the letter.

1. "What a re yo u d o i n g h e re at t h i s h o u r? "
a. Noth i n g happens. b. Ru n n i n g a ntivi rus software. c. I 've never had a problem befo re.
2. "Am I i nte rru pti n g yo u?"
a . Of co u rse. b. Right. c . N ot at a l l .
3. "When I t ry to c l i c k o n a n icon, m y co m p u te r freezes a n d wo n 't do a nyth i n g ."
a . It cou l d n 't h u rt. b. Sometimes that does the trick. c. Maybe yo u shou l d try restarting.
4. "Yo u th i n k that wo u l d fix the p ro b l e m? "
a . It co u l d n't h u rt. b. I ' l l j u st be a seco n d . c. So rry t o h e a r that.
'" � � -"" '-' '
LESS O N
6 Use the icon prom pts to com p l ete the conversatio n . Write the wo rd o n the l i ne.
A: Co u l d yo u ta ke a l ook at t h i s?
B: S u re. What's the p ro b l em?
A: Wel l , I clicked on the tool ba r to ___
---:____
1.
1 rID I my docu ment,
a n d now everyt h i n g i s g o n e !
B: D o n 't worry. You p roba b ly accid e n ta l ly c l i cked o n the __
J u st m ove you r cu rso r ove r there a n d c l i c k o n t h i s i c o n t o

A: O h . . . There it i s ! Tha n k yo u !
_
---=
-
---:;:--___
2.
3-----
.
[i
� ico n .
it.
Living i n Cyberspace W75

7 Com p l ete each sentence with a word from the box.
click on cut paste print save scro l l down select toolbar
1. Oh, no! I j u st lost a l l t h e work I 've done on t h i s document beca use I forgot t o _______ the file.
2. Yo u c a n 't _______ if the pri nte r is n ot tu rned o n .
3. To a word, m ove the c u rsor ove r th e wo rd a n d h i g h l ig h t it.
4. Yo u d o n 't h ave to ty p e the entire p a ra g ra p h aga i n . J u st co py and _______ it wh e re you
need it.
5. I tried to _______ the icon but noth i n g h a p pe n e d . What di d I d o wro n g?
6. The has a l ist of ico n s that p rovide a q u ic k way to use co m p ute r co m ma nd s .
7. To s e e m o re i nfo rmati o n o n the p rod u ct, _______ to the botto m of the page.
8. Yo u r a rticle is g reat b u t a l ittl e too long. Co u l d yo u a few pa ra g ra p h s?
8 M atch each acti on with the co rrect pu rpose. Write the l ette r o n the l i n e .
1. __ H e e n rol led i n a n electronics cou rse beca use he . . . a . needed t o buy a p ri nte r.
2. __ S h e went to t h e e l ectro n ics store beca use she . . . b. n eeded to be m o re o rg a n ized .
3. __ I b o u g ht s pea ke rs beca u se I . . . c. wa nted to learn how to re pair com p uters .
4. __ H e tu rned o n the te levision beca use h e . . . d . wa nted to l i sten to m u sic on t h e co m p uter.
5. __ S h e b o u g ht a s m a rt p h o n e beca use s h e . . . e . wanted t o watch the n ews.
9 Rewrite the sentences i n Exercise 8, u s i n g i nfi n i tives of pu rpose.

1.
2.
3.
4.
5.
",
LESS O N
10 Put the conversation i n o rder. Write the n u m ber o n the l i ne.

_1_ I was wo n d e r i n g if you cou l d h e l p m e with someth i n g .
__ Why d o n 't you g e t a n O pti M o u se? I have o n e, a n d I rea l ly l i ke it.

__ We l l, I 'm th i n ki n g a bo u t buyi ng a n ew m o u se, but I ' m not s u re which one to get.
__ Then how about the U ltraCl i c k? I t's nearly as easy to use as the O pti M o u se, but it does n 't
cost q u ite as m u c h .
__ O f cou rse. Wh at's u p?
__ I l i ke the O pti M o u se, b u t it's a l ittl e expen sive.
_ 7 _ S o u n d s good . I ' l l have to ch e ck it out.
W76 U N IT 9
11 Loo k a t the chart co m pari n g two la ptop com pute rs. Com p l ete the sente n ces, u s i n g
(not) a s . . . as a n d the adj ectives. Use t h e adverbs a l m ost, qu ite, just, a n d nearly.
Ace EC&50u la pto p Simsun 8400 la ptop
Price $61 9 $599
Weight 5 pounds / 2.3 kilograms 3 pounds / 1 .4 kilograms
Screen size 16 i nches / 40.6 centimeters 1 5 . 5 inches / 39.4 centimeters

KEY
Screen quality £) £)
Better
Touchpad ease of use .. £)
..
�
Speed .. �
Speaker qual ity .. ..
C)
Noise £) £) Worse
1 . The q u a l ity of the Ace screen is __ --.�'_" t=

1 v:..L
£-'- a.L.
£7 o=-
9.:;_ d a-"-
o =- -= £--- the q u a l ity of the S i m s u n scree n .
good
2. T h e S i m s u n l a ptop i s _____ ----,---
-, _ -- ___ the Ace la pto p.
expens i ve
3. The S i m s u n to uch pad i s n 't _____ -:--_____ the Ace to u c h p a d .
easy t o u se
4. The S i m s u n l a ptop i s ____ -------:-
-; _ ____ th e Ace l a pto p.
fa s t
5. The Ace s pea kers a re ______ --:-____ the S i m s u n s peakers .
good
6. The Ace la pto p i s n 't ____ ----,-:-:-_____ the S i m s u n l a pto p.
light
7. The S i m s u n scre e n i s n 't ____ ----,-______ the Ace scree n .
l a rge
12 C H A L LE N G E . W h i c h la ptop i n Exe rcise 1 1 wo u l d you buy? Expla i n yo u r reasons, u s i n g

(not) as . . . as a n d some of the adverbs from Exercise 1 1 .
Livi ng i n Cyberspace W77

-:{"':;" , �;".,.'. .� �, .�,�
L ESS O N ' "

- ,
13 Read a bout how t h e people u s e co m puters. Co m p lete t h e state m e nts with words fro m t h e box.
send i n stant messages surf the I nternet j o i n a n o n l i n e g roup
u pload photos down load music files
1. 2. 3.
" I 'm a d es i g n e r, a n d I rea l ly " I h ave a l ot of frie n d s, a n d " I 'm a h u g e m u s i c fa n ,

n eed to l ea rn a b o u t w h at I l i ke t o b e i n to u c h with b u t I n ever b u y C D s
peo p l e wea r a n d w hy t h ey them a l l t h e ti m e . Ta l ki n g at a m u si c sto re . I
wea r it. So I d e c i d e d to o n the p h o n e i s n 't a l ways
______ ca l l ed p ractica l , a n d e- m a i l i s too fro m the I nternet,
Fas h i o n Frie n d s . On the s l ow. So, my frie n d s a n d i n stead . I 've g ot a l m ost
website, I d i s c u s s c l oth i n g I to 1 0,000 s o n g s on my
t re n d s a n d sty l e with oth e r each oth e r a l l the t i m e . " M P 3 p l ayer now ! "
m e m be rs . "
4. 5.
" I 'm s pe n d i n g two m o n t h s " I s pe n d a b o u t e i g h t h o u rs

trave l i n g th ro u g h Eu ro p e . I a d ay o n l i n e . I u s u a l ly j u st
wa n t my f ri e n d s a n d fa m i ly ______ , c l i c k i n g f ro m
to see a l l t h e fasc i n ati n g o n e webs ite to a n ot h e r with o u t
p l aces I 'm v i s i t i n g , so I a ny rea l p l a n . I l ove t o d i s cove r
______ f ro m my n ew a n d d iffe re n t webs i tes a b o u t
l a pto p to a webs ite w h e re th i n g s t h a t i n te rest m e . "
eve ryo n e ca n view th e m . "
14 C H A L LE N G E . O n a sepa rate s heet o f paper, write a paragraph about how you use com p uters.
Be s u re to a n swer the fo l lowi n g q uestions.
• H ow m a ny h o u rs a wee k do yo u s p e n d o n a com p ute r?
• Do yo u s p e n d m o re o r less ti m e o n a co m p ute r than yo u r fri e n d s o r fa m i ly m e m be rs?
• Do you use a co m p uter m o re fo r work or fo r f u n ?
• W h a t d o yo u use a co m p ute r t o do?
W78 U N IT 9
r�JES_�
�t�tr� �.��O�N��
.�"
15 Read the a rticle fro m a ca reer advice we bsite.
Soc i a l N etlNorki ng :
Cou l d It H u rt
You r ..lob Sea rch?
T o be the best candidate for a j o b , you ' l l need more than Wh i l e not all employers research potential employees
an i m p ressive resume and a n ice suit. You also need to make o n l i n e , it's worth being a littl e careful to make sure that
s u re there isn't any i nformation about you o n l i n e that could social networking doesn 't ru i n your career opportu n ities. You
cause an e m ployer not to h i re you . A recent study found that can protect yourself by fol lowing four s i m p l e rules:
77 percent of recru iters search the I nternet for i nformation
1 . Thi n k before you cl ick. Before you post photos of you
about appl icants they are considering for a job. Th i rty-five and you r friends partying or com ments about how you
percent of these same recru iters say they have rejected an hate you r job, ask yourself: Would I be comfortable talking
applicant based on i nformation they have found onl i n e . about this i n a job i nterview?
"A profile on a social n etworking site c a n show y o u a 2. Take control. Most social networking sites have privacy
lot more of a person 's character than a resum e , " says Jen controls. Take the tim e to fig u re them out and use them
Rom n ey, a corporate recru iter who recently began looking wisely. Set your controls so that o n ly people you ' ve
up the names of applicants on the Web . " It's surprising chosen as "friends" can view you r profi le and post
what you can find. I once had to make a d ifficult decision messages on your pag e .
between two excellent applicants. When I fou nd one of the
3. Review. Check y o u r profi le regularly t o s e e what has
applicants' profile on a social n etworking site , the decision
been posted. Type your name and e - m a i l address i nto a
became much easier. The man 's profile was full of negative
search engine to see what is on the Internet about you .
comments about his job and boss . In one post he wrote,
4. Delete. Remove any potentially em barrassi n g or
' I ' m cal l i ng i n sick today-because I ' m sick of work! ' I don't
need to tel l you that he didn't get the job. " offensive posts, i nformation, or photos. Ask friends
to delete anythi n g inappropriate about you on the i r
Rom ney warns that as people share m ore of thei r
own profiles.
lives online, i t becomes harder to keep one's private l ife
completely private . " Everyth i n g is p u b l i c , " says Romney. " It's
called the World Wide Web for a reason. Anyone in the world
can see it. "
Use the context of the art i c l e to m atch the terms with t h e i r mean i n g s .
1. __ recru ite r a. o n ly for a parti cu l a r g ro u p to see, not fo r eve ryo ne

2. __ sea rc h e n g i n e b. i nfo rmation, photos, com m ents, etc. put on a website
3. __ p rofi l e c. a person w ho fi n d s c a n d i d ates to fi l l jobs
4. __ post d . page o n a social netwo r k i n g site with a m e m ber's perso n a l i nfo rmation
5. __ p rivate e. a p rog ra m that h e l ps yo u find th i n g s o n the I nternet
Living in Cyberspace W79

16 An swer t h e q uestions, accord i n g t o t h e i nformation i n t h e article i n Exe rcise 15.
1. H ow does t h e I nte rnet m a ke it easier fo r e m p l oyers to get i nfo rmation a b o u t j o b a p p l i ca nts?
2. What ty pe of i nfo rmation in an o n l i n e p rofi l e can h u rt a job a p p l icant's cha nces of getti n g a j o b?
3. What is o n e way yo u can contro l w h o is a b l e to view yo u r o n l i n e p rofi l es?
4. H ow c a n you le ar n what i nfo rmation is ava i l a b l e about you o n l i n e?
17 C H A L LE N G E . Do y o u th i n k t h e a rticle o n p a g e 79 g ives g ood advice? What have y o u d o n e,

or what d o you plan to do, to p rotect yo u r i m age o n l i ne? Expl a i n you r a nswe r.
---- 1---- ------ --------
--- --- -
---
G RAM MAR BOOSTER
A Read the conversati o n . F i n d a l l the i nfi n itives that express a p u rpose.

U n d e r l i n e the sente n ces.
A: It's 6:00. Are you going h o m e?
B: No, I 'm stayi n g l a te to f i n i s h this re port. How a b o u t you?
A: I 'm l eavi n g n ow. I ' m g o i n g to sto p at Big Box to b uy a new p ri nter.
Then I 'm g o i n g to Co m p u te rWo r l d to get someth i n g else o n sa l e.
B: Rea l ly? Wh at?
A: I ' m t h i n ki n g a b o u t g etti ng a new l a ptop.
B: Wh at's w ro n g with yo u r h o m e co m p ute r?
A: N oth i n g . B u t the kids u s e it to s u rf the I nte rnet a l l the t i m e .
B: W h a t d o they do o n l i n e?
A: O h , eve ryt h i n g . They use the co m p u te r to check e - m a i l, dow n load m u sic,
chat with thei r frie n d s, and p l ay g a m e s .
W80 UNIT 9
B Rewrite the sente nces you u n d e r l i ned i n Exercise A . Use i n o rd e r to.
1. ________________________________________________________________________
2. ______________________________________________________________________
3. ___________________________________________________________________________
4. ________________________________________________________________________
5. ______________________________________________________________________
C Rewrite Speake r A's last sentence i n Exercise A, u s i n g for. ( Re m e m b e r to

change the verbs i nto g e r u n d s.)
o Co m p l ete the senten ces with for o r to.

1. I l i ke to s h o p o n l i n e d e l i c i o u s food s fro m Ita ly.
2. My son uses the co m p ute r ______ d ow n l oad m u sic.
3. J u d ith e - m a i l ed m e d i recti o n s t o the pa rty.
4. Da n i e l uses the I nte rnet get the latest n ews.
5. S h e i l a e - m a i l ed h e r mother say she b o u g h t a new co m p ute r.
E Co m p l ete the sente n ces. Use a n i nfi n itive of p u rpose o r for.

1. I use the l nte rnet ________________________________________________________________
2. I 'd b uy a n ew p ri nter _____________________________________________________________
3. I 'd g et a n ew s m a rt p h o n e _______________________________________________________
F Com p l ete each sente n ce with the co rrect form of the adj ective or adverb.
1. I shop o n l i n e fo r com p u te r p rod ucts. It's m u ch ______ t han g o i n g to a co m p ute r store.
easy
2. My b rother p l ays m u s ic ____ -,------,__
, ____ tha n a nyo n e I k n ow.
l o u d ly
3. Of a l l the pri nte rs i n the sto re, the R1 00 is d efi n ite ly the ______ ----:--:--____
q u iet
4. T h i s is the ________ --:-____ m ovie I 've eve r see n .
rom a n tic
5. Jessica's o i l p a i nti n g s a re beautifu l . H e r p e n c i l d rawi n g s a re j u st a s __ ---:____--,--____
i m p ress ive
6. Bel ieve it o r n ot, this new l a ptop works as ____ --;---;-;---____ a s the o l d one.
bad ly
7. The Bax m o n ito r is not l a rg e e n o u g h . I need someth i ng eve n ______ -

--,--,-______
big
8. The traffic o n my way to work was ve ry sl ow. Lucki ly, the traffic o n my way h o m e was not nearly as
bad
9. We've n ever had a ______ ---:c-:-______ vacatio n t han this one. It was so m uc h fu n !
exciti n g
1 0. Of the th ree p ri n te rs we l o o ked at, the X P pri nts the ________ .,--____
poorly
Livi n g in Cyberspace W8 1
G Look at the video g a m e reviews. Write sente n ces com pa r i n g the A-1 and
G a m e P l a n games. Use the compa rative form of the adjective o r adverb.
Video Game Reports Video Game Reports

A- l Game Plan
Sou nd q u a l ity Sound q u a l ity
Visual q u a l ity Visua l q u a l ity
I nte rest l evel I nterest l evel
Fu n l evel Fu n l eve l
Violence l evel Violence l evel
Easy to p l ay Easy to p l ay
Speed Speed
Price $89.95 Price $ 1 29.95
1. A-l so u n ds bette r th a I) Game Plan.

good
2 . A-l looks Game Plan.

good
3. Game Plan is A-l .

i n te resting

viole nt

easy t o play
6 . Game P l a n r u n s A-l .
slow
7. A-l is Game Plan.

expensive
H N ow look at the revi ew of a t h i rd video g a m e . Write sente n ces com pa ri n g a l l

three video g a m es, u s i n g t h e s u perlative form o f t h e adjective o r adverb.
Video Game Reports Top Game 1. Top Ga m e £o vl)d£ th e b e£t.

good
2.
Sou n d q u a l ity :======: ex p e n s ive
Visua l q u a l ity 3.
fa st
I nterest l evel
4.
Fun l evel easy to p l ay
Violence l evel 5.
i n te re st i n g
Easy to play
;:==== 6.
Speed 1--_-= violent
Price $ 1 99.95
W82 U N IT 9
WRITI NG BOOSTER
A Read the ideas for a p iece of writi ng about the p ros a n d con s of social networki n g .
T h e n write each i d ea i n t h e a p p ro priate p l ace o n t h e cha rt.
I deas
• I t's a g reat way to kee p in to u ch with fri e n d s and fa m i ly a l l ove r the wo r l d .
• Yo u can f i n d o l d fri e n d s a n d peo p l e you 've l ost contact wit h .
• It m ay be too e nterta i n i n g -it's easy t o waste a l ot o f ti m e on socia l n etwo rki n g sites.
• Yo u r fri e n d s may post p h otos o r co m m e nts you 'd rather not h ave oth e rs see.
• Peo p l e you d o n 't wa nt to kee p i n tou c h with may ask to be yo u r frie n d .
• Socia l networking is e nterta i n i ng-and, on s o m e sites, you c a n a lso p l ay gam es a n d ta ke fu n q u izzes .
Top i c I deas
Pros
1 . com m u n icati n g with
fa m i ly and fri e n d s
Cons
Pros
2 . getti n g back in tou c h
w i t h o l d fri e n d s
Con s
Pros
3. is ente rta i n i n g
Con s
B O n a sepa rate sheet of pa per, write two pa ra g ra p h s a bout "The Pros a n d Cons of
Soc i a l N etworking." Use Approach 2 fro m page 1 47 i n the Stu dent's Book. Use the
i d eas from the " P ros" row of the chart i n paragraph 1 . Use the ideas from the
"Co ns" row of the chart in para g ra p h 2 . Create you r own topic sentence fo r
each pa ra g ra p h .
C O n a sepa rate s heet of paper, use Approach 3 fro m page 1 47 i n the Stu dent's Book.
Use the ideas fro m row 1 of the chart i n para g ra p h 1, the ideas from row 2 i n
para g ra p h 2 , a n d t h e ideas from row 3 i n para g ra p h 3 . C reate you r own topic
sente n ce for each pa ra g ra p h . Use I n addition a n d Furthermore to add you r own ideas.
Living in Cyberspace W83

Eth i cs a nd Va l u es
1 Read the messages to a n advice col u m n i st. What advice d o yo u th i n k

t h e col u m n ist w i l l give? Check t h e box.
Back © Forward <i> Reload 10 Stop G Home P Search

Do you have any ethical q u e sti on s? Write to Amanda. �
1:!) Dear Amanda: 0 Dear Amanda:
I reserved a compact rental car, but when I My favorite shampoo had the wrong price
went to pick it up, they gave me a l Uxury car for on it. It was half the usual price, so I
the same price. Should I tell them that they made bought ten bottles. Do you think that's OK?
a mistake? Helena
Paul
3 Dear Amanda: 0 Dear Amanda:

I bought five DVDs th is morning at the store. The Yesterday I saw someone get on my hotel's
clerk only charged me for three. I didn't say free airport shuttle bus. I know she wasn't
anythi n g . Should I tell the clerk and return two of staying at the hotel . Should I complain to the
the DVDs? hotel manager?
Samantha George
1 . D Pa u l s h o u l d te l l the re nta l com pany they made a m ista ke a n d offe r to pay fo r the l u x u ry ca r.
D Pa u l s h o u l d sto p worryi n g a n d e n j oy h i s l ux u ry car.
2. D H e l e n a s h o u l d fee l g reat a b ou t sav i n g m o n ey.
D H e l e n a s h o u l d go back a n d te l l the sto re m a n a g e r the p rice was w ro n g a n d pay the correct p rice.
3. D Sa m a ntha s h o u l d te l l the clerk that s h e wasn't c h a rged fo r two of th e DVDs.
D Sama ntha s h o u l d j u st re lax a n d enjoy the DVDs without te l l i n g the c l e r k .
4. D Georg e s h o u l d te l l t h e h ote l m a n ager about the p e r s o n u s i n g th e sh uttle b u s .
D Georg e s h o u l d m i n d h i s o w n b u s i n ess a n d not co m p l a i n about s o m e o n e e l se.
2 C H A L LE N G E . H ave yo u eve r experie n ced a moral d i l e m ma s i m i l a r to the ones

described i n Exe rcise 1? Write a l etter to Amanda about you r situati o n .
W84 www.pardistalk.ir/library
'is; · 0';·...�"!i
LESSO�': � .' ,
3 Read the conve rsations. S u m m a rize the advice with rea l con d itional sentences.
1. A: I d o n 't have a ntiv i r u s softwa re .
B : You s h o u l d n 't s u rf the I nte rnet.
If yo u d o n ' t h ave antiyi ru£ £oftwa re. yo u £h ovl d n' t £u rf th e Internet.
2. A: I want to e - m a i l o l d p h otos to frie n d s .

B: You h ave t o scan t h e m fi rst.
3. A: I want to m a ke fri e n d s o n the I nte rnet.

B: Yo u can join a n o n l i n e g ro u p .
4. A: My co m p uter crashes a l l the ti m e .

B: Yo u 'd bette r f i n d o u t wh at's w ro n g .
4 Rewrite the rea l con d iti o n a l sentences i n the u n real con d iti o n a l . Use the true
state m e nts in pare ntheses to help you .
1. I f w e g o to Russia, I ' l l learn Russia n . (We're n ot g o i n g to R us s i a.)
2. If s h e h a s ti m e, s h e' l l stu dy m o re . (Sh e doesn't have t i m e.)
3. I f I need to lose weig ht, I ' l l avoid fatty foods. (I d o n 't n eed to lose wei g ht.)
4. If he's late, h e won't g et a seat. ( H e's n ever late.)
5 M atch the two parts of each con d itional sentence. Write the l etter o n the l i n e.
1. __ I f you speak Spanish, yo u . . . a. d o n 't use s u n scree n .
2. __ If y o u s p o ke S p a n ish, y o u . . . b. co u l d work i n South A m e rica.
3. __ Yo u r h a i r w i l l l o o k g reat i f you . . . c. wo n 't get to work o n time.
4. __ H e wo u l d l o o k g reat if he . . . d. stayed at the beach too l o n g .
S. __ I f you too k a taxi, you . . . e. use t h i s s h a m poo every day.
6. __ I f y o u m i s s t h e b u s , yo u . . . f. can trave l a l l ove r Centra l A m erica .
7. __ Yo u ' l l get s u n b u rned if yo u . . . g. g ot a h a i rcut.
8. __ W e wou l d g e t s u n b u rned if w e . . . h. wo u l d get to work faste r.
Eth ics and Values was

6 Com p l ete each present u n real cond itional se nte n ce . Use yo u r own ideas.
1 . If I l ived to be 1 00, ____________________________
2. My fa m i ly wou l d be a n g ry if __________________________
3. If I went to my favo rite sto re, _________________________
7 Look at the pictu res. Use the words a n d p h rases i n the box to co m p l ete the conversati o n s .
too m uch c h a n g e u nd e rcharged d i d n't charg e
1 . A: Loo k at this b i l l .
B: Wh at's wrong with it?
A: They ______ u s . Loo k.
They ______ u s fo r the d ri n ks
o r fo r the d esserts.
B: I g u ess we'd bette r te l l th e m .
2. A: What's w rong?
B : I th i n k the c l e rk gave m e ________
I s h o u l d h ave o n ly two e u ros back i n c h a n ge,

b u t she gave m e twe lve!
A: I ' l l try to g et h e r attention . . . Excuse m e?
LESS O N
8 C i rcle the correct words to com p l ete the conversatio n s .

1 . A: Where s h o u l d we watch the g a m e afte r work?
B: Let's go to you r h o u se. (Yo u r / You rs) TV is m u ch b i g g e r than (my / m i n e) .
2. A: I s t h i s (o u r / o u rs) room?
B: N o, we have a s u ite, a n d t h i s is a s i n g l e . So, t h i s i s d efin itely not (o u r / o u rs).
3. A: I s this car key (yo u r / you rs)?
B: N o, it's n ot (my / m i n e). I d o n 't even h ave a car!
4. A: (Who / Whose) books a re these? ( H i m / H i s) o r ( h e r / hers)?
B: I d o n 't k n ow. Ask them if they're (th e i r / thei rs) .
5. A: (W ho / Whose) h a s trave led m o re? Yo u r p a rents o r (m i n e / my)?
B: (Yo u r / Yo u rs) p a re nts, I th i n k. (My / M i ne) p a rents d o n 't travel m uch at a l l .
W86 UNIT 10
9 Rewrite each sente n ce, u s i n g a possessive pro n o u n .
1. T h e shavi n g crea m is George's. _ T h e £h a v i 9 c r e a m i £ h i £

/')'-;I,-,,,,-,--,,-",,,-.:..:..!...!.L...!.!.!.L!.
-,-�-"-....l.�"",--"-,-,- . _______________
2. The h a i r s p ray i s J udy's. _____________________________
3 . The tooth brushes a re Amy a n d M a r k 's. _______________________
4. The razo rs a re George's. ____________________________
5. The s h a m poo is everyo ne's. ___________________________
10 Look a t t h e pictu res. Com p l ete t h e conversations with possessive adjectives or possessive pronouns.
1. A: Excuse m e . I thi n k you forgot someth i n g . 2. A: I s t h i s ______ 7
B: I d i d 7 B: No, it's not ______
A : I s n 't that cel l p h o n e ______ 7 It's ______ tip.

B: N o, it i s n 't. It m u st be ______
3 . A: I s that book ______ 7 4 . A: Are these earri ngs ______ 7

B: No, it's ______ book. B: N o, they ' re not ______
They're ______
Eth i cs and Val ues W87

LESS O N
11 Read about the peopl e's person a l va l ues. H ow wou l d you describe each person?
Use words from the box o r you r own wo rd s . Expla i n you r o p i n ions.
modesty sexist old-fa s h ioned double-sta n d a rd
James Dina
Tessa Haze l
12 C H ALLE N G E . Choose one person from Exercise 1 1 . Do y o u have t h e s a m e va l ues?

Exp l a i n why o r why not.
. _ - - ------
W88 U N IT 1 0
LESS O N
13 Read the n ews stories o n pag e 118 of the Stu de nt's Book aga i n . Then a n swe r the q uesti o n s .
1. H ow d i d K i m B o g u e l o s e h e r w a l l et? ________________________
2. H ow d i d t h e h o m e l e s s m a n retu r n t h e w a l l e t to h e r? __________________
3. W h a t h a p pe n e d to C a m e ro n H o l l o p ete r? ______________________
4. W h a t d i d Wes l ey A u trey d o? __________________________
5. H ow d i d t h e a i r p o r t s c ree n e r f i g u re o u t w h o t h e m o n ey b e l o n g ed to? ____________
14 Read t h e n ews story about an act o f h o nesty.
P ro Go lfe r J . P. H ayes's Act of H o nesty

J . P. Hayes is a p rofessi o n a l golfer. But H ayes has H ayes k n ew that if he a d m itted his m i sta ke, he
perhaps g otten m o re attention fo r a n act of h o nesty wo u l d p ro b a b l y n o t be a l l owed to p l ay fu l l-ti m e
than fo r h i s g o lf g a m e . Wh i le p l ayi n g i n the fi rst o n t h e n ext yea r 's PCA to u r. H e a l so k n e w that n o
ro u nd of a PCA to u rn a m e n t in Texas, H ayes' caddie o n e e l se w a s awa re o f h i s m i stake. H ayes h a d a
h a nded him a ba l l fro m h i s golf bag. H ayes too k two c h o i c e : H e co u ld say n oth i n g a n d kee p p l ay i n g , o r
shots a n d then noticed the ba l l he was p l aying with he co u l d a d m i t that h e h a d b ro ke n t h e ru l es a n d
was a d ifferent model than the b a l l he sta rted the h u rt h i s ca re e r.
rou n d with . This is a g a i n st the rules in p rofess i o n a l Hayes decided to do the right th i n g . He ca l l ed a n
g o lf. S o , H ayes a s ked a n official t o co m e o v e r a n d official that n ight a n d , as expected, was d i sq u a l ified
to l d h i m a b o u t h i s m i stake. T h e official s a i d t h e fro m p l ay i n g on the n ext PCA to u r. S pe a k i n g about
pena l ty for t h e m ista ke w a s two s h ots . Even with the h i s m i sta ke, H ayes said " It's extremely d i s a p poi n ti n g .
penalty, H ayes fin i s h ed with a good score . H e a l so I kee p thi n ki n g I 'm g o i n g t o wake u p a n d t h i s i s
did wel l i n the seco nd ro u nd a n d had a good chance g o i n g t o be a bad
of adva n c i n g to the f i n a l . Hayes had stru g g led n ightmare." H owever,
with h i s game that yea r, so this to u rn a m e n t was H ayes n ever regretted
i m porta nt to his career. his decisio n . "I wou l d
Afte r the seco nd ro u n d of the to u rn a ment, say everybody out
H ayes was relaxi n g in his h otel roo m when he here wou ld have done
rea l ized there m ight be a n other p ro b l e m with the the sa m e th i n g ," he
ba l l he p l ayed in the fi rst ro u n d . He rea l ized it was a asserted . But the rea l
new type of ba l l that p robably was n ' t approved fo r q u esti o n i s : Wo u l d they?
com petiti o n by the U n ited States Coif Associati o n . In a s i m i l a r s ituatio n ,
Hayes h a d tested t h e n e w ba l l s fo r a g o lf eq u i p ment wou l d other p rofessi o n a l
co m pa ny fou r weeks earl ier. Appa re ntly, o n e was l eft ath letes have acted as
i n h i s bag by accident. honestly as J . P. Hayes?
Eth ics and Values W89

Answer the q u estions, acco rd i n g to the a rticle.
1 . What was the fi rst m i sta ke H ayes made? ______________________
2. What was the seco n d m i sta ke H ayes made? _____________________
3 . D i d a nyo n e see Hayes m a ke the m ista kes? ______________________
4. What h a p pe ned w h e n Hayes to ld officia l s about the fi rst m ista ke? _____________
5. What happ e n e d w h e n Hayes to l d offici a l s about the seco nd m i stake? ____________
15 C H A L LE N G E . I ma g i n e that you we re i n J . P. H ayes's situati o n . Answer the q u esti o n s .
1 . W h a t co u l d y o u d o?
- -- -- -
2. What s h o u l d :to u do?
3 . What wo u l d yo u d o?
- -- -- -
4 . What wo u ld m ost people do? - --
------ ��- -. -- - ""'- ;. -- ...

- ---- --
G RAM MAR BOOSTER
A Read the state m e nts a n d then com p l ete the factua l con d itional se ntences.
1 . I u s u a l ly g o jogg i n g eve ry day, u n l ess it ra i n s .

If it doesn't ra i n , ....,I,--,9p.o'--"j!-",o:..;199 i 1).c;9J----------------
9-'-'.
2. I l i ke d rivi n g s h o rt d ista n ces, b u t fo r l o n g e r d ista nces, I a l ways fly.
_______ if I have to travel l o n g e r d ista nces.
3 . I n ever d ri n k coffee afte r d i n n e r. I ca n 't fa l l asl ee p when I do.
_______ , I ca n 't fa l l asl eep at n i g ht.
4. It ra re ly s n ows h e re. The schoo l s c l ose w h e n eve r m o re than a n inch fa l l s .
_______ if it s n ows m o re than a n i n c h .
5. I n eve r watch ho rro r movies befo re bed . I j u st ca n 't g e t t o s l e e p !
_______ , I ca n 't get to s l eep.
W90 U N IT 1 0
B Rewrite the factu a l con d itional se nten ces i n Exercise A, reve rsi n g the clauses
a n d u s i n g co m mas where necessa ry.
1. 1 90 ·, 099 i I)9 if it d o e�I) ' t ra i l) .
2.
3.
4.
5.
C C hoose the co rrect form to com p l ete each present o r futu re factual co nd iti o n a l sentence.
1. If t hey ( l i ke / w i l l l i ke) the m u s ical, they (see / wi l l see) it again to morrow.

2. Whenever Fernando (watc hed / watches) co medi es, he ( l a u g hed / l a u g h s).
3 . If you ( b uy / will b uy) som e ice c rea m , I ( hel p / wi l l h e l p) you eat it.
4 . When I (wo n 't / d o n 't) fa l l a s l ee p, I u s ua l ly (get / g ot) a l ot of work done i n the eve n i n g .
5 . (Wi l l yo u / Do you) travel t o E n g l a n d i f yo u r boss (n eeds / w i l l n eed) you t h ere next m o nth?
6. Al ways (wear / wo re) yo u r seat belt if you (want / will want) to be safe .
7. I (d id n 't get / won't g et) a ticket if my p a rents (te l l / tol d ) me n ot to.
B. If I (as k / wi l l a s k) my b rother for h e l p, he (say / w i l l say) no.
9. W h e n ever I (trave l / wi l l trave l) fa r, I a l ways (fly / fl ew) fi rst class.
o Com p l ete the sentences, u s i n g the a p p ro priate possess ive n o u n s .
1 . The tip is sti l l o n the ta b l e .

wa iter
2. wa l let w a s sto l e n w h e n h e w a s o n vacatio n .
Lucas
3. The n ew co m p ute r cost them an arm and a l e g .
B ro w n s
4. If the ______ tea m w i n s to n i g ht, they' l l be i n the c ha m p i o n s h i ps .
women
5 . They u n d e rc h a rged m e for _ ---=__;-;--;-__ p resent.
To m a n d A u d rey
6. Whose m o n ey is t h is? Is it ___ -:--____ ?
L u cy
7. W h e n ever I travel , I borrow my ____ ----_
-:- __ s u i tcase.
pa re n t s
B . My a u nt and u nc l e d o n 't ca re fo r my ____ -;-___ best frie n d .
co u s i n
Ethics a n d Values W9 1
E Answer the q uestions, u s i n g p ro n o u n s i n p l ace of the u nd e r l i ned n o u n s a n d n o u n p h rases.
The a n swers to the q u estions a re in U n it 1 0. Check the Student's Book page in parentheses.
1. D i d M a tt b re a k t h e pl a te? ( p a g e 111)
Ye ), h e b ro ke i t.
2. I s M at t g o i n g to te l l t h e ow n e r? ( p a g e 1 1 1)
3. D i d t h e w a i t e r c h a rg e t h e h u s ba n d a n d w i fe f o r t h e i r d e s s e rts? ( p a g e 1 1 3)
4. D i d a c u s to m e r ret u r n t h e j a c ket to the c h i l d a n d h e r f a t h e r? ( p a g e 1 1 4)
5. D i d t h e h o m e l e s s m a n kee p t h e w a l l e t h e fo u n d ? ( p a g e 1 1 8)
6. D i d t h e " s u bway h e ro" k n ow t h e pa s s e nge r h e s aved? ( p a g e 1 1 8)
7. D i d t h e a i rpo r t s c ree n e r g ive t h e b ag of m o n ey b a c k to i t s ow n e r? ( p a g e 1 1 8)
WRITI N G BOOSTER
A C hoose a situation from page 119 of the Stud e nt's Boo k. Write the situation o n the l i ne .
B O n a sepa rate s heet of paper, write a para g raph about what you cou l d d o i n that situation,
if you d i d n 't act with k i n d ness or honesty. For exa m ple, d i scuss the advantages of
keep i ng m o n ey you fou n d or not paying for someth i n g .
C N ow write a seco n d para g raph a bout what you s h o u l d d o i n that situatio n .

Beg i n yo u r paragraph with O n t h e oth er h a n d .
o Read yo u r pa ra g ra p h s . C i rcle the para g ra p h that descri bes what you th i n k m ost people
wo u l d do. Put a sta r next to the para g ra p h that descri bes what you wou l d do.
W92 U N IT 10
Student Book
P h oto cred its: O r i g i n a l photog raphy b y S h a r o n Hoog straten, D a v i d Mager and Libby BaliengeefTS I G raphics. P a g e 62 (ti b g ) l Iya Zaytsev/ Foto l i a , ( t l ) D . H u rst/Alamy, (tr bg)
l Iya Zaytsev/Fotolia, (tI) D . H u rst/Alamy, ( b u tter) C o l e m a n Yuen/Pearson Education Asia Ltd, (Fork) Vo/Fotolia, ( m bg) I lya Zaytsev/Fotolia, ( F r u i t) Koszivu/Foto l i a , (Bread , g ra i ns, pasta)
N i ko l ay Petkov/Shutterstock, (Vegetables) Ana Blazic Pavlovic/Shutterstock, ( M eat,fish, bea ns) D . H u rst/Alamy, (green n a p k i n ) Karandaev/Foto l i a , (placem at) Aleksa n d r Ugorenkov /
Fotolia; p . 63 ( M u s h room d i et) Vi ktor/Foto l i a , (Vegan d iet) Studio Gi/Foto l i a, (Atkins diet) V l a d i m i r M e l n i k/Foto l ia, (J uice Fast) La risa Lofitskaya/Shutterstock; p . 64 ( S u s h i ) Motorl ka/Fotolia,
( M a n g oes) Volff/Foto lia, (Pasta) Vagabondo/Fotolia, (Ice cream) U n pict/Fotolia, (Asparagus) Africa Studio/Fotolia; p . 6 7 (Octo pus) Denio1 09/Fotol ia, (Shel lfish) M aceo/Fotolia, (Tofu)
L i lyana Vyn og radova/Foto l i a , (Steak) loe G o u g h /Fotolia, (Brocco l i ) P i n g Han/Fotolia, (Beets) M i tev/Fotolia, (Chocolate) Ta igi/Fotolia; p . 68 (br) Saje/Fotolia; p . 69 Apollofoto/Shutterstock;
p . 70 (a) Shakzu/Fotolia, (Grasshop per) Va leriy Kirsanov/Fotolia, (b) Pa u l Brig hton/Foto l ia, (c) Nattawut T h a m m asa k/Foto lia, (d) Africa St u d i o/Foto l ia, (e) Va n kad/Foto l i a , (f) Uckyo/
Foto l i a, (Cabbage) Nomad Sou l/Fotol ia; p . 71 ( 1 , 2 , 3,4) M a r i u s z Blach/Fotolia, (br) M o u radfTarek/ Bon Appetit/Ala my; p . 73 (Pad Thai) Na rith_2 5 2 7/i StockfT h i n k stock/Getty I mages, (Bi
Bim Bop) Ain Bagwel l/Photodisc/Getty Images, (Chicken Mole) Uckyo/Fotolia, (Potato S o u p) l u a n m o n i no/E+/Getty I m a g es, (Tabouleh Salad) M . studio/Foto l i a , ( Pot Stickers) Ch iyacat/
Foto l i a , ( b r) Yu ris/Sh utterstock; p . 74 Lig htboxx/ S h u tterstock; p . 78 I mageso u rce/G low I m ages; p. 81 (tr) Zssc h reiner/S hutterstock, (bl) Ta ka/Foto l i a, (br) Eurobanks/Fotolia; p . 8 3 (t)
Rob/Fotolia, (b) Tanya Con stantine/B lend/Corbis; p. 86 (Jewe l ry) H a rsh m u njal/Fotolia, (Pottery) Africa Studio/Foto l i a , (Pa i nting) Boyan Di mitrov/Shutterstock, (Photography) P h i l i ppova
A n a stasia/S h u tterstock; p . 8 7 (ml) Boyan D i m itrov/Fotolia, (m) G u rgen Bakhshetsya n / S h u tterstock, ( m r) Rozal iya/Foto l i a , ( m r) N i l s Vo l k me r/Shutterstock; p . 89 (Mona l i sa) Dennis H a l l i na n /
Ala my, (Gold M u se u m ) Cacique Guatavita, known as EI Dorado's raft i n gold a n d emeralds, Colombia, Chibcha civilization ( o r Muisca)/De Agosti n i Pictu re Library/G . Dagli Orti/Bridgeman
I mages, (National Palace M u seum) Chinese cabbage, Korean, 1 9th century (jade) / National Palace Museum, Taipei, Taiwan/ Bridgeman I m ages, (Museum of Modern Art) G L Arc h i ve/
Ala my; p. 90 (Wood) Pavel K/Shutterstock, (Gla ss) S a g i r/Sh utterstock, (Silver) Nolte Lou rens/Fotolia, (Gold ring)Lynnette/S h u tterstock; (Cloth) N H 7/Foto l i a , (Cera mic) Deborah McCague/
S h u tterstock, (Stone) Win nond/Shutterstock; p . 9 1 (Vase) N i konbhoy/Fotolia, ( P l ate) Piero Gentil i/Fotolia, (Dolls) Kets u r/Fotolia, ( F i g u re) Ka nvag/Fotolia, (Cu ps) M rp u i i i/Shutterstock; p .
9 2 Aud rey B e n s o n ; p. 9 3 Africa Studio/Foto l ia; p. 94 (Stella) AF P/Newscom, (Vincent) De Agost i n i Picture Libra ry/Getty I m ages, (Cha rles) Pictu re-a l l i a nce/Newscom, (Valentino) S p l a s h
News/Newscom, ( F r i d a ) Bett m a n n/Corbis, (Henri) C h a r l e s P l a t i a u / Reuters/Newscom, ( A n g Lee) Fox 2 0 0 0 Pictures/Albu m/Newscom; p. 95 (I) N i c h o l a s Picci l l o/Foto l i a , ( m ) Michael
l u ng/Sh utterstock, (r) Arek M a l a ng/Shutterstock; p . 96 (a) Pytra lona/Shutterstock, (b) Swisshi ppo/Fotolia, (c) Nerthuz/Fotolia, (d) www.TouchofArt.eu/Fotolia, (e) Yezep/Foto l i a ; p . 9 7
(Acca d e m i a G a l lery) Akg-I m ages/Cam eraphoto/Newscom, ( D a v i d ) Ndphoto/ S h u tterstock, ( M u see d'Orsay) Brian l a n nsen/A l a my, ( A p p l e s a n d O ra n g es) Apples a n d Oranges, 1895- 1900 (oil
on canvas), Cezanne, Paul ( 1839- 1906)/M u see d'O rsay, Paris, France/G i raudon/Bridgeman I m a g es, (Peru) E d u a rdo Rivero/Shutterstock, (Ind ia)Cepreii Y � pKoB/Fotolia, (China) Stockphoto
M a n ia/Shutterstoc k, (Sweden) Tobyphotos/Shutterstock; p. 98 (Frank) Yu l i a Mayorova/Shutterstock, (Kathy) Photot a l k/ E+/Getty I m ages, ( N a rdo) Warren Goldswain/Fotolia; p. 1 00
( M o n i tor, sc reen) Antik su/Foto l i a , ( M o u se) Violetkaipa/Shutterstock, (Touch pad) Tagore75/Fotolia; p . 1 02 N i k kytok/Fotolia; p . 1 03 (Joystic k) Geargodz/Fotolia; p . 1 04 (4) Hero I mages/
Getty I m ages; p . 1 06 C h a n p i pa t/S hutterstock; p. 1 07 ( I ) G l ow I m a ges/Getty I mages, ( r) Kitty/Shutterstock; p . 1 09 (ml) O l ix Wirtinger/ Fancy/Corbis; p . 1 1 5 (Book) Irina B u rakova/Fotolia,
( S m a rtphone) B l o o m u a/Foto l i a , (Wallet) Grigoriy Lukya nov/Foto l i a , (Coat) L u d m i l afoto/ Foto l i a , (Headphones) Alexander Demya n e n ko/Foto l i a , ( G l oves) Spe/Fotolia, (Bag) Nikolai Sorokin/
Fotolia; p . 1 1 8 Bikeworldtrave l / Fotoli a .
I l l u st rat i o n c red i t s : Steve Attoe, p . 64; l o h n Ceba l l os, p . 1 2 1 ; A n d y Myer, p . 6 6 ; D u s a n Petricic, pp. 7 0 , 7 8 , 79, 1 1 3; Neil Stewart, p. 1 1 9 (center, bottom); A n n e Veltfort,
pp. 66 (top-right), 1 1 9 (top).
Text c red its : Page 74: Psychology of Color from infoplease.com. Repri n ted with perm i s s i o n .
Wo rkbook
P h oto c red its: O r i g i n a l photogra phy b y David M ager. P a g e W 4 9 Andres Rod riguez/Fotolia; p . W 5 0 kasto/Foto l i a; p . W 6 4 (left) M i khail Zahra n ich ny/Foto l i a , (rig ht) ru btsov89/
Fotolia; p . W66 Serge Vero/Shutterstock; p . W67 (top left) Vice and Vi rtue/Fotolia, (top rig ht) C o m u g nero Si lvana/Foto l i a , (middle left) D m i tri M l kite n ko/Foto l i a , (middle right) g l a rson/
Foto l i a , (bottom left) b l a c k l i onder/Fotolia, (bottom rig ht) Simon Cu rtis/Ala my; p . W68 Africa Studio/Sh utterstock; p . W69 (top) Everett Col lection I n c/Ala my, ( m i d d le) Tony Vaccaro/Archive
Photos/Getty I m ages, (bottom) I N T E R FOTO/Alamy; p. W70 DPNABACA/Newscom; p. W74 (left) gstoc kstudio/Foto l i a , (rig ht) Elenathewi se/Fotolia; p. W77 (left) EDHAR/Shutterstock,
( right) u n clepodger/Foto lia; p. W78 ( 1 ) Mas kot/Getty I m ages, (2) a pops/Fotolia, (3) leu ngchopan/Sh utterstock, (4) Wavebrea kmedia Micro/Fotolia, (5) micro m o n key/Foto lia;
p . W79 M a k s i m Kabakou/Fotolia; p . W88 (top left) Asia Selects RF/Getty I m ages, (top right) U p perCut I m ages/Ala my, (bottom left) Bill Noli/E+/Getty I m ages, (bottom right)
b i keriderlondon/Sh utterstock; p . W89 M ichael Cohen/Getty I mages.
A BO U T THE AUTHOR S
J o a n Sa s l ow
J oan Saslow has taught in a variety of programs in South America and the United States. She is author or coauthor
of a number of widely used courses, some of which are Ready t o G o, Work place Pl us, L i teracy Plus, and Summit. She
is also author of En glish in C on tex t, a series for reading science and technology. Ms. Saslow was the series director
of Tr ue C ol ors and True Voices. She has participated in the English Language Specialist P rogram in the
U.S. Department of State's Bureau of Educational and Cultural Affairs.
A l l e n Asc her
Allen Ascher has been a teacher and teacher trainer i n China and the United States, a s well a s academic director
of the intensive English program at Hunter College. Mr. Ascher has also been an ELT publisher and was responsible
for publication and expansion of numerous well-k nown courses including True C olors, Nor thS tar, the L on gman TOEFL
Pre paration Series, and the L on gman A cademic Wri tin g Series. He is coauthor of S ummit, and he wrote the "Teaching
Speak ing" module of Teacher Developmen t In teractive, an online multimedia teacher-training program.
Ms. Saslow and Mr. Ascher are frequent presenters at professional conferences and have been coauthoring courses
for teens, adults, and young adults since 2002.
AUT H O R S ' AC K N OW LEDGMENTS

The authors a re indebted t o these reviewers, who provided extensive and detailed feedback a n d suggestions for
Top Notch, as well as the hundreds of teachers who completed surveys and participated in focus g roups.
M a n u e l W i l s o n A l varado Mi les, Quito, Ecua d o r · Pa rra g a , Guayaquil, Ecuador · Octavio Gard u n o d e Mexico, Mexico · Wa h rena E l i z a beth Pfei ster,
S h i r l ey A n d o, Otemae University, Hyogo, J a p a n · R u i z , Business Training Consulta nt, Mexico City, University of Suwon, Gyeong gi-Do, South Korea ·
Va nessa de A n d rade, CCBEU Inter Americano, Mexico · Ra l p h Gra y s o n , Idiomas Cata l ica, Lima, Wayne A l l e n Pfeister, University of Suwon,
Curitiba, Brazil · Miguel Arrazola, C BA, Santa Peru · Murat Gu ltekin, Fatih University, Istanbul, Gyeonggi-Do, South Korea · And rea Rebo nato,
Cruz, Bolivia · Mark Ba rta , Proficiency School Turkey · O swa ldo Gutierrez, PROULEX, CCBEU I nter Americano, Curitiba, Brazil · T h o m a s
of Eng l i sh, sao Paulo, B razil · Edwin Bel l o, Guad a l a j a ra, Mex ico · Aya ka H a s h i n i s h i , Robb, Kyoto S a n g yo University, Kyoto, J a p a n ·
PROU LEX, Guada l ajara, Mexico · Mary B l u m , Otemae University, Hyogo, Japan · A l m a Lorena Mehran Sa bet, Seigakuin University, Saitama-
CBA, Cochabamba, Bolivia · Maria E l iza beth Hernandez de Armas, CALUSAC, Guate m a l a ken, J a p a n · Majid Safadaran Mosazade h ,
Boccia , P roficiency School of Eng lish, sao Paulo, City, Guatem a l a · K e n t H i l l , Seiga kuin University, I C P N A Chicl a yo, Peru · T i m othy Sa m u e l s o n ,
Brazil · Pa mela Cri sti na Borja Ba lta n , Quito, Saita m a · ken, J a p a n · Kayoko H i ra o, Nichii BridgeEngl ish, Denver, USA · Hector Sa nchez,
Ecuado r · Eliana A n a bel L. Buccia, AMICANA, Gakkan Company, COCO Juku, Japan · Jesse PROU LEX, Guada laja ra, Mex ico · Mon ica
Mendoza, Argentina · Jose H u m berto Calderon Huang, Na tiona l Centr a l University, Taoyuan, A l exandra Sanchez E scala nte, Quito, Ecuador ·
Diaz, CALUSAC, Guatem a l a City, Guatema l a · Ta iwan · Eric Charles Jones, Seoul University of Jorge Mauricio Sa nchez Monta l v a n , Quito,
Maria Teresa Calienes Csirke, Idiomas Catalica, Technology, Seoul, South Korea · J u n-Chen Kuo, Universidad Pol itecnica Sa lesiana (U PS), Ecuador ·
Lima, Peru · Esther Maria Carbo Morales, Quito, Tajen University, Pingtung , Taiwan · Susan Krieger, Leticia Santos, ICBEU Ibio, Brazil · Elena Sapp,
Ecuador · Jorge Wa s h i n gton Cardenas Ca sti l l o, Embassy CES, San Francisco, USA · Ana Maria de I NTO Oregon State University, Corva llis, USA ·
Quito, Ecuador · E rend ira Yad i ra Carrera Garcia, la Torre Uga rte, ICPNA Chicla yo, Peru · Robert Sherid a n , Otemae University, H yogo,
UVM Chapultepec, Mexico City, Mexico · Vivia ne E r i n Lema i stre, Chung -Ang University, Seoul, J a p a n · J o h n Eric Sherma n , Hong Ik University,
de Cassia Santos Carlini, Spectrum Line, Pouso South Korea · E l e a n o r S. Leu, Soochow University, Seoul, South Ko rea · Bro oks Slayba u g h , Asia
Aleg re, Brazil · Centro Colombo A merica n o, Ta ipei, Taiwan · Y i h u i Li (Ste l l a Li), Fooyin University, Tokyo, J a p a n · Joao Vitor Soares,
Bogota, Colombia · Guven Ciftci, Fatih University, University, Kaohsiung, Taiwan · C h i n-Fan Lin, Shih NACC, sao Paulo, Brazil · Silvia Sola res, CBA,
Istanbul, Turkey · Diego C i s n eros, CBA, Tarija, Hsin U niversity, Taipei, Taiwan · Linda Lin, Tatung Sucre, Bolivia · C h a yawa n Sonchaeng, Delaware
Bolivia · Pa u l Crook, Meisei University, Tokyo, Institute of Technology, Taiwan · Kristen L i n d b l o m , County Community Col lege, Media, PA • Maria
J a pa n · Aleja ndra D iaz Loo, EI Cultura l, Arequipa, Embassy CES, San Francisco, USA · Patricio David J u lia Suarez, CBA, Cocha bamba, Bol ivia · Elena
Peru · Jesus G. D iaz O s io, Florida N a tional Lopez Logacho, Quito, Ecuador · Diego Lo pez Suda kova , English L a n g u a g e Center, Kiev, Ukraine ·
College, Miami, USA · Maria Eid Ceneviva , CBA, Ta sara, I d iomas Catalica, Lima, Peru · Neil Richard Swi ngle, Kansai Gaidai College, Osaka,
Bolivia · A m a l i a Elvira Rodriguez Espinoza Macleod, Kansai G a i d a i University, O s a k a , J a p a n · J a pa n · Bla nca Luz Terra zas Zamora, ICPNA
De Los M onteros, Guayaquil, Ecuador · Maria Adriana Ma rces, Idiomas Catalica, Lima, Peru · Cusco, Peru · Sandrine Ting, St. J ohn's University,
Argelia E strada Va squez, CALUSAC, Guatema l a Robyn McMurray, Pusan Nation a l University, Busan, New Ta ipei City, Ta iwan · C h ri stia n J u a n Torres
City, Guate m a l a · J o h n Fieldeldy, College of South Korea · Pa ula Med i n a , London Language Med i na , Guayaquil, Ecuador · Raq u e l Torrico,
Engineering, Nihon University, Aizuwakamatsu-shi, Institute, London, Canada · Juan Carlos M u n oz, CBA, Sucre, B o l ivia · Jessica Ueno, Otemae
J a p a n · Marleni H u m be l i n a F l ores U rizar, American School Way, Bogota, Colombia · Noriko University, Hyogo, Japan · Ximena Vacaflor Co,
CALUSAC, Guatem a l a City, Guatema l a · Gonza l o Mori, Otemae University, Hyogo, J a p a n · Adrian CBA, Tarija, Bolivia · Rene Va ld ivia Pereira, CBA,
Fortu ne, CBA, Sucre, Bolivia · A n d rea Fredricks, Esteban Na rvaez Pacheco, Cuenca, Ecuador · Santa Cruz, Bolivia · Solange Lopes Vinagre
Embassy CES, San Fra ncisco, USA · Irma Ga l l egos Tim Newfields, Tokyo University Faculty of Costa, SENAC, sao Paulo, Brazil · Magno
Pelaez, UVM T l a lpan, Mexico City, Mexico · Economics, Tokyo, J a pa n · Ana Cri sti na Ochoa, Alejandro Viva r H u rtado, Cuenca, Ecuado r ·
A l berto Gamarra, CBA, Santa Cruz, Bolivia · CCBEU Inter America no, Curitiba, Brazil · Ta n i a Dr_ Wen-h sien Ya ng, Nation a l Kaohsiung
Maria A m paro Garcia Pe na, ICPNA Cusco, Peru · E l i za beth Ortega Santacruz, Cuenca, Ecuador · Hospita lity College, Kaohsiung, Taiwan · J u a n
Amanda G i l l i s-Furuta ka, Kyoto Sang yo University, Martha Patricia Paez, Quito, Ecua dor · Maria de Zarate, EI Cultural, Arequipo, Peru
Kyoto, J a pan · Martha A ngelina Gonzalez Lourdes Perez Va ldes pi no, Universid a d del Va lle

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With Top Notch Pop Songs and Karaoke

Learning Objectives for 2A and 2B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv

UNIT 6 Eating Well . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Reference Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

COMMUNICATION GOALS VOCABULARY GRAMMAR

• Get reacquainted with someone • Tourist activities • The present perfect

Getting o With already, �, ever, before, and never

PAGE 14 A;!" iiit.';i:i.i.�i;';i

Staying in • The real conditional

o Statements and Questions

• Discuss a car accident • Bad driving habits • The past continuous

about cars ia;i·'iiit.i;:i.i.�'i3'

• Comparative Quantifiers fewer and less

• Talk about food passions • Nutrition terminology • Use to I used to

• Be used to vs. get used to

• Examine the impact of birth order

• Recommend a museum • Kinds of art • The passive voice

Passive participial phrases

• Transitive and intransitive verbs

• Troubleshoot a problem • Ways to reassure someone • The infinitive of purpose

• Discuss ethical choices • Idioms • The unreal conditional

Values • should, ought to, had better

Refe rences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 123

someone in a new place

• Relate to personal experience

• Apologize and provide a reason Listening Skills Texts Task

• Say"Would you like to leave Listening Skills Texts Task

• Make a formal, polite request • Avoiding sentence fragments

• Use"By the way, . , ." to • Interpret a map

• Express concem about another's Listening Skills Texts Task

• Use" Excuse me." to initiate a Listening Skills Texts Task

• Confirm information by repeating of view advertisement appearance

Use" No problem." to show you • A photo story

don't mind an inconvenience • Writing a formal letter

• Provide an emphatic affirmative Listening Skills Texts Task

downplay inconvenience • Summarize

• Clarify an earlier question with Listening Skills Texts Task

• Use auxiliary do to emphasize a • Classify information nature / nurture controversy

opinion with "For one thing, . , ," • An artistic survey

someone has said with "No

"What do you think of _?" • Identify supporting details l

• Ask for assistance with "Could Listening Skills Texts Task

• Say "Well, I 've heard _." to

• Say "You think so?" to reconfirm Listening Skills Texts Task

The goal of Top Notch is to make English unforgettable through:

Exercises, digital full-color Vocabulary Flash Cards, Conversation Activator videos,

Award-Winning Instructional Design*

e NEW Pronunciation Coach : :=� == ::=:::::==:

NEW Digital Full-Color Vocabulary

Workbook Full-Course Teacher's Edition and

legumes, and nuts are

A Loo k at the s u ggestio n s above fo r eati ng a hea lthy d i et. Do you th i n k

C D I SCUSS I O N H ow a re the Healthy Diet su g gesti o n s d iffe rent fro m yo u r

Rita: Didn't you tell me you were Joy: ! h

Rita: I know. But r.n: .�� ���i. n.9 .n:Y.

3 I co u ld n 't sto p myself. . . . . . . .. ... . .. ... . . . . . . . . . . . . . . ...... 7 say no to . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

" I don't bel i eve i n the Atk i n s Diet.

The Vegan Diet The Juice Fast

A 3:2 Read a n d l iste n . Then l i sten again a n d re peat.

B :2 LISTEN TO ACTIVATE VOCA B U LARY C i rc l e the correct words to

mangoes pasta i ce cream asparag u s

G RAM MAR Use to / used to

uuu"em�� P R O N U N C I ATI O N Sound reduction: used to

Rita: I know. But r.n: .�� i. n.9 .n:Y.

o other (explain) _ __