1 When you are a writer who learns a beloved author has a dark side, you experience waves of disillusionment. When you teach that author’s work, you feel an additional stab of concern: What about my syllabus? As intellectual property goes, a great syllabus is a gold mine. Or perhaps a better metaphor would be a Jenga Game. Take away too many supporting pieces and the whole thing will topple.
2 Do we continue to teach the work of people we now suspect of behaving unethically or abusively? News stories have suggested prominent writer Díaz may have acted in predatory ways. The Pulitzer Prize Board has launched an investigation of past Pulitzer winner Díaz regarding allegations that include forcibly kissing one author and verbally bullying another. As a reader, I’m devastated. As a teacher, I’ve got decisions to make.
3 “Writers in Print and Person,” my class at American University, where I often adjunct, invites undergraduates to alternate sustained analysis of a book with the opportunity to meet and question the author. Most of our craft learning is subsequently channeled through eight to 10 books assigned for annotation, a selection tailored to students individually. Because of the particular scope of my responsibilities, and these modes of student learning, I have always emphasized the writer as a fully dimensioned being. What do I do when those dimensional flaws are revealed?
4 Here’s what I can’t do: pretend that this is not happening. Much of the economy surrounding a contemporary writing career rests not just in what that author does on the page but what the person says at the microphone and in the classroom. I’ve never been a full-time academic. Yet I’ve served as a writer-in-residence four times. In other words, I cross paths with thousands of students, many of whom tell me about theiraspirations of becoming writers.
5 These are students who wait in line afterward, sometimes for hours, so that the author can sign their copy of the book we put on the syllabus. These are the students who nervously apply for a faraway workshop, and then hustle to cover the expenses, so that they can work with a celebrated writer. These are the students who trust in both that writer’s aesthetic expertise and best intentions.
6 I look back with deep regret at times I’ve recommended someone as a mentor, editor or visiting writer, unaware of a history of abusive attitudes.
1. The well-known writer Díaz is mentioned to _____.
A. stress he is a Pulitzer winner
B. reveal he fought an author
C. illustrate some writers have unethical behaviors
D. explain why I moved his works out of my syllabus.
2. Which of the following is “my teaching method”?
A. I ask my students to meet the writer to analyze his book.
B. I want my students to understand the writer from different dimensions.
C. Students are required to read eight to 10 books to find individual taste.
D. One of my responsibilities is to help students find the writer’s flaws.
3. The word “aspiration” (Para. 4) is closest in meaning to _____.
A. hate
B. cheating
C. sadness
D. ambition
4. What kind of students is mentioned here?
A. The students who are eager to get the writer’s signature whose book on the syllabus.
B. The students who want to join in a workshop.
C. The students who have the same aesthetic expertise as the writer.
D. The students who can publish an expensive book.
5. Which of the following would be the best title for the text?
A. Teach an Abusive Writer’s Work?
B. Writer in Print and Person
C. How to Prepare a Syllabus
D. My Regret
答案：CBDAA
出题思路：
【1】The well-known writer Díaz is mentioned to .
A. stress he is a Pulitzer winner
B. reveal he fought an author
C. illustrate some writers have unethical behaviors
D. explain why I moved his works out of my syllabus.
这里想出一道 “论证型推理题”，也就是“论据A是为了说明论点B”这样的题目。该题的论据是由题干“the well-known writer Díaz”指向文中所述“Diaz是一个行为有问题的人”，论点则是四个选项。
首先，确定正确选项：C：illustrate some writers have unethical behaviors（举例说明某些作家有不道德行为）。原文第2段开头说Do we continue to teach the work of people we now 
suspect of behaving unethically or abusively?（那些让我们现在怀疑行为粗暴、不道德的作家，我们是否继续教授他们的作品呢？）第2句话，作者并没有急于回答这个问题，而是举例什么人是那些不道德的作家。就提到News stories have suggested prominent writer Díaz may have acted in predatory ways.（新闻报道已经暗示著名作家迪亚兹可能有强暴式行为。）所以，Diaz就是前文提到的那些unethically or abusively中的一员。作者提到Diaz就是想举例说明的确有作家行为不道德，而不是作者自己的臆测。
其次，设计干扰选项：
选项A利用原文中Pulitzer winner一词，让那些没读懂文章，想蒙对答案的人上当。选项B的fought an author是对原文中bullying another的近义转写，让那些迷信“同义转述”的人上当。选项D利用第1段的syllabus迷惑考生。
【2】Which of the following is “my teaching method”?
A. I ask my students to meet the writer to analyze his book.
B. I want my students to understand the writer from different dimensions.
C. Students are required to read eight to 10 books to find individual taste.
D. One of my responsibilities is to help students find the writer’s flaws.
这里想考第3段。发现第3段教学方法讲的很详细，就出一道多细节题，即每个选项对应一个细节，但错误选项在细节描述上不准确。
首先，确定正确选项： B: I want my students to understand the writer from different dimensions.（我想让我的学生从不同角度理解作者）对应于原文I have always emphasized the writer as a fully dimensioned being.（我一直强调作者是一个全方位的存在）。出题技巧是paraphrase（同义转述）。
其次，设计干扰选项：选项A利用meet来迷惑考生。在选项A中，因为没有上下文语境，所以meet the writer就是真正和writer“面对面”的见面。而原文中invites undergraduates to alternate sustained analysis of a book with the opportunityto meet and question the author. （邀请本科生对一本书进行交替持续的分析，让他们有机会去认识和质疑作者）。原文中meet是学生和作者在“书中”见面，学生通过分析作品，了解作者。这种迷惑选项叫“去语境化”，也就是说原文中的词一定是“带语境”的词义，而选项中的词是“去语境”的词义，这两个词义不一样。
选项C的设计是考虑到原文中与C对应的是一个难句，考察学生是否真的读懂了这个句子。读懂了，就不会选C。没读懂，因为数字10很醒目，就很可能选C。原文Most of our craft learningissubsequently channeledthrough eight to 10 books assigned for annotation, a selectiontailored to students individually. 这句话的主要部分是Most of our craft learning is channeled (我们大部分写作技巧的学习被引导)。后面是through…books…, selection…（通过书和选集被引导）。什么样的书和选集呢？由被动的assigned, tailored修饰（被布置作业要求写注释的书引导，被针对学生个性化定制的选集引导）整个句子的翻译是：然后，让学生读八到十本书并做注释。我们大部分写作技巧的学习是通过这八到十本书的引导进行，这些书构成的选集是针对学生个性化定制选择的。选项D是用flaws做干扰，迷惑考生。
【3】The word “aspiration” (Para. 4) is closest in meaning to _____.
A. hate B. cheating C. sadness D. ambition
这里出一道猜词题。对于出题老师来说，出这样的题比较轻松。词的意义一般要从上下文猜。这道题aspiration虽然出现在第4段，但它的意义要从第5段对那些学生的描写得出，知道学生们多么渴望成为作家，才能猜出ambition（雄心）这个含义。干扰项在这里没有太多设计。
【4】What kind of students are mentioned here?
A. The students who are eager to get the writer’s signature whose book on the syllabus.
B. The students who want to join in a workshop.
C. The students who have the same aesthetic expertise as the writer.
D. The students who can publish an expensive book.
这里又是一道多细节题，因为第5段提到学生们的多种经历。
首先，确定正确选项：A: The students who are eager to get the writer’ssignature whose book on the syllabus.（学生渴望获得那些大纲上列出的书的作者的签名）因为原文：These are students who wait in line afterward, sometimes for hours, so that the author can sign their copy of the bookwe put on the syllabus. （这些学生是有时排队等候几个小时，只为了让教学大纲上的某本书的作者能够在书上签名。）
其次，设计干扰选项：选项B用workshop迷惑考生，原文的重点不是学生参加workshop，而是“想和作者一起”参与workshop。选项C用aesthetic expertise迷惑，但意思和原文无关。选项D用expensive和expenses词形相似迷惑，意思和原文也无关。
【5】Which of the following would be the best title for the text?
A. Teach an Abusive Writer’s Work?
B. Writer in Print and Person
C. How to Prepare a Syllabus
D. My Regret
这里想出一道主旨题。这种题比较难出，主要是错误选项要有迷惑性，但又要与正确答案有区别，还要反映出读者一些错误的主旨总结习惯，所以比较难出。正确选项要出得大家都没有异议也有一定难度。
首先，确定正确选项：A：Teach an Abusive Writer’s Work?（要教授行为粗鲁的作者的作品吗？） 因为第1段，第2段作者都提出了这个问题，但后面也没有答案。说明这就是作者文章的中心：提出一个这样的困惑。这篇文章的关键词是“writer”，这个词一定会包含在正确答案中。
其次，设计干扰选项：
所有干扰项设计采用了同一个策略，就是从段首句找醒目词。选项B是第3段的开头，但Writer in Print and Person只是作者开设的一门课程的名称。选项C利用Syllabus一次将考生目光引向第1段，但第1段作者提出Syllabus（大纲）的问题，只是作为引言，引起大家想象，如果大纲里很多作品的作者都有问题，那么大纲岂不要重写了吗？就像叠叠高游戏一样，很多支撑木块都抽掉后，叠叠高的塔就倒掉了。选项D利用regret一词将考生目光引向最后一段，但这一段只是作者的感慨。
英汉对照：
1 When you are a writer who learns a beloved author has a dark side, you experience(v.) waves of disillusionment. When you teach that author’s work, you feel an additional stab of concern: What about my syllabus? As intellectual propertygoes, a great syllabus is a gold mine. Or perhaps a better metaphor would be a Jenga Game. Take away too many supporting pieces and the whole thing will topple.
当你是一位作家，知道了某位受人爱戴的作家有黑暗的一面，你会经历一波幻灭的浪潮。当你讲授这位作家的作品时，你会感到额外的担忧：我的教学大纲怎么办？随着知识产权的发展，优秀的教学大纲就是金矿。也许更好的暗喻是一种叠叠高游戏。拿走太多的支撑物，整个塔就会倒塌。
2 Do we continue to teach the work of people we now suspectof behaving unethically or abusively? News stories have suggested prominent writer Díaz may have acted in predatory ways. The Pulitzer Prize Board has launched an investigation of past Pulitzer winner Díaz regarding allegations that include forcibly kissing one author and verbally bullying another. As a reader, I’m devastated. As a teacher, I’ve got decisions to make.
我们继续讲授那些人的作品，那些让我们现在怀疑行为不道德、粗暴的人的作品吗？新闻报道已经暗示著名作家迪亚兹可能有强暴式行为。普利策奖委员会展开了调查对曾经的普利策奖得主迪亚兹，调查关于某些指控，包括强吻一名作者和口头辱骂另一位作者的指控。作为一名读者，我非常震惊。作为一位教师，我必须做出决定。
3 “Writers in Print and Person,” my class at American University,where I often adjunct, invites undergraduates to alternate sustained analysis of a book with the opportunity to meet and question the author. Most of our craft learning is subsequently channeled through eight to 10 books assigned for annotation, a selection tailored to students individually. Because of the particular scope of my responsibilities, and these modes of student learning, I have always emphasized the writer as a fully dimensioned being. What do I do when those dimensional flaws are revealed?
“作品中的作者和真正的作者”是我在美国大学上的一门课，在那里我经常兼职，并邀请本科生对一本书进行交替持续的分析，让他们有机会去认识和质疑作者。然后，让学生读八到十本书并做注释，我们大部分写作技巧的学习是通过这八到十本书的引导进行，这些书形成的选集是针对学生个性化定制选择的。由于我的职责的特定范围，以及学生学习的这种模式，我一直强调作者是一个全方位的存在。当那些有瑕疵的维度被揭露时，我该做什么？
4 Here’s what I can’t do: pretend that this is not happening. Much of the economy surrounding a contemporary writing career rests not just in what that author does on the page but what the person says at the microphone and in the classroom. I’ve never been a full-time academic. Yet I’ve served as a writer-in-residence four times. In other words, I cross paths with thousands of students, many of whom tell me about their aspirations of becoming writers.
我知道我不能做什么：假装这一切都没有发生。围绕着当代写作生涯的许多经济效益不仅仅在于作者在书上写了什么，而且在于他在麦克风和教室里说的话。我从来不是全职的学术型学者。然而，我曾四次作为住校作家。换句话说，我和成千上万的学生不期而遇，他们中的许多人告诉我他们有想成为作家的志向。
5 These are students who wait in line afterward, sometimes for hours, so that the author can sign their copy of the book we put on the syllabus. These are the students who nervously apply fora faraway workshop, and then hustle to cover the expenses, so that they can work with a celebrated writer. These are the students who trust in both that writer’s aesthetic expertise and best intentions.
这些学生是有时排队等候几个小时，只为了让教学大纲上的某本书的作者能够签上名字。这些学生紧张地申请一个远在外地的工作坊，然后赶紧支付费用，以便能跟一位著名作家学习。这些学生既相信作家的美学知识，又相信他们的最佳意图。
6 I look back with deep regretat times I’ve recommended someone as a mentor, editor or visiting writer, unaware of a history of abusive attitudes.
我回头想想，深感遗憾的是，有时我推荐某人做导师、编辑或访问作家，并没有意识到他态度粗鲁的过去。