Been Down So Long It Looks Like Up To Me
TRANSLATIONS:
Richard Fari馻:
Been Down So Long It Looks Like Up To Me
New York: Random House, April 28, 1966.
< < < Click on covers for larger images and more info.
for reviews and literary criticism.
"I been down so long, seem like up to me,
Gal of mine got a heart like a rock in the sea."
--Furry Lewis, "Turn Your Money Green"
(adapted by Eric von Schmidt as "Stick With Me, Baby"
on the album Dick Fari馻 & Eric von Schmidt)
THIS NOVEL WAS DECODED WITH...
THE CAPTAIN MIDNIGHT
CODE-O-GRAPH
PURSUIT OF THE
and escape from
An interpretation by
Douglas Cooke,
licensed Fari馻 nut
i.) Background: The "Cornell School"
Published April 28, 1966, two days before Fari馻 died in a motorcycle
accident, Been Down So Long It Looks Like Up To Me became a cult favorite
among fans of his music and eventually attracted the attention of a more literary
readership through Fari馻's association with Thomas Pynchon, who wrote a blurb
for the novel.
Fari馻 had mentioned Pynchon in the notes for his song "V." on Celebrations
for a Grey Day and also in his 1963 essay, "Monterey Fair," published in
Mademoiselle (March 1964). But Fari馻 was known for his name-dropping,
and cover blurbs are often commercially motivated. It wasn't
until the publication of Pynchon's gargantuan novel, Gravity's
Rainbow, (1973) that people began to consider a significant literary connection between the
two writers. That formidable brick of a book, which many regard as the most
important novel of the latter half of the 20th century,
was "Dedicated to Richard Fari馻," and that tribute alone makes Been Down
So Long worthy of literary study.
The most famous author associated with Cornell was of course Vladimir Nabokov,
one of the great writers of this century, who taught at
Cornell in the late fifties while Pynchon and Fari馻 were students there.
Robert Scholes later recalled Fari馻's enthusiasm for the great novelist:
Fari馻 obviously emulated Nabokov's lyricality, his humor, his
keen eye for the absurd and the pathetic in modern American life, and the
use of these absurdities--rather than conventional literary devices--to tell
story. Nabokov bridged the generations of modernism and postmodernism,
particularly in his
influence on the Cornell School.
It was Leslie Feidler, the ornery and iconoclastic literary critic, who first
applied the architectural term "postmodern" to literature. He once explained
the term thus:
Like Nabokov and Pynchon, Fari馻 gathers the trappings of contemporary American
life in all its tawdry plastic commercialism, forging from the materials of pop
culture a common language between
himself and his contemporary audience to
tell a tale of high
seriousness through low humor. And like so many of the novels of Nabokov and Pynchon, Fari馻's
novel is a quest.
ii.) The Quest for the Real
Been Down So Long It Looks
Like Up To Me is the tale of a world-weary traveler who has been on
a voyage and seen many horrors and has returned a changed man, like the
blue-eyed son in Dylan's "A Hard Rain's A-Gonna Fall." But while the blue-eyed
son returns galvanized, ready to proselytize,
determined to confront the injustices he has seen, Fari馻's character,
Gnossos Pappadopoulis, is reluctant to talk about
what he has seen. Like the taciturn heroes of Hemingway's fiction, he is
morally paralyzed by his experiences and now seeks only alleviation and escape.
Fari馻's model for Gnossos is Odysseus, weary veteran of
the Trojan War, the prototypal anti-hero, the original draft-dodger, who
cares not for glory but just wants to go home. Gnossos' first mission in
the novel is to find a home, an apartment. The lyrical overture of the novel
is awash in allusions to
The Odyssey. The entire novel,
especially the geographical names of this fictional college town (based on
Ithaca in Upstate New York, home of Cornell Univesity and of course namesake
of Odysseus's island), is littered with absurd classical allusions: we hear of Harpy
Creek, Dryad Road, the Plato Pit (a restaurant), Circe Hall (a women's dorm)
, Hector Ramrod Hall, Minotaur Hall, Labyrinth Hall, etc. Even Gnossos's
ridiculous name is oddly allusive. Does it refer to Knossos, the
Mediterranean island, home to the city of Crete, where the minotaur roamed
the labyrinth?
The name may
also allude to the Greek word for "knowledge." The root is "gno", cognate
with the English "know," and it yields the verb "gign髎ko," (to know) and
the nouns, "gn鮯is" (knowledge), "gn髎tes" (one who knows), and "an醙nosis"
(recognition), often used as a literary term to refer to recognition scenes
Gnossos is one who has gained a painful knowledge from his travels but has
not yet learned to use it: his knowledge has not been transubstantiated into
wisdom. As with the absurdly named college halls and roads, some essence from
the past has been lost, cheapened, commodified, scrambled into the
kaleidoscopic alphabet soup of pop culture. Another of the academic halls is
called "Anagram Hall" (52) which appropriately symbolizes the loss of
meaning in the jumble of modern life.
Later in the novel we will meet G.
Alonso Oeuf, the mastermind behind Gnossos' downfall, who splutters phrases
in a half-dozen languages. But behind his pseudo-sophistication lies nothing
but clich閟; he too represents the fallen state of the modern
world. Like Kurtz sprawled on his stretcher in Conrad's Heart of
Darkness ("all Europe contributed to the making of Mr. Kurtz"),
Oeuf seems a
conglomeration of enervated cultures, the weary terminal of history, an
ailing, infirm, meaningless scrapheap of allusions rotting in postmodern
Been Down So Long It Looks Like Up To Me is set mainly in 1958, when
the folk music revival was just warming up (the Kingston Trio
scored a hit that year with the badman ballad "Tom Dooley").
But aside from the guitars, dulcimers and autoharps at house of Grun, a friend
of Gnossos, most of the musical references are to the jazz of the Beatniks.
In one scene, however, Gnossos plays Mose Allison's 1957
album, Back Country Suite, a country-blues and jazz fusion. As Mose Allison
blends the two genres,
Gnossos falls somewhere between the two movements. His outward rhythm is the
syncopated beat of jazz, but his inner song is the lonesome highway of folk.
He shares with both the beats and the folkies a contempt for the bourgeois,
the superficial, the mass-marketed.
He also identifies himself
with--and sometimes poses as--various figures throughout history: Montezuma
(22), Dracula, Prometheus (91), the Holy Ghost (171), Ravi Shankar (171),
Winnie the Pooh. He is a keeper of the flame, a seeker of the Holy Grail. He is
the antecedent of the character in Joni Mitchell's anthem, "Woodstock," who
says, "I don't know who I am, but life is for learning." Gnossos himself
realizes that he has "too many roles to play" (25).
Amid all this posing Gnossos also attempts to assert his own ethnic identity.
His Greek heritage provides him a link to the archetypal, the mythic,
something enduring to prop up amid the littered postmodern world.
self-assertion of identity often takes mundane forms. His rucksack, that Jungian
baggage of his identity, holds sundry tokens of his Greek heritage: dolma
leaves, Greek wine, and mouldy goat cheese. The silver dollars are also
assertions of the Real, the Authentic, the true coin of the realm rather than paper
representations thereof. Explaining his use of silver dollars to Dean
Magnolia, he warns of "parasitic corruption that gets spread through the
handling of dollar bills." (54) When a cashier questions the silver dollars,
Gnossos claims that he is Montezuma and threatens to tear out her heart and
eat it raw. More posing, more delusions of heroic grandeur, the assertion of
an ancient archetype to muscle out the present, the ephemeral, the corrupt,
the artificial. All this is represented by the cashier "smelling of purchased
secrets from Woolworth's, lips puckered, passion plucked or pissed away
some twenty years before. The resigned are my foes." (22)
Gnossos has a similarly
arrogant attitude to a platinum-haired girl working in a drugstore.
"Deaf to her doom," he imagines, and ascribes another pathetic narrative to
See her in a year, straddling some pump-jockey in the front seat of a '46
Ford, knocked up. Watching Gunsmoke in their underwear, cans of Black Label,
cross-eyed kid screaming in a smelly crib. Ech. Immunity not granted to all.
As in the Montezuma scene, Gnossos requires heroic posing to assert
his superiority over her: explaining his use of bath oil, he says, "Ancient
custom is all, balm for warrior, makes you good to feel, right?" (171)
Like his alternating identities, the Greek food and the silver dollars are
tumbled together in the rucksack with tokens of childhood fantasy, such as
rabbits' feet ("Placate all the gods and demons, finger in every mystical
pie" (114)) and the Captain Midnight Code-O-Graph, which loses a spring at a
significant moment in the story. When Gnossos learns that he has been partly
responsible for the death of Simon, a fellow student who killed himself upon
learning that his girlfriend was in love with Gnossos (who had seduced her
in an earlier chapter), he experiences what may be the silliest epiphany in
all literature:
...while roaming the streets in a hopeless attempt to pace away an oily
guilt, to purge the accusing picture of Simon sucking an exhaust pipe, he
looked into his rucksack for a vial of paregoric to soothe his agitated
nerves. But instead he found the Code-O-Graph, neatly sprung in two where it
had been sitting, with all innocence of inanimate purpose, in a bed of
rabbit's feet. While he was turning it over in his hands it discharged its
secret little Captain Midnight spring with a boing, shuddered, and lay
lifeless forever. (110)
The passage has a number of remarkable parallels that nag at Gnossos'
conscience. Gnossos' craving for an opium-laced cigarette to smoke
corresponds to the image of Simon suckin one is an
unconscious mimickry of the other. The reference to "oily guilt" recalls an
earlier scene where Monsignor Putti comes to deliver Extreme Unction but
instead anoints Gnossos' feet in a "lovely sacrament," explaining that
one's feet "carry one to sin." (50) Yet now Gnossos seeks to "pace away" his guilt
by "roaming the streets," and he finds the epiphany of his lost innocence in
"a bed of rabbit's feet." (110) The themes of escape and guilt, futile
cautionary superstitions and reckless behavior are so inextricable linked that
they seem to hound each other in an eternal, hellish circle.
iii.) The Deathwish
reveals that Fari馻 actually had such an adventure in Ireland,
where he was tricked by the IRA into believing that there would be no
people aboard the boat he was to bomb. Carolyn Hester makes no reference to
the short story, but she believes that Fari馻 was deeply affected by that
experience, and she felt that it explained much of his subsequent behavior.
Mimi Fari馻 also discussed Fari馻's morbidity in the notes to Long Time
Coming and a Long Time Gone. Death haunts Fari馻s music as well.
The song "Raven Girl," which his liner
notes describe as a deathwish, may reflect his guilt over the bombing of the
The sand that inches from the tide
Will claim the steps I sow,
The whispers in the ocean deep
shall pick my weary bones.
Was Fari馻 haunted by the whispers of the dead? Like Tennyson's Ulysses,
who lost so many of his companions at sea, and in old age found that "the deep moans round
with many voices," perhaps Fari馻 was tormented by the memory of the men
killed on the boat.
Perhaps this deathwish attracted Fari馻 to Michelangelo's poem,
"Sleep." Fari馻 quotes this poem both in Been Down So Long and in the short story
Fortune of Stone." In the short story he quotes the poem in the original
In Been Down So Long, Gnossos translates part of the poem into English at a
frat party:
"Dear to me is sleep...While evil and shame endure, not to see, not to feel
is my good fortune." (30)
Here is a translation of the entire passage:
"Dear to me is sleep, and dearer to be made of stone
While evil and shame endure,
Not to see, not to feel, is to me a good fortune,
Therefore do not wake me. Shh! Speak softly."
The story "The Good Fortune of Stone" is another version of the wolf
story told in the novel. Pynchon states in his 1983 introduction to the novel
that Fari馻 told this story many times. The near-death experience recounted
in both versions of the wolf story must have touched him
profoundly, and this, combined with his feeling of guilt (vergogna),
have given him the conflicting impulses of a deathwish and a feeling of
exemption, two impulses which, it seems to me, are never entirely resolved
or sorted out from each other in the novel. Not that everything needs be
art is not there for us to simply decode or "figure out." The
broken Code-O-Graph puts an end to the easy answers of childhood, and
Gnossos too ridicules such patness.
When Pamela says, "Must you be so
cryptic?" Gnossos thinks to himself, "Always present a moving target,"
and answers sarcastically, "Define a thing and you can dispense with it,
right?" (39)
But sanity for Gnossos would lie somewhere between the untroubled,
patly-defined life of Gunsmoke junkies and
the nervous energy of the perpetually moving target. Gnossos' deathwish is
a yearning for quiescence, for the quelling of his conscience. The
impossibility of this yearning gives him a contempt for those who have some
modicum of peace in life, those who are "deaf to their own doom." In the
song, "Sell-Out Agitation Waltz," Fari馻 scorns such people
"who ain't aware that every
morning they wake up dead." And yet death is
between cherished life and longed-for death: "Sweet mortality, I love to
tease your scythe." (169)
Herein lies the protagonist's central conflict. He went in quest of something
Real, but he
has found and seen things of such terrifying reality that he needs to numb
himself. He anesthetizes himself through drugs, through his posture of
coolness, through masquerading as superheroes and other heroic figures of
myth and history, and most significantly through his declaration of Exemption.
iv.) Exemption
The delusion of exemption derives from some harrowing experiences in Gnossos'
travels. He almost died in the frozen snow of the Adirondacks while pursuing
he witnessed an atom bomb explosion in Las V and watched someone
being tortured by pachucos in New Mexico. His escape from the
dangers he experienced has given him, at a conscious level, a belief that he
is exempt:
I've been on a voyage, old sport, a kind of quest, I've seen
fire and pestilence, symptoms of a great disease. I'm exempt. (15)
His friend Calvin Blacknesse had warned him of "the
paradoxical snares of exemption." (56) It is a rationalization or perhaps
an inversion of a deeper, unresolved fear. Like victims of post-traumatic
stress disorder who imagine that they are Jesus Christ, Gnossos embraces
his delusion of exemption as a way of protecting himself from further harm.
Like Fari馻, Gnossos is haunted by a pandemonium of phobias. He fears demons,
monkeys, all manner of bad omens which he seeks to avert by superstitious
rituals, such as the Mediterranean apotropaic ritual of clutching the testes.
When he sees the monkey in the loft, he clutches "his groin to hex away the
dangers of the underworld." (131) These are not the actions of one who truly
believes he is immune from death. Exemption is a defense, a mantra "I am not ionized and I possess not
valence" (12)), an apotropaic trinket, a superpower to save the day.
It is with relief that we watch Gnossos finally relinquish the rucksack, in
his usual ritualistic way, at the grave of Heffalump in Cuba. The rite of passage
into manhood seems long overdue, after his pre-novel travels, the death of
Simon, his brush with the clap, and the death of Heffalump. There are perhaps
too many mini-resolutions in the novel, too many epiphanies, too many karmic
adjustments rather than one big,
cathartic, aesthetically satisfying climax, and along the way we have to put up
with too much of Gnossos' posing and pointless partying.
As a result, many
critics have overlooked the complexity and significance of the novel altogether,
dismissing it as an outdated effort now useful only as a document of its time.
v.) Layers
I will add to this that it was begun in the author's obscurity, when he craved
recognition (in the same interview Mimi said, "It's hard to feel great
when you're not being acknowledged at the time."), and it was finished when Fari馻 had achieved
the extraordinary success of two critically-acclaimed albums. Most first
novels are uneven, revealing imperfectly blended layers of experience, but
Fari馻's was more uneven than most, begun, according to his own legend, a
few minutes after quitting his role as a blind harmonica player huckstering on
the streets of France, and completed by a respected musician acclaimed by
Pete Seeger and Jean Ritchie.
A further complication in the novel's
genesis is that one of its major innovations, the use of illustrations to
portray episodes that would only be alluded to in the text itself, was rejected
by the publisher.
This, I believe, is one of the problems with Fari馻's confusing novel, the
outcome of two marriages, two continents, two careers, and God knows how many
conceptions of what the novel would be. But
when reading the first few novels of Faulkner we have the
more successfully executed genius of later novels to cast a clearer light on
the tentative, gestating ideas of the earlier work.
With Fari馻 we do not have that advantage. Guessing at his literary potential from
his novel is a bit like predicting <Reflections in a Crystal Wind on the basis
of Dick Fari馻 & Eric von Schmidt. We can compare the existing
poems and stories, the lyrics, we can comb through the liner
notes and other scraps we may find, read all the available biographical
information and root out the cherished memories of
his friends. But we will never see a
full maturation of his genius that might have reflected something back upon
this first tentative novel.
Fari馻 was sophisticated, well-read,
well-traveled, well-rounded. He went to Jesuit schools, attended an Ivy League
university on a scholarship, excelled both in the
humanities and the sciences, established a reputation both as a writer and a
musician, influenced a whole generation of dulcimer players,
spun several folk styles together to create a new kind of music that
still sounds fresh and unique today, and merged folk and rock with more
skill and daring than anyone ever had before.
Just as his potential was incalcuable, so must
the more shadowy nooks of his novel remain unfathomable.
Douglas Cooke
Brooklyn, 2001.
For further criticism on this novel, see the
FOOTNOTES:
Bluestein, Gene. "Tangled Vines." (a review of Thomas
Pynchon's Vineland.) The Progressive. June 1990, Vol. 54, issue 6,
Coover, Robert, et al. "Nothing But Darkness and
Talk? Writers' Symposium on Traditional Values and Iconoclastic Fiction."
Critique. Summer, 1990, vol. 31, issue 4, p. 233ff.
Fari馻, Richard. Been Down So Long It Looks Like Up
To Me. New York: Random House, 1983. The Randon house and Penguin paperbacks
are both reprints of the original Random House edition, but the Dell paperback
was an entirely different typeset. Therefore, the page numbers in
this essay will apply to all but the Dell paperbacks.
Quoted in Fari馻, Richard. Long Time Coming and a Long Time
Gone. New York: Random House. p. 40 (p. 36 of the Dell paperback). Mr. Fantastic, the Stan Lee creation
who had the same stretchy power, debuted in 1961, before the novel takes
Unterberger, Richie. Urban Spacemen and Wayfaring
Strangers: Overlooked Innovators and Eccentric Visionaries of '60s Rock.
San Francisco: Miller Freeman Books, 2000.21．-It was really very kind of you to give me a lift home．-Oh.don’t mention it. I past your——精英家教网——
暑假天气热？在家里学北京名师课程，
21．-It was really very kind of you to give me a lift home．-Oh.don’t mention it. I past your house anyway．A．was coming B．will come C．had come D．have come 【】
题目列表(包括答案和解析)
－It was really very kind of you to give me a lift home．
－Oh, don’t mention it．I _________ past your house anyway．
was coming
－It was really very kind of you to give me a lift home．
－Oh, don’t mentiong it．I ________ past your house anyway．
A．was coming
B．will come
C．had come
D．have come
－It was really very kind of you to give me a lift home．
－Oh, don’t mention it．I ________ past your house anyway．
A．had come
B．will come
C．was coming
D．have come
听力(共两节，满分30分)
第一节(共5小题；每小题1.5分，满分7.5分)
听下面5段对话。每段对话后有一个小题，从题中所给的A、B、C三个选项中选出最佳选项。听完每段对话后，你都有10秒钟的时间来回答有关小题和阅读下一小题。每段对话仅读一遍。
1．What’s the most probable relationship between the two speakers?
A．They are host and guest．
B．They are waiter and customer．
C．They are husband and wife．
2．Where did this conversation take place?
A．At the hospital．
B．At the airport．
C．At the post office．
3．Why will the woman go to London?
A．To have a look at London．
B．To go with her friend．
C．To spend the weekend．
4．What’s the woman’s job?
A．She is a saleswoman．
B．She is a waitress．
C．She is a hotel clerk．
5．How is the weather now?
A．It’s snowing．
B．It’s raining．
C．It’s clear．
听力原文：(Text 1)
W：I think I’ll have the duck, please．
M：I’m very sorry, Madam．I’m afraid there isn’t any left．
W：Excuse me, visiting hours are over．It’s time for you to leave．
M：I’m sorry, I didn’t know the time or I would have left earlier．
M：Are you going to London next weekend?
W：Yes, I will visit a friend of mine while I am there．
M：I want a single room with a bath, what’s the rate?
W：It’s ＄25 a day．Your room number is 213．It is on the second floor．Here is your key．
M：You’d better take your coat with you．It looks like it’s going to snow．
W：You may be right．Thank you for mentioning this．
第二节(共15小题；每小题1.5分，满分22.5分)
听下面5段对话或独白。每段对话或独白后有几个小题，从题中所给的A、B、C三个选项中选出最佳选项。听每段对话或独白前，你将有时间阅读各个小题，每小题5秒钟；听完后，各小题将给出5秒钟的作答时间。每段对话或独白读两遍。
听第6段材料，回答第6～8题。
6．Where does this conversation take place?
A．In a restaurant．
B．In a night club．
C．In a super -market．
7．What kind of snack does the woman have?
A．Pancake．
B．Chips．
C．Salad．
8．How much does the woman pay for the things she asked?
A．75 pence．
B．1.30 pounds．
C．2.05 pounds．
听力原文：(Text 6)
W：Good morning, sir．What would you like?
M：I’d like a red wine, please．
W：Anything else?
M：What snacks have you got?
W：The menu is on the board over there．There’s pancake, Greek salad, steak and chips…
M：I’ll try the Greek salad, please．Do I pay now?
W：Oh, yes, if you would．That’s 75 cents for the wine and ＄1.30 for the salad．
听第7段材料，回答第9～11题。
9．Which age group do the two speakers most likely belong to?
A．Young．
B．Middle-aged．
10．Which part of the body is probably OK with the woman?
A．Her leg．
B．Her back．
C．Her eyes．
11．Why can’t the man do gardening a lot?
A．Because of his back trouble．
B．Because of his leg trouble．
C．Because of his arm trouble．
听力原文：(Text 7)
M：Hello．How are you today?
W：Not so good．My leg’s playing me up, awful pains in my leg and my toothache!
M：Oh, dear! I’ve got toothache too and the dentist says he simply can’t see me before next week．But what gets me is my headache．
W：I know what you mean, but at least you can do the garden．I can’t even do that with my back－the doctor says I mustn’t lift or bend．
M：You poor thing．There’s nothing worse than back trouble．But I don’t do much in the garden now because I’ve hurt my arm．It’s really painful．
W：Like my ankle．It’s all swollen up．
听第8段材料，回答第12～14题。
12．How does the man feel?
A．Happy．
C．Excited．
13．What’s wrong with the man?
A．He was knocked down by a car．
B．He had an accident when he was walking along the street．
C．He had an accident in the car．
14．Why did it happen?
A．Because there’s something wrong with the driving mirror．
B．Because there’s something wrong with the roadside mirror．
C．Because the other driver drove too fast．
听力原文：(Text 8)
W：Hi, David, you look awful．What’s the trouble?
M：Well, believe it or not, I had an accident in the car this morning．Someone drove into the back of my car．
W：No!How did it happen?
M：I was just turning into my drive when another car came round the corner and drove into the back of mine．
W：Didn’t you see him?
M：No, I didn’t．I looked in my driving mirror and there was no one coming．Not only that, I also looked in the big mirror on the other side of the road．
W：So he must have been coming very fast if you didn’t see him．
M：That’s right．And he went straight into me．
听第9段材料，回答第15～17题。
15．Where is Miss Smith?
A．She is at home．
B．She is taking a break．
C．She is attending a meeting．
16．When should Miss Smith call today whether she will attend the meeting or not?
A．On Thursday．
B．Today．
C．The day after tomorrow．
17．What number should Miss Smith call?
听力原文：(Text 9)
W：Good morning, Miss Smith’s secretary．
M：Good morning, may I speak to Miss Smith, please?
W：I’m sorry．She’s in conference at the moment．Do you want to leave a message?
M：Yes, all right．Could you tell her that Mr．Johnson called? And tell her that the meeting about the Trade Fair is on Thursday 12th at 2 p．m．
W：Fine, is there anything else?
M：Yes．Could she phone to confirm that she can come before tomorrow?
W：Yes, and what number is it?
M：802 9714 Extension 246．
W：Fine, I’ve got that．I’ll get the message to her as soon as possible．
M：Thank you very much．Goodbye．
W：Goodbye．
听第10段材料，回答第18～20题。
18．Why couldn’t the speaker meet with Mr．Smith as soon as he arrived?
A．He missed the appointment．
B．He arrived late．
C．He was sick．
19．Why did he give up making a new appointment with Mr．Smith?
A．He couldn’t reach Mr．Smith’s office．
B．He didn’t want to see Mr．Smith any more．
C．He didn’t want to take the trouble making it．
20．Whom did he meet on the street one day?
A．A stranger．
B．Mr．Smith．
C．Mr．Smith’s secretary．
听力原文：(Text 10)?
　　I flew to New York to take care of some business with Mr．Smith．But as soon as I arrived, I got sick, and could not meet with him．I had to call our appointment off．Then when I felt better I thought about visiting him at his home, but he lived too far away．I tried to telephone him during office hours, but he was busy．His secretary said that Mr．Smith would call me back, but he didn’t．I gave up trying to make a new appointment because it would take more time and efforts than I wanted to spend．
　　A few days later, I saw a man on the street who looked like Mr．Smith, and I called out to him．It was someone else．When I returned to my hotel that day, I found a message which said that Mr．Smith had gone out of town on some sudden unexpected business．I was sorry that I had missed seeing him, but I was really enjoying my sightseeing in New York．
听力(共两节，满分30分)
第一节(共5小题；每小题1.5分，满分7.5分)
听下面5段对话。每段对话后有一个小题，从题中所给的A、B、C三个选项中选出最佳选项。听完每段对话后，你都有10秒钟的时间来回答有关小题和阅读下一小题。每段对话仅读一遍。
1．What are the two speakers doing?
A．Enjoying meeting each other．
B．Saying good-bye to each other．
C．Planning to see each other．
2．What can you guess about the woman?
A．He is a hard working boy．
B．He is as dull as Jack．
C．He’d like to go with Lisa．
3．What is the woman?
A．A waiter．
B．A conductor．
C．A book clerk．
4．What’s the relationship between the two speakers?
A．A boss and a salesgirl．
B．A teacher and his pupil．
C．A professor and his assistant．
5．What do you guess about the man?
A．He didn’t sleep well last night．
B．He is going to play a game．
C．He is lying in bed．
听力原文：(Text 1)
M：Well, I’d better be getting home now．It’s been great seeing you again．
W：Oh, It was nice seeing you too．
M：Sorry, Lisa．I can’t go to the party with you tonight．
W：Have you heard that all work and no play make Jack a dull boy?
M：I want a ticket to London, please．Second-class．
W：Single or return?
W：Excuse me, Professor Smith．I was wondering if I could leave 15 minutes early this afternoon．
M：Sure, go ahead, Jane．Do give your lovely child a loud kiss．
W：What’s the matter?You look tired．
M：I tried to sleep last night but I lay there awake, thinking about the game．
第二节(共15小题；每小题1.5分，满分22.5分)
听下面5段对话或独白。每段对话或独白后有几个小题，从题中所给的A、B、C三个选项中选出最佳选项。听每段对话或独白前，你将有时间阅读各个小题，每小题5秒钟；听完后，各小题将给出5秒钟的作答时间。每段对话或独白读两遍。
听第6段材料，回答第6～7题。
6．What’s the woman going to do?
A．Attend her friend’s wedding party．
B．Attend Lan’s party．
C．Do some shopping with her friends．
7．What does the man suggest to the woman?
A．Wear her new dress．
B．Wear the light blue dress．
C．Wear a more formal one．
听力原文：(Text 6)
W：How do you like my new dress?
M：It looks very fashionable．
W：I’m going to wear it at my friend’s wedding party tomorrow．What do you think?
M：Not a bad idea．But I think I prefer the light blue dress you wore at Lan’s party last time．
听第7段材料，回答第8～9题。
8．What time is it when the dialogue happens?
A．At 8∶00．
B．At 7∶30．
C．At 7∶47．
9．What’s the result of the dialogue?
A．The man will drop the woman at a nearby underground station．
B．The man will drive the woman to Park．
C．The woman will not meet her friend on time．
听力原文：(Text 7)
W：It’s only thirty minutes left．I’ve got an appointment－I’m meeting a friend in London at eight．I’ll never make it．
M：I’m going into London．I’ll give you a lift if you like．
W：Could you really?That would be kind．
M：Where are you meeting your friend?
W：Near park－but if you can drop me at an underground station．That’ll be fine．
M：No, it’s all right．Park’s not far out of my way．I’ll take you there．
W：That’s very kind of you．
听第8段材料，回答第10～12题。
10．Where does the dialogue take place?
A．In a restaurant．
B．In a bookstore．
C．At home．
11．What does the man order?
A．A hamburger and coffee．
B．A Coke and a cake．
C．A hamburger and a Coke．
12．How much does it cost?
A．＄1.70．
B．＄1.17．
听力原文：(Text 8)
W：Can I get you something?
M：Yes, a hamburger, please．
W：Anything to drink?
M：Oh, yea．I’m thirsty．A Coke, please．
W：Here you are．That’s ＄1.70．
M：I think that’s wrong．It can’t be ＄1.70．It’s ＄1.17．
W：Oh, you are right．Sorry．
听第9段材料，回答第13～16题。
13．What is Sally?
A．A famous singer．
B．A film star．
C．A famous swimmer．
14．Where is Sally now?
A．In a competition．
B．In a swimming pool．
C．In California．
15．What did she do at the last Olympics?
A．She broke all the records．
B．She won many cups．
C．She swam thirty-five miles．
16．Why has she given up swimming?
A．She is too old to swim．
B．She prefers visiting other countries．
C．She can’t win any international competitions．
听力原文：
Do you remember Sally Green, the swimming star?She was the girl who broke all the records at last Olympics．Where is she now?Last week our reporter, Tom Parker, went to see Sally in her Californian home．
M：It is true that you don’t swim at all now?
W：I’m afraid so．I’m too old．
M：But you are only twenty．
W：That’s too old for a swimmer．If I swim in an international competition now, I wouldn’t win．So I’d rather not swim at all．
M：But don’t you enjoy swimming?
W：I used to, when I was still small．But if you enter for big competitions you have to work very hard．I used to get up at 6 a．m．to go to the pool．I had to train before school．After school and at weekends, I swam thirty-five miles every week!
M：But you were famous at fifteen．And look at these cups．
W：It’s true that I have some wonderful memories．I enjoyed visiting other countries, and the Olympics were very exciting．But I missed more important things．While other girls were growing up, I was swimming．What can I do?
听第10段材料，回答第17～20题。
17．When did the story take place?
A．In the morning．
B．In the afternoon．
C．In the evening．
18．What was Harry’s problem?
A．Everyone at his school liked him．
B．No one at his school liked him．
C．Some people at his school dislike him．
19．Why didn’t Harry want to accept his mother’s advice?
A．He thought he was too weak．
B．He thought he was the headmaster．
C．He thought he was too old to change．
20．What have you learned from the text?
A．Harry is a bus-driver．
B．Harry is a student．
C．Harry is the headmaster．
听力原文：(Text 10)?
　　Harry came to his mother one morning while she was having her breakfast, and said to her, “No one at my school likes me, mother．The teachers don’t, and the children don’t．Even the cleaners and the bus drivers hate me．”
　　“Well, Harry, ” his mother answered, “perhaps you aren’t very nice to them．If a few people don’t like a person, he or she may not be but if a lot of people don’t, there is usually something wrong, and that person really needs to change．”
　　“I’m too old to change, ”Harry said．“I don’t want to go to school．”
　　“Don’t be silly, Harry, ”his mother said, going to the garage to get the car out．“You have to go．You’re quite well, and you still have a lot of things to learn．And besides that, you’re the headmaster of the school．”
一、查漏补缺（一）各种从句1．before&&& 2．before&&& 3．since&&& 4．because／as&&& 5．for&&&& 6．as if7．Whenever / Every
time&& 8．in case&& 9．whether&&&&&& 10．as&&& 11．whose12．when&&& 13．whom&& 14．which&& 15．whose&&&&&& 16．whoever&&&& 17．which18．where／in which&&& 1 9．where／in which&&& 20．that&& 21．whom&&&& 22．where23．unless&&& 24．Whose&& 25．but&&& 26．what&&&& 27．where&&&&& 28．whose29．No matter where／Wherever&&&& 30．that&& &&31．once／if／as long as32．when&&&&& 33．Even if&&&&& 34．Which&&&& 35．that（二）时态语态l．have been
writing& 2．is working&& 3．had planned&& 4．was taking&& 5．hadn’t prepared6．will be
working&&& 7．was…invented&&& 8．are
translated&&&& 9．had been killed10．will be enjoying&&& 11．are always
leaving&&&&& 12．did…stay13．have worked／have been
working&&&& 14．will never
reach&&& 15．missed16．was doing&&&&& 17．Kept&&&&& 18．has been
considering&&&&&
19．had been waiting20．is closing／will close&&& 21．hadn’t been
invited&&& 22．had left&&&& 23．was sitting24．was&&&& 25．was doing&&&& 26．had planned&& 27．are given&&&&& 28．Takes29．goes&&&& 30．will take&&&&& 31．was going，occurred&&&& 32．has served33．had been
reached&&& 34．have been
working&&&& 35．didn’t mean，was trying&&& 36．is37．was coming&&& 38．were sold&&& 39．has worked／has been
working&&&& 40．had done（三）非谓语动词1、分项练习第一组1）elected&& 2）done&& 3）is done&& 4）questioned&& 5）Having robbed& 6）is given第二组1）being
discussed&&& 2）put&&& 3）to be held第三组1）to risk
taking&& 2）to stay&&& 3）having&& 4）meeting第四组1）To support&&& 2）attending&& 3）to worry about&&& 4）written第五组1）to have gone& 2）to be&& 3）to have studied&& 4）to have kept&& 5）to have invented6）to have been
burned&&& 7）to be given&&&&& 8）to be told2、综合练习答案1．Taken&&& 2．Knowing& &&3．losing&&& 4．To take&&& 5．Lost&&& 6．done&& 7．Blamed8．Not having
made&&& 9．Digested&&&& 10．leading&&& 11．stealing／having stolen12．accepted&&& 13．cutting／to be cut&&&& 14．Having
arrived&&&&&&
15．having16．shown&&&& 17．developed&&&&& 18．Given&&&& 19．to take&&&& 20．Having waited21．Put&&& 22．held&&&& 23．given&& 24．blocking&&&& 25．to learn&&&& 26．Being27．Not knowing&&& 28．to have
bought&&& 29．to be given&&&&& 30．To finish31．waiting&&&& 32．Having
failed&&&& 33．Not
realizing&&&& 34．locked&& 35．print（二）回归高考真题，把握高考方向：单项填空l-5 DCABB&&&&& 6-10 DDACA&&& 11-15 CACDB&&& 16-20ABDCD21-25 AABDB&&& 26-30 CACDC&&& 31-35 CDBCD&&& 36-40 ACDBA（三）高频预测：单项填空1-5 DCCCD&&&& 6-10
ACBCB&&&& 11-15
BABBC&&& 16-20 BDBDA&二、完形填空（1）1-5 ACACD&&& 6-10 CADBA&&& &11-15 &CBCCB&&& 16-20 &CADAB（2）1-5 CABDA&&& 6-10 DBCBC&&& 11-15 DABDA&&&& 16-20 DBCBA三、阅读理解第一节：第一篇 1-4 DCAD&&&&& &第二篇1-4 CCBA&&&&&& 第三篇1-4 BABC第三篇 1-4 BACB&&&&&& 第四篇 1-3 DCB&&&&&&&&
第五篇1-4 ACCD第六篇 1-4 BBAB&&&&&& 第七篇1-5 DBCCB&第二节：1-5 DCBE A&四、书面表达第一节第一行：or 改为and&&& 第二行：playing 改为play&&& 第三行：young加when&&& 第四行：去掉the&&
learn改为teach&&&&
was 改为is&&&&
第五行：friend改为friends&&&&&& by改为in&&&& 第六行：to改为from&&&
hardly改为hard&第二节With the approaching of the summer vacation, many school leavers feel it
a great chance to enjoy themselves.Many of my classmates have an urge to travel. To get close to nature and
pay a visit to places of interest can widen our scope of view and add to our
life experience. There are also some students who would like to take the
advantage of this time to involve themselves in voluntary work, doing something
of significance to society. Besides, quite a few students desire to attain some
skills, from which they may benefit all their life.As for me, I’d prefer to share this precious time with my family before I
leave for my college education. It is much gratitude and care that I owe my
parents. Hopefully, I can make up for some this summer.&&
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