Part 5

You are going to read an extract from a novel in which a young woman called
Caitlin talks about her life on an island. For questions 31-36, choose the answer
(А, В, C or D) which you think fits best according to the text.

We live on the island of Hale. It’s about four kilometres long and two kilometres
wide at its broadest point, and it’s joined to the mainland by a causeway called the
Stand – a narrow road built across the mouth of the river which separates us from
the rest of the country. Most of the time you wouldn’t know we’re on an island
because the river mouth between us and the mainland is just a vast stretch of tall
grasses and brown mud. But when there’s a high tide and the water rises a half a
metre or so above the road and nothing can pass until the tide goes out again a few
hours later, then you know it’s an island.

We were on our way back from the mainland. My older brother, Dominic, had just
finished his first year at university in a town 150 km away. Dominic’s train was
due in at five and he’d asked for a lift back from the station. Now, Dad normally
hates being disturbed when he’s writing (which is just about all the time), and he
also hates having to go anywhere, but despite the typical sighs and moans – why
can’t he get a taxi? what’s wrong with the bus? – I could tell by the sparkle in his
eyes that he was really looking forward to seeing Dominic.

So, anyway, Dad and I had driven to the mainland and picked up Dominic from the
station. He had been talking non-stop from the moment he’d slung his rucksack in
the boot and got in the car. University this, university that, writers, books, parties,
people, money, gigs…. And when I say talking, I don’t mean talking as in having a
conversation, I mean talking as in jabbering like a mad thing. I didn’t like it … the
way he spoke and waved his hands around as if he was some kind of intellectual or
something. It was embarrassing. It made me feel uncomfortable – that kind of
discomfort you feel when someone you like, someone close to you, suddenly starts
acting like a complete idiot. And I didn’t like the way he was ignoring me, either.
For all the attention I was getting I might as well not have been there. I felt a
stranger in my own car.

As we approached the island on that Friday afternoon, the tide was low and the
Stand welcomed us home, stretched out before us, clear and dry, beautifully hazy
in the heat – a raised strip of grey concrete bound by white railings and a low
footpath on either side, with rough cobbled banks leading down to the water.
Beyond the railings, the water was glinting with that wonderful silver light we
sometimes get here in the late afternoon which lazes through to the early evening.

We were about halfway across when I saw the boy. My first thought was how odd
it was to see someone walking on the Stand. You don’t often see people walking
around here. Between Hale and Moulton (the nearest town about thirty kilometres
away on the mainland), there’s nothing but small cottages, farmland, heathland and
a couple of hills. So islanders don’t walk because of that. If they’re going to
Moulton they tend to take the bus. So the only pedestrians you’re likely to see
around here are walkers or bird-watchers. But even from a distance I could tell that
the figure ahead didn’t fit into either of these categories. I wasn’t sure how I knew,
I just did.
As we drew closer, he became clearer. He was actually a young man rather than a
boy. Although he was on the small side, he wasn’t as slight as I’d first thought. He
wasn’t exactly muscular, but he wasn’t weedy-looking either. It’s hard to explain.
There was a sense of strength about him, a graceful strength that showed in his
balance, the way he held himself, the way he walked…

31. In the first paragraph, what is Caitlin’s main point about the island?
A It can be dangerous to try to cross from the mainland.
В It is much smaller than it looks from the mainland.
C It is only completely cut off at certain times.
D It can be a difficult place for people to live in.
32. What does Caitlin suggest about her father?
A His writing prevents him from doing things he wants to with his family.
В His initial reaction to his son’s request is different from usual.
C His true feelings are easily hidden from his daughter.
D His son’s arrival is one event he will take time off for.
33. Caitlin emphasises her feelings of discomfort because she
A is embarrassed that she doesn’t understand what her brother is talking about.
В feels confused about why she can’t relate to her brother any more.
C is upset by the unexpected change in her brother’s behaviour.
D feels foolish that her brother’s attention is so important to her.
34. In the fourth paragraph, what is Caitlin’s purpose in describing the
island?
A to express her positive feelings about it
В to explain how the road was built
C to illustrate what kind of weather was usual
D to describe her journey home
35. In ‘because of that’ in Paragraph Five (underlined), ‘that’ refers to the
fact that
A locals think it is odd to walk anywhere.
В it is easier for people to take the bus than walk.
C people have everything they need on the island.
D there is nowhere in particular to walk to from the island.
36. What do we learn about Caitlin’s reactions to the boy?
A She felt his air of confidence contrasted with his physical appearance.
В She was able to come up with a reason for him being there.
C She realised her first impression of him was inaccurate.
D She thought she had seen him somewhere before.

Part 6
You are going to read a newspaper article in which a former ballet dancer talks
about the physical demands of the job. Six sentences have been removed from the
article. Choose from the sentences A-G the one which fits each gap (37-42). There
is one extra sentence which you do not need to use. 

Good preparation leads to success in ballet dancing

A former classical ballet dancer explains what ballet training actually involves.
What we ballet dancers do is instinctive, but instinct learnt through a decade of
training. A dancer’s life is hard to understand, and easy to misinterpret. Many a
poet and novelist has tried to do so, but even they have chosen to interpret all the
hard work and physical discipline as obsessive. And so the idea persists that
dancers spend every waking hour in pain, bodies at breaking point, their smiles a
pretence.

As a former dancer in the Royal Ballet Company here in Britain, I would beg to
question this. 37 _____. With expert teaching and daily practice, its various
demands are easily within the capacity of the healthy human body. Contrary to
popular belief, there is no need to break bones or tear muscles to achieve ballet
positions. It is simply a question of sufficient conditioning of the muscular system.
Over the course of my dancing life I worked my way through at least 10,000 ballet
classes. I took my first at a school of dance at the age of seven and my last 36 years
later at the Royal Opera House in London. In the years between, ballet class was
the first thing I did every day. It starts at an early age, this daily ritual, because it
has to. 38 _______. But for a ballet dancer in particular, this lengthy period has to
come before the effects of adolescence set in, while maximum flexibility can still
be achieved.
Those first classes I took were remarkably similar to the last. In fact, taking into
account the occasional new idea, ballet classes have changed little since 1820,
when the details of ballet technique were first written down, and are easily
recognised in any country. Starting with the left hand on the barre, the routine
unrolls over some 75 minutes. 39 ________. Even the leading dancers have to do
it.
These classes serve two distinct purposes: they are the way we warm our bodies
and the mechanism by which we improve basic technique. In class after class, we
prove the old saying that ‘practice makes perfect’. 40 _____. And it is also this
daily repetition which enables us to strengthen the muscles required in jumping,
spinning or lifting our legs to angles impossible to the average person.
The human body is designed to adapt to the demands we make of it, provided we
make them carefully and over time. 41 ______. In the same way, all those years of
classes add up to a fit-for-purpose dancing machine. This level of physical fluency
doesn’t hurt; it feels good.
42 ______. But they should not be misled: there is a difference between hard work
and hardship. Dancers have an everyday familiarity with the first. Hardship it isn’t.
A. Through endless tries at the usual exercises and frequent failures, ballet dancers
develop the neural pathways in the brain necessary to control accurate, fast and
smooth movement.
В. The ballet shoe offers some support, but the real strength is in the muscles, built
up through training.
C. As technology takes away activity from the lives of many, perhaps the ballet
dancer’s physicality is ever more difficult for most people to imagine.
D. Ballet technique is certainly extreme but it is not, in itself, dangerous.
E. The principle is identical in the gym – pushing yourself to the limit, but not
beyond, will eventually bring the desired result.
F. No one avoids this: it is ballet’s great democratiser, the well established
members of the company working alongside the newest recruits.
G. It takes at least a decade of high-quality, regular practice to become an expert in
any physical discipline.
Part 7
You are going to read a newspaper article about a young professional footballer.
For questions 43 – 52, choose from the sections (A – D). The sections may be
chosen more than once.
Which paragraph…
43. states how surprised the writer was at Duncan’s early difficulties? __
44. says that Duncan sometimes seems much more mature than he really is? __
45. describes the frustration felt by Duncan’s father? __
46. says that Duncan is on course to reach a high point in his profession? __
47. suggests that Duncan caught up with his team-mates in terms of physical
development? __
48. explains how Duncan was a good all-round sportsperson? __
49. gives an example of how Gavin reassured his son? __
50. mentions Duncan’s current club’s low opinion of him at one time? __
51. mentions a personal success despite a failure for the team? __
52. explains how Duncan and his father are fulfilling a similar role? __

Rising Star

Margaret Garelly goes to meet Duncan Williams, who plays for Chelsea Football
Club.
A
It’s my first time driving to Chelsea’s training ground and I turn off slightly too
early at the London University playing fields. Had he accepted football’s rejections
in his early teenage years, it is exactly the sort of ground Duncan Williams would
have found himself running around on at weekends. At his current age of 18, he
would have been a bright first-year undergraduate mixing his academic studies
with a bit of football, rugby and cricket, given his early talent in all these sports.
However, Duncan undoubtedly took the right path. Instead of studying, he is sitting
with his father Gavin in one of the interview rooms at Chelsea’s training base
reflecting on Saturday’s match against Manchester City. Such has been his rise to
fame that it is with some disbelief that you listen to him describing how his career
was nearly all over before it began.
В
Gavin, himself a fine footballer – a member of the national team in his time – and
now a professional coach, sent Duncan to three professional clubs as a 14 year-old,
but all three turned him down. ‘I worked with him a lot when he was around 12,
and it was clear he had fantastic technique and skill. But then the other boys shot
up in height and he didn’t. But I was still upset and surprised that no team seemed
to want him, that they couldn’t see what he might develop into in time. When
Chelsea accepted him as a junior, it was made clear to him that this was more of a
last chance than a new beginning. They told him he had a lot of hard work to do
and wasn’t part of their plans. Fortunately, that summer he just grew and grew, and
got much stronger as well.’
C
Duncan takes up the story: ‘The first half of that season I played in the youth team.
I got lucky – the first-team manager came to watch us play QPR, and though we
lost 3-1, I had a really good game. I moved up to the first team after that
performance.’ Gavin points out that it can be beneficial to be smaller and weaker
when you are developing – it forces you to learn how to keep the ball better, how
to use ‘quick feet’ to get out of tight spaces. ‘A couple of years ago, Duncan would
run past an opponent as if he wasn’t there but then the other guy would close in on
him. I used to say to him, “Look, if you can do that now, imagine what you’ll be
like when you’re 17, 18 and you’re big and quick and they won’t be able to get
near you.” If you’re a smaller player, you have to use your brain a lot more.’
D
Not every kid gets advice from an ex-England player over dinner, nor their own
private training sessions. Now Duncan is following in Gavin’s footsteps. He has
joined a national scheme where people like him give advice to ambitious young
teenagers who are hoping to become professionals. He is an old head on young
shoulders. Yet he’s also like a young kid in his enthusiasm. And fame has clearly
not gone to his head; it would be hard to meet a more likeable, humble young man.
So will he get to play for the national team? ‘One day I’d love to, but when that is,
is for somebody else to decide.’ The way he is playing, that won’t be long.