1 . In an effort to keep a little poetry in my life long after National Poetry Month passed, I decide to read at least one poem a day after scanning the newspaper over breakfast. Thanks to the free online poetry-in-your-inbox services, it’s been an easy resolution（解决办法）to keep.

Poem-a-Day was started during National Poetry Month in 2016, and it focuses on new and previously unpublished poems by contemporary poets on weekdays and classic poems on weekends.

Ted Kooser offers a similar service through his American Life in Poetry Series, though it’s a weekly, rather than a daily. Kooser briefly introduces each week’s poem, offering a little bit of information about the selection, the writer, and books where readers can turn to if they want more work from the featured poet.

Reading at least one poem a day has been like an intellectual vitamin, giving me a small dose（剂量）of literature even on busy days when I can’t get to the novels and non-fiction on my desk beside the bed. Another benefit has been connecting with a lot of talented poets I wouldn’t otherwise know about. Poetry being what it is, even the best talents in the style can work in relative obscurity（朦胧）. Maybe the biggest benefit of reading a poem every morning has been the chance to see the familiar in new ways.

Last April, I wondered if I could remind myself to read a poem each morning. Now, deep in summer, I wonder if I could ever do without it.

3 . Today, poetry and science are often considered to be mutually exclusive career paths. But that wasn’t always the case. The mathematician A da Lovelace and the physicist James Clerk Mahwah were both accomplished poets. The poet John Keats was a licensed surgeon. Combining the two practices fell out of favor in the 1800s. But translating research into lyrics, haiku, and other poetic forms is resurging (再现) among scientists as they look for alternative ways to inspire others with their findings.

“Poetry is a great tool for questioning the world,” says Sam Illingworth, a poet and a geoscientist who works at the University of Western Australia. Through workshops and a new science-poetry journal, called Consilience, Illingworth is helping scientists to translate their latest results into poems that can attract appreciation from those outside of their immediate scientific field.

Stephany Mazon, a scientist from the University of Helsinki in Finland, joined one of Illingworth’s workshops. In the workshop, she was grouped with other scientists and tasked with writing a haiku, a 17-syllable-long poem, which spotlighted water, a fluid that featured in all of the group members’ research projects. “It was a lot of fun, and surprisingly easy to write the poem,” Mazon says. She plans to continue writing. “We do a disservice (伤害) to ourselves to think that scientists can’t be artistic and that art can’t be use a to communicate scientific ideas,” Mazon says.

That viewpoint is echoed by Illingworth, who thinks science communication initiatives are too often dominated by public lectures with their hands-off PowerPoint slides. “Actually, when science communication involves writing and sharing poems, it invites a two-way dialogue between experts and nonexperts,” he says. Scientist-poet Manjula Silva, an educator at Imperial College London, agrees. Poetry provides a way to translate complex scientific concepts into a language that everyone can understand, Silva says.

Scientists and poets are both trying to understand the world and communicate that understanding with others. The distinction between scientists and poets is less than people might think. We’re all just people with hopefully really interesting things to say and to share.

5 . 听下面一段对话，根据所听内容填空。

It will be much safer to move the date to ______ or ______.

6 . 听下面一段较长对话，回答以下小题。

7 . 听下面一段对话，根据所听内容将下列句子补充完整。

W: Have you read this     1    by Mike Brooklyn?

M: No, I haven’t. I don’t really enjoy fiction.

W: I think you’d like this one—it’s a very fast paced adventure, and Brooklyn has a really     2    .

M: Really? Maybe I’ll try to read it when I’m on vacation.

9 . The books we read when we’re young have a special sort of power, they can inspire us to be brave and resilient! (Marilda by Roald Dahi), take us on thrilling adventures (Divergent by Veronica Roth) and even introduce us to tragedy (悲剧) (The Bridge to Terabithia by Katherine Paterson). They’re as formative as anything else in our young lives, and sometimes they’re the first place we encounter larger-than-life ideas, thinking of the lasting cultural import of To Kill a Mockingbird. In The Magic Words, Cheryl B. Klein, sets out to inform would-be writers on how great novels for young readers work.

The market for YA (young-adult) novels is booming: sales in the children’s and YA sector have been neck and neck with those of adult books in recent years, and adult authors including Meg Wolitzer and Carl Hiaasen are getting in on the phenomenon. The Magic Words aims to be a master class. And in the era of promoted self-help sensations like Marie Kondo and Brenie Brown, The Magic Words is of a piece.

Klein deconstructs the seemingly obvious (clear plot-lines, sympathetic characters) to reveal the technical significance of some beloved classics. L. M. Montgomery surely didn’t regard Anne of Green Gables as a cash-in endeavor. But for those who want to best-seller writers, Anne is instructive: what’s timeless and broadly appealing about Anne—her teenage heart and impulses (冲动) is what to examine. Once you understand that, Klein encourages you to get personal: What makes you ideal to write your story? And what does it mean to the reader?

On the latter question, The Magic Words is more than a handbook. It is also a timely social commentary on the responsibility YA writers have to young adults. They must start with an awareness of their readers—not only their age but also how they might connect with the issues, like bullies or tolerance that the characters face. The narratives we tell young readers can influence how they understand and value the world around them. The magic isn’t in the words: it’s in how the words come together to reflect and confirm the realities of a diverse young-adult experience.