当前位置：
＞＞＞ The most important words in this sentence have been _____, ..
The most important words in this sentence have been _____, so it doesn’t make any sense．A．left outB．held outC．set outD．made out
题型：单选题难度：中档来源：不详
A动词词义辨析。& A. left out&遗漏& B. held out&坚持、伸出& C. set out&动身&&&D. made out 弄明白&句意为：这个句子最重要的单词被遗漏了因此这句话不通顺。&&根据语境选A
马上分享给同学
据魔方格专家权威分析，试题“ The most important words in this sentence have been _____, ..”主要考查你对&&动词短语，动词&&等考点的理解。关于这些考点的“档案”如下：
现在没空？点击收藏，以后再看。
因为篇幅有限，只列出部分考点，详细请访问。
动词短语动词
动词短语的概念：
动词常和某些其他词类用在一起，构成固定词组，形成所谓短语动词(phrasalverb)。和动词一样，短语动词也可分为及物和不及物两种。短语动词可以作为一个整体看待，同一般动词一样使用。 &动词短语的搭配类型：1）动词+介词：这类短语动词用作及物动词，后面须跟宾语。如：The small boy insisted on going with his parents. 那男孩坚持要跟父母一起去。 &&&&&&& Do you often listen to broadcasts in English? 你常听英语广播吗? &&&&&&& Look at the children. Aren't they lovely? 看着这些孩子们。他们多么可爱呀! &&&&&&& We stand for self-reliance. 我们是主张自力更生的。 这一类的短语动词还有很多，如depend on(upon)(依靠)，wait on(服侍)，look for(寻找)，deal with(对待)，look after(照料)，wait for(等待)等。 2）动词+副词：这类短语动词有的用作及物动词，有的用作不及物动词。如：I always get up as soon as the bell rings. 我总是一打铃就起床。(不及物) &&&&&&& Look out, there's a car coming! 当心，来汽车了!(不及物) &&&&&&& Have you handed in your exercises already? 你已经交练习了吗?(及物) &&&&&&& Please don't forget to put on your coat, it's cold outside. 请不要忘记穿外衣，外面很冷。(及物) 这一类的短语动词还有很多，及物如put out(扑灭)，eat up(吃光)，put down(放下)；不及物如set off(出发)，come up(走近)，go on(继续)。 注："动词+副词"这类短语动词和上面第一类"动词+介词"的不同之处在于："动词+介词"用作及物动词，后面须跟宾语。"动词+副词"则有的及物，有的不及物；用作及物动词而宾语为人称代词或自身代词时，副词往往放在宾语之后。如：Please wake me up at five tomorrow. 请在明天早上五点唤醒我。 &&&&&&& If you have done your exercises, please hand them in. 如果你们练习做完了请交来。 &&&&&&& She doesn't normally behave like that, she's putting it on. 她通常并不如此表现，她是装出来的。 注：这类短语动词有不少可兼作及物和不及物动词用。如：He took off his hat when he entered the office. 他进办公室后脱下帽子。(及物) &&&&&&& The plane took off at seven sharp. 飞机在七点整起飞。(不及物) &&&&&&& Charlie rang up Neil to ask about the time of the meeting. 查理打电话给尼尔问开会的时间。(及物) &&&&&&& If you can't come, please ring up and let us know. 你如来不了，请来电话告诉我们一声。(不及物) 3）动词+副词+介词："动词+副词"之后有的可以再加一个介词，形成另一种短语动词。这类短语动词用作及物动词。如：Do not give up hope. We must go on with the experiment 不要失望。我们必须继续试验。(go on with继续) &&&&&&& He came up to me. 他走到我跟前。(come up to走近) 这类短语动词还有：look down upon(看不起)，do away with(去掉)，put up with(忍受)等。 4）动词+名词+介词：这类短语动词也是及物的。如：He shook hands with all the guests at the banquet. 他在宴会上和宾客一一握手。 &&&&&&& Young pioneers often come to the Children's Palace to take part in after school activities.少先队员经常到少年宫来参加课外活动。 &&&&&&& Pay attention to the temperature of the stored rice. 注意仓库里的稻谷的温度。 &&&&&&& Her job is taking care of the babies. 她的工作是照顾婴儿。 这一类短语动词还有：put an end to(结束)，take notice of(注意)，catch hold of(抓住)，lose sight of(看不见)，make use of(利用)等。 动词短语知识体系：
&动词的定义：
表示动作中状态的词叫做动词。根据其在句中的功能，动词可分为行为动词、系动词、助动词和情态动词四类，有些动词是兼类词。例如：We have lunch at 12. (have是行为动词) &&&&&&&&&&& We have been to NewYork. (have是助动词)&&&&&&&&&&&&&I am hungry. (am是系动词)&&&&&&&&&&&&&You need not have waited for me. (need是情态动词)&&&&&&&&&&&&&The door needs painting. (need是兼类词) 动词的分类：
1）表示动作中状态的词叫做动词。 2）根据其在句中的功能，动词可分为四类，分别是：实义动词（Notional Verb）、系动词（Link Verb）、助动词（Auxiliary Verb）、情态动词（Modal Verb）。说明：有些情况下，有些动词是兼类词。例如：We are having a meeting. 我们正在开会。（having是实义动词。） &&&&&&&&&&& He has gone to NewYork.他已去纽约。（has是助动词。） 3）动词根据其后是否带有宾语，可分为两类，分别是：及物动词（Transitive Verb）、不及物动词（Intransitive Verb），缩写形式分别为vt.和vi.。说明：同一动词有时可用作及物动词，有时可用作不及物动词。例如：She can dance and sing. 她能唱歌又能跳舞。（sing在此用作不及物动词。） &&&&&&&&&&& She can sing many English songs. 她能唱好多首英文歌曲。（sing用作及物动词。） 4）根据是否受主语的人称和数的限制，可分两类，分别是：限定动词（Finite Verb）、非限定动词（Non-finite Verb）。例如：She sings very well. 她唱得很好。（sing受主语she的限制，故用第三人称单数形式sings。） &&&&&&&&&&& She wants to learn English well. 她想学好英语。（to learn不受主语she的限制，没有词形变化，是非限定动词。说明：英语中共有三种非限定动词，分别是：动词不定式（Infinitive）、动名词（Gerund）、分词（Participle）。 5）根据动词的组成形式，可分为三类，分别是：单字词（One-Word Verb）、短语动词（Phrasal Verb）、动词短语（Verbal Phrase）例如：The English language contains many phrasal verbs and verbal phrases. 英语里有许多短语动词和动词短语。（contains是单字动词。） &&&&&&&&&&& Students should learn to look up new words in dictionaries. 学生们学会查字典。（look up是短语动词。） &&&&&&&&&&& The young ought to take care of the old. 年轻人应照料老人。（takecareof是动词短语。） 6）动词有五种形态，分别是：原形（OriginalForm）、第三人称单数形式（Singular From in Third Personal）、过去式（Past Form）、过去分词（Past Participle）、现在分词（Present Participle）。 动词知识体系：
发现相似题
与“ The most important words in this sentence have been _____, ..”考查相似的试题有：
362609410677225522343832323622251045Autartic - Art with a story
Recent Posts
Categories
Apollo Belvedere is a marble masterpiece of Greek Art. It is a copy of a work possibly by the Athenian artist Leochares, dated around 320 BC, who worked for Alexander the Great. The statue of Apollo wearing a Chlamys was discovered in 1489 near Rome. It has been in the Vatican first since 1511 and is shown at the Cortile del Belvedere from which it gets its name. It had a major influence on Renaissance artists such as Michelangelo, who “copied” Apollo’s face for his Jesus figure in his fresco of the last judgment in the Sistine Chapel. He thought the face was one of perfect male beauty. The statue was taken by Napoleon to Paris in 1797 and returned to the Vatican in 1815 after the battle of Waterloo. Gian Lorenzo Bernini was also inspired by this statue and used Apollo’s face in his Apollo and Daphne, the amazing statue that is now in the Galleria Borghese in Rome:
In 2006, Wynn Resorts CEO Steve Wynn, a billionaire, sold his Picasso painting “Le Reve” to fellow billionaire Steven Cohen for a reported amount of 139 million dollars (he bought it for 48 million dollars in 1997). After the sale was concluded but before the painting was handed over to Cohen, Steve Wynn was showing friends Picasso’s “Le Reve,” in his Las Vegas office during a small party when he made a very expensive gesture. Wynn (who has vision problems) got too close to the painting and put his right elbow right through it. Estimated damage? 40 million dollars. Wynn considered this to be a sign of fate and decided not to sell the painting. On March 26, 2013, the New York Post reported that Steven Cohen had bought the now restored painting from Wynn for 155 million dollars. The price is estimated to be the highest ever paid for an artwork by a U.S. collector.
Director John Dullaghan’s biographical documentary about (in)famous poet, novelist and former mailman/post office clerk Charles Bukowski (born Heinrich Karl B August 16, 1920 – March 9, 1994, “Hank”), Bukowski: Born Into This, is as much a touching portrait of the author as it is an exposé of his sordid lifestyle. Most of the oldest film footage of Bukowski in the documentary starts around 1970 as Bukowski started to become a cult hero in the US, when he was around 50 years of age. Fame came relatively late to him, perhaps that is why he remained so authentic.
Interspersed between ample vintage recordings of Bukowski’s poetry readings are interviews with the poet’s fans including such legendary figures such as Lawrence Ferlinghetti, Joyce Fante (wife of John), Bono, and Harry Dean Stanton.
Filmed in grainy black and white by Bukowski’s friend, Taylor Hackford, due to lack of funding, the old films edited into this movie paint Bukowski’s life of boozing and brawling romantically, securing Bukowski’s legendary status.
Born Into This relies on interviews with Bukowski for biographical information instead of cheesy voiceovers, bringing the viewer even closer to the author.
For example, in one amazing sequence, Bukowski rides the viewer around in the backseat of his car, telling us through his rear-view mirror of his stint as a post office worker which inspired the novel, Post Office.
Scenes splicing interviews with Bukowski’s ex-wife, Linda Lee, and R. Crumb’s comic strip panels portraying Bukowski as a sex-crazed maniac, set the tone for bawdier parts of the film.
Occasionally the film displays lines of Bukowski’s poetry on the screen, as reminders that he was not only a raging alcoholic with a fierce sense of humor but also a talented and beloved writer.
With so much hilariously shocking footage of “Hank,” Bukowski: Born Into This presents Bukowski as a troubled but classic genius. (source: Topdocumentaryfilms)
—————————————————————————————-
THE SHOELACE
a woman, a
tire that’s flat, a
disease, a
desire: fears in front of you,
fears that hold so still
you can study them
like pieces on a
chessboard…
it’s not the large things that
send a man to the
madhouse. death he’s ready for, or
murder, incest, robbery, fire, flood…
no, it’s the continuing series of small tragedies
that send a man to the
madhouse…
not the death of his love
but a shoelace that snaps
with no time left …
The dread of life
is that swarm of trivialities
that can kill quicker than cancer
and which are always there –
license plates or taxes
or expired driver’s license,
or hiring or firing,
doing it or having it done to you, or
roaches or flies or a
broken hook on a
screen, or out of gas
or too much gas,
the sink’s stopped-up, the landlord’s drunk,
the president doesn’t care and the governor’s
light switch broken, mattress like a
$105 for a tune-up, carburetor and fuel pump at
and the phone bill’s up and the market’s
and the toilet chain is
and the light has burned out –
the hall light, the front light, the back light,
darker than hell
and twice as
expensive.
then there’s always crabs and ingrown toenails
and people who insist they’re
there’s a
leaky faucet,
blue salami, 9 day rains,
50 cent avocados
and purple
liverwurst.
or making it
as a waitress at norm’s on the split shift,
or as an emptier of
or as a carwash or a busboy
or a stealer of old lady’s purses
leaving them screaming on the sidewalks
with broken arms at the age of 80.
2 red lights in your rear view mirror
and blood in your
toothache, and $979 for a bridge
$300 for a gold
and china and russia and america, and
long hair and short hair and no
hair, and beards and no
faces, and plenty of zigzag but no
pot, except maybe one to piss in
and the other one around your
with each broken shoelace
out of one hundred broken shoelaces,
one man, one woman, one
so be careful
bend over.
————————————————————————————–
“We can’t serve you”
King Robbo was one of the founding fathers of London’s graffiti scene. He came to wider attention in 2010 when he was involved in a feud with the street artist Banksy.
Creating images on private or public property is for the most part illegal, whether they are the work of graffiti writers who use spray-paint, “tagging” or “bombing” their names, or of “street artists” such as Banksy, who commonly uses stencils to produce representational images on walls. Graffiti writers like Robbo paint only for their peers, while Banksy paints for a much wider audience. The two camps are more rivals than allies.
Robbo, at 6ft 8in tall (203 cm), had begun his career as a graffiti writer in his teens. In 1985, at the age of 15, he had sprayed ROBBO INC on to a wall under a canal bridge in Camden, north London. Twenty-five years later Banksy used the same site to create a series of four stencilled works, in the process obliterating part of Robbo’s original. Banksy’s image showed a workman applying what looked like wallpaper, but was essentially what remained of Robbo’s piece.
London’s graffiti writers interpreted this as an act of disrespect towards one of their own. Robbo was by now long “retired”, and working as a cobbler in King’s Cross. But he was sufficiently offended, and on Christmas morning 2009 he decided to act. The wall in question was accessible only from the canal, so he dressed in a wet suit, approached the wall by means of an inflated air mattress, and got to work. Banksy’s workman, instead of applying wallpaper, was now painting the words: KING ROBBO. Robbo went on to alter all four Banksys along the canal, signing them “Team Robbo” (a reference to those who thought of Robbo as the King of London graffiti and were firmly on his side in the war against Banksy).
Other, similar, incidents followed. One of Banksy’s best-known works – an image of three children hoisting a Tesco bag “flag” on the side of an Islington chemist’s shop – was altered so the plastic bag bore the tag “HRH King Robbo”.
For his part, Banksy denied painting over Robbo’s work: “I painted over a piece that said ‘mrphfgdfrhdgf’. I find it surreal when graffiti writers get possessive over certain locations. I thought that having a casual attitude towards property ownership was an essential part of being a vandal.”
Robbo and Banksy had met one another in the late 1990s in an East London bar, and according to Robbo it was not a happy encounter. He told Will Ellsworth-Jones, author of Banksy: The Man Behind the Wall: “He was nothing at the time. And I said ‘Hello, I’ve seen your name about — although I hadn’t — and he went… ‘I don’t know who you are’… So I went bang and give him a backhander. I said ‘You might not have heard of me, but you’ll never ******* forget me, will you?’… He was being disrespectful.” Banksy denied that this incident ever took place.
In 2011 Robbo was returning to his London flat when he apparently fell, suffering a he went into a coma from which he never emerged. He is survived by a son and two daughters.
King Robbo, born October 23 1969, died July 31 2014
James Bond doesn’t just ha he also has a license to tell time. Bond’s creator Ian Fleming made sure to give the world’s most famous secret agent a wristwatch in his novels. In his first Bond novel, Casino Royale, Bond wears an unspecified Rolex watch which he uses as a knuckleduster to beat up a villain. In the eleventh volume (there are a total of 14 original editions), On Her Majesty’s Secret Service, which was published in 1963, Fleming offers the reader a very precise description of this watch. James sees a “heavy Rolex Oyster Perpetual on a metal watch bracelet as he awakes in the middle of the night.” And Fleming remained with this watch brand in all future Bond adventures.
When 007 finally made it onto the silver screen in 1962, he made sure to wear his watch. In Doctor No, Bond, played by Sean Connery, wears a Rolex Submariner.
1953 The First Submariner
The first watch with a guaranteed water resistance of up to 330 feet (100 metres for those of you living in former Commonwealth states), through savvy advertising and smart placement, the diver’s watch as a genre entered the conscience of millions.
It might be a little Freudian to believe that sex sells but Rolex understood and managed the implications of the crassness that could follow and thus taint the brand by using overt sexuality. But through intelligent (and subtle) use feminine wiles to capture the minds, hearts and pockets of their target audience, they pull of a marketing coup that other manufactures would follow in the years to come. A woman’s manicured hand reaches out for a furtive brush on a man’s cuff linked, blazer-ed, Submariner wearing wrist, daring viewers to ask that question “why is it seen so much where the wettest thing around is a dry Martini? Who knows? Maybe she knows.”
Indeed for land or in the sea, the Rolex Submariner became the perfect partner for men who ruled the world. Naturally, their penchant for witty and snappy ad copy that conveyed the primacy of Rolex in a single sentence would continue on to the present, in use today, “Rolex. A crown for every achievement.”
The allusion to the crown logo and the association with men of achievement is a master stroke that continues to solidify the Rolex Submariner as a classic and iconic timepiece.
Actor Nick Nolte narrates this detailed look at the life and career of Hunter S. Thompson – the late, great Gonzo journalist whose outrageous exploits inspired such films as Where the Buffalo Roam, Fear and Loathing in Las Vegas, and The Rum Diaries. A true American original, Thompson was a writer whose depraved exploits were only exceeded by his extraordinary prose. In this documentary, the recollections of Thompson’s friends, family, colleagues, and various partners in crime paint a memorable portrait of the man behind the legend. Archival footage of Thompson himself makes this a must-have film for fans and journalism students alike. (source: NY Times)
Alphonse Mucha was born in 1860 in Ivancice, Moravia, which is near the city of Brno in the modern Czech Republic. It was a small town, and for all intents and purposes life was closer to the 18th than the 19th century. Though Mucha is supposed to have started drawing before he was walking, his early years were spent as a choirboy and amateur musician. It wasn’t until he finished high school (needing two extra years to accomplish that onerous task) that he came to realize that living people were responsible for some of the art he admired in the local churches. That epiphany made him determined to become a painter, despite his father’s efforts in securing him “respectable” employment as a clerk in the local court.
Like every aspiring artist of the day, Mucha ended up in Paris in 1887. He was a little older than many of his fellows, but he had come further in both distance and time. A chance encounter in Moravia had provided him with a patron who was willing to fund his studies. After two years in Munich and some time devoted to painting murals for his patron, he was sent off to Paris where he studied at the Academie Julian. After two years the supporting funds were discontinued and Alphonse Mucha was set adrift in a Paris that he would soon transform. At the time, however, he was a 27-year-old with no money and no prospects – the proverbial starving artist.
For five years he played the part to perfection. Living above a Cremerie that catered to art students, drawing illustrations for popular (ie. low-paying) magazines, getting deathly ill and living on lentils and borrowed money, Mucha met all the criteria. It was everything an artist’s life was supposed to be. Some success, some failure. Friends abounded and art flourished. It was the height of Impressionism and the beginnings of the Symbolists and Decadents. He shared a studio with Gauguin for a bit after his first trip to the south seas. Mucha gave impromptu art lessons in theCremerie and helped start a traditional artists ball, Bal des Quat’z Arts. All the while he was formulating his own theories and precepts of what he wanted his art to be.
On January 1, 1895, he presented his new style to the citizens of Paris. Called upon over the Christmas holidays to created a poster for Sarah Bernhardt’s play, Gismonda, he put his precepts to the test. The poster, at left, was the declaration of his new art. Spurning the bright colors and the more squarish shape of the more popular poster artists, the near life-size design was a sensation.
Art Nouveau can trace its beginnings to about this time. Based on precepts akin to William Morris’ Arts and Crafts movement in England, the attempt was to eradicate the dividing line between art and audience. Everything could and should be art. Burne-Jones designed wallpaper, Hector Guimard designed metro stations, and Mucha designed champagne advertising (at right) and stage sets. Each country had its own name for the new approach and artists of incredible skill and vision flocked to the movement.
Overnight, Mucha’s name became a household word and, though his name is often used synonymously with the new movement in art, he disavowed the connection. Like Sinatra, he merely did it “my way.” His way was based on a strong composition, sensuous curves derived from nature, refined decorative elements and natural colors. The Art Nouveau precepts were used, too, but never at the expense of his vision. Bernhardt signed him to a six year contract to design her posters and sets and costumes for her plays. Mucha was an overnight success at the age of 34, after seven years of hard work in Paris.
Commissions poured in. By 1898, he had moved to a new studio, illustrated Ilsee, Princess de Tripoli (see image at left), had his first one-man show and had begun publishing graphics with Champenois, a new printer anxious to promote his work with postcards and panneaux – sets of four large images around a central theme (four seasons, four times of day, four flowers, etc. – see below for Stars). Most of these sets were created for the collector market and printed on silk.
There was a World’s Fair in Paris in 1900 and Mucha designed the Bosnia-Herzegovina Pavilion. He partnered with goldsmith Georges Fouquet in the creation of jewelry based on his designs. The bronze, Nature (at right) is from this time period. He also published Documents Decoratifs and announced Figures Decoratives. Documents Decoratifs was his attempt to pass his artistic theories on to the next generation. In actuality, it provided a set of blueprints to Mucha’s style and his imitators wasted no time in applying them.
His fame spread around the world and several trips to America resulted in covers and illustrations in a variety of U.S. magazines. Portraiture was also commissioned from U.S. patrons. At the end of the decade he was prepared to begin what he considered his life’s work.
Mucha was always a patriot of his Czech homeland and considered his success a triumph for the Czech people as much as for himself. In 1909 he was commissioned to paint a series of murals for the Lord Mayor’s Hall in Prague. He also began to plan out “The Slav Epic” – a series of great paintings chronicling major events in the Slav nation. Financing was provided by Charles Crane, a Chicago millionaire. Mucha had hoped to complete the task in five or six years, but instead it embraced 18 years of his life. Twenty massive (about 24 x 30 feet) canvasses were created and presented to the city of Prague in 1928. Covering the history of the Slavic people from prehistory to the nineteenth century, they represented Mucha’s hopes and dreams for his homeland. In 1919 the first eleven canvases were completed and exhibited in Prague, and America where they received a much warmer welcome.
History hasn’t been kind to either Mucha or to the Czechs – as the current unrest in the area at the turn of this century shows. Mucha’s bequest to his country was received with unkindly cold shoulders. The geopolitical world ten years after World War I was very different from the one in which Mucha had begun his project. Moravia was now a part of a new nation, Czechoslovakia (Mucha offered to help the new country by designing its postage stamps and bank notes). The art world was just as changed. And just as the proponents of “Modern Art” cast their slings and arrows at the oh-so 19th century style, varying political groups brought out their personal arsenals of vitriolic prejudice in damning one aspect or other of Mucha’s work. The public seemed to appreciate them, but political agendas seldom give much weight to public opinion. Only recently have they been made available again. They are on permanent display in the castle at Moravsky Krumlov. The public can view these masterpieces again.
The Abolition of Serfdom in Russia (1861) 1914
The rest of Mucha’s life was spent almost as an anachronism. His work was still beautiful and popular, it just was no longer “new” – a heinous crime in the eyes of the critics. When the Germans invaded Czechoslovakia, he was still influential enough to be one of the first people they arrested. He returned home after a Gestapo questioning session and died shortly thereafter on July 14, 1939. (source:
/ JVJ publishing)
What the Universe tells me
This waterfall, close to the Swiss village of Meiringen in the Bernese Oberland, was on 4 May 1891 the scene of an epic fight between Sherlock Holmes and his nemesis Professor Moriarty. Both plunged down the depths of the waterfall, only Holmes survived.
Memorial plaque near the scene of the fight:
Statue of Sherlock Holmes in the Swiss village of Meiringen, with in the background the small English church, which houses a Sherlock Holmes museum:
Replica in the museum of the interior of Holmes’ and Watson’s rooms at 221B Baker Street:
The extraordinary career of Toronto native Glenn Glould was bracketed by the Goldberg Variations. It was his first recording of the work, in 1955, that established Gould as a pianistic force of exceptional gifts, while the second studio version he made in 1981 (there is also a Salzburg festival performance from 1957) proved to be his last visit to
it was released in September the following year, just days before his sudden death at the age of 50. In the subsequent 30+ years, Gould’s reputation and stature as one of the most important pianists of the 20th century have been maintained, and these two recordings especially have achieved near legendary status.
In his lifetime Gould was viewed with suspicion, if not downright hostility, in some quarters. No one could deny his phenomenal keyboard mastery, the almost machine-like control of articulation, and the range of touch and colour he brought to a repertoire that extended from Byrd to Schoenberg. But the eccentricity of his performances, some of which seem wilfully perverse, with their mannered phrasing and exaggeratedly slow or fast tempos, was less easy to take. His strange and reclusive behaviour (he abandoned recitals altogether in 1964, and concentrated solely on recordings, which in his philosophy can be made perfect and are superior to any live performance) only added to the controversy.
What remains constant is the mastery of the playing. You may not like everything he does (and the almost arbitrary attitude to repeats in 1981 infuriates purists, many people are also distracted by the “humming” of the artist, his wordless voice audible on top of the recording) but it is piano-playing of an astonishingly high musical and technical order. Both performances are acts of profound artistic creativity, and both are essential parts of any CD collection. (source: Andrew Clements, The Guardian)}