1. art and entertainment
2. books and literature

rin Holmberg
tony cutler and ka
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Context 2
© 2012 Tony Cutler, Karin Holmberg och Gleerups Utbildning AB
Gleerups grundat 1826
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Tryck: Holmbergs i Malmö AB, 2012. Kvalitet ISO 9001/Miljö ISO 14001.
Preface
Welcome to Context
2
vel 6
Le
h
r Englis
created fo
Context is everything, and this book aims to show how English works in context.
While English is the main language in, for example, North America, the UK,
Australia and India, there is much variety between and within the Englishes of those
countries. Around the world millions speak English as a first language, but billions speak
it as a second language for worldwide communication. Many countries contribute to the
development of English, including Sweden. The contexts are local and global.
We are also living in an age of global information explosion. English is the language
most used across the Web and other networks, and the style used depends on the context.
It can be short, sharp and informal in less than 140 characters, or long, detailed and formal
for a more serious text. This book shows how to take part in this new world with growing
confidence.
Context 2 is organised in several sections:
 15 texts on topics such as relationships, culture clash, the individual and globalisation, humour, justice,
science, identity, parenting, animals, sports and obsession, deprivation and aspiration, crime, the human spirit
and art. Like all good texts they reveal the human condition through reason, anger, humour, tenderness and
passion. There are also Word Lists with phonetics organised by chapter.
 After reading each text you can practise and improve your English with varied tasks and exercises. The
symbols RP and TG mean that there is more helpful material in the Resource Pages in this book and in the
Teacher’s Guide (both in print and on the Web). You will also find more texts, worksheets, exercises, videos and
sound files on the Gleerups website, Context 2 Student’s Web.
 The Resource Pages provide key information, ideas and advice on how to improve your speaking,
reading, writing and listening. There are many tasks that allow you to practise the ideas and advice while also
connecting to the use of English in the wider world. There are suggestions and strategies for communicating
well, whether you’re speaking, listening or writing. Above all, there are lots of ideas on how to make learning
English effective and enjoyable.
 The Grammar Section will help you revise the basics, but also offer you some deeper focus on important
points. There are videos and online links to show how points of grammar work in practice.
 The Literature Section is a brief section of great literary texts from 800AD to the 20th century with a
unifying theme of ‘youth’. Among other things, you can read them and reflect on the world young people had
to deal with in the past and compare with the present.
Anthony Cutler and Karin Holmberg
3
Contents
I Texts and Exercises
1 I’m Sorry but I’ll Have to Let You Go by Helen Simpson
2 Homesick by Xiaolu Guo
3 The Greatest Man in the World by James Thurber
4 The Framing of John Lennon by Nick Cowan
5 2xSpace by Ian Sample, Nick Kanas, William Speed Weed
6 Two Per Cent by Niki Aguirre
7 My Son the Fanatic by Hanif Kureishi
8 Battle Hymn of the Tiger Mother by Erin Patrice O’Brien
9 4xScience: The animals and us by Steve Connor, Branden Keim 10 Discipline by Donald Ray Pollock
11 The Confessions of a Sports Fanatic by Soumya Bhattacharya
12 Wheels by Sylvia G Pearson
13 Minus One by J.G. Ballard
14 The Drover’s Wife by Henry Lawson
15 In the beginning was Vincent by Robert Hughes
II Resource Pages
18
32
44
58
72
88
103
111
120
134
148
162
176
194
271
IVLiterature Section
V Word Lists
6
211
IIIGrammar Section
6
311
342
4
Text and
Exercises
User guide
This section contains texts by writers from all around the English-speaking world. Some
are new, some are classics. They include short fiction, excerpts from novels and memoirs,
and contemporary online texts. The topics range from relationships to culture clash, tiger
mothers to champion bodybuilders, pioneer Aussie women to groundbreaking artists.
Among the many voices are metropolitan Britons, expatriate Chinese, sport-obsessed
Indians and smack-your-mouth-off Americans. Read and enjoy.
RP
❥
A NOTE ON SYMBOLS
RP refers to the Resource Pages (pages 211-270). For example if you see RP next to
a Writing exercise, you can go to the Writing section of the Resource Pages for key
information, help and advice.
TW
TW refers to the Teacher’s Web and Teacher’s Guide. You can ask your teacher for copies
of worksheets and other materials.
SW
SW means the Context Student’s Web. You will find a huge variety of practice exercises,
texts and links regularly updated by the authors.
❥
❥
5
Chapter 1
I’m Sorry but I’ll
Have to Let You Go
by Helen Simpson
Breaking up is hard to do, so the song goes, though it’s usually harder
for one partner than the other. Is it easier to try and ‘soften the blow’?
Or is it kinder to make a quick, brutal break, without the myth of
remaining ‘good friends’? It’s a common dilemma. After all, few people
really want to hurt a person they’ve been close to, even if a little revenge for
being dumped can ease the pain. On the other hand, there are some people
who just don’t get it...
Hard to believe but at twenty-four he was already a Management
Consultant, though of course Keats had lived life to the max by that age and
Alexander the Great was leading an army against the world at fifteen. He had
been living for the past year in a mansion flat in Battersea with his girlfriend,
who was twenty-three and in Human Resources.
Now it was time for promotion. He had flown out to New York twice in
the last fortnight, for interviews. The job offer had arrived yesterday – two
years in New York starting in three months’ time. It was just what should have
happened, and he was satisfied. Yessss! He liked it when hard work paid off.
Everything was going according to plan, like on a graph showing the ideal
trajectory for a career in management consultancy.
6
It was a pity about Sarah. They got on well, he really quite enjoyed living
with her despite the aggro to do with picking up towels and so on; plus, she
had a great bum. But she was in the end not by any means what you might call
special – ‘The One’ – and anyway it was totally the wrong moment for all that,
which would be in about ten to twelve years’ time. Commitment. (She couldn’t
even spell it, he’d noticed, spotting the central double t on one of her press
releases, even though she was so keen to talk about it.)
7
But after all they had had a year together, slightly more if you counted the
time before she’d moved into his flat – which he would rent out during his time
in New York, it was sufficiently up to scratch to attract some sort of corporate
tenant. He thought he would go for Paxman Utley rather than Shergood &
Bentley, they seemed a bit sharper generally on the rental side of things, a shade
more upmarket, and he’d haggle with them about that extra half per cent.
So yesterday he had thought it through and decided it was only fair to give
Sarah as much notice as he could about their relationship. That would give her
time to adjust, also to find herself somewhere else to live. Nobody could say
three months was unreasonable. There was no need to hurry things, they had
plenty of time to wind it down. But it was only fair, he thought, returning to
those words with satisfaction, congratulating himself on his fairness.
And this morning he had told her about the job. She asked whether he
intended to accept it, which slightly threw him. Of course he did. It was the next
step, she knew that.
‘Don’t worry,’ he said, hugging her in the hall and glancing at his watch.
‘There’s loads of time. Three months. But it’s very sad that we – our relationship
– will, well, that it will, have to, change.’
‘How d’you mean?’
‘Well obviously,’ he said. ‘If I’m going to be living in New York. You’re not
presumably imagining a transatlantic affair. It’s a killer, that flight, you get worse
jet lag coming back from New York than you do from twice the distance in San
Francisco.’
‘It’s hard for
‘What?’
‘Everybody knows that,’ he insisted
both of us,’
manfully. ‘It would be totally impracticable.
he added
Unfair on both of us.’
She stared at him, her made-up lips apart and her eyes wide. ‘I know it’s
8
Chapter 1
hard,’ he said, touching the tip of her nose with his forefinger. She had a cute
nose, he’d always liked it. ‘It’s hard for both of us,’ he added, allowing himself a
hint of reproach.
She carried on staring at him, and a frown was gathering between her
eyebrows. She was obviously having trouble taking it in.
‘It doesn’t have to be right away,’ he insisted. ‘I think we should carry on as
normal until the week or so before I leave; there’s no need to break things up
before then.’
‘What?’ she said.
‘Don’t worry,’ he said. ‘You’ll need time. We’ll both need time. To adapt.’
He took her shoulders and looked sorrowfully at her like a soldier in a film, off
to the wars. He was going to be late for work. What came next? He lowered his
face towards hers for a slow pitying notice-giving kiss.
That was when she went mad and started screaming and shouting and
slapping out and ranting. In fact, she’d lost it. He had to grab his laptop and
slam the door on her harpy act in the end and set off down Prince of Wales
Drive at a brisk canter. Not his idea of a great start to the day. No cabs to be seen
of course, and he was late which didn’t look good at the meeting, sidling in after
everyone else. Not his style. But then, they knew that. Totally one-off.
It made for unease during the day, though. There was a lot on but even so
his mind returned to the scene in the hall several times. He hadn’t for a moment
thought she’d get so hysterical about it. Surely she should be pleased for him.
His mother was. Perhaps he shouldn’t have told her until a couple of weeks
before, but it had seemed only fair to give her as much notice as possible. Too
fair, he thought wrathfully on his way to the sandwich bar. Too bloody fair, that
was his trouble.
‘Well done,’ said his colleagues. ‘When do you start?’ And, ‘What about
Sarah?’ asked one of them, Duncan Sharples, who’d come along for a glass of
9
champagne at Windows on her birthday a few weeks ago.
‘She knows the score,’ he replied. ‘Very much so. Obviously she got a bit
emotional but she’s got to be realistic like all of us have. It’s modern life.’
‘So there’ll be no prawns decomposing in the hollow curtain rail?’ laughed
Duncan. ‘No mustard and cress sprouting on the bathroom carpet?’
‘Nothing like that,’ he said rather stiffly. ‘It’s not even happening for another
three months.’
When he got back that night she was waiting in the hall, white in the
face and red-eyed, ranting on immediately about coldness and insensitivity,
emotional autism and more of her therapy crap.
‘But there’s no need to get like this now,’ he said, genuinely baffled. ‘We don’t
have to split up yet.’
‘Did you really think I’d carry on here eating with you and sleeping with you
and doing all the girlfriend stuff, after, after...’ And she started screaming at him
again. He found that a real turn-off.
‘I’m leaving tonight,’ she yelled at him. ‘I’ll come and get the rest of my stuff
later. When you’re at work!’
‘But it’s not for three months,’ he kept saying, flummoxed. She really didn’t
seem to understand.
‘You are a total prat,’ she huffed. The doorbell rang. She went to the
entryphone.
‘I’ll be right down.’ She turned to him. ‘That’s my cab.’
‘Sarah,’ he said, holding out his hands like a bad actor. ‘You don’t have to go.
You know that.’
‘PRAT,’ she spat, and slammed the door behind her.
He felt a bit shaken by all this, despite himself. He did some shrugging,
followed by one of his stress-buster breathing techniques. Hoo-hoo-hoo, he
went; hoo-hoo-hoo. He had a quick check round the flat to see she hadn’t
10
Chapter 1
caused any damage. It was still in excellent decorative order, he noticed, he was
sure he could rent it out no trouble. There was her photograph, the one of her
laughing in a bikini last Christmas in St Lucia. They’d had a really great time
there, the hotel had been amazing. Had she forgotten all the good times?
He wished he’d remembered to ask her that. He picked up the photograph
and stared at her laughing face. It was a shock to think of its most recent
expression, white-faced and venomous. Quite unlike her. She was being
incredibly – totally – unreasonable.
‘Get off my case,’ he said, experimentally, at the photograph, and put it back
face down on top of the music centre. He loaded a CD, turned up the volume
for a blast of Arctic Monkeys.
Then he went into the kitchen and opened the fridge. He would obviously
have to get his own salmon-and-courgette bake tonight. She had gone
completely over the top he thought, as he stood waiting by the microwave. It
pinged. For a moment he thought he was outside the lift at work.
He donned the oven gloves and carefully removed the steaming box. The
thing was, she was very young. He dug in with a fork. They both were really;
but in the end she was immature with it. Whereas he wasn’t. Quite the opposite.
Fuck, it was hot. Which was why it was probably just as well. Now he’d burnt
his fucking tongue. He ran a glass of cold water and stood there over the sink,
shifting from foot to foot, swishing and spitting, swishing and spitting and
swearing.

11
Helen Simpson
livesinLondon,butwas
borninBristolin1959.
ShestudiedEnglish
atOxfordUniversity
thenworkedforfive
yearsasastaffwriter
forVogue Magazine,
beforebecominga
freelancewriter.Her
firstcollectionofshort
stories,Four Bare Legs
in a Bed andOther
Stories(1990),won
theSunday Times
YoungWriterofthe
YearAwardanda
SomersetMaugham
Award.
Othershort
storycollections
byHelenSimpson
includeDear
George(1995),Hey
Yeah Right Get a
Life (2000),for
whichshewonthe
HawthorndenPrize,
Constitutional(2005)andIn-Flight
(2005)andIn-Flight Entertainment (2010).
HelenSimpsonisnotonlyasuccessfulfictionwriter,herworkalsoincludesnonfiction,articles,songlyricsandcookerybooks.ShealsowrotethelibrettofortheJazzOpera
Good Friday.SheisinvolvedintheliterarycharityFirst Story,foundedtoimproveliteracy
andcreativityinyoungpeoplethroughcreativewriting.
writers in context
12
Chapter 1
After reading
A Exploring the text
Work individually or in pairs. Read the text carefully and complete the following sentences:
1 Finally, something the young man had worked for happened. He had…
2 He feels it is too bad about Sarah, because…
3 He thinks it is a bit ironic that she talks a lot about commitment, when…
4 He feels that the estate agent’s Sherwood & Bently is…
5 Sarah didn’t react this morning the way…
6 The expression on her face…
7 When she wouldn’t stop ranting, he decided to simply…
8 His colleagues made jokes about revenge, but he said that Sarah…
9 He looked closely at the photograph of Sarah and reminisced…
10 He made himself dinner but…
B Writing
TW
❥
Create five questions of your own about the text. Pass these to a partner who will write answers. Swap again and check each other’s answers, suggesting changes where necessary.
C Discussion
Work in pairs or small groups. Discuss the following statements and questions. Write down some of your thoughts and reflections.
1 In the text, the boyfriend feels that he is sensitive and fair, giving his girl ‘three months’ notice’.
What do you think? Is he sensitive and understanding? Why does she react the way she does?
2 What, in your opinion, is a good way to begin a relationship? And are there any good pick-up
lines?
3 Do you know any songs about break-ups or broken hearts? And do you know any lyrics about
the opposite – about how good a relationship can be, or how great love can feel?
“If the phone doesn’t ring, it’s me.”
T-shirt print
13
Writing
RP
❥TW
D Relationships
Choose a topic and write at least half a page.
1 Select a favourite film about relationships. Write a description of the film and explain why you
enjoyed it.
2 Imagine you are a friend to either Sarah or her boyfriend. Write a dialogue where you discuss
what happened and why. Lay this out like a film or theatre script.
Example: ME:
Tell me again what he said when he came home?
SARAH: He just walked in as if nothing had happened and…
Make the dialogue as natural as possible. It can be realistic, tragic and comic all at the same
time, if you wish. If you think swear words are justified, use them.
3 Suppose that Sarah and her boyfriend had sat down before moving in together and written
down their expectations of the relationship. What might they have written? Write a paragraph
for each. Then add what they would have written or said about each other’s paragraphs.
Vocabulary
E New words in context
Fill in the missing words from the wordlist in the following sentences.
Choose from:
sufficiently • adjust • unreasonable • baffled • recent • unease • whereas • whether
1 In ___ years, the brokerage market has become increasingly competitive in these parts.
2 His colleagues had been struggling, not making any big deals whatsoever in real estate these last
few months, ___ John Proffitt had made a small fortune.
3 His office was ___ impressive and up to date to make for a good place to do business with the
‘big boys’.
4 His new boss had become quite ___ when the numbers came in from the last quarter, but John
Proffitt wasn’t surprised at all, he knew he had done well.
5 Once in a while, though, he felt a touch of ___ when he realized he had been neglecting his
friends lately.
6 For a moment he hesitated and had to decide ___ to take the job in NY or stay and wait for a
promotion at the office.
14
Chapter 1
7 His previous boss had been quite ___, not appreciating John Proffitt and not considering him
for a promotion at all.
8 He wasn’t at all afraid to move to New York. He was convinced he would ___ in no time and
settle in quite nicely.
F Learning words from context
Which word is being explained?
1 People who work together.
2 Somebody who rents an apartment.
3 When you discuss the price with a salesman, trying to make him lower it.
4 A professional you talk to about your problems.
5 A small, edible, tasty creature that lives in the sea and turns pink when you boil it.
6 The distance between Europe and the USA is sometimes called this.
7 A very popular fish to bake in the oven, put on the barbecue or use in salads. A popular dish at
Easter. Pink in colour.
8 When you visit somebody’s apartment, you buzz this by the gates.
“Life is misery without you, as if you were still here.”
T-shirt print
G More words
What could the opposites of these words be?
1 mature
2 slightly
3 realistic
4 arrival
5 practical
6 fair
7 ease
8 wrathfully
H Prepositional phrases
Complete the following prepositional phrases.
1 trots att – in spite ___
4 intresserad av – interested ___
2 betala sig – pay ___
5 stirra på – stare ___
3 följt av – followed ___
6 arg på – angry ___
15
TW
❥SW
I More useful phrases
Fill in the missing prepositions in these sentences.
1 I like what you’re doing here, just carry ___.
2 We need to leave this here, and return ___ the second floor.
3 She was really keen ___ going to New York, but she was overlooked yet again.
4 ___ the age of 24 he was already a wealthy man.
5 She was aiming ___ a career ___ economics, and she waited ___ the phone ___ two days
before the call came.
6 She needed to move and had to rent ___ her flat for two years.
7 I turned ___ my friend for advice, but ___ the end I had to rely ___ my own instincts.
8 He wasn’t happy for me, and I felt he was being immature ___ it.
Listening
RP
❥
J True, false or not clear
1
Read the statements below and make sure you understand them.
Then listen to two Canadians – Kim and Tom – who used to go out together.
Decide if the statements are true, false, or not clearly one or the other. Mark the true
statements T, the false ones F, and the others NC for ‘not clear’.
a) Tom dumped Kim by email because he was a coldhearted coward.
b) Kim sent out a revenge email to everyone in her
address book.
c) Kim has a short temper.
d) Kim was wrong about Tom being attracted to
a woman called Kath who worked in the same
organisation.
e) Tom wrongly imagined Kim and his boss had a
thing going on.
f) It was hypocritical of Kim to complain about being
dumped by email.
g) Tom is paranoid about Kim and her desire for revenge.
h) Tom is the jealous type.
i) Tom quit his job in a fit of rage and jealousy.
j) Tom’s ex-boss is a womaniser.
16
propose verb fria
guilt-free fri från skuldkänslor
she has the knack of… hon har en viss förmåga att…
fierce temper våldsamt humör
diffident osäker; blyg
a mean streak ett elakt drag
timid blyg
kipper en slags rökt fisk
radiator element
harassment trakasserier
decent references hyggliga (tjänstgörings)betyg
Chapter 1
k) Kim is having a baby with Tom’s former boss.
l) Both Kim and Tom are now in stable relationships.
2
Listen again if necessary and discuss. Give examples and reasons.
a) Having listened to Kim and Tom’s versions of events in 1 above, are both of them,
one of them or neither of them reliable reporters? If they are unreliable as witnesses,
what makes them so?
b) How many ways are there of removing yourself from a relationship?
Give examples of any you may have heard about.
c) Is it OK to dump someone by email or social networking sites?
d) Compare these quotes:
‘The best revenge is to wish your ex the very best and move on.’
‘They say the best revenge is no revenge. But I say, “It’s war!”’
Which of these statements is closest to how you would feel?
“Pain is inevitable. Suffering is optional.”
Haruki Murakami
context+
RP
Resource pages
When doing a reading, speaking, writing or listening task check the Resource Pages for relevant practice before you begin.
SW
Student’s Web
You will find more texts and exercises on the Context 2 Student’s Web.
TW
Teacher’s Web/Teacher’s guide
 Agony aunt: What advice would you give?
 Reflecting on your experience: A film review
 Register: Being emotional or staying cool
 Words and expressions
 Prepositional phrases
 Film Club: Relationships.
❥
❥
❥
17
Chapter 15
In the beginning
was Vincent
if not critical’
ng
hi
ot
‘N
,
es
gh
by Robert Hu
When did modern art begin? It is impossible to fix a date; the roots are too
tangled in the subsoil of the nineteenth century. But one can point to some crucial
events of its growth. One of them happened in France in the late 1880s, within a group
of painters – some now familiar to us as secular saints or movie heroes, others still
relatively ill known – who kept venturing out of Paris toward more “primitive” places.
Paul Gauguin and Emile Bernard ranged among the megaliths, the cold heather and
the gaunt folk Christs in Brittany. Vincent van Gogh pursued what he called “the
gravity of great sunlight effects” in Arles. The pattern of these escapes was of great
importance to modernism. It meant that artists, impelled by curiosity, were in a sense
mimicking the colonial pattern of expansion and appropriation. They were becoming
tourists in other ethnic realities, seizing on the distant world and its exotic contents as
raw material. Arles in 1888, the year van Gogh began work there, was more foreign to a
Parisian than Tunis is today.
If there ever was an artist whose oeuvre wants to be seen carefully, whose images
beg for the solitary and unharried eye to receive their energy, pathos and depth of
conviction, that man was Vincent van Gogh – much of whose best work was done
at Arles in the fifteen months between February 1888 and May 1889. This rhapsodic
outpouring of creative energy produced some 200 paintings, more than 100 drawings
and watercolors and 200 letters, written in Dutch, French and English.
Arles in 1888 was a torpid provincial town, as filthy and exotic – at least to a
Parisian eye – as North Africa. Van Gogh’s first reactions to it describe a foreign
country. “The Zouaves, the brothels, the adorable little Arlesiennes going to their First
Communion, the priest in his surplice, who looks like a dangerous rhinoceros, the
people drinking absinthe, all seem to me creatures from another world.” In fact, his stay
there began the general pattern of migration southward that would be as obligatory for
early modern French artists – Signac to St. Tropez, Matisse to Nice, Derain to Collioure
18
Resource Pages
Resource
Pages
User guide
The approach to resources in these pages is different from those in Resource Pages Context 1.
Where they described learning methods and provided lots of ideas, these pages encourage
a ‘hands-on’ approach. There are lots of tasks and activities where you can work your way
through ideas orally or on paper with your classmates and teachers. You don’t have to do
them all, but choose those you think will improve your English in key areas.
Notice that Context 1 Resource Pages are still available to you on the Student’s Web. They
are an important part of this material. Log on to find them, remind yourself of their contents
and refer to them when necessary.
The following pages are divided into Reading, Writing, Listening and Speaking sections.
Doing the tasks will build up your skills in these areas. The speaking section has been placed
last because the preceding tasks in reading, writing and listening will contribute to your
becoming a skilled speaker in different situations and in different registers. We therefore
recommend that you ‘skim read’ these pages first to see how they link together in one
common purpose – to develop your identity as an effective user and speaker of English. You
can then set your own goals and do the tasks in any order, but with your overall purpose in
mind.
A note on symbols
A tick  means correct in the English-speaking world.
A cross  means incorrect.
19
Contents
Resource Pages
Your English-speaking ID
Personality and learning style
The goal and how to get there
An action plan
Using the resources at your fingertips
Browse the web for information
Refine your search terms
Making notes
Using library resources
Reading in context
Reading fiction for pleasure
Extending your reading in fiction
Checking out non-fiction
Critical reading
The importance of critical reading
Critical thinking and critical reading
Working with short texts
Exploring longer texts
Critical reading online
From critical reading to critical thinking
The benefits of critical thinking
Expanding your vocabulary in context
Register and style
Choosing the right word or expression
Connotation
Collocations
Idioms
False friends
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Resource Pages
Writing in context
Descriptive writing
Simile
Metaphor
Non-fiction
Reflective writing
Analytical writing
The discussion type essay
Rewriting
Letters and emails
Writing a CV or personal statement
Listening in context
Listening for specific purposes
Accents from around the world
Accents within countries
Listening with a purpose (directions, surveys, making notes, summarising, recognising register, etc.)
Speaking in context
Write and analyze dialogues
Small talk
Describing places and objects
Passing on information
Testing information
Presentations and feedback
Debate
Interviews
Job interviews
College interviews
Discovering World English and other cultures
Cultural research projects
Challenging your assumptions
Talking about Sweden in English
21
1 • Your English-speaking ID
You are now one of the 20-25% of people around the world who speak English. In Context 1 you
gave some thought to your identity as an English speaker and how to develop that further. Here is an
opportunity to take another big step.
Personality and learning style
Whatever you do will almost certainly be part of a team effort. Good teams are made up of different
personalities. What sort of personality are you? Here’s an example from research on team building.
Look at this list of roles needed to make a good team. Is there one that fits your personality?
The extrovert – good communication skills, sociable, good at networking.
The creative – good at generating new ideas and challenging established ones.
The solution finder – good at turning ideas into solutions.
The finisher – good at making sure the work gets done.
The co-ordinator – good at keeping people focused and working harmoniously.
The cooperative team player – flexible, good at doing whatever they’re asked.
The evaluator – good at calmly and clearly evaluating the work.
The dynamo – full of energy, loves the pressure, always optimistic.
Do you know which role fits you? If you do, it could be a problem. It’s not because there’s anything
wrong with your personality – far from it. It’s that, to be successful, teams need people flexible
enough to take on any of these roles when necessary. In other words, to resist your natural
inclinations and adopt quite different tendencies when the need arises. To take an analogy from
sport, successful teams are not always the ones with the best players in each individual position.
Teams that succeed need attacking players who are willing to defend and vice versa. Quiet, more
introverted players sometimes have to become outspoken leaders, and dynamic leaders sometimes
have to know when to calm down and take a back seat.
Something similar applies to using English out there in the world. Just as there are all-round
team players who can do some things really well and just about everything else when they need to,
so there are all-round English speakers who’ve taken a balanced approach to their use of English for
communication.
Have a look at this list. Broadly speaking, which type of English learner are you?
The natural – who just seems to pick it up from speaking, reading and listening.
The thinker – who prefers to study how the language works before using it.
The pragmatist – who does what is needed at the time to get a good-enough result.
As with being a member of a team, it helps if you can switch roles when necessary. A ‘natural’ will
at some point need to engage more with grammar to make further progress. A ‘thinker’ will need to
practise spontaneous communication. A ‘pragmatist’ will need to do a bit more of both.
In short, language learning requires FOCUS. To be…
Unflagging (outtröttlig)
Flexible
Systematic
Open to new ideas
Curious
22
Resource Pages
The goal and how to get there
The aim of Context 2 is to help you become an all-round, effective communicator in English.
Through developing the skills of reading, speaking, listening and writing, these resource pages will
help you achieve another level in your all-round development.
Study this list of goals and give yourself marks of 1-5 for each of them. 5 means you’ve already
thought about this and have it completely under control, 1 means that you need to give it a lot more
thought. Think about how you can improve.
TW
❥
Goals
To feel secure in my all-round use of English.
To communicate fluently in both formal and informal settings.
To be able to communicate who I really am in English.
To have plenty of strategies to support my communication in English.
To develop the ways I learn English outside the classroom.
To be interested in, and curious about, English and other languages.
To develop my knowledge about English-speaking countries and the world in general.
To learn more about society and culture in other countries.
To be able to use English employing a variety of means and media.
To use English as a means for developing contacts and acquiring information.
To use a variety of means in English to search for information.
To become skilled in selecting and evaluating information, knowledge and experiences
communicated in the English language.
1-5
Look at the boxes where you have marked yourself at less than 4. How can you improve in those
areas? Take a few minutes to jot down some ideas.
For your information and to get you started, here are some summaries, drawn from experience all
over the world, of what makes a good language learner. They are not necessarily true for everyone in
every case, but they can be helpful.
Organisation
Approaches to learning
Activities
Good language learners…
A good language learner…
Good English learners…
■ plan their studies
■ has a strong desire to
communicate
■ have contacts with native speakers
■ is not usually inhibited and is
willing to take risks
■ have an interest in other cultures
■ manage their time effectively
■ have a suitable place to study
■ collect the necessary resources
■ have a good range of IT skills
■ make good notes when learning
■ use effective memory exercises
■ develop confidence-building
strategies.
■ develops the ability to guess
accurately
■ practises regularly
■ pays attention to form
(for example, grammar)
■ monitors his or her own language
and that of others
■ pays attentions to meaning.
23
■ listen to radio, watch TV and films
■ read for enjoyment and information in various
formats
■ repeat what they have heard from native
speakers or teachers as a form of practice
■ create their own word lists and memorise them
for future use
■ follow up newly learned language in grammar
and other reference books.
TW
❥
An action plan
Review this exploration of your English language learning and create an action plan for the coming
term. Think about how you can exploit your strengths and improve in areas where this is necessary.
Repeat for following terms.
My targets for this term:
1 ___ 2 ___ etc.
Ways I can be a really effective learner outside
the classroom:
1 ___ 2 ___ etc.
Areas where I feel confident:
1 ___ 2 ___ etc.
People who can help with my English:
1 ___ 2 ___ etc.
Areas where I can improve:
1 ___ 2 ___ etc.
Ways I can improve performance in class:
1 ___ 2 ___ etc.
How can I get them to help me?
Examples: pen friends, online friends.
1 ___ 2 ___ etc.

2 • Using the resources at your fingertips
Browse the web for information
Tracking down information and resources is a key skill. The principle recommended here is that your
online search is like the ripple effect, an expanding series of ripples once the first ‘stone’ has been
tossed into the water, or in this case cyberspace.
Refine your search terms
Practise and develop this skill as follows:
Enter terms into search engines to bring up
relevant websites. For example, ‘10 famous
Australians’.
Refine the terms. This can involve adding
relevant adjectives. For example: ‘10 most
significant/respected/infamous/ Australians’.
Or you can change to nouns: ‘10 famous
Australian scientists/artists/sportsmen/
sportswomen/bands’, and so on.
24
Resource Pages
Search for material in all media. For example, in images, videos, books, Google Scholar and
blogs.
Browse for other points of view. For example, if you come up with a site giving rave reviews for
‘X’, you could also enter ‘criticism of X’ and get the other side of the story.
Browse for cultural background. If you are reading an Australian text, for example, go looking
for additional information. For example, searching for ‘Famous Australian exports’ brings up a
website listing vegemite, ugg boots, tim-tams and Neighbours (which is a famous TV soap in both
Australia and the UK.) It also points out that latex gloves and the combine harvester were Aussie
inventions.
Browse across English-speaking countries. For example, entering ‘British exports to the USA’
brings up a list of top ten exports into the USA from Britain. So Time magazine gives an up-todate American take on British cultural ‘invasions’ as follows:
1 The Beatles • 2 Harry Potter • 3 Simon Cowell • 4 Piers Morgan • 5 Cholera (the disease) • 6 The miniskirt 7 David and Victoria Beckham • 8 Robert Pattinson • 9 Winnie the Pooh • 10 Christopher Hitchens
Few Britons realise that cholera and Winnie the Pooh feature in American consciousness as
major British imports.
Browse for reliable and interesting websites that can give you a good overview of current events
and culture across the English-speaking world. For example, Time magazine and the New York
Times (USA), the BBC and Guardian online (UK); Sydney Morning Herald (Aus); The Times
of India; Toronto Star; New Zealand Herald; Mail and Guardian online (South Africa). Decide
which websites you would like to visit regularly.
Make notes
Task 1
Make notes as you search.
1 Who were voted or considered the most recent Young Australians/New Zealanders/Britons/
Canadians/Americans/Indians/South Africans of the Year?
Tip: Vary your search terms. For example ‘Young Australian of the Year’; ‘Young hero of the
year UK’ (adding a country at the end refines your search).
2 Find out what has been affecting teenagers and young people in different English-speaking
countries recently.
Tip: Find websites that report young people’s views, rather than the views of organisations
with their own interests.
Always pose questions about your web browsing. For example, what different or similar attitudes
are there in English-speaking countries to what makes a Young Person/Hero of the Year? Why do
➼
25
some countries have national awards and others only local or more specialised ones? How does this
compare with Sweden? Or ‘Are young people in different English-speaking countries experiencing
the same sorts of advantages or difficulties? Are these similar or different to those in Sweden?
Fill out an Online Research Report available on the Student’s Web as a record of what you have found.
You can also send this to any classmates who may be interested in following the same links.
Using library resources
Use your local library and ask a librarian to give you a quick tutorial in the resources available.
Check out the books available in English. They may also be able to get English language books,
journals, magazines, DVDs and ‘talking books’ for you from other libraries. Librarians are a great
information resource. Use them.

3 • Reading in context
There is always a context for reading: pleasure, learning, work or just passing the time. Read a lot,
read widely, and you will immerse yourself in the language.
Reading fiction for pleasure
Reading fiction for pleasure is a great way to learn more English. It’s part of the ‘naturalistic’
approach where you ‘immerse’ yourself in the language. It’s easier to do if you spend some time in an
English-speaking country, but it’s also easy to do from anywhere in the world if there’s a local library,
an internet connection and a bookshop or two.
Here are some ideas:
Read a lot of what you enjoy. Put reading for pleasure on your schedule. The more you read, the
more fluent and natural your English will become.
Think of a book in Swedish you really like and find an English translation. You already know
the story and can read more quickly while noticing new English words and expressions. You can
refer to the Swedish version and compare it with the translation. This will lead to plenty of ‘Aha’
moments. ‘Aha, that’s how you say it in English.’
Make notes, especially of words and phrases you could use in your own communication. Repeat
words and phrases to yourself and imagine yourself using them in certain situations. This is an
aid to memory.
Think about the register of the language. Just because something is printed in a book doesn’t
mean it could be useful in your communication. For example, swearing and abuse is common
in fiction, but it’s not without consequences in real life. On the other hand, you may notice lots
of useful phrases that people use to communicate their intentions: polite, diplomatic, assertive,
delighted, friendly, reserved, critical, evasive, and so on.
26
Resource Pages
SW
❥TW
Ask at least one or two questions about a book when you have finished it. You can use the
Reading Review Sheet available from the Student’s Web. For example, if you have just read one of
Stieg Larsson’s thrillers you could pose questions like: Is the character Lisbeth Salander supposed
to be a Pippi Longstocking for the 21st century? Is she a successful one? What would Astrid
Lindgren have thought of her? What do I think of her? Or: Does Larsson’s fiction have much
connection to reality? Or is it really a complete fictive world that has more connection to fantasy
fiction? Or: Do I prefer gritty, realistic figures like Wallander, or more spectacular fantasy figures
like Salander?
Extending your reading in fiction
It’s easy to say read what you like, but we don’t always know what we like till we find it. So here’s an
approach to broadening your taste in fiction. Make two lists. On the left, jot down the kind of fiction
you really enjoy reading. Then sample some genres that you wouldn’t normally read. Collect a few
books together and read the first 5-10 pages. Decide which ones you could read further and do so.
On the right side of your paper make a list of the kind of fiction that you could now be interested in.
Here are some fiction genres you could try with some examples:
The Apprentice, Tess Gerritsen; The Traveller, John Twelve Hawks; The Fear Index,
Robert Harris.
Chick-lit
Love Walked In, Marisa de los Santos; Something Borrowed and Something Blue, Emily
Griffin; Bridget Jones’s Diary, Helen Fielding.
Sci-fi
Childhood’s End, Arthur C. Clarke; Ender’s Game, Orson Scott Card; Do Androids
Dream of Electric Sheep?, Philip K. Dick.
Crime
The Millennium Trilogy, Stieg Larsson; The Talented Mr Ripley, Patricia Highsmith;
Maximum Bob, Elmore Leonard.
Graphic novels Blankets, Craig Thompson; Fun Home, Alison Bechdel; Shortcomings, Adrian
Tomline.
Horror
The Shining, Stephen King; The Silence of the Lambs, Thomas Harris; Let the Right One
In, John Ajvide Lindqvist.
Young Adult
Catcher in the Rye, J.D. Salinger; A Year Down Yonder, Richard Peck; Speak,
Literature
Laurie Halse Anderson.
Literary Novels Life of Pi, Yann Martel; The Curious Incident of the Dog in the Night-Time, Mark
Haddon; On Beauty, Zadie Smith.
Classics
Of Mice and Men, John Steinbeck; Animal Farm, George Orwell; Ethan Frome, Edith
Wharton.
Thriller
Tip
If you are short of time, but want to read more widely, the novella (short novel) is a good way to
get into literary fiction and classics. Type ‘best English novellas’ into a search engine and browse
for a few that would interest you.
27
Checking out non-fiction
Read a lot of what you enjoy in non-fiction, but also be prepared to step out of your comfort zone.
You could carry out a similar exercise for non-fiction by exploring more subjects. In this case it’s
quite important to develop a range of interests beyond your special subject as a form of personal
development. In this case you could really push the boundaries. For example, if you absolutely hate
maths, try a book that makes maths exciting and relevant for the general reader (see below). If you
aren’t inspired by art or design try a book on that.
The broader payoff (belöning) is that whatever you do after school, you will be able to connect
more with others, either professionally or socially. The narrower payoff is that your English
vocabulary will be larger and more flexible.
Tip
Many online bookshops such as Amazon allow you to view and read the first few pages of some
books, especially non-fiction.
The Number Mysteries: A Mathematical Oddyssey through everyday life, Marcus Du
Sautoy; Alex’s Adventures in Numberland, Alex Bellos; Mathematics: a very short
introduction, Timothy Gowers.
Science
Boffinology: The real story behind our greatest scientific discoveries, Justin Pollard; Dunk
your biscuit horizontally, 106 strange scientific facts, Rik Kuiper; Why are orangutangs
orange? New Scientist.
Economics
The Travels of a T-shirt in the Global Economy, Pietra Rivoli; The Shock Doctrine,
Naomi Klein; The Big Short, Michael Lewis; Fool’s Gold, Gillian Tett.
Current Affairs Rising powers, Shrinking planet, Michael T. Klare; Guns, Germs and Steel, Jared
Diamond; Why the West Rules… For Now, Ian Morris.
Philosophy
The Heart of Things, A.C. Grayling; Sophie’s World, Jostein Gaarder; The Story of
Philosophy, Bryan Magee.
Sport
Netherland, Joseph O’Neill; Moneyball, Michael Lewis; How Soccer Explains the World,
Franklin Foer; God Save the Fan, Will Leitch.
Entertainment How the Beatles Destroyed Rock n Roll, Elijah Wald; Television Sitcom, Brett Mills,
Story of the Scene, Roger Clarke.
Art
Ways of Seeing, John Berger; Contemporary Art, Julian Stallabrass; The Shock of the
New, Robert Hughes; Hockney, the Biography, Christopher Simon-Sykes.
Biography
Steve Jobs, Walter Isaacson; The Kindness of Strangers, Kate Adie; Messi, Luca Caioli.
Travel
Misadventures in the Middle East: Travels as tramp, artist and spy, Henry Hemming;
By the Seat of My Pants, edited by Don George; Secret Confessions of a Backpacker,
L.K. Watts.
Mathematics
TW
❥
There are more reading suggestions on the Teacher’s Web. They link thematically to the chapters in
this book.
28
Grammar
Section
User guide
This section contains explanations of grammar points followed by practice. The Deep Focus
sections take you further into each topic. For lots more practice of the essentials and even
deeper focus on grammar go to the Context 2 Student’s Web. You will also find links to
YouTube that show how points of grammar work in practice.
Notice that the Grammar Section from Context 1 is also available for revision on the
Student’s Web.
You can find extensive explanations in grammar reference books such as: Gleerups
Engelska Grammatik, Magnus Ljung, Sölve Ohlander (Gleerups Utbildning).
Lists of irregular verbs are available on the Context 2 Student’s Web and in English
dictionaries.
It’s a good idea to review what you have done on a regular basis. Practising with friends
by using newly learned grammar in conversation is a good way to make your theoretical
knowledge ‘automatic’.
A note on symbols
A tick  means correct in the English-speaking world.
A cross  means incorrect.
29
Contents
Grammar Section
NOUNS
Countable and uncountable nouns
Plural in Swedish, singular in English
Regular and irregular nouns
Plural forms of irregular nouns
The possessive forms of nouns
ARTICLES
The indefinite article
PRONOUNS
Personal pronouns
Reflexive pronouns
Possessives
Relative pronouns
Interrogative pronouns
Demonstrative pronouns
Indefinite pronouns
The Swedish pronoun det
WORD ORDER
CONJUNCTIONS
VERBS
The tenses – revision
The present
The do construction
The past
The future
Conditional sentences
The passive
Preposition + ing form
Question tags
Modal verbs
Usually + verb, used to + verb
CONTRACTED SENTENCES
ADJECTIVES AND ADVERBS
Comparison of adjectives
The order of adjectives
30
Literature
Section
User guide
These pages contain short extracts from famous works of literature. Their theme is ‘youth’
over a period of 1300 years from about 600 to 1900.
They begin with Beowulf in the days when armed bands sailed and marched around
northern Europe in search of land and wealth, competing with other tribes. This first great
work of English literature has Scandinavian origins, a long narrative poem for the warriors’
halls telling of monsters, battles and bonds of loyalty that held the tribes together. The
rewards were adventure and wealth, but the downsides were capture, slavery or death. In
these early times young people took on adult responsibilities from about the age of 12.
Geoffrey Chaucer was writing in a very different world. The English language had been
heavily influenced by French and the courtly literature of Europe for almost 300 years. In
Troilus and Criseyde we hear the voice of a young woman exploring the meanings of love,
attraction and independence.
31
In the extracts from Shakespeare we read a father’s advice to his son as he sets out on a
long and dangerous journey. We listen to a young woman sizing up a young man’s temporary
romantic assets, then read deeper into the poet’s thoughts on what is permanent in the love
between soulmates.
In Charles Dickens we read of the yearning, pride and frustration of love unreturned.
Oliver Goldsmith, Jane Austen and George Eliot show us young people battling between
their own inclinations and their familys’ wishes. Austen gives us an unwanted suitor who
has the support of her Mama, while Oscar Wilde portrays a welcome proposal opposed by a
demanding mother. In Eliot the consequences are tragic, in Austen and Wilde hilarious.
The extracts from Daniel Defoe, Anthony Trollope, Charlotte Brontë and Elizabeth Gaskell
depict a world of work and business very different, yet also surprisingly similar, to our own.
While many young people have limited choices, especially the women, personal ambition,
social divides and ethical dilemmas are much the same.
The poets Blake, Shelley and Dickinson explore that bitter-sweet torture chamber of
the mind as it contemplates personal motives, aloneness and the ultimate extinction of the
individual and all its works. But from the USA comes Mark Twain’s irreverent, mischievous,
breath of fresh air, Huckleberry Finn, refusing to bend the knee to rules, restrictions and
superstitions that amount, in his opinion, to a load of hooey that cramps his style.
The selection ends with one of the most sublime exposés in modern literature. As a
bisexual Irishman and clear outsider, Oscar Wilde was well-placed to lay bare the crude and
cruel ambitions that underlay polite, upper-class society as it strived to train the young in its
own hypocritical ways. His audiences glowered in rage or laughed till they cried on seeing
themselves reflected in his plays. Society had its revenge on Oscar Wilde, but his matchless
dialogue remains.
You can listen to the extracts being read or performed by actors on the CD. Use the
modern references to find out how these works have been re-invented and reinterpreted for
the modern era in film, TV, art, music, video games and fiction.
If you want to explore further there is a lot more material on the Teacher’s Web.

32
Contents
n
literature Sectio
Anon. (AD600-700)
William Makepeace Thackeray (1811-1863)
from Beowulf: “Nor can we expect peace from the Swedes”
from The History of Henry Esmond
Geoffrey Chaucer (c. 1343-1400)
Charlotte Brontë (1816-1855)
from Troilus and Criseyde
from Jane Eyre
William Shakespeare (1564-1616)
from Hamlet
from As You Like It
Sonnet 116
Daniel Defoe (1600-1731)
from Reformation of Manners
Oliver Goldsmith (1730-1774)
from She Stoops to Conquer
William Blake (1757-1827)
A Poison Tree
George Gordon Byron (1788-1824)
from Childe Harold’s Pilgrimage: verses 34-5
Percy Bysshe Shelley (1892-1822)
Elizabeth Gaskell (1810-1865)
from North and South
Christina Rossetti (1830-1894)
The First Day
Charles Dickens (1812-1870)
from Great Expectations
George Eliot (born Mary Ann Evans; 1819-1880)
from The Mill on the Floss
Emily Dickinson (1830-1886)
One need not be a Chamber—to be Haunted—
Anthony Trollope (1815-1882)
“The Great Railway to Vera Cruz” from The Way We Live Now
Mark Twain (1835-1910)
from Ozymandias
from Huckleberry Finn
Jane Austen (1775-1817)
Oscar Wilde (1854-1900)
from Pride and Prejudice
from The Importance of Being Earnest
33
Word Lists
ch.1 I’m Sorry but I’ll
Have to Let You Go
page 6
breaking up att göra slut
though [ðəʊ] dock
soften mildra
blow slag, motgång
myth här felaktig föreställning
remain förbli, fortsätta vara
revenge [rɪˈvendʒ] hämnd
dump dumpa
ease lindra
Management Consultant
managementkonsult
John Keats brittisk poet som dog ung
(1795-1821)
Alexander the Great Alexander den store
(kung under 330-talet f.Kr. som genom
krig erövrade många riken och dog vid
33-års ålder)
mansion [ˈmænʃn] flat här paradvåning,
lyxlägenhet
Human Resources [ˈhjuːmən rɪˈzɔːsɪz]
ung. personalavdelning
promotion befordran
fortnight tvåveckorsperiod
offer erbjudande
arrive anlända, komma
satisfied nöjd, tillfreds
pay off löna sig
according to enligt
graph [grɑːf] graf, kurva
ideal [aɪˈdɪəl] ideal, perfekt
trajectory [trəˈdʒektəri] bana, kurs
page 7
pity about synd på
get on trivas, komma överens
despite [dɪˈspaɪt] trots
aggro [ˈægrəʊ] (from aggravation) besvär,
irritationsmoment
bum [bʌm] slang rumpa, häck
not by any means inte alls, långtifrån
commitment [kəˈmɪtmənt] engagemang
(att satsa seriöst på ett förhållande)
spot upptäcka, få syn på
central double t centralplacerat dubbel-t
press release [rɪˈliːs] pressmeddelande
keen to ivrig att
page 8
slightly [ˈslaɪtli] lite, en gnutta
rent out hyra ut
sufficiently [sə’fɪʃntli] tillräckligt
be up to scratch [ˈskrætʃ] hålla måttet
corporate [ˈkɔːpərət] företags-

Words to Writers in Context
tenant [ˈtenənt] hyresgäst
sharp vass, slipad (duktig)
generally [ˈdʒenrəli] överlag, generellt sett
rental [ˈrentl] side of things när det gäller
hyresmarknaden
a shade more snäppet mer, lite mer
upmarket exklusiv, lyxig
haggle [ˈhægl] köpslå, pruta
per cent procent
notice varsel, förvarning
adjust [əˈdʒʌst] vänja sig, anpassa sig
unreasonable [ʌnˈriːznəbl] orimlig,
oresonlig
wind [waɪnd] it down här gradvis avsluta
förhållandet; eg. varva ner det
satisfaction belåtenhet
fairness [ˈfeənəs] här ärlighet, hederlighet;
eg. rättvisa
whether om, huruvida
intend ämna, ha för avsikt
throw här förvåna
not presumably [prɪˈzjuːməbli] här väl
ändå inte
presumably förmodligen
imagine föreställa sig, tänka sig
transatlantic transatlantisk, över Atlanten
distance avstånd, sträcka, distans
insist insistera, hävda bestämt
manfully här ung. myndigt manligt
impracticable omöjligt, opraktiskt
unfair orättvis
made-up lips målade läppar
apart isär
page 9
forefinger pekfinger
add lägga till, tillägga
a hint of en gnutta, antydan till
reproach [rɪˈprəʊtʃ] klander (ge någon
skuldkänslor)
frown rynka (i pannan)
gather [ˈgæðə] samla (dra ihop) sig
obviously [ˈɒbviəsli] uppenbarligen
carry on fortsätta
sorrowfully [ˈsɒrəʊfli] sorgset
pitying [ˈpɪtiɪŋ] ömkande (nedlåtande
tycka synd om)
a notice-giving kiss ung. en kyss som
fastslår slutet på förhållandet
slap out härja, få ett utbrott
rant gorma
harpy act ragatastil, bete sig som en harpya
(ett elakt väsen framställd som en
blandning av kvinna och rovfågel inom
den grekiska mytologin)
set off ge sig iväg
brisk snabb, rask
canter (kort) galopp
34

Words to quotes
sidle [ˈsaɪdl] smyga
one–off [ˌwʌnˈɒf] engångsföreteelse
it made for det orsakade
unease [ʌnˈiːz] (känsla av) obehag
a lot on mycket att göra
several många
surely [ˈʃɔːli] sannerligen, nog
be pleased for him vara glad för hans skull
seem verka, tyckas
wrathfully [ˈrɒθfli] ilsket
bloody svordom ung. djävla
page 10
the score ung. läget, vad som gäller
prawns [prɔːnz] räkor
decompose [ˌdiːkəmˈpəʊz] ruttna
hollow [ˈhɒləʊ] ihålig
curtain rail [ˈkɜːtn] gardinstång
mustard [ˈmʌstəd] senap
cress krasse
sprout [spraʊt] gro, spira
bathroom carpet badrumsmatta
stiff stel
immediately [ɪˈmiːdiətli] omedelbart,
direkt
insensitivity okänslighet
emotional autism [ɪˈməʊʃnəl ˈɔːtɪzəm]
emotionell autism (att sakna normala
känslor)
therapy [ˈθerəpi] crap terapitrams
genuinely [ˈdʒenjʊɪnli] genuint, uppriktigt
baffled [ˈbæfld] förvirrad
split up göra slut
sleep with här ligga (ha samlag) med
turn–off något som uppfattas som
avtändande
yell [jel] skrika, vråla
flummoxed [ˈflʌməkst] förbryllat
prat [præt] slang tönt, idiot
huff [hʌf] gorma
entryphone [ˈentrifəʊn] porttelefon
spat (spit, spat, spat) här fräste;
eg. spottade
despite [dɪˈspaɪt] himself ung. mot sin
egen vilja
shrug [ʃrʌg] rycka på axlarna
stress–buster [ˈstresbʌstə] avslappnande
breathing technique [ˈbriːðɪŋ tekˈniːk]
andningsövning, andningsteknik
page 11
cause [kɔːz] orsaka, vålla
damage [ˈdæmɪdʒ] skada
excellent decorative order [ˈeksələnt
ˈdekərətɪv ˈɔːdə] ung. utmärkt skick
most recent [ˈriːsnt] allra senaste
expression [ɪkˈspreʃn] (ansikts)uttryck
venomous [ˈvenəməs] giftig
Word Lists
incredibly [ɪnˈkredəbli] otroligt
get off my case ung. låt mig vara i fred
experimentally [ɪkˌsperɪˈmentli] på försök
blast här dos; eg. (kraftig) vindpust;
explosion
arctic arktisk, nordpolsfridge [frɪdʒ] kylskåp
salmon [ˈsæmən] lax
courgette [kɔːˈʒet] zucchini
bake [beɪk] här färdiglagad mat
go over the top överreagera, gå för långt
ping plinga
lift hiss
don ta på (sig)
oven glove [ˈʌvnglʌv] grillvante
steaming ångande het
dug (dig, dug, dug) in högg in (på maten)
immature [ˌɪməˈtjʊe] omogen
whereas [weərˈæz] medan
quite [kwaɪt] the opposite [ˈɒpəzɪt] raka
motsatsen
swish [swɪʃ] vifta

staff här anställd; eg. personal
freelance frilans (när man utan att vara
anställd utför arbete åt en eller flera
uppdragsgivare)
collection samling
short story novell
award [əˈwɔːd] utmärkelse
constitutional [ˌkɒnstɪtjuːʃnəl] vard.
promenad; eg. konstitutionell (i
enligheten med lagen) eller som har med
hälsan att göra
in-flight under flygresan
entertainment underhållning
successful [səkˈsesfl] framgångsrik,
lyckosam
fiction skönlitteratur (påhittade berättelser)
non-fiction facklitteratur (litteratur som är
baserad på fakta)
song lyrics sångtext
libretto libretto (text till musikdramatik
såsom opera)
literary litterär
charity [ˈtʃærəti] välgörenhetsstiftelse
found grunda, upprätta
improve förbättra
literacy [ˈlɪtrəsi] läs- och skrivkunnighet

misery [ˈmɪzəri] elände
inevitable [ɪnˈevɪtəbl] oundviklig,
ofrånkomlig
optional valfri
35
Notes
36