Acknowledgements

Development of this publication has made use of the Cambridge English Corpus (CEC). The CEC is a computerised database of contemporary spoken and written English, which currently stands at over one billion words. It includes British English, American English and other varieties of English. It also includes the Cambridge Learner Corpus, developed in collaboration with Cambridge English Language Assessment. Cambridge University Press has built up the CEC to provide evidence about language use that helps to produce better language learning materials.

The authors and publishers acknowledge the following sources of copyright material and are grateful for the permissions granted. While every effort has been made, it has not always been possible to identify the sources of all the material used, or to trace all copyright holders. If any omissions are brought to our notice, we will be happy to include the appropriate acknowledgements on reprinting.

The publisher has used its best endeavours to ensure that the URLs for external websites referred to in this book are correct and active at the time of going to press. However, the publisher has no responsibility for the websites and can make no guarantee that a site will remain live or that the content is or will remain appropriate.

Text

Penguin Books Limited and David Godwin Associates for the text on p. 6 adapted from The Farm by Richard Benson, published by Hamish Hamilton, 2005. Copyright © Richard Benson 2005. Reproduced by permission of Penguin Books Limited and David Godwin Associates;

Psych Central for text B on p. 17 adapted from ‘Book Review: Smart Thinking by Art Markman’ by Dave Schultz, Psych Central, http:// psychcentral.com/lib/book-review-smart-thinking/00015721. Reproduced with permission;

Max Read for text C on p. 17 adapted from ‘Smart Thinking: Three Essential Keys to Solve Problems, Innovate, and Get Things Done by Art Markman’ by Max Read, Goodreads. Reproduced with permission;

Lisa Belkin for the text on p. 21 adapted from ‘Life’s Work: Putting Some Fun Back Into 9 to 5’ by Lisa Belkin, The New York Times, 6 March 2008. Reproduced by permission of Lisa Belkin;

The Daily Telegraph for the text on pp. 26–27 adapted from ‘Bob Skeleton: the scariest ride on the planet’ by Charles Starmer-Smith, The Telegraph, 9 February 2008. Copyright © Telegraph Media Group Limited 2008;

University of Michigan School of Education for the text on p. 41 adapted from ‘The Role of Television Viewing in the Development of Reading Comprehension’ by Paul van den Broek, 19 June 2001, www. ciera.org/library/archive/2001-02/200102pv.pdf. Reproduced with permission;

Nick T Spark for the text on pp. 46–47 adapted from ‘46.2 Gs!!! The Story of John Paul Stapp “The Fastest Man on Earth”’ by Nick T Spark, http://www.ejectionsite.com/stapp.htm. Reproduced with permission from Nick T Spark;

Text on p. 57 adapted from ‘Travel and the Sense of Wonder’ by John Brinnin, Vagablogging, 1991;

British Coffee Association for the text on p. 60 adapted from ‘The History of Coffee’, British Coffee Association, 13 May 2008. Information Courtesy of the British Coffee Association; The Daily Telegraph for the text on pp. 62 adapted from ‘Beauty of the beasts’ by David Attenborough, The Daily Telegraph, 24 February 2007. Copyright © Telegraph Media Group Limited 2007;

Text on p. 67 adapted from ‘Ruff Guide to the Training of Young Athletes (TOYA)’ by T D Sasha, Sports Development, 1 January 2013;

Cambridge University Press for the text on p. 72 adapted from The Bilingual Family 1st edition by Edith Harding and Philip Riley, published by Cambridge University Press, 1986. Copyright © Cambridge University Press 1986. Reproduced with permission;

Guardian News and Media Ltd for the recording on p. 82, Extract Two adapted from ‘It’s about what we’ve created together’ by Joanna Moorhead, The Guardian, 9 February 2008. Copyright © Guardian News & Media Ltd 2008.

Photos

p. 4: Visions of America, LLC / Alamy; p. 6 (L): Adrian Sherratt/ Alamy; p. 6 (R): THE FARM: THE STORY OF ONE FAMILY AND THE ENGLISH COUNTRYSIDE by Richard Benson (Hamish Hamilton 2005, 2006). Cover reproduced with permission from Penguin Ltd. p. 8: Cultura/Rex Features; p. 9 (T): Artmin/Shutterstock; p. 9 (B): SnowWhiteimages/Shutterstock; p. 14: Flaming June, c.1895 (oil on canvas) by Leighton, Frederic (1830-96) Museo de Arte, Ponce, Puerto Rico, West Indies/ © The Maas Gallery, London, UK/ The Bridgeman Art Library; p. 18: kjorgen/iStock/Thinkstock; p. 19 (L): Wavebreakmedia Ltd/Thinkstock; p. 19 (R): Werner Dietrich/ Alamy; p. 21: Blend Images/Alamy; p. 23 (L): Cultura/Rex Features; p. 23 (R): Patti McConville/Getty Images; p. 24: Royal Geographical Society/Alamy; p. 27: Jeff Gilbert/Rex Features; p. 28: Jelle-vd-Wolf/ Shutterstock; p. 29: The Thirteenth Tale by Diane Setterfi eld, The Orion Publishing Group Ltd. p. 31: Tim Sloan/AFP/Getty Images; p. 32: maurice joseph/Alamy; p. 33: sturti/Getty Images; p. 34: Michael Kemp/Alamy; p. 35: Ragnarock/Shutterstock; p. 36: Lorenzo Fanchi; p. 38: Bettina Strenske/Alamy; p. 39: www.railimages.co.uk; p. 41: Niamh Baldock/Alamy; p. 43: marc macdonald/Alamy; p. 44: RA/Lebrecht Music & Arts Library; p. 46: Courtesy of the Air Force Flight Test Center History Offi ce p. 48: Suzi Eszterhas/Minden Pictures/FLPA; p. 50: H. Mark Weidman Photography/Alamy; p. 51: Courtesy of Boston College, MA, USA p. 52: Andreas Rodriguez/Thinkstock; p. 53: UPPA/ Photoshot; p. 54: turtix/iStock/Thinkstock; p. 57: Mahler Attar/Sygma/ Corbis p. 58: Bettmann/Corbis; p. 60: dirkr/Getty Images; p. 62: Ray Roberts/Alamy; p. 63: Purestock/Punchstock/Getty Images; p. 64 (BL): Alex Segre/Alamy; p. 64 (TR): VCL/Tim Barnett/Getty Images; p. 64 (BR): Digital Vision/Punchstock/Getty Images; p. 68: Jupiterimages/ Thinkstock; p. 70: Janine Wiedel/Rex Features; p. 72 (T): Roger-Viollet/ Rex Features; p. 72 (B): Robert Harding Picture Library/Superstock; p. 73: iStockphoto.com/Remus Eserblom.

Cover image: Aleksandr Markin/Shutterstock (front, back).

Illustration acknowledgements

Dusan Paulic (Beehive Illustration) p. 5, 65

The publishers are grateful to the following contributors: Brigit Viney: project management Sarah Curtis: editorial work Ainara Solara: proofreader Kevin Brown: picture research Leon Chambers: audio producer

Designed and typeset by Wild Apple Design Ltd Audio recorded at Soundhouse studios, London