Test 1 Key Part 2 7 international 8 land(-Jowners 9 championship 10 cities 11 (urban) parks 12 grow quickly /fase 13 nature reserves 14 (local) community PART 2 Lecturer: Part Two You'll hear @ man called Tom Trueman giving a lecture about golf courses and the environment, For questions 7 ta 14, complete the sentences. You now have 45 seconds to look at Part Two. [pause] tone Good afternoon, 'm here to talk about the rather delicate question of golf courses, in the countryside. | want to look at the growth of gol in this country and make some suggestions regarding its future development, ‘A fow years ago, a report was published by the body that governs the sport rationally. At that time, the popularity of gott was expanding rapidly on the back ofall the publicity surrounding the success of certain (ocal golfers in international competitions. “The report said that people who didn’t belong to existing golf clubs, but who ‘wanted to start playing the game, found there simply weren’t enough facilities to {go round. So, the report concluded, eround 700 courses would have to be built to meet the demand. Following that report, there was, as you can imagine, enormous interest amongst landowners, not to mention businessmen, who suddenly realised that there was money to be made out of golf. Now, the ordinary beginner couldn't really afford to pay for a high standard of facilities, but, for some reason, developers tended to build championship goif courses, so that quite a few of the hundreds built across the country falled financially, ‘And, of course, not everybody likes golf courses anyway. They cause changes to the local environment and are used only by those with money, and that often means people criving out from the cites, rather than the local population. ‘A further objection to golf courses is that, although they don't involve much building, the smooth close-cut grass gives them the ordered appearance of urban parks, because developers seem to be obsessed with the idea of stripping everything out and starting again. The land is levelled out, then artificial bumps are Introduced, alien species of plants, often imported from abroad, are put in; trees that grow fast are particularly popular, as are new varieties of grass that provide a good walking surface. And, of course, this means that wild animals and other forms of native wildlife are uprooted and suffer as a result. ‘But my point is why should all this destruction be necessary? Why do all golf ‘courses have to look the same? | believe that, with a litle bit of imagination, many ‘courses could easily be tured into nature reserves, whera interesting or rare plant varieties could be preserved. Many of the arguments raised by the critics ‘would be answered in this way and I think this is an epproach that should be Considered before any more golf courses are built in this countsy. Most importantly, courses should be designad to attract rather than drive away wilde, Akknock-on effect of this would be another layer of use, as schoolchildren and ‘others could come to study the natural habitats that would be preserved, making the golf course much more an integral part of the local community as weil as the local ecology. So, what work can we do ...? {panse] Now you'll hear the recording again. (The recoxding is repeated.) {pause] That's the end of Part Two. Now turn to Part Three [pause] 139)Test 1 Key PART 3 140 Greg Chris: vane: Greg dane: Chris: Greg Chris: Jane: Chrie: Greg: Jane: Part 3 ISA 16A 17C 18D 19B 206 Part Three You'll bear part of an interview with two chefs, Jane and Chris, xvbo both won brizes in the National Railway Chef of the Year competition, For questions 15 to 20, choose the answer (A, B, Cor D) which fits best according to what you bear. You now have one minute to look at Part Three. {pause} tone ‘Serving more than 200,000 meats a year would be a challenge for any chet, but step up constraints of time, space and a demand for culinary excellence and you have the Ife of a railway chef, Chris and Jane, the idea of having to cook in cramped surroundings, with limited ingredients and a very tight schedule, as you cid in the recent competition, must have been a tertfying prospect Wel, hardly - | actually operate under those restrictions every day! That's true, of course, we both do ~ but there's always the added danger that things can go wrong, and the challenge of preparing a top-quality, three-course ‘meal for four - which costs no more than £0 ~ and in front of all those judges! Well, Jane, you were a runner up and Chris came first. | gather you faced some stiff competition from the other finalists. No doubt about that. All the chefs who entered the competition were brillant in their own way ut someone has to win! But the real problem is trying to be Creative as the train hurtles through the countryside at over 100 miles an hour — there's litle room for mistakes - and you have to be able to keep your balance! Actually, 'd only beon a railway chet for three months. And I can tell you that life {on board is no easy ride, There's no nipping out to get the extra bunch of parsley, ora lemon, But you're used to working under pressure al the samme, aren't you? How do you set about boing organised? You've just goto make sure you're focused on the job. Being able to keep an eye con a dozen things at once [s also an advantage! But do you actually enjoy what you're doing? There’s plenty of scope to express yourself as a chef in the job ~ and the open kitchen means that customers wil often compliment you personally onthe food. That's one of the biggest highlights of the job. V1 certainly go along with that. Very few restaurant chefs have the chance to experiance that. ‘And what about the menus, who decides what to cook? They're decided in advance for the whole railway network by two extremely famous chefs, who are actualy brothers. | suppose we both fnd it restricting. Hmm. I do get a bit frustrated from time to time ~ think | could be a litle more adventurous ~ but it's all a question of adaptability — which I suspect Jane is better at than lam! Not at all- | can be quite infloxibie when the mood takes mat So what would be a typical routine for you both? You have to start at around 5.30 in the morning ~ check that all the ingredients have been dollvered — then it's @ mad rush to get everything ready. ‘And precious litte time to rest any other time during the day, as you often have to set tables on other trains and hep other staff. Timing’s particulary tig, you see, In other restaurants orders come in and go out over two or three hours, but we inave to tum round before the passengers reach thelr stations. It's alla bit nerve racking.Greg: Chris: Test 1 Key ‘So what motivated you to do this inthe fist place? Te been on the move ever sinc I lft colege. So when I got engaged, | decided it was time to settie down. So when | saw this job, it seemed a reasonable compromise between personal commitments and my reluctance to stay in one place. For me it was eomething that just caught my eye ~ not just ordinary run-of-the- mil stuff, And, if you get the time, you got a good view out of the windows! ‘And how do you stop things from sping over when the train moves? i's not a problem for me. Iwas a chef on a liner, so I've got plenty of experience ‘of cookery in motion! ‘Yes, but | think it helps if you only haf fll saucepans with bolling water - even so, they often spil over and you start saying nasty things to yourself about the driver ~and it's not usually his fault! Let's just say that you quickly leam not to put things under the grill without kooping an eye on them! Has either of you had any major disasters? [laughs I'd only been in the job for three days and | had this huge roastin the ‘oven. l opened the door, turned around for a moment, distracted, | suppose, and it just flew out. Fortunately it landed in the sink, so it was okay, ‘And what qualities would you say it was necessary fora railway chet to have? From my point of view, dedication and determination ~ you won't get anywhere ‘without these! ‘And, let's admit it~a sense of humour. There have been times when | would have resigned long ago If | hadn't had tht! pause] tone Now youll hear the recording again, [The recording is repeated.] [pause] ‘That's the end of Part Three. Now turn to Part Four. pause]Part 2 Test 2 Key PART 2 Part Two You'll hear part of a radio programme in which an expert on theatre history is talking about the hife ofa farmous actress called Helen Perry, For questions 7 t0 14, complete the sentences. You now have 45 seconds to look at Part Two. [pause] Presenter: We have in the studio today Vernon Hall, an expert on theatre history, to tell us all about Helen Perry, one of the greatest actresses of alltime. Vernon: Helen Perry was born in 1847, right in the middle of the nineteenth century, when the theatre was the main form of public entertainment. Her acting career didn’t actualy get off to a very promising start, which was not surprising given that acting was considered an unsuitable career for a young woman. So she waited Until she was 22 before going on stage, to avold her parents’ disapproval. q 2 2 ‘Once on the stage, she found that she had other problems. Although her fret pe _8 part was very small, she had great trouble leaming the lines and, according to her, 2 3s this was something she found dificult throughout her acting career. Howover, this 5 88 did not prevent her from becoming an incredibly successful actress. People who ge aerresr re cad that tne thing that made her so special was hor voloe — a,=2 apparently, ithad an almost hypnotic quality. However, it nearly brought her seat Career to an abrupt end when she was in her fities. Her voice just got lower and Eel 3 3 thuskier and she quite often lost it when she had a cold. Finally she had a very BSe= risky throat operation — which paid off, Because she went on acting for another 25, Beis years after that ibs Helen Perry is now remembered as a great classical actress but she was Soe ‘actually very SKiful. She was, for example, a great comedy actress which was sone ‘hat reely gave her broad popular appesl. And she was immensely popular. At 7H ‘the height af her fame, people could buy all sorts of mementos like postcards and Bees paperweights with her picture on. She was one of the first stars to have a perfume: £o82 famed in her honour, and that brand, simply cated ‘Helen’, remained on sale Unt Sege quite recently. 5aee it’s always been known that several famous plays were written for her, but what goes isn't so wel-known is that she had Iterary talent herself because wa have tho £gi3 (Ghee ohe exchanged with one writer and they show she had great style and wit. Eg ‘Some people feel that she should have retired earlier, when she was at her 2299 peak, but personally, | disagree. We have no film of her acting, of course, but from Bag the raviews of her performances towards the end of her career we can sae that 388 although she had difficulty walking, she Is stil described as magnetic. Zess She pioked up quite a few honorary degrees from various universities, Sse ‘something which had never happened to an actress before. She was pleased to zoBE get academic recognition, of course, but what really pleased her was the way that E528 the audiences loved her, and that was all the recognition she realy nesded. She'l Sie certainly never be forgotten. gSos [pause] Rage tone Pee 238 Now you'll bear the recording again. ness [the recording is repeated.) 150PART 3 Interviewer: Tom Davies: Interviewer: Tom Davies: Interviewer: Tom Davies: Interviewer: Tom Davies: Interviewer: ‘Tom Davies: Interviewer: Test 2 Key [pause] That's the end of Part Two. Part 3 een 19D 16D 17A 18B 19A 20A [pause] Part Three You'll hear a radio interview with the writer, Tom Davies. For questions 15 to 20, choose the answer (A, B, Cor D) which fits best according to what you hear. You now have one minute to look at Part Three. [pawse} tone ‘My quest today is Tom Davies. He has written a series of highly-acclaimed novels, as wel as @ play and two successful flm scripts. He has sald, ‘I ove the ‘oltude, the shoer pleasure of writing, the secret excitement.’ Tom, writing is @ soltary business, but does it go on being exciting? Welt writing s an exciting process, although there are good days and bad days, ‘obviously. | remember when | started, | used to sweat for so long over one Sentence that it realy wasn't much of a pleasure. But | got past that stage and Yes, do find that when things go well, when things are working Out, it very absorbing, But surely less secret these days, now that you've won major prizes? Possibly. | recontiy read out a whole chunk of my work-in-progress at a literary festival because i's one way of trying these things out, whereas in the past 'd been too tightened that if talked about what I was writing, | would somehow josé control of it. But | think generally I don't talk about what | am intending to ‘write, because I'm stil not entirely sure myself which way i’s going to go. But once something is down ina frst or second draft, then you can try f out and see how it sounds. ‘And you've said that at any one time there are as many as ten oF fifteen ideas for novels floating around in your head. How do you choose which one to follow up? You've got to find the idea that’s got the right kind of urgency and it’s not a rational decision t's patience and luck and turning up at your desk every morning fever when nothing seems to be coming. If you're not there, then nothing is procisely what will happen. But once I get started, then @ good day would be two ‘or three hundred words. ‘And then do you hone it, do you go back over t? {1go back all the time until get to the stage when | wor't look at It again because {you need the distance of time to look back and see it from a different perspective, Jind is there anyone who you can then give this manuscriat to and say, ‘Look, before I go any further, tell me what you think of this"? i give the finished draft to certain old friends who're permitted to be as brutal as they like, That's very useful bocause | think there's « danger for writers as they {got older, as their reputations get established, that publishers won't tell them if they've any eorous doubts about 2 piece. So sceptical friends are very important to give you the benefit ofa truthful opinion, ‘And you trust these friends? 181Test 2 Key ‘Tom Davies: Interviewer: ‘Tom Davies: Interviewer: Tom Davies: Interviewer: Tom Davies: Interviewer: Tom Davies: Interviewer: Absolutely. The first time | tried this, years ago, a friend of mine said, ‘Look, [think this novel's absolutely terrible, put it in a drawer and forget about it’ And | dh’ ‘speak to him for eighteen months. But after that | leamt that if you give someone Your novel o read, you've got to allow them to say that kind of thing. These days | ‘wouldn't take it so personally. ‘And although you've denied any suggestion that you write about yourself, there: are actualy all sorts of bits and pieces of you dotted all over your work, aren't there? ‘Someone said that you can't write two hundred words in a novel without giving something of yourself away and | suppose that's true. Perhaps that's why I've. always been a bit defensive about my work. Now, despite those two successful fim scripts, you haven't, strangely, had a lot of luck translating your stories onto the big screen, have you? Why's that? Oh well, my first experience was of e low-budget English fim. And because we had so litle money to work with, it was wonderfully uncomplicated and | thought, ‘Oh what a brilliant life. | could write novels and then in between each one, 1 could do a film.” Because it's so much easier? ‘Well, itwas such fun being away on location surrounded by fabulously competent people, all taking flerce pride in their abifty to do something so well and very, quickly. The panic of the ticking clock, the things going wrong and then somehow being solved at the last minute, al that was marvellous for someone who usually ‘spends his time locked up in an empty room. So it’s actually harder to writs a good screenplay? 'No, | wouldn't say that. Indeed, | don’t think a screenplay is a literary form in itself, {t's more a set of Instructions, a bit ike a recipe. And you can fool yaurselt Into, thinking that you can see what's going to be on the screen, but actually too many People intervene in the finished product, you're just a part of the process, so t's Guite unlike a novel where you're in sole charge, as it were. Tom, there, unfortunately, we have to leave it. Thank you . [pause] tone Now you'll bear the recording again [The recording is repeated.] [pause] ‘That's the end of Part Three, Now turn to Part Four. pause]Part 2 Test 3 Key 7 seventeenth /17th 8 nature / (the) countryside 9 status symbol / symbol of status 40 tree planting / to plant (a) teee(s)/ (the) planting of trees. 11. (fruit and vegetable) gardens / gardening / fruit(s) and vegetables 12. grass (lang) (felds) / grasslands {3 (the) breeding / kecping (of) (the) animals / animal breeding / animal keeping / animal husbandry 14 (traditional / common / contemporary) romantic (traditional) PART 2 Tour guide Part Two You'll hear a tour guide talking to a group of visitors outside an historic country house. For questions 7 10 14, complete the sentences. You now have 45 seconds t0 look at Part Two, [pause] So, here we are at Newton House, atypical eighteenth-century English country house, set in its own beautiful park. Before we go inside, let’s look at the park which realy is a classic example of its type, with rolling grassland and scattered trees. “Park’ is a word we use a lot nowadays. But if you trace back the history of the park as an idee, itis actually something which came into boing as recently as the Seventeenth century. Peopio in the fifteenth and sixteenth centuries wouldn't really have understood what a park was, the idea simply didn't exist. ‘But our ideas about the countryside have changed a ja since then too. People in past centuries knew about agriculture because most of the population was involved ini. But nature, in the sense of wild places, was seen as something dangerous. People wanted civilised, man-made landscapes that showed how the wilderness of nature could be made safe and beautiful. This was how parks began. Will, only rich people had parks, and socially, parkland! quilty became significant as a status symbol, frst appearing near large country houses ike this, because it was where the richest people, the big landowners, lived. Also very symbolle socially was tree-planting bacause trees involved long-term investment. They express a confidence in the future, and so they were carefully planted in prominent positions. What happened curing the eighteenth century is that the park became even more important 2s 2 seting for a large house, and the fruit and vegetable gardens, which had always been attached to houses, became less significant, often hidden away to one side. This was because if the park was to clearly tdstinguish ts owner 2s a wealthy person, it needed to be beautitul but not very productive. ‘The immediate surroundings of the house were predominantly grassland, ‘therefore, not fields of erops; they would look too much like work. But that doesn’t mean that the land was completely useless. Rich people often involved themselves in breeding animats, for example, which was regarded as a kind of acceptable form of agriculture, something more lke a sport. Later, in the nineteenth century, urban parks appeared, taking up some of the ideas of rural park design, and those coming ftom Romanti traditions, common atthe time, of what represented the picturesque. These pretty comers in citios {Gradually came to be used forthe recreation of growing urban populations. This Was quite a different purpose from that of the country park, which could be seen as representing a kind of bartior around the rich who were increasingly wanting to Gistance themselves from local farming communities, as welt 2s from the growing urban areas. pause] 161‘Test 3 Key PART 3 162 Interviewer: Carol: Interviewer: Carol: Interviewer: Carol: Interviewer: tone Now you'll hear the recording again. [The recording is repeated.) Ipaase] That's the end of Part Two. Now twa to Part Three. part g lee 15D 16A 17A 18C 198 2B Part Three You'll hear an interview with a woman called Carol Jones, who cycled around the world. For questions 15 to 20, choose the answer (4, B, C or D) which fits best according to what you hear. You now have one minute to look at Part Three. {pause} Now, Carol, you've built up something of a reputation for yoursalf as, | hope you won't mind me saying, the grandmother of cycling, Afterall, you didn’t actually take to two wheels until you took early retirement from a career as a head teacher. Was there an inspirational moment when you realised that travel on two wheels was what you'd been seeking? Yes. | was on a package holiday, in the schoo! holidays, and | was in a coach travelling across a desert in India and | looked out of the coach window and I saw this man, Ho was a soltary man and he was pedalling across the immensity of the desert. And | suddenly thought: ‘I don’t want to be looking at the world through a ‘window’. And that reaction came as a complete surprise. 'd never been the least bit sporty and | didn't even have a bioycle. But at that moment | knew I was going to cycle across India. Later on | thought: Well, while 'm at it, | might as well cycle round the world ‘Surely you didn’t just set off right away? ittook me five years to summon up the courage after that moment of enlightenment because it involved taking eary retirement, and you know, it was such a major leap into the dark; there were times when I'd wake up in a cold ‘sweat at night and Id start having second thoughts about my chances of getting itoff the ground. But once | began to think about the route, | decided to go London to London, west to east, it all began to fall into place. I had to have the bicycle custom built, and | went and told Condor cycles what | wanted to do and they saw to it for me. And It’s stil going strong, it’s done about 70,000 kilometres. ‘Now there's not time to hear about all the places you visited, but tellus about poople's reactions to you generally, you know as you cycled around? Well, what struck me is that most countries have a strong tradition of hospitality ‘and you're invited into people's homes. Of course in some places there was lots ‘of bureaucracy, you know, at the borders. Officials couldn't understand what an ‘ld woman like me was doing on a bicycle. But in the main people were very intrigued by mo, they said most women they knew of my age were at home looking ater their grandchildren, so they did't know what to make of me realy So, what were some of the challenges you faced?Carol: Interviewer: Caro: Interviewer: Carol Test 3 Key Well, even though I had a smattering of some key languages, once | got out into ‘country areas | found the local dialects impenetrable and I hadn't realized how much that would affect me psychologically. As far as the physical challenges are ‘concemed, | actually got usad to the mountains. | discovered that if | thought about doing it litte by litle, focusing on a tree not far off and then a particular rock, | could just about make it. What I never tied of was the variety of food ~} never knew what to expect next. So Carol, all in all, why would you recommend a bieycle for travelling around the world? | think that because you look vulnerable, you're obviously no threat, so people take to you. You know, you go Into a tea shop in the country in Asia, for example, and everybody else has come there on a bicycle too, so you're one of them. And ‘some people say I's a great advantage that you dor't have to share the ‘experiance with someone; that you just enjoy it under your own steam; that it's all ‘a matter of determination and self-reliance. There's something in that too. Is there anything you'd do differently? Wel, I realise that | missed a few golden opportunities en route, and got myself into needless difficutties at times, but you lear fram those experiences, $0 thera’s no point crying over spilt milk. But | guess on a deeper level, | have been rather self-indulgent and there've been times since when I've wondered what was really behind it all~ | ought to have known really, shouldn't ? People assume that Twas raising money for good causes, and maybe | could've done, but sponsorship wasn't ever part of the plan, so I'm not going to start feeling guitty ‘about it. But maybe if| was starting again, 'd consider that side of it more, ‘And are more trips planned? Wel yes. Actually, I'm just off to... [fad] [pause] tone Now you'll hear the recording again. [The recording is repeated.) pause} That's the end of Part Three. Now turn to Part Four. [pause]Part 2 Test 4 Key PART 2 Part Two You'll hear a journalist called Peter Smith talking about a trip he made to the Arctic seas around the North Pole, For questions 7 to 14, complete the sentences. You now have 45 seconds to look at Part Two. [pause] tone Peter Smith: | can't pinpoint the exact moment when | made the decision to embark on my sailing expedition to the North Pole. The previous summer I'd come across a book entitled Far Horizons which suggested that a voyage of this kind was Unique experience ~ and everyone should try it once! So, | put on three layers of clothing and set off in my boat in July with a small crew to sail to the Arctic seas near the North Pole. felt it was time | went in search of adventurel V'd been told that ealing there shouldn't present any more problems than you' expact sailing round the seas in the north of Britain. Well, initially that was true. But there wore differences. The most noticeable is that, up there in the Arctic ‘seas, you have the impression of being alone. So, If anything breaks down or {9088 wrong - for example, one of our large front cabin windows shattered in the ‘gale we encountered on our first night ~ you have to have all the tools you need. We would have been very cold and wet if we hadn't had the means to make a solid ropair. Tho second big difference is the temperature. In the winter in those seas, things can get down to minus fifty degrees. In the summer, i's much ‘warmer and the surface sea water Is always above freezing but the alr temperature never rises much above ten degrees. This all means two things. THe first is that the cabin of your boat must have effective heating. The second is that ‘you must have proper outdoor clothing. Another difference Is that you maet some {hings that aren’t found on a normal saling trip. Not surprisingly, we met gigantic lumps of ice which had broken off icebergs, and occasionally we saw enormous tree trunks on the sea. We really weren't sure what they were doing there! “They do say that in those seas you can even spot polar bears, which are reported to be very dangerous if disturbed. Unfortunately, we weren’t able to catch sight of one, although we did see whales. For allthis effort, though, you're rewarded with a trip to a true wilderness, which can be reached in your very own boat. More than 250,000 tourists vis this area each year, but in order to protect the envionment, and because of the diificuty in geting there, most of the tourism takes the form of package tours, ‘These have only limited access to certain unrestricted areas. But, in your own, boat, you can have the whole area to yoursett! 11 (effective)(some) heating / heat ove 7210 14 (a) package tour(s) / (a) package 13 polar bear(s) pause} tone Now you'll hear the recording again. (the recording is eepeated.] (pause) ‘That's the end of Part Two. Now tern to Part Three. 7 Fat Horizons [far horizons 8 alone/on your own 9 tools / equipment / (you need) 10 above freezing / above 0°C (centigrade) / ab 12. (enormous) tree trunks holiday(s} / (tourist) packages / a package [pause]Part 3 ‘Test 4 Key 1S A 16B 17D 18D 19C 208 PART 3 Interviewer: Norman Cowiey: Interviewer: Norman Cowley: Interviewer: Norman Cowiey: Interviewer: Norman Cowley: Interviewer: Norman Cowley: Interviewer: Part Three You'll hear part of an interview with Norman Cowley, « well-known novelist aed biographer. For questions 15 to 20, choose the answer (A, B, C or D) subich fits best according to what you hear. You now have one minute to look at Part Three. fpause} With us today to discuss his career we have Norman Cowley, renowned novelist and blographer. So les start at the beginning, Norman. You did say, some years ‘ago, that you bagan high on the mountain, only to go down sharply while others. were passing you on the way up. Do you think now, when you look back at your first novel, that It hed anything that you were not able to recapture later? You can’t write a worthwhile 00k, or you can't continue to be a reasonable writer if you start recapturing what you've done earlier. So there are all sorts of positive things in my first book that I'll never achieve again - the immediacy of t, the easiness of the dialogue, the kind of stylistic elegance that comes from not trying tobe too sophisticated. But, on the other hand, | wouldn't want to repeat It Now, after the tremendous Success of that first novel, your second one was pretty much damned by the critics. ‘Oh, more than damned. It was tom apart! Well, now, that must have hurt, probably more than anything subsequentiy. twas shocking, because, and you know this is going to sound silly, but | couldn't believe the intensity of the attack on it, I remember one awful review by a longstanding, distinguished critic, who was uncharacteristically attempting to be witty, lsuspect. He wrote that the book was ‘paceless, tasteless, graceless.’ Now it certainly had its faults but er... Ithad pace, it had its own kind of taste in tune ‘with the youth culture of the time, and I tike to think it had some grace. It was almost as if the reviewer had deliberately set out to pick the few good things he Ccould find in the book and wreck them too. It was a demolition job. But dig this rejection push you in a different direction? It left me very confused. | thought maybe | should give up and become something ‘alse, but I didn’t know what, So | wandered around and finally started thinking about the next book, The Green Wood. Of course you get good reviews too, which give you hope, and the bad ones toughen you. Finally after many, many ‘years, you realise that it's part of It Ina way, i's a pruning process. It cuts down all but the people who are really driven to be writers. So there are far more people who write two novels than six or seven Ater a while, people began to see some autobiographical content in your fiction. Was that fair? twas half fair, You don’t ever put someone into a book completely. You don’t dare because if you do, you've got a dull character. The point is that if you put people that you know very wel, ike your wife or children, into a book, they're rel for you already, so you don't have to create them. So they say a few things that they say every day and they're real for you, but not for anyone else. It's better if you change them. | love taking people and transforming them to a degree by, 8a, putting them in an occupation they don’t have and so on. ‘And what do you think about some of the novels writtan today with their extremely violent plots? 173Test 4 Key Norman Cowley: Interviewer: Norman Covley: Interviewer: pion" care what characters do in @ novel. ™m willing to read about the worst Suman monster, provided the novellt can make that person come site novel SRSuG enable you to learn more about the depths of human nature eo {20's violent novels don’t do that. There's no inner voyage. she wtiting's Geseriptive but not ravealing. Probably there's such a thing oe ‘going too fa’, but nly it You con't ful the prescription. You can go as ter ag youserg Eon your imagination has to be equal to it Fahe novel is stl mainly a kind of psychological journey? rt can be many things: a riddle, a game or a wonderul revolution of {Erauage | would hate to say novels have to be one thing, but tne key is that they Should lluminate human experience in a dramatic way. Gthorvice why read Frere {Gute going to gat a better, switly-paced, modem narrative oy ee average TV show, Spat in Your selection of subjects for biographical treatment, is there one aspect Of al these people which attracted you? (face)... [pause] tone Now you'll hear the recording again, Ihe recording is repeated.) [pause] That's the end of Part Three, Now term to Part Four,