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enhanced this book immensely:
The following teachers reported on their experiences using the first edition with their students:
Dolly Irani in France Chrysoula Georgouli 8 Fotini Petrou in Greece Andrea Marschalek in Hungary
Bernardo Santano Moreno in Spain Anna Kibort in Poland Peter Tomkin in the UK
Elizabeth Tataraki and Clare West reported on the proposal for a new edition.
Alison McCabe alerted me to some of the problems that face candidates in the Reading paper of the
CAE exam.
The following teachers reported on the new material as it was being written:
Christa Kochuyt Temple in Belgium Katherine Spence in France Philip Devlin, Ines Laue S Caroline Mears in Germany
Andrea Marschalek in Hungary David Massey Б Mary Nava in Italy Karina Schymik Б Tadeusez Z. Wolanski in Poland
Teresa Corchado in Spain Sue Gosling, Nick Kenny, Patricia O'Sullivan, Peter Watkins 6 Martin Wilson in the UK
Liz Sharman set the ball rolling. Charlotte Adams took over and continued to give her encouragement
and support, with help from Niki Browne.
Alison Silver edited the book and guided the project efficiently through to publication. I'm very
grateful for her insights and meticulous attention to detail. It was, as ever, a pleasure to work with her.
Hilary Fletcher researched the photographs.
Michelle Uniacke Gibson was responsible for text permission.
Celia Witchard did the illustrations.
Ruth Carim was the proofreader.
Paul Wilson of Sage Associates designed the book with the help of Gecko Limited.
Susie Fairfax organised the Interviews and asked all the right questions.
James Richardson produced the recordings. Andy Taylor was the engineer at Studio AVP.
From the first edition
First of all, I'd like to say how grateful I am to:
Jeanne McCarten for her inexhaustible patience, support and encouragement throughout my work on this book,
Alison Silver for her friendly editorial expertise,
Peter Ducker for the design of the book,
and Peter Taylor and Studio AVP for producing the recordings.
Thanks very much also to the following teachers who used the pilot edition with their classes and
contributed detailed comments on it and who evaluated and reported on subsequent revised units.
Without their help, this book could not have been written:
Pat Biagi, Christ Church College ELTU, Canterbury Jenny Bradshaw Sylvie Dawid, Beverly Langsch and Monty Sufrin,
Migros Club School, Berne George Drivas, Moraitis School, Athens Tim Eyres, Godmer House, Oxford David Gray
Amanda Hammersley, British School of Monza, Italy Chris Higgins and staff, Teach in Language and Training Workshop,
Rome Tom Hinton Roger Hunt, International House, Madrid Ruth Jimack Christine Margittai Laura Matthews,
Newnham Language Centre, Cambridge Joy Morris and staff, British Institute, Barcelona Jill Mountain and staff, British
Institute, Rome Julia Napier Patricia Pringle, Universite II, Lyon Lesley Porte and Diann Gruber, ESIEE, Paris Rachelle
Porteous, London School of English Tom Sagar and colleagues, College Rousseau, Geneva Katy Shaw and colleagues,
Eurocentre, Lee Green Elizabeth Sim and staff, Eurocentre, Cambridge Lynda Taylor Kit Woods
Finally, thanks to Sue, Zoe and Thomas for everything.
Introduction
New Cambridge Advanced English will help you to develop all your skills in English: speaking,
listening, reading and writing — as well as helping to develop your vocabulary and improve your
grammar. You'll find exercises and activities in each unit that concentrate on different skills, helping
you to revise and consolidate what you already know, and to develop and extend your knowledge
further.
New Cambridge Advanced English is specially designed to be suitable BOTH for students who are
preparing for the Cambridge Certificate in Advanced English (CAE) exam AND for students who aren't
preparing for this exam, but who want to develop their English for their work, studies and social lives.
Each unit is based on a different topic.
The odd-numbered units are 'Theme units' and they contain:
• informative Reading texts from a variety of authentic sources, with tasks, exercises and activities to
improve your reading skills
• Listening exercises with tasks and activities to help you improve your listening skills
• Interviews with people who have special knowledge of the theme or stories to tell about it
• Effective writing exercises to help you develop useful techniques you can use in your writing
• realistic Creative writing tasks to give you an opportunity to express yourself in writing
The even-numbered units are 'Language units' and they contain:
• shorter Reading texts or Listening exercises, leading to discussion or a writing task
• Grammar review: the 'problem areas' of English grammar are revised in a thought-provoking and
interesting way
• Word study exercises to help you to develop your vocabulary skills
• Speaking activities to help you to practise the functional language needed in different situations and
improve your pronunciation
Every unit contains:
• exercises on Vocabulary connected with the topic of the unit
• opportunities for Discussion
• work on Idioms and collocations or Verbs and idioms, including phrasal verbs
Enjoy using New Cambridge Advanced English1.
Symbols in the Student's Book:
(Some of the f f activities are Communication Activities, where you
and your partner(s) are given different information that you have to
communicate to each other. These are printed at the end of the book
but in random order so that you can't see each other's information.)
= Recorded material
= Writing task
= Use a highlighter
A year on a desert island
Listening and Speaking
This advertisement appeared in Time Out, a London
weekly magazine. Discuss these questions:
• What kind of person would place such an advertisement?
• What kind of person would reply to it?
• Why is the word 'wife' in inverted commas?
UNINHABITED TROPICAL
ISLAND ADVENTURE.
Writer wants "wife" for one vear.
О It was Gerald Kingsland who placed the advertisement in Time Out and Lucy Irvine was the
'wife' who was chosen to accompany him. This is the first page of Castaway, her account of
their year together. After you've read it through, discuss the questions below.
CHAPTER ONE
Landings
An infinity of sea and sky bluer and more brilliant than in any dream. Our wake made a white
streak across the blue so struck with glittering points of light it smarted the eye. We passed
islands to our left and to our right; bottle green bosomy mounds frilled about with white sand
rising out of that electric world of blue.
Which one of them was to be our home for the next year? Its name, and the fact that it was
situated somewhere in the Torres Strait where the Arafura and Coral Seas meet between the
northernmost point of Australia and Papua New Guinea, was all we knew about our island.
We were travelling in an aluminium dinghy, resting low in the water under the weight of five
people and luggage for the two of us who were to be castaway. Our temporary companions
were a young female photographer and the two silent Torres Strait Islanders who were
manning the boat. G and I were squashed close together but each clamped stiffly in a separate
world of anticipation. The sensation of waiting and the vastness of the sea and sky made the
passage seem timeless. We skirted the edge of a reef across a long stretch of open water and
then the dinghy made a decisive turn and the boy steering pointed ahead.
'Tuin,' he said simply, the 'u' sound an 'oo'.
The first impression was of a long narrow island with small hills to north and south muffled
in dense dark green. Huge boulders, like gigantic molars, stood out in the middle of a wide
open bay. There was a long straight beach with light coloured sand. And palm trees.
from Castaway by Lucy Irvine
Discuss these questions:
• How did they reach the island?
• Why couldn't they identify their island as they approached it?
• How many people were in the boat with them?
• What colours are mentioned in the first paragraph? What impression does this give you of the place?
• What features of the island are mentioned in the last paragraph? What impression do you get of the
island?
New Cambridge Advanced English
You'll hear a conversation about what happened during their year together.
Before you listen to the recording, look at the questions and see which answers you can
GUESS, without hearing the conversation.
Was it Lucy ( L ) or Gerald ( G ) or both of them ( L + G ) who . . .
2 Listen to the first part of the recording and note down your answers above. Then compare
your answers with a partner's. Which answers have you heard so far and which do you still
have to listen out for?
3 Do the same with the second and third parts of the recording.
Discuss with your partners:
• your reactions to the way Lucy
and Gerald behaved
• how YOU would have coped
if you'd been Gerald or Lucy's
companion
• which of their books you'd
like to read — and why?
• whether you'd like to see the film
1 Student A should look at
Communication Activity 1
on page 180, student В at
19 on page 186 and С at 35
on page 191. You'll see a
summary of one of these
stories:
Spend a few minutes studying the summary and then tell the story. Don't just read the
summary aloud to your partners — try to MEMORISE the main points. Refer back to the
summary only if you lose track of the story.
ф 2 Rewrite ONE of the summaries as a complete story.
f
Joining sentences — 1
Effective writing
In a SPOKEN narrative, we usually explain the events of a story in fairly short sentences in
the order they happened, using and or then to join the sentences or clauses together. In a
WRITTEN account, longer, more complex sentences tend to be used.
Look at these examples. There are two written versions of each spoken narrative. Highlight
the connecting words that are used. Which of the two written versions do you prefer, and
why?
1 The events in these stories aren't in chronological order. Decide together on the correct order
of events for each story. Take turns to retell each story, using and, but, so or then to make
longer sentences:
1 They managed to swim to a nearby island. Their ship went down in a typhoon. They wanted to attract
the attention of passing ships. They lit a fire on the highest point of the island. They were rescued.
A passing cruise liner spotted the smoke.
Their ship went down in a typhoon but they managed to swim to a nearby island. They wanted
to attract the attention of passing ships, so they lit a fire on the highest point of the island.
A passing cruise liner spotted the smoke and they were rescued.
2 I arrived late for work. I couldn't get the car to start. It was a cold, damp morning. I had to push the car
down the hill. I managed to start the engine. I jumped into the car. The car gathered speed.
3 Her interest in politics made her decide to stand for parliament. She won the by-election with a large
majority. She gave up politics for good. She lost at the next general election.
New Cambridge Advanced English
4 They got home very late. They spent a long time drinking coffee and talking. They went dancing
together. They went to a cafe together.
5 Our plane didn't take off. The airport was closed because of fog. Many flights were delayed.
Inconvenience was caused to hundreds of passengers. We had to spend the night in the departure lounge.
6 The kidnappers were caught by the police. All ports and airports were being watched. The kidnappers
were trying to get out of the country. The hostages were released. The ransom money was paid.
Rewrite each story in Bl as one or two long sentences. But CHANCE EACH ENDING, substituting
a happy end for an unhappy end and vice versa — as in this example:
They manayed to swwn f^ ^ nearby island after their shop hadvone down, on a typhoon. As they wanted to attract
the attention of passony ships, they lot a fire, b*t theor signals went wmtooed and none of tnem s^rvoved.
Use some of the following connecting words and alter some of the verb forms as necessary
(e.g. did to had done).
after although and then as as soon as because before but by the time eventually
finally however in the end once since so so that subsequently until when which
while
Rewrite these notes in complete sentences, using suitable connecting words:
1 ship went down — hurricane — nearly drowned
They were nearly drowned after their shy hadjone down on a hurricane.
2 found driftwood - built bonfire - beach - caught fish - grilled - fire
3 gathered palm leaves - built rough shelter
4 sleepless night - insects - began lose heart
5 made mosquito nets — protect themselves — next night
6 found wild bananas, very glad - hillside - ate them - started look - drinking water
7 couldn't find fresh water - afraid not survive on island
8 hoped collect rainwater — but so little rain — in despair
9 build raft from remaining driftwood - set sail across ocean
10 raft started sink - man-eating sharks began circle ominously round
Writing a narrative
Creative writing
Select just ONE of these opening lines and use it to begin your own desert island story
(about 250 words). Make notes of the ideas you would like to include.
Write the first part of your narrative on one sheet of paper -
but write the LAST PARAGRAPH on a SEPARATE sheet of paper.
Show the first page of your story to your partners (WITHOUT the
last paragraph). Ask them to suggest what might come next.
Do their ideas agree with what you had in mind?
Finally, show them your last paragraph and ask for their comments.
_
The Castaways
Reading
1 Ask your partners:
• if life on a desert island would be wonderful - or a nightmare
• why they think desert islands are popular in fiction and movies
2 Fill the gaps in these sentences with suitable words from the list below. Look up any
unfamiliar words in a dictionary.
1 As Lucy and Gerald were resourceful people they stood a good chance of in difficult
. But the longer they were alone together the more the between them grew
and they got on each other's .
2 In Shakespeare's The Tempest (1610) some sailors are on a island, where the
magician Prospero and his daughter Miranda live. Prospero rules the island's natural creatures,
including the good spirit Ariel and the evil monster Caliban.
3 In Daniel Defoe's Robinson Crusoe (1719) the hero, after living many years in , finds a
who becomes his
4 In Robert Louis Stevenson's Treasure Island (1883) a man is after many
years on an island where he had been abandoned by
Listen to the recording as you read this poem:
THE CASTAWAYS OR VOTE FOR CALIBAN
The Pacific Ocean -
A blue demi-globe.
Islands like punctuation marks.
A cruising airliner,
Passengers unwrapping pats of butter.
A hurricane arises,
Tosses the plane into the sea.
Five of them, flung on to an island beach,
Survived.
Tom the reporter.
Susan the botanist.
Jim the high-jump champion.
Bill the carpenter.
Mary the eccentric widow.
Tom the reporter sniffed out a stream of drinkable water.
Susan the botanist identified a banana tree.
Jim the high-jump champion jumped up and down and gave them
each a bunch.
Bill the carpenter knocked up a table for their banana supper.
Mary the eccentric widow buried the banana skins,
But only after they had asked her twice.
They all gathered sticks and lit afire.
There was an incredible sunset.
Next morning they held a committee meeting.
Tom, Susan, Jim and Bill
Voted to make the best of things.
Mary, the eccentric widow, abstained.
Tom the reporter killed several dozen wild pigs.
Tanned their skins into parchment
And printed the Island News with the ink of squids.
New Cambridge Advanced English
by Adrian Mitchell
1 Highlight any unfamilar words using a fluorescent highlighter and, if necessary, look them
up in a dictionary.
2 For TWO of the five characters in the poem, make notes on the following points. Begin by
using a pencil to mark all the references to your characters in the poem.
• useful things he or she accomplished
• useless or pointless things he or she did
• why you admire or sympathise with him or her (or why you find him or her
objectionable or unlikeable)
3 Compare your ideas. Then find out from your partners:
• what their impressions of the poem are
• which character they sympathise with most - and why
• what they think the poem is about, beneath the surface of the narrative
4 Write a paragraph (about 100 words) about your impressions of the
poem and explain what you like and/or don't like about it.
Highlighting new
words or phrases in
the context you first
met them will help
you to remember
them more easily.
But highlight just
the new word or
phrase not the
whole
sentence.
Susan the botanist developed new strains of banana
Which tasted of chocolate, beefsteak, peanut butter,
Chicken and bootpolish.
Jim the high-jump champion organised organised games
Which he always won easily.
Bill the carpenter constructed a wooden water wheel
And converted the water's energy into electricity.
Using iron ore from the hills, he constructed lampposts.
They all worried about Mary, the eccentric widow,
Her lack of confidence and her -
But there wasn't time to coddle her.
The volcano erupted, but they dug a trench
And diverted the lava into the sea
Where it formed a spectacular pier.
They were attacked by pirates but defeated them
With bamboo bazookas firing
Sea-urchins packed with home-made nitro-glycerine.
They gave the cannibals a dose of their own medicine
And survived an earthquake thanks to their skill in jumping.
Tom had been a court reporter
So he became the magistrate and solved disputes.
Susan the Botanist established
A university which also served as a museum.
Jim the high-jump champion
Was put in charge of law enforcement -
Jumped on them when they were bad.
Bill the carpenter built himself a church,
Preached there every Sunday.
But Mary the eccentric widow . . .
Each evening she wandered down the island's main street,
Past the Stock Exchange, the Houses of Parliament,
The prison and the arsenal.
Past the Prospero Souvenir Shop,
Past the Robert Louis Stevenson Movie Studios,
Past the Daniel Defoe Motel
She nervously wandered and sat on the end of the pier of lava,
Breathing heavily,
As if at a loss,
As if at a lover,
She opened her eyes wide
To the usual incredible sunset.
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