11. It can be learned from the passage that the British author Salman Rushdie ______.

　　(A) lived in hiding under the protection of Scotland Yard for a decade

　　(B) had spent the decade living in Scotland Yard until 1998

　　(C) lived in hiding in New York for one decade

　　(D) had moved from place to place since the publication of The Satanic Verses

　　12. According to the passage, the British Library ______.

　　(A) is going to buy back Rushdie's personal archive from Amory University

　　(B) opposes the American universities' acquisition of archives from British literary people

　　(C) has discussed with Salman Rushdie about the acquisition of his personal archive

　　(D) has expressed much concern over foreign buyers' acquisition of Britain's literary heritage

　　13. It can be concluded from the passage that the Emory University has collected the archives of all the following British poets EXCEPT ______.

　　(A) Ted Hughes

　　(B) Andrew Motion

　　(C) W B Yeats

　　(D) Seamus Heaney

　　14. According to the passage, the "fatwa" diaries (para.7) ______.

　　(A) were not included in the archive sold to the Emory University

　　(B) will not be open to the public in the near future

　　(C) were all about the writing of The Satanic Verses

　　(D) will soon be published to expose the persecution of Islamic extremists

　15. Why was Salman Rushdie ambivalent about the idea of scholars studying his papers?

　　(A) He was afraid that he would be pursued by Islamic extremists again.

　　(B) The scholars might use the papers to write a biography about him.

　　(C) He felt that his privacy might be easily exposed to the public.

　　(D) He could not imagine what kind of consequences would be following.

　　Questions 16-20

　　At the tail end of the 19th century, Friedrich Nietzsche suggested that natural history—which he saw as a war against fear and superstition—ought to be narrated "in such a way that everyone who hears it is irresistibly inspired to strive after spiritual and bodily health and vigour," and he grumbled that artists had yet to discover the right language to do this.

　　"Nonetheless," Nietzsche admitted, "the English have taken admirable steps in the direction of that ideal ... the reason is that they [natural history books] are written by their most distinguished scholars—whole, complete and fulfilling natures."

　　The English language tradition of nature writing and narrating natural history is gloriously rich, and although it may not make any bold claims to improving health and wellbeing, it does a good job—for readers and the subjects of the writing. Where the insights of field naturalists meet the legacy of poets such as Clare, Wordsworth, Hughes and Heaney, there emerges a language as vivid as any cultural achievement.

　　That this language is still alive and kicking and read every day in a newspaper is astounding. So to hold a century's worth of country diaries is, for an interloper like me, both an inspiring and humbling experience. But is this the best way of representing nature, or is it a cultural default? Will the next century of writers want to shake loose from this tradition? What happens next?