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Baseball There are people in Italy who can’t stand soccer. Not all Canadians love hockey. A similar situation exists in America, where there are those individuals you may be one of them who yawn or even frown when somebody mentions baseball. Baseball to them means boring hours watching grown men in funny tight outfits standing around in a field staring away while very little of anything happens. They tell you it’s a game better suited to the 19th century, slow, quiet and gentlemanly. These are the same people you may be one of them who love football because there’s the sport that glorifies "the hit". By contrast, baseball seems abstract, cool, silent and still. On TV the game is fractured into a dozen perspectives, replays and close ups. The geometry of the game, however, is essential to understanding it. You will contemplate the game from one point as a painter does his subject; you may, of course, project yourself into the game. It is in this projection that the game affords so much space and time for involvement. The TV won’t do it for you. Take, for example, the third baseman. You sit behind the third base dugout and you watch him watching home plate. His legs are apart, knees flexed. His arms hang loose. He does a lot of this. The skeptic still cannot think of any other sports so still, so passive. But watch what happens every time the pitcher throws: the third baseman goes up on his toes, flexes his arms or bring the glove to a point in front of him, takes a step right or left, backward or forward, perhaps he glances across the field to check his first baseman’s position. Suppose the pitch is a ball. "Nothing happened," you say. "I could have had my eyes closed". The skeptic and the innocent must play the game. And this involvement in the stands is no more intellectual than listening to music is. Watch the third baseman. Smooth the dirt in front of you with one foot; smooth the pocket in your glove; watch the eyes of the batter, the speed of the bat, the sound of horsehide on wood if football is a symphony of movement and theatre, baseball is chamber music, a spacious interlocking of notes, chores and responses. The author admits that______.
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In this section there are four passages followed by questions or unfinished statements, each with four suggested answers marked [A], [B], [C] and [D]. Choose the one that you think is the best answer. Mark your answers on your ANSWER SHEET.TEXT A Somehow California is always at the cutting edge, be it in the flower-power days of the 1960s or the dotcom boom of the 1990s. As Kevin Starr points out in his History of the State, California has long been "one of the prisms through which the American people, for better and for worse, could glimpse their future". Mr. Starr is too good a historian to offer any pat explanation; instead, he concentrates on the extraordinary array of people and events that have led from the mythical land of Queen Calafia, through the rule of Spain and Mexico, and on to the governorship of Arnold Schwarzenegger, an iron-pumping film star with an Austrian accent. Moreover, he does so with such elegance and humor that his book is a joy to read. What emerges is not all Californian sunshine and light. Think back to the savage violence that accompanied the 1849 Gold Rush; or to the exclusion orders against the Chinese; or to the riots that regularly marked industrial and social relations in San Francisco. California was very much the Wild West, having to wait until 1850 before it could force its way to statehood. So what tamed it Mr. Starr’s answer is a combination of great men, great ideas and great projects. He emphasizes the development of California’s infrastructure, the development of agriculture; the spread of the railroads and freeways; and, perhaps the most important factor for today’s hi-tech California, the creation of a superb set of public universities. All this, he writes, "began with water, the sine qua non of any civilization." He goes on cheerfully to note the "monumental damage to the environment" caused by irrigation projects that were "plagued by claims of deception, double-dealing and conflict of interest". One virtue of this book is its structure. Mr. Start is never trapped by his chronological framework. In-stead, when the subject demands it, he manages deftly to flit back and forth among the decades. Less satisfying is his account of California’s cultural progress in the 19th and 20th centuries: does he really need to invoke so many long-forgotten writers to accompany such names as Jack London, Frank Norris, Mark Twain or Raymond Chandler But that is a minor criticism for a book that will become a California classic. The regret is that Mr. Starr, doubtless pressed for space, leaves so little room--just a brief final chapter--for the implications of the past for California’s future. He poses the question that most Americans prefer to gloss over: is California governable "For all its impressive growth, there remains a volatility in the politics and governance of California, which became perfectly clear to the rest of the nation in the fall of 2003 when the voters of California recalled one governor and elected another." Indeed so, and Mr. Start wisely avoids making any premature judgment on their choice. Ills such as soaring house prices, grid locked freeways and "embattled" public schools, combined with the budgetary problems that stem from the tax revolt of 1978 would test to the limit any governor, even the Terminator. As Mr. Starr notes, no one should cite California as an unambiguous triumph: "There has al-ways been something slightly bipolar about California. It was either utopia or dystopia, a dream or a night-mare, a hope or a broken promise--and too infrequently anything in between." The phrase "sine qua non" in Line 1, Para. 5 possibly means ______ .
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