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At the time of its first official paperback release, “Switched,” by Amanda Hocking, the much-
celebrated darling of self-publishing, will already have sold more than a million copies.
Hocking’s rise to self-publishing stardom has been so well chronicled — The New York Times
Magazine did a lengthy profile of her and her success in the e-book market — that it’s
impossible to read “Switched” outside the context of its already gargantuan success. As a result,
the question of its value, and whether the book is any good, gets entangled with the question of
whether it merits all the hype.
The answer is complex and could be posed of practically any of today’s most commercial
writers. “Switched” is heavy on story and light on style, and Hocking takes advantage of the
most common conventions of the genre rather than defying them. She knows how to keep
readers turning the pages; and she generates suspense by carefully, if artificially, controlling
how and when certain answers are revealed.
“Switched” is the story of Wendy Everly, who discovers at 17 that she is actually a troll (or a
“Trylle,” per Hocking’s nomenclature), thus proving correct her mother’s longtime assertion
that she is a changeling. Exchanged with a human baby as an infant, attacked and nearly killed
by a mother who recognizes her for what she is, Wendy is raised by a foster family until she is
recalled by Finn, a kind of ambassador of the troll community, known as a “tracker.”
[...] Trolls are certainly an underexploited portion of the marketplace, largely because in popular
imagination, and simply put, trolls aren’t sexy. Of course, in Hocking’s world — and for her
book to work — trolls are actually beautiful, thin and “foxy.” The only similarity these Trylle
bear to the trolls of, say, the Three Billy Goats Gruff story, is a slight greenish cast to the skin,
mentioned only in passing.
But ultimately, originality isn’t the point; in “Switched,” Hocking riffs on the conventions of
the paranormal teenage and romance genres. Actually, riffing — which suggests subtlety and
subversion — may be the wrong term. This is stripped down, heavy-beat, pop-set stuff: big on
hook, low on nuance, more Justin Bieber than Adele. It’s “The Princess Diaries” meets
“Twilight,” and Hocking hits all the commercial high notes, with a cheerful disregard for
description and character evolution. There is the misfit protagonist girl and the brooding, semi-
creepy boy with a penchant for showing up just in time to rescue her from trouble. There is
forbidden love, and multiple males vying for the attention of a seemingly unremarkable heroine,
who is, in fact, a princess.
[...].
d. Qual estratégia, segundo o texto, a autora utilizou para despertar o interesse acerca sobre
uma obra cujas personagens principais são trolls?
f. Você prefere livros que possuem continuação ou gosta mais daqueles que encerram a
história em única obra?
Observe a oração “she doesn't quite fit in”, retirada do segundo texto. A estrutura da oração
indica a forma negativa do verbo. Em inglês, as formas negativa e interrogativa, muitas vezes,
ocorrem com a utilização dos verbos auxiliares do e does. Observe:
I I
You play sports at school. You don’t play sports at school.
We We
They They
Na tabela acima, você pode observar que a forma negativa utilizada, quando relacionada aos
pronomes I, You, We, They, é don’t.
A forma interrogativa acontece colocando o verbo auxiliar (do) no início da pergunta (quando
os pronomes são I, You, We, They):
Agora, quando o pronome é He, She ou It, utilizamos a forma verbal auxiliar does. Observe:
He He
She plays sports on Sundays. She doesn’t play sports on Sundays.
It It
A diferença é que a alteração verbal de terceira pessoas desaparece na forma negativa. Preste
atenção:
Os exercícios abaixo são “mecânicos”, ou seja, para te ajudar a consolidar o ponto gramatical.
O mais importante, porém, é nos concentrarmos na habilidade de leitura.