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10

to keep away
Mantenerse alejado de algo o alguien

to keep out
No dejar entrar / Quedarse fuera
Greg Standford: Maestro de Ceremonias de VaughanTown

expressions
with BACK
¡Utilízalo correctamente!

DESCARGA
TU AUDIO EN:
www.vaughanreview.com

w w w. v a u s y s . c o m
index
THE VAUGHAN REVIEW

is published monthly and is a Vaughan Systems

Octubre 2009
publication. All rights reserved.

Publisher:
Richard Vaughan
03 Editorial The Centipede
Editor in chief:
Richard Brown
Co-Editors in chief: 05 Easy Reading Centipedes
David Waddell
Carmen Vallejo
06 Grammar Matters Go back / Come back
Art Editor:
Annie Casasús Verbo + “back”
“Back” como verbo
English Edition:
Greg Stanford “Back” como sustantivo y como adjetivo
Design Team
Ivan Morgan
Juan Ignacio Fernández Peón 11 Cloverdale’s Characters Nancy Johnson
Illustrator
Pablo Gonzalo 12 People & Places Entrevista a Greg Standford
Contributing Editors:
Cloverdale / Conor McAlinden
14 Business Letter 56
Audio Editors:
Alberto Alonso
Daniel Escudero 16 Marketing List 19
Distribution Manager:
Rubén Palomero
17 Pence & R Sección Infantil
Subscriptions team:
Enebral Luengo
Jose Carlos Morales
suscripciones@vausys.com
21 Expressions with Back

Cover Photograph:
Ignacio Fernández Peón 22 Humanities Life in the trenches in WWI
Newsroom/ Redacción:
Edificio Master 1 24 Phrasal Verbs To keep away - To keep out
Avda. General Perón, 38 - 2ª Planta in Madrid.
Telephone/Teléfono:
91 748 59 50 26 Something to Chew Over
E-mail/Correo electrónico:
rbrown@vausys.com
30 Mastering the Interrogative 52
Printed by/Imprime:
Grupo Aries
31 Elision Fields Uánabi
Depósito legal:
M-46.801-2002
ISSN: 32 Sudoku Eyes
1887-6137
Lugar y fecha de impresión:
Madrid, el 1 de Octubre de 2009
34 Translation List Nivel principiante y nivel avanzado: LISTA 17

35 Creepy Corner El terrible “Let me PAY THE coffees”

Edita

Vaughan S Y S T E M S
CLAVE DE ACCESO AUDIO:
1510vaughan1510
Copyright © de la Edición: Vaughan Systems, S.L., DESCARGA
Madrid – 2007. Todos los derechos
reservados. All rights reserved.
www.vaughanreview.com
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www.vaughanreview.com

2
 editorial
The Centipede
When
The old proverb tells the story of a centipede who would
instinct is happily run about from place to place at what was, for a
creature of his size, quite a speed. Of all the creepy-
crawlies in the undergrowth he was the fastest, able to
consciously steal on his prey (acercarse sigilosamente a su presa)
– largely consisting of earthworms – , at a terrifying speed
subjected to and catch it quite unawares. And so the centipede eked
out (estiró) his insignificant existence as happy as he was
oblivious to his insignificance; or perhaps happy because
analysis, all of his obliviousness to his insignificance.
Then, one terrible spring morning, everything in our
spontaneity little insect-friend’s life changed and changed for good.
The funny thing was, however, that his life changed,
never to be the same, not on account of any external
is lost. factor – no, everything in his little world remained the
same as it had always been – but due to something that
occurred within his little centipede mind.
You see, the centipede was a natural runner, or scuttler
(the word we might attribute to the owner of so many
fast-moving legs). In fact, he had been a natural scuttler
since the day he had been hatched out of that
miniscule little centipede egg. Nothing came more
naturally to him than scuttling (escabullirse). The
synchronised, high-precision control was breath-taking
(asombroso) as he deployed his eyelash-thick limbs one
after another after another in a (as insects go) beautiful
wave-like movement.
The problem was that, on that spring morning, whilst
scuttling from out under a leaf, our friend the centipede
suddenly became aware of his prowess (destreza) and
of the beauty of the continual deployment of his legs.
Well, in truth, he not only became aware of this
phenomenon but actually started to think about it. At
first, he was amazed at how each leg would unfurl
(desplegarse) at exactly the right millisecond in order
neither to impede the unfurling of the leg immediately
before it nor that of the one immediately behind it.
Then, to his great misfortune, he started to think about
the order in which his legs should operate and so, what
had, until then, been an entirely instinctive process,
suddenly became a conscious one. When instinct is
consciously subjected to analysis, all spontaneity is lost.
And so, the poor centipede began to stumble. First
once, then a second time and so on until he found
himself quite incapable of taking two steps without
getting his legs tangled (enredadas).
In a sense, we are all a bit like the centipede of this
story. We all do hundreds of things subconsciously
every day of our lives. What’s more, we are all
remarkably adept at transforming habits into instinct. A
good mundane example is PIN numbers – why we say
PIN numbers (Personal Identification Number
“numbers”), I don’t know! We all use bank cards to
withdraw cash from cash machines on a regular basis. It
has become so automatic to us that we don’t even
think about it: just pop the card in the slot, enter your
PIN and take the cash. And yet, as soon as we actually
start to think about what our PIN is, we invariably go
blank (quedarnos en blanco). And very often, the only
way to retrieve the number from the dark (or empty!)
recesses of our minds is to stop thinking about it and
simply let our fingers “remember” it over the keypad.
When we speak a language, be it (sea) our own or a
foreign one, we perform feats (hazañas) similar to those
of our many-legged friend the centipede. Without
realizing it, just to say the simplest of sentences we
“juggle” (hacemos malabarismos) with any number of
component parts (subject pronous, verbs, object
pronouns, adjectives, adverbs, prepositions etc.), all of
which have to come out in a certain order for our
sentence to make any sense. After some practise, this
order (and there is usually just one correct one) comes
instinctively, but it only needs the slightest doubt to put
a spanner in the works (fastidiarlo todo) and for our
sentence to come out mangled (deformada) or even
totally lacking in sense. When speaking a foreign tongue,
being overly aware of what we are saying is usually fatal.
One mistake can, from one instant to the next, make us
totally paranoid about everything we thought we knew.
Don’t think when you speak English; just do it!
Richard Brown
3
 Si
difíc
t e result
il el
princ
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ipal..
t
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ículo
a
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easy read
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¡este ti!
para

Centipedes
A quick look at something none of us ever think about. is capable of eating mice (ratones), birds and other small animals.
There have even been several cases of this species of centipede
After writing the main editorial for this month’s Vaughan Review I
catching bats in mid-flight (en medio vuelo) and proceeding to
wanted to know a bit more about centipedes (ciempiés). Everyone
devour them. Their hunting (de caza) strategy is to hang upside
thinks that centipedes have, as their name suggests, one hundred
down in the bat-cave (cueva) and catch small fruit bats as they fly
legs but in reality, most fully-grown adult centipedes have no more
in and out of the cave. If you want to see photographic evidence of
than fifteen pairs (pares) of legs (they are born with only four pairs
this incredible feat, check out the following link on internet:
of legs and gradually acquire additional ones as they lose and
http://caribjsci.org/aug05/41_340-346.pdf.
regenerate their skin) although they can have up to over 190 pairs.
My next question is “Where do centipedes come from?” Well, it
appears that they hatch out (eclosionan) from small eggs that the
mother centipede has to continually lick (lamer) in order to prevent
(evitar) them from becoming infected by fungi (hongos). Depending
on the species of centipede, it can take from one to several months
for the baby centipedes to hatch. Curiously, a centipede can live for
up to (hasta) six years!
What do centipedes eat? It appears (parece que) that they like
meat, particularly worm-meat (carne de gusano). They use their
front two legs which are attached to the head and serve as (sirven
de) teeth with which the centipede injects poison (veneno) into the
soft skin (piel) of its victim. They also feed on (se alimentan de)
spiders although (aunque) in this case the spider they choose to
attack may end up (puede que acabe) eating them!
Centipedes need a moist environment because they find it (les
resulta) difficult to retain liquids. Consequently, they are typically
to be found living in the soil, under stones or dead leaves or other
detritus. However (sin embargo), some species live in coastal
areas and are even capable of eating barnacles (percebes)! Other
more resistant varieties can survive in desert conditions, so if
you’re ever stuck (perdido) in the desert and you see a centipede
running over the sand, you’ll know that there’s water somewhere
close by (cerca)!
Most of us, myself included, wouldn’t know the difference between
We are all familiar with everyday, common-or-garden (corrientes y
a centipede and a millipede (milpiés). However (sin embargo), they
ponientes) centipedes: the type you see running about our gardens.
have very little in common. Centipedes are normally fast-moving
In general, they look (parecen) relatively harmless (inofensivos), and,
creatures whereas (mientras) millipedes are slow movers. They
although they can bite, most are not able to penetrate human flesh.
usually have a lot more legs in total making it difficult to move
Having said that (dicho eso), larger species can produce nasty bites
quickly and, in addition (además), they tend to have two pairs of legs
(picaduras desagradables), similar to those of a wasp (avispa) or a
per body segment, again making them (otra cosa que les hace) less
hornet (avispón), which can be life-threatening (una amenaza para
agile. Millipedes are, for the most part herbivorous whereas
la vida) for small children.
centipedes are predatory creatures. Finally, centipedes don’t
The most spectacular species of centipedes can grow in excess of copulate in order to reproduce whereas millipedes do (another
30cm. The Peruvian giant yellowleg centipede, for example, is a fairly tell-tell sign (una señal indicadora) for the next time you see two
(bastante) frightening-looking (de aspecto terrorífico) creature and such creatures locked together in embrace (abrazándose)!).

Richard Brown

5
Go back / Come back
Empleamos el adverbio “back” con el verbo “go” para indicar que volvemos a un sitio en el que no nos
encontramos a la hora de decirlo.

I went to Paris, then I went to Bonn and then I went back

Fui a París, luego fui a Bonn y luego volví a París.
to Paris.

Si te has olvidado tu pasaporte, vuelve a casa a por él. If you’ve forgotten your passport, go back home and get it.

Volví al restaurante para buscar mi móvil. I went back to the restaurant to look for my mobile phone.

James ha vuelto a Inglaterra para vivir allí. James has gone back to live in England.

Antes iba mucho a Roma pero no he vuelto en años. I used to go to Rome a lot but I haven’t been back for years.

Cuando expresamos “go back” en el presente perfecto, si se trata de volver de forma temporal solemos
emplear “been back” mientras que cuando se trata de volver de forma definitiva preferimos “gone back”.

“To come back” se emplea al referirnos al hecho de volver al sitio en el que nos encontramos al relatarlo.

¡Vuelve aquí! Te estaba hablando. Come back here! I was talking to you.

Volví de Alemania muy tarde anoche. I came back from Germany late last night.

¿Cuándo vuelve David? When’s David coming back?

Yo pensaba que volvía la semana pasada. I thought he was coming back last week.

Me voy a vivir a Polonia y nunca voy a volver. I’m going to live in Poland and I’m never coming back.

6
 grammar matters
Verbo + “back”
Cuando empleamos el adverbio “back” junto a otro verbo aporta el matiz de “volver a hacer el verbo” o “devolver”
algo. Veamos su uso con diferentes verbos.

¡No te preocupes! Te vuelvo a llamar más tarde. Don’t worry; I’ll call you back later on.

¡Devuélvemelo! ¡Es mío! Give it back! It’s mine!

Esta falda nueva me aprieta un poco. Creo que la voy a devolver. This new skirt is a bit tight. I think I’m going to take it back.

Me gustaría que me devolviera mi dinero. I’d like you to give me my money back.

Si, al entregarse, no está contento con su pedido, siempre lo If you’re not happy with your order upon delivery, you can
puede devolver (por correo). always send it back.

La posición del adverbio “back” puede variar pero, para no equivocarse, lo más seguro es colocarlo después
del los complementos, sean directos o indirectos.

“To be back”, como es lógico, significa “estar de vuelta” (frase inmortalizada por Arnold Schwarzenegger). Por tanto
se trata de una expresión muy común pero que, lamentablemente pocos españoles utilizan.

¡Volveré! I’ll be back!

¿A qué hora estarás de vuelta? What time will you be back?

¡Estoy de vuelta! I’m back!

¡¿Ya estás de vuelta?! (Are you) back already?!

No estaré de vuelta hasta tarde. I won’t be back until late.

Empleamos la expresión “to be back” muy poco en el pasado donde solemos convertirlo en “to get back”.
Compara “I’ll be back at 5pm” con “I got back at 5pm”.

7
“Back” como verbo
Una acepción de “back” como verbo es “dar marcha atrás”, tanto literalmente en un coche o metafóricamente. En ambos
sentidos solemos emplearlo con las preposiciones “into” y “out of” (éste sobre todo).Veamos primero el uso literal.

Soy malísimo dando marcha atrás. I’m useless at backing.

Nunca podré aparcar (dando marcha atrás) en ese espacio. I’ll never be able to back into that space.

¿Me puedes ayudar a salir de la entrada marcha atrás? Can you help me back out of the drive?

Di con un árbol marcha atrás. I backed into a tree.

¿Te importaría dar marcha atrás un poco? Would you mind backing your car a bit?
No puedo mover mi coche. I can’t move mine.

“Drive” como sustantivo puede ser la entrada de una casa (por donde puede pasar un coche).

Ahora vamos a ver el uso de “back” en el sentido metafórico. Lo empleamos sobre todo respecto a “acuerdos” o
“situaciones” que ya no nos convienen.

Van a intentar dar marcha atrás respecto al acuerdo. Lo They’re going to try and back out of this agreement. I just
estoy viendo. know it!

Es una situación difícil de la que dar marcha atrás. It’s a difficult situation to back out of.

Nos estamos acorralando. We’re backing ourselves into a corner.

¡Por favor! ¡No des marcha atrás ahora! Please, don’t back out now!

Una vez que hayas firmado, no hay marcha atrás. Once you’ve signed, there’s no backing-out.

Cuando no mencionamos el complemento, con “back out” es suficiente. No hace falta utilizar “of”.

8
 grammar matters
“Back” como sustantivo y como adjetivo
Como sustantivo “back” no sólo significa “espalda”. También se emplea para referirnos al “fondo” o la “parte
trasera” de algo.

Yo siempre me sentaba en la parte de detrás de la clase. I always used to sit at the back of the class.

¿Quién está haciendo ese ruido detrás? Who’s making that noise at the back?

¡No olvides ponerte el cinturón detrás! Don’t forget to put your seatbelt on in the back!

No me importa sentarme detrás. I don’t mind sitting in the back.

Como adolescente, siempre me sentaba en la parte de

As a teenager, I always sat at the back of the cinema.
detrás del cine.

Normalmente, utilizamos la preposición “at” con “back” pero al referirnos a un coche siempre hemos de
emplear “in”.

“Back” también es adjetivo indicando que algo sea “de detrás” o incluso el “último”.

Creo que dejé mi monedero en el asiento de detrás de tu

I think I left my wallet on the back seat of your car.
coche.

Siempre me sentaba en la última fila en el colegio. I always used to sit in the back row at school.

¿Por qué no sales por la puerta de atrás? Why don’t you leave by the back door?

Estoy teniendo problemas con mis muelas en este momento. I’m having problems with my back teeth at the moment.

¿Los niños? Están en el jardín de detrás. The kids? They’re out in the back garden.

9
 cloverdale’s
CHARACTERS
Nancy Johnson www.vaughantienda.com

Nancy Johnson has a problem. If she had

problems like this one every day, she and her
family would be rich by now. Her problem is that
she’s been offered a job to decorate the home
that George Clooney owns in Aspen, Colorado,
the most famous ski resort in the United States.
It would mean spending at least one week out of
every month in Aspen. This evening, she will
discuss the problem with her husband, Phillip, and
then call Eddie Campbell to let him know her
final decision. Eddie is a famous interior
decorator and the most prestigious professor of
interior design in California. He teaches at
U.C.L.A., which stands for the University of
California at Los Angeles. He and his students
often help the Hollywood rich to decorate their
homes in Beverly Hills and Malibu Beach. He
knows Nancy Johnson very well because they
studied interior design together at the University
of Kansas. Eddie and his students decorated
George Clooney’s home in Beverly Hills seven
years ago. Last week, Mr. Clooney called Eddie, sister mother and sister live in Coffeyville, Kansas. technical school where she works would give the
asking him to decorate his new home in Her sister is single. If they could come up to time off as well. It would mean a lot for the
Colorado. Since Eddie couldn’t do it, he told Mr. Lincoln from time to time to stay with the kids, school to have a teacher who’s decorating the
Clooney that he had the perfect person for the then maybe Nancy could have time to go to home of George Clooney. “What will Phillip say?”
job. Now Nancy has to make a decision. Her Colorado and do the job. Also, she’s sure that the she thought.

1. Does Nancy Johnson have a problem?
2. Is it a serious problem or a pleasant problem?
3. What would her economic status be like if she
had problems like this one every day?
4. What job has she been offered?
5. Where is George Clooney’s home?
6. What is Aspen, Colorado famous for?
7. Who will she discuss the problem with this
evening?
8. Who will she call after making a final decision?
9. Who is Eddie Campbell?
10. Where does he teach interior design?
11. What does U.C.L.A. stand for?
12. Does Eddie only teach or does he do other
things?
13. What other things does he do?
14. Who helps him?
15. Where do the Hollywood rich have their homes?
16. Does Eddie know Nancy well?
17. Why does he know her so well?
18. Where did they study together?
19. Why did George Clooney know Eddie personally?
20. When did Eddie and his students decorate his
home?
21. When did Mr. Clooney call Eddie?
22. Why did he call him?
23. What did Eddie tell Mr. Clooney?
24. Who lives in Coffeyville, Kansas?
25. What is her sister’s marital status?
26. What does Nancy think they could do?
27. If they came up to Lincoln, what could Nancy do?
28. How does she think the technical school will
react?
29. Why does she think they’ll say yes?
30. What is her only real doubt?

11
 This month we talk
to Greg Standford
who, as Master of
Ceremonies, is the
life and soul of many
a VaughanTown
programme.
Q. You listed your age as "over 50". Does that
mean you're sensitive about your age?
A. No, not at all.

Q. So, how old are you?

A. Over 50.

Q. How long have you been a Vaughantown

Master of Ceremonies? Tell us about the job.
A. I started doing this job in July, 2001, the very
first program. Until 2003, I was the only M.C.,
but there were only 5 programs in 2001 and 11
or 12 in 2002, so one person could handle it.
Since then, of course, the program has expanded
greatly and we now have several people doing

FACT FILE
both the M.C. job and that of Program Director.
The job is one that I have loved from the start,
and it's been exciting to be involved in such a
great project since the beginning. The main part
Name Greg Stanford of the job consists of putting on a show before
dinner, using the Anglo and Spanish participants
Age Over 50 as my human resources. We do short plays or
scenes from full-length plays, sketches, singing,
Nationality U.S.A. Spanish dance, etc.The sky's the limit. I direct the
theater pieces and act in some of them myself,
Position Master of Ceremonies, Vaughantown as well as discovering and presenting as much
variety of talent as we have available. This is all
Fact For Greg, there is only one Di great fun as well as work, and it's a privilege to
Stefano and his name’s not Alfredo: help people find the latent talent within
Giuseppe Di Stefano, the great themselves, and in some cases, to allow those
Italian tenor, famed for being María with already developed talent to share it. In
Callas’ regular stage partner! addition, I supervise a presentations component
and various group activities.

12
 people & places
Q. Do you still enjoy the job as much as you
did at the beginning?
A. Absolutely. It's a genuine labor of love.
Richard Vaughan is a visionary. He has had one
excellent idea after another. Of course this is
subjective, but to me VaughanTown was his
greatest inspiration. It just sprang full-blown
from his imagination, and it's always a fresh
experience with new people each time. I don't
think I could ever get tired of it.
Q. From what you said, you must have a
theater background.
A. Yes; Speech and Theater was my Major at
University. I started singing in public when I
was 10, first acted at 16 and began directing
plays when I was 24. By now, I have acted in at
least 40 plays , though my last appearance in a
major theater production was in 1996, as
HAMLET. Shakespearean acting was always
my favorite, and I've done a lot of it, as well as
directing more plays than I could count. After
graduate studies, I left Illinois, where I was
born and grew up, and moved to Washington,
D.C, where I worked at the John F. Kennedy
Center For The Performing Arts, the U.S.
national performing arts center, for 16 years.
They present the cream of the crop of the
world's leading musicians, actors, singers and
dancers. I had various jobs there, working my
way up to the Public/Media Relations job I had
wanted all along. This was a wonderful period
of my life. Not long after I moved to Spain, I
did some acting in a couple of Shakespeare's
plays with the Madrid Players, and in 1993, I
started a Theater Department at St. Louis
University, Madrid, directing and producing
plays. I am still doing this, and am now working
on our 35th show there.
Q. Tell us about this latest show. What and
when is it?
A. I call it QUINTET. It consists of 5 short
plays by 4 different writers, with a common
theme of the problems of relationships in
their various stages. They're primarily
comedies, but with a lot of food for thought.
The writers are Woody Allen, my colleague
Cary Barney, Sergi Belbel and Stephen Fife.
The plays will be performed at the theater of
the Colegio Mayor Elias Ahuja, near the
Metropolitano Metro, on November 19 and
20. It would be great if some of our readers
would attend these plays in English. Admission
is free, and they can get more information by
calling 638 205 486.
Q. What brought you to Spain in the first place?
A. I was married to a Spanish woman. Like
many other expatriates, I ended up here for
that reason.
VaughanTown is always
a fresh experience with
new people each time. I
don’t think I could ever
get tired of it.
Q. So, you're married to a Spaniard. Do you
have children?
A. Yes, I have 3, Byron, 26, David, 22 and
Paloma, 20. Byron works part time for
Vaughan Systems and is nearing the end of his
university studies at St. Louis University,
Madrid, majoring in International Business.
Paloma is also studying at the same university,
majoring in Communications. David is
studying law at Maria Cristina, a Spanish
university in El Escorial. I'm very proud of all
of them, and feel blessed to have such fine
children. I'm no longer married; my ex-wife
and I separated in 2003. My original U.S.A.
family have all relocated to Texas since I came
to Spain. Apparently, they tried to hide from
me, but I found them. My father is 82, my
mother 80. My brother also lives there with
his wife, son and daughter. My sister is there
as well, and has 3 children.These nephews and
nieces are similar in age to my own children.
My brother and sister are 5 and 10 years
younger than I am, respectively, so that makes
them over 40. We're all very close.
Q. Do you have a "significant other"?
A. Not at this time. A plump matron "of a
certain age" once asked the great actor John
Barrymore, "Mr. Barrymore, are you
passionate?" Barrymore replied, "I have been,
Madame, and I hope to be again. But, at the
moment, not at all." That's about where I
stand right now with relationships. At the
moment, not at all.
Q. Speaking of passions, what are yours?
A. Not surprisingly, primarily the arts, I love all
the arts, but particulary opera, music of various
kinds, theater, film and literature. I pride myself
on being a "walking encyclopedia" on these and
other subjects. As an autodidactic student, I'm
insatiable. Most of my heroes are creative
artists and performers. I think first of
Shakespeare, Byron, Mozart, Beethoven, Verdi
and Wagner, but the list of the artists I
passionately admire is very long indeed. But
though it may seem incongruous, the person I
admire most is Abraham Lincoln, who I
consider the greatest man who ever lived.
Q. That sounds pretty serious, yet to your
friends and colleagues, you're known for your
sense of humor.
A. Humor is an essential ingredient in life.
Without it, I don't know whether I could face
day to day reality. I love to laugh and to make
others laugh, so it looks like I'm in the right job.
I wish I shared more of Lincoln's qualities, but
a sense of humor is certainly one I do share
with him, as well as empathy. My feelings of
empathy are very strong, along with a sincere
attempt to live by the Golden Rule. Lincoln
said, "I have no other ambition as great as that
of being truly esteemed by my fellow men, by
rendering myself worthy of that esteem." He
certainly succeeded. In my own much smaller
way, I try to do the same.
13
business letter 56
Hola a todos,
Con respecto a la reunión del martes que viene en vuestras oficinas
para hablar de las propuestas presupuestarias del año que viene y
la nueva campaña de publicidad, me temo que tenga malas noticias.
No voy a poder ir. Acabamos de enterarnos que nuestro jefe EMEA
nos va a hacer una visita sorpresa aquí en nuestra oficina central. No
podríais imaginar lo contentos que estamos todos con la
perspectiva de verle... y sí, ése es un tono irónico.
Desde luego quiere ver a todos los jefes nacionales
para tener una conversación con nosotros (es decir, t a
regañarnos) sobre los resultados obtenidos en los Inten
r t a
la ca
primeros tres trimestres de este año. Me imagino
p
que la reunión durará toda la mañana. Podría ir a
com
vuestras oficinas por la tarde pero no creo que nos
diera suficiente tiempo para cubrir todos los temas.
¿Os importa si aplazamos la reunión hasta el miércoles o el
jueves? Decidme cuándo os viene mejor. Espero que esto no os
cause demasiadas molestias.
Ya me diráis.
Paul Laycock
Hello All,
With regard to next Tuesday’s meeting at your offices to discuss
next year’s budget proposals and the new advertising campaign,
I’m afraid I have some bad news. I’m not going to be able to make
it. We’ve just found out that our EMEA boss is making a surprise
visit to our headquarters here. You wouldn’t believe how happy
we all are at the prospect of seeing him... and yes, that is
an ironic tone.
cir Obviously he wants to see all the national bosses to
t radu have a talk with us (i.e. to tell us off) about the
y lue
go results obtained in the first three quarters of this
n la
á r a la co year. I suspect that the meeting will last all
tra
morning. I could make it over to your offices in the
nues afternoon but I don’t think that would give us
enough time to cover all the issues.
Do you mind if we put the meeting off until Wednesday
or Thursday? Let me know when’s best for you. I hope this doesn’t
cause you too much inconvenience.
Speak soon.
Paul Laycock

Se podría decir también “regarding” o “concerning”. ¡Pero ojo! nunca decimos “with regards to”, ya que
With regard to
“regards” significa “saludos”.

Tuesday’s meeting // next Fíjate que no sólo utilizamos el genitivo sajón con nombres de personas (“John’s car”, “Mary’s pen”, etc), sino
year’s budget proposals también con palabras relacionadas con el tiempo.

Vemos aquí otro de los muchos significados del verbo “To make”. El significado aquí es poder llegar o
To make it // make it over alcanzar a un sitio o una reunión, etc. Es muy frecuente el uso de “Make” en este contexto y poco utilizado
por los españoles. “Lo siento no puedo ir” = “I’m sorry I can’t make it”.

Este es otro phrasal verb poco utilizado por los españoles y es muy común en inglés (si te comportas mal
to tell us off
por lo menos). “To tell somebody off” significa “regañar a alguien”.

Puedes traducir “me imagino” al inglés de varias maneras. Seguro que sabes “I imagine” y “I suppose”. Pero también
I suspect
se puede decir “I guess” y “I suspect” en el mismo contexto, aunque “I suspect” suena un pelín más pomposo.

¿Has puesto “enough time” o “time enough”? Remember, remember, remember!

enough time
Utiliza siempre (Enough + Sustantivo) o (Adjetivo + Enough)... ¡y no al revés!

En esta carta hemos encontrado tres phrasal verb muy útiles y muy poco utilizados por los españoles: “to
put the meeting off find out”, “to tell off” y éste es el tercero: “to put off” que significa “aplazar”. Conviene aprenderlo con otro
phrasal verb; “to call off” que significa “cancelar”.

14
marketing
Cons
igue
en
enda
List 19
h an Ti
Va u g cífico
a l espe Ponte a prueba. Tapa la columna derecha con un papel y
mate
r i les.
f e s iona
pro traduce al inglés las frases en español. Irás ganando en
para iend
a.com
hant
vaug vocabulario y fluidez, a medida que aumentes el número de
repeticiones.

¿Qué motiva a la gente a cambiar de marca? What motivates people to change brands?

¿Es posible asegurar la fidelidad de marca? Is it possible to assure brand loyalty?

Este plan aumentará nuestros beneficios en un 10%. This plan will increase our profits by 10%.

La encuesta revela un problema adicional. The survey reveals a further problem.

La investigación explica las relaciones causa / efecto. The research explains cause-and-effect relationships.

Nuestro sistema logístico es poco flexible. Our logistics systems is not very flexible.

Los costes de transporte encarecen el producto. Transport costs make the product more expensive.

Vamos a realizar unas entrevistas en grupo. We’re going to do some group interviews.

Queremos llegar a unas conclusiones definitivas. We want to reach some final conclusions.

Hemos mandado más de diez mil cuestionarios. We’ve sent out over ten thousand questionnaires.

Los cuestionarios por correo tienen inconvenientes. Mail questionnaires have some disadvantages.

La venta personal es el mejor trabajo del mundo. Personal selling is the best job in the world.

Tienes que formularles preguntas abiertas. You have to ask them open-end questions.

¿Cómo interpretas los resultados de la encuesta? How do you interpret the findings of the survey?

Ha habido muchas oportunidades fallidas. There have been a lot of missed opportunities.

Cada representante tiene su propio portátil. Every rep has his or her own laptop.

Nuestro ordenador central procesa diariamente la información. Our central computer processes the information daily.

¿Me puedes actualizar las cifras? Can you update the figures for me?

Primero debemos evaluar tus necesidades. First we must assess your needs.

Después te diseñamos una solución. Then we design a solution for you.

16
Art Editor: Annie Casasús Illustrator: Pablo Gonzalo
Halloween
Lee cómo la fiesta de Halloween acaba de forma inesperada.
It was Halloween! Pence and R were really excited about
the fancy dress party that their friend Sharpie was organizing.
R decided to dress up as a vampire with big fangs and a
black cape. And Pence decided to be a ghost, wearing a
big white sheet with two holes in it for him to see out of.
The fancy dress party started at seven o’clock at Sharpie’s
house and every time the door bell rang, everyone went
to the door to see who was dressed up as what. First it
was Reggie the ruler, dressed up as a big green monster.
His costume was fantastic and made everyone laugh!
Then, Chinche the drawing pin arrived dressed up as a
witch with a really pointy black hat and a horrible hooked
nose! Everyone was in hysterics!
The next friend to turn up was Clippy, the paper clip
who had decided to come as a skeleton, albeit a very
metaly one. This had Pence, R and all their friends rolling
about on the floor, quite unable to control their laughter.
Then, silence. Everyone expected someone else to ring
the doorbell. But nobody came. Then, suddenly the
quietest little “tap-tap” sound came from a window out
the back. Everyone was terrified and nobody dared to go
and see who it was. Then, the “tap-tap” noise grew louder
and louder until Sharpie could take no more and went
to open the window.
When Sharpie and all his friends eventually opened their
eyes, expecting to see someone dressed up as something
scary, they screamed! Outside the back window was
standing Penny the biro, dressed up as…herself!!!! Ahhhhh!!!!
Sometimes when scary things become normal, the
normal can become very, very, very SCARY!
¡Era Halloween! Pence y R estaban muy emocionados con la
fiesta de disfraces que estaba organizando su amigo Sharpie. R
decidió disfrazarse de vampiro con colmillos largos y una capa
negra. Y Pence decidió ser un fantasma, vestido con una sábana
blanca grande con dos agujeros para que viera desde dentro.
La fiesta de disfraces empezó a las siete en casa de Sharpie
y cada vez que alguien llamaba al timbre, todo el mundo
iba a la puerta para ver quién venía vestido de qué.
Primero, fue Reggie la regla, disfrazado de un monstruo
verde grande. Su disfraz era fantástico y le hizo reír a todo
el mundo. Luego, Chinche la chincheta llegó disfrazado
de bruja con un sombrero de punta y una horrible nariz
aguileña. ¡Todo el mundo se moría de risa!
El siguiente amigo en llegar fue Clippy, el clip que había
decidido ir como un esqueleto, aunque fuese uno muy
metálico. Esto les hizo partirse de risa a Pence, a R y a
todos sus amigos, ¡No podían controlar su risa!
Luego, silencio. Todos esperaban que otra persona llamara
al timbre. Pero no vino nadie. Luego, de repente se
escuchó el toc-toc más silencioso posible proviniendo de
la ventana de detrás. Todo el mundo estaba aterrorizado
y nadie se atrevió a ver quién era. Entonces, el “toc-toc”
se hizo cada vez más fuerte hasta que Sharpie ya no pudo
más y fue a abrir la ventana.
Cuando por fin Sharpie y sus amigos abrieron los ojos,
esperando ver a alguien disfrazado de algo muy terrorífico,
¡chillaron de miedo! Ahí fuera, detrás de la ventana de detrás,
estaba Penny el bic, disfrazada de…¡ella misma! ¡¡¡¡Ahhhh!!!!
¡A veces, cuando lo terrorífico se convierte en algo
normal, lo normal puede convertirse en algo muy, muy,
muy, TERRORÍFICO!
 Mix and Why
wasn t
match
Hoy vamos a jugar de nuevo con las preguntas negativas tipo: “¿Por qué no...?”. Esta vez nos centramos
en el verbo “to be” en pasado para la primera y tercera persona del singular: “was”. Por ejemplo:
?
por que no estaba (el) en la fiesta?

Why wasn t he at the party?

CÓMO JUGAR: Recorta los cuadrados con la ayuda de un adulto e intenta formar 6 frases siguiendo la
estructura gramatical que te indicamos en el ejemplo (si quieres puedes hacer una fotocopia en color de la
página). Algo que te puede ayudar a hacerlo correctamente es ir uniendo las fichas por sus colores. Es decir,
el rojo al final de una palabra siempre tiene que coincidir con el rojo al principio de otra.

¿Por qué no estaba (él) en el aeropuerto? ¿Por qué no estaba (él) en el tren?
¿Por qué no estaba (ella) en la estación? ¿Por qué no estaba (ella) en el taxi?
¿Por qué no estaba (yo) en el avión? ¿Por qué no estaba (yo) en el coche?

wasn t the taxi? he at why

why I the station? in wasn t
she wasn t at why the plane?
the train? He why in wasn t
on wasn t the car? why I
the airport? why she on wasn t

LO QUE NECESITAS:
ask mummy
and daddy
Scissors for help!!!
Word search (rivers)
Encuentra las palabras que te indicamos a continuación en la siguiente sopa de letras:

1. River (Río) 11. Nile (Nilo) g e i j B R O O K e j p r a s

2. Stream (Riachuelo) 12. Danube (Danubio) e l h e a t w n v f y o h s e
3. Brook (Riachuelo) 13. Amazon (Amazonas) e y a r a
o i r a p e z i s a
4. Estuary (Estuario) 14. Tagus (Tajo)
g d a n u b e t c s r p n d f
5. Bed (Cauce) 15. Euphrates (Eufrates)
6. Mouth (Desembocadura) 16. Seine (Sena) r h f r p h g u y f p d e r m
7. Bank (Orilla) 17. Mississippi (Misisipi) a t u r h o n e c i t u g r l
8. Source (Nacimiento) 18. Tiber (Tíber)
T n c r r o g l s n r u e u o
9. Thames (Támesis) 19. Loire (Loira)
i a t h a m e s o e d v a s i
10. Rhine (Rin) 20. Rhone (Ródano)
B e d h t o i i n d i d n d r
E s u t e s c e h r n n i l e
r t a n s u t t a g u s e c u
m u h i h e u r n k a r a a d
f a m a z o n r e e z e e i y
p r o l m n i g h a a u t c n
r y s n s o u r c e m t s e d
pence

Anagrams
Unscramble the five countries below.

1. The Thames is a river in G E N N A L D.

2. The Seine is a river in C R A F E N.
3. The Rhine is a river in M E Y G R A N.
4. The Tagus is a river in N A P I S.
5. The Tiber is a river in T I L Y A.

5. Italy (Italia). 4. Spain (España).

3. Germany (Alemania). 2. France (Francia). 1. England (Inglaterra).
RESPUESTAS:
 expressions with
You scratch my back and I’ll scratch yours.

Hoy por ti y mañana por mi.

Put your back into it!

BACK ¡Pon empeño en ello!

Give yourself a pat on the back!

¡Felicítate!

They live in the back of beyond.

Viven en el quinto pino.

They did it behind my back.

Lo hicieron a mis espaldas.

Don’t turn your back on them!

¡No les des la espalda!

Get off my back!

¡Déjame en paz!

He lacks backbone.

Él no tiene agallas.

We saw three movies back-to-back.

Vimos tres películas consecutivas.

I’ll be glad to see the back of him.

Me alegraré cuando él se haya ido.

21
 bre
d e Octu
El 19 a mos
la
e z el
emp a t o ria d
nvoc
5ª co r a ma d
e
Pro g
es.
a n idad a!
Hum u plaz
t
erva
¡Res
Life in the trenches in WWI
On 25 July 2009 Harry Patch, aged 111, died. As well as
being the oldest man in Europe and the third oldest man
in the world at the time of his death, Harry Patch was
better known as the last Tommy. The term Tommy refers
to a common soldier in the British army and is widely
associated with World War I. As the last Tommy, Patch was
the last person alive who had experienced the life of a
soldier during the First World War. So what was a typical
Tommy like and what was life like for a soldier in the
Great War?
To answer the first question, a typical soldier in the First
World War was young. Harry Patch, for example, was 16
when the war broke out (estalló) and was 18 when
conscription (servicio militar obligatorio) was introduced.
In total, 2.3 million British men were conscripted into the
war (llamado a filas). Due to the young age of many of the
soldiers, Patch’s generation has been described as the lost
generation.There are two reasons for this.The obvious one
is that many of his generation were killed on the battlefield;
however, the second reason is that those who did return
were not the same people they were before the war. The
reason for this is the terrible trauma they suffered while at
war. So let’s now look at what day-to-day life was like for
these young men.
The main aspect of life for a First World War soldier was
life in the trenches (trincheras). The First World War,
particularly on the Western front, was characterized by
trench warfare. Trench warfare is when two opposing sides
build a series of defensive positions known as trenches with
the space in between known as no man’s land (tierra de
nadie). Indeed one of the origins of the expression Tommy
comes from the fact that German soldiers would shout out
Tommy across no man’s land when they wanted to speak
22
By Jamie McGregor Lecturer in World History
to a British soldier. Trench warfare involved building a series
of trenches. First there were the front line trenches where
the fighting was most intense. After the front line trenches
came the backup trenches. The back trenches were used in
case the front line trenches were overrun (invadido)
during an enemy attack. Finally, further back still, were the
communication trenches. The trench system was complex
and often stretched for several kilometers.The term trench
warfare has become associated with a stalemate (impasse)
in a conflict and a slow wearing down of the other side’s
forces. For many of the soldiers who fought this kind of war
it was a horrible experience.
Firstly, there were the physical aspects of life in the
trenches. The trenches were cold, wet and dirty places. In
winter the temperature in the trenches would drop to
below zero degrees Celsius. Hygiene in the trenches was
abysmal and as well as flooding (inundaciones), the
trenches would become infested by rats and lice (piojos).
This in turn would lead to disease breaking out and
inevitably death. Due to the fact that medical treatments
were still in their infancy, relatively minor injuries could
prove fatal. For example, German records show that 25%
of arm injuries to German soldiers proved fatal, mainly due
to infection such as gangrene. Common diseases at the
time included cholera, dysentery and typhus. Another
typical condition that soldiers suffered from was trench
foot. This condition is brought on when feet are cold and
damp (húmedo) for long periods of time. Due to the
horrible nature of life in the trenches, a unit’s time in a front
line trench was short; usually 2 weeks maximum. In fact, a
typical British soldier would only spend 15% of the year in
a front line trench. The rest of the time would be divided
between support line trenches (further back from the
fighting), reserve trenches and rest.
humanities
A PASSION FOR LEARNING

As well as (además de) the physical aspects of life in the

trenches, there were the psychological factors. Life in the
trenches could either be extremely boring or extremely
frightening. Examples of both are documented in the novel
“All Quiet on the Western Front” by Erich Maria
Remarque who was a German soldier in the First World
War. For soldiers in the quieter parts of the Western front,
life in the trenches was at times mundane (prosaico).
However, for the majority of soldiers in the trenches, life
was lived in a constant state of fear (miedo). Soldiers in the
trenches were constantly at risk from sniper fire
(francotiradores) and artillery, which was being used on an
unprecedented scale. There was also the frightening
prospect of being attacked by new weapons such as
poison gas (gas venenoso) and the flamethrower
(lanzallamas). However, without doubt, the worse thing a
soldier could hear was the command to “go over the top”.
This was the phrase used to describe leaving the relative
safety of your own trench and charging (salir en estampida)
across no man’s land to attack the enemy’s trench. The
chances (probabilidad) of making it (llegar) across alive
were very slim (escaso) and to some it seemed more like
a suicide mission. Harry Patch himself went over the top
on occasions and famously commented that any man who
claims that he wasn’t afraid when going over the top was
a ‘damned liar’ (maldito mentiroso).

The stalemate on the Western front, caused by the tactics

of trench warfare, lasted for the duration of the war. By the
end of the war, only around one in eight British soldiers
would return from the trenches alive and unwounded (sin
heridas). One of those men was Harry Patch but his death
91 years later means that World War I moves one step
further into the past; and soon, when all those who were
alive at the time of World War I have passed away (hayan
fallecido), that vital link (conexión vital) will be severed
forever (rota para siempre) and we will only be able to
read about the horrors of the Great War in history books.

For more information on the Humanities

program please visit www.vaughanmaster.com

23
 you, I’d
If I were om the Keep aw
ay
ay fr I don’t w from me.
keep aw re, they’re anything ant to have
the
beaches lluted.
to do w
ith you.
ver y po Manten
alejado te alejad
e m a n tendría No quie
ro tener
o de mí.
ú, m muy
Yo que t layas allí, están que ver nada
de las p aminadas. contigo.
cont

To keep away
ay
Keep aw e.
(from someone or something) Keep m
e fir e
from th away fro dicines
m childr
al fuego
. en.
cerques Mantenerse alejado
No te a Manten
er los m
de alguien o algo e
fuera de dicamentos
l alcance
de los n
iños.

u k eep the The po

t y o
At leas ay with all the the crow lice kept
s aw ds away
vampire a t you ea
t. the G8 from
summit.
ga r li c t h
os a La polic
n es alejad ía
enos m a n t ie
el ajo multitud mantuvo a la
Por lo m piros con todo a dista
los vam e comes. cumbre ncia de la
qu del G8.

24
 phrasal verbs
Adults!
Keep o
my roo ut of
r r y, yo u’ll have m; only
ch
So
y o u r dog out allowed ildren
p .
to kee ar.
of the b Prohibid
o la ent
adultos rada
t u perro te
ndrá en mi cu de
r o sólo se p ar
o, p e
Lo sient arse fuera del b
ar. ermiten to,
d niños.
que que

Keep o
ut! To keep out
a!
h ib id a la entrad No dejar entrar / Quedarse fuera Keep o
ut of th
¡Pro is!
¡No te m
etas en
esto!

ter Tr y to k
e r ig h t ; it’s bet if eep out
You’r of politic
s trouble,
will you
of
p o u t
to kee s p o r ts star. !
you’re a Intenta
no mete
rte en lí
ejor no ¡quieres! os,
n e s ra zón, es m eres una
Tie tica si
t e r s e e n la polí porte.
me del de
estrella

25
something
TO CHEW OVER

¡Algo para pensar!

Abajo encontrarás una serie de frases. Sólo una es correcta en cada caso, bien sea por razones gramaticales o por el contexto.
Piensa la respuesta muy bien antes de contestar y piensa el porqué de la respuesta correcta y de las incorrectas. Como
siempre, las respuestas vienen en la página 28 con sus correspondientes explicaciones.

1
1.a. I leaved my umbrella at home.

1.b. I forgot my umbrella at home.

1.c. I left my umbrella at home.

1
2.a. There was pouring rain all the way home.

2.b. There was showering rain all the way to home.

2.c. There was driving rain all the way home.

1.d. I forgot my umbrella in home. 2.d. There was pouring rain all the way to home.

1
3.a. The wind blew my umbrella back to front.

3.b. The wind blew my umbrella upside down.

3.c. The wind blew my umbrella inside out.

1
4.a. After the shower, the sun came up.

4.b. After the shower, the sun went out.

4.c. After the downpour, the sun went down.

3.d. The wind blew my umbrella topsy-turvy. 4.d. After the downpour, the sun came out.

1
5.a. I trod on a puddle and muddied my trousers.

5.b. I trod in a puddle and muddled my trouser.

5.c. I trod on a puddle and got my trouser dirty.

1
6.a. Put your hood on; it rains.

6.b. Put your hood up; it’s raining.

6.c. Put your hood on top; it’s raining.

5.d. I trod in a puddle and got my trousers dirty. 6.d. Put up your hood; it rains.

1
7.a. We go to get soaking.

7.b. We’re going to get soaked.

7.c. We go to get soaked.

8.a. It’s still spitting.

8.b. It’s still drooling.

8.c. It’s still dribbling.

1
7.d. We’re going to get soak. 8.d. It’s still spotting.

26
answers
SOMETHING TO CHEW OVER
Aquí tienes las respuestas al reto que te propusimos en la página 26. La idea no es sólo acertar, sino también sacar
provecho de las respuestas erróneas que, en muchos casos, son errores típicos.

Aquí estamos ante uno de los errores más comunes que cometen Aquí estamos
Podemosantedecir
uno “It’s
de los errores
pouring withmás comunes
rain” pero noque cometen
empleamos
los españoles
Cuando cuando
olvidamos quieren integrarse
un objeto en algúnensitio
la no
cocina con
solemos los españoles cuando quieren integrarse en la cocina
“pouring” como adjetivo en este contexto. El adjetivo para con
angloparlantes. “Remover”
el verbo “to forget” sino “to leave” cuyo pasado de
no se traduce ni “move” (cambiar angloparlantes. “Remover” no se traduce ni “move” (cambiar de
C ni emplear
1.sitio) es C ni indicar
2.sitio) que la lluvia es “torrencial” es “driving”. Por otro lado,
“left”. Por(quitar).
“remove” A veces
otro lado, no sedecimos
dice en las recetas
nunca “in “remove
home”, “remove” (quitar). A veces se dice en las recetas
como verbo empleamos “to shower” en relación con el “remove
the sauce” pero casisiempre
empleando siemprelase añade “from
preposición the“atheat”.
“at”: En cuanto
home”. actopero
the sauce” casi siempre
de ducharse y no se añade
el de “from
“llover”. Enthe heat”.síEn
cambio, cuanto
podemos
a “moven” me lo inventé para la ocasión. a “moven” me lo inventé para la ocasión.
referirnos a “a shower” (“un chaparrón”).

Todas ante
Aquí estamos las expresiones empleadas
uno de los errores másaquí significan
comunes que “al revés”
cometen Tanto ante
Aquí estamos “downpour”
uno de los como “shower”
errores significanque
más comunes “chaparrón”
cometen
los españoles cuando quieren integrarse en la cocina da
pero sólo una se emplea para cuando un paraguas se con la por lo que lo problemático aquí está
los españoles cuando quieren integrarse en la cocina en el verbo. Cuando
con
vuelta debido al vento: “inside out”. “Upside down”
angloparlantes. “Remover” no se traduce ni “move” (cambiar de significa sale el sol por las mañanas empleamos el
angloparlantes. “Remover” no se traduce ni “move” (cambiar verbo “to come
de
3.sitio)
C ni “al“remove” en el sentido
revés” (quitar). A vecesvertical,
se dice es decir
en las “boca“remove
recetas abajo” 4.sitio)
D ni up” cuyo antónimo
“remove” (quitar). Aesveces
“to go dice enverbo
se down”, que utilizamos
las recetas “remove
mientras que “back to front” se emplea para prendas
the sauce” pero casi siempre se añade “from the heat”. En cuanto que parapero
the sauce” cuando el sol “sesepone”.
casi siempre añadeEn“from
cambio, para describir
the heat”. En cuantoal
ponemos al revés. “Topsy-turvy”
a “moven” me lo inventé para la ocasión. significa “patas arriba” en el sol cuando se va y luego reaparece
a “moven” me lo inventé para la ocasión. empleamos los verbos
sentido de “desordenado”. “to go in” y “to come out”.

Aquí estamos ante uno de los errores más comunes que cometen Aquí estamos ante uno de los errores más comunes que cometen
Existen dos
los españoles verbos
cuando para “embarrar”:
quieren integrarse “to cocina y con
engetla muddy” “to los españoles cuandode quieren
La traducción “ponte laintegrarse en la“putcocina
capucha” sería con
your hood
muddy”, siendo el primero mucho más común.
angloparlantes. “Remover” no se traduce ni “move” (cambiar de “To muddle”, angloparlantes. “Remover” no se traduce ni “move” (cambiar de
5.sitio)
D ni en cambio(quitar).
“remove” significaA“confundir”. También
veces se dice en lashay que tener
recetas en
“remove B ni on”
6.sitio) o “put your hood up”. En segundo lugar, nunca
“remove” (quitar). A veces se dice en las recetas “remove
emplearíamos el presente simple (“it rains”) en un
cuenta dos cosas adicionales: decimos “to tread
the sauce” pero casi siempre se añade “from the heat”. En cuantoin a puddle” the sauce” pero casi
contexto quesiempre se añade
es claramente “from the heat”. En cuanto
momentáneo.
y nome
a “moven” “onloainventé y “trousers”
puddle”para siempre se expresa en plural.
la ocasión. a “moven” me lo inventé para la ocasión.

Aquí estamos ante uno de los errores más comunes que cometen Tres verbos
Aquí estamos ante unoquedetienen que ver
los errores máscon echar que
comunes saliva por la
cometen
los españoles
“Vamos acuando quieren
empaparnos” integrarse
se traduce comoen“We’re
la cocina
going tocon
get los españoles cuando quieren integrarse en la cocina lluvia:
boca, pero sólo uno que vale para referirnos a la con
angloparlantes. “Remover” no setotraduce ni “move” (cambiar de “spit” (“escupir”
angloparlantes. “Remover” y “lloviznar”);
no se traduce“dribble” (“babear”);
ni “move” (cambiar“drool”
de
7.sitio) soaked” o “We’re going get soaking (wet)”. Tanto
B ni “remove” (quitar). A veces se dice en las recetas “remove la A 8.sitio)
A ni (“cuando
como la D son correctas aunque algo absurdas ya que “remove” se(quitar).
te haceA laveces dice oen“cuando
bocaseagua” se te“remove
las recetas cae la
the sauce” pero “Vamos
casi siempre baba por casi
alguien”). Porseotro lado, aunque podemos hablar
signfican con elsefinañade “from the heat”. En cuanto
de empaparnos”. the sauce” pero siempre añade “from the heat”. En cuanto
a “moven” me lo inventé para la ocasión. de “a spot of rain” (“una
a “moven” me lo inventé para la ocasión. gota de lluvia”), no podemos
emplear “spot” como verbo en este contexto.

28
mastering
THE INTERROGATIVE 52
Today we’re going to concentrate on the indirect question
“Do you know...?” (¿Sabes...?). Be careful when forming the
second half of the question as the word order has to be in
the affirmative: subject + verb.

Yes, it’s half past five. ? Do you know what time it is?

Yes, he’s in Seville. ? Do you know where he is?

Yes, she lives in Toledo. ? Do you know where she lives?

Yes, he’s tall, slim and wears glasses. ? Do you know what he looks like?

Yes, the station is in the town centre. ? Do you know where the station is?

Yes, the teacher’s name is John. ? Do you know what the teacher’s name is?

Yes, that’s Mary’s hat. ? Do you know whose hat that is?

Yes, your keys are on your desk. ? Do you know where my keys are?

Yes, he drives a BMW. ? Do you know what car he drives?

Yes, her favourite colour is purple. ? Do you know what her favourite colour is?

Yes, they’re Jane’s gloves. ? Do you know whose gloves those are?

Yes, the reports are in the drawer. ? Do you know where the reports are?

Yes, it’s €59. ? Do you know how much it is?

Yes, there were 500 people. ? Do you know how many people there were?

Yes, there will be 20 guests. ? Do you know how many guests there will be?

Yes, you’ve answered 15 questions. ? Do you know how many questions I’ve answered?

30
 elision fields
‘UÁNABI’ La pá
gina
te ay que
Yet another look at the way we slide one word into another creating “new words” which sound uda
com con
unintelligible to a Spaniard. For example, when we say “itsa” we are actually using three words you know
pren la
perfectly well - it + is + a. It is essential to learn these “new words” as it will help your understanding of the sión
spoken language enormously. Recognizing these contractions or, in some cases, elisions, represents the key to
reaching a better understanding of English as spoken by native speakers. It is the key to “English Paradise”.
Don’t forget that the “Elision Fields” are right before the “Elysian Fields”.
This month’s word is the way we pronounce “want to be” (querer ser) when we speak at a normal speed. In fact, this
expression is so common that it has become a noun. A “wannabe” refers to a person who wants to be “something” or emulate “someone” but
doesn’t have enough talent to achieve it.

I UÁNABI rich!
¡Quiero ser rico!
I want to be rich!

I UÁNABI famous!
¡Quiero ser famoso!
I want to be famous!

I UÁNABI sure.
Quiero estar seguro.
I want to be sure.

I UÁNABI promoted.
Quiero que me asciendan.
I want to be promoted.

I UÁNABI there when he arrives.

Quiero estar alli cuando él llegue.
I want to be there when he arrives.

I UÁNABI a millionaire!
Quiero ser millonario.
I want to be a millionaire!

I UÁNABI like you.

Quiero ser como tú.
I want to be like you.

I UÁNABI there when they leave.

Quiero estar allí cuando se marchen.
I want to be there when they leave.

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translation list
Ponte a prueba. Tapa la columna derecha con un papel y traduce al
inglés las frases en español. Comprobarás que tu nivel mejora a medida
ue tu
Consig que avanzas en la lista. Incluimos dos listas para diferentes niveles.
tion
Transla
t
Bookle

Nivel Principiante (LISTA 17)

1. Ve a la puerta. 1. Go to the door.

2. Ven a mi lado. 2. Come to my side.

3. Hazlo ahora. 3. Do it now.

4. Quédate allí. 4. Stay there.

5. Estate preparado. 5. Be prepared.

6. Para el motor. 6. Stop the engine.

7. Empiece ahora mismo. 7. Start right now.

8. Dame una oportunidad. 8. Give me a chance.

9. Enséñame tu carnet. 9. Show me your card.

10. Cómelo con las manos. 10. Eat it with your hands.

Nivel Avanzado (LISTA 17)

1. Estoy decepcionado con tu progreso. 1. I’m disappointed with your progress.

2. Eres capaz de hacer mayores progresos. 2. You’re capable of making greater progress.

3. No has hecho un gran esfuerzo. 3. You haven’t made a big effort.

4. Has desperdiciado mucho tiempo. 4. You’ve wasted a lot of time.

5. Tu madre está muy disgustada. 5. Your mother is very upset.

6. Deberías haber estudiado mucho más. 6. You should’ve studied much more.

7. Deberías haber asistido a más clases. 7. You should’ve attended more classes.

8. Tengo razones para estar enfadado. 8. I have reasons to be angry.

9. ¿Ahora qué voy a hacer contigo? 9. Now what am I going to do with you?

10. ¿Qué va a pensar tu abuela cuando se entere? 10. What is your grandmother going to think when she finds out?

34
 creepy corner
El TERRIBLE... “Let me PAY THE coffees”
g i n a d e los Imagínate que te vas de cena, al final de la misma te sientes generoso y dices: “Yo
La pá
más pago la cuenta”, bueno pues en inglés diríamos “I’ll pay the bill”. Sin embargo, si dices
errores s
m u n e s y má “Yo pago la cena”, en inglés diríamos “I’ll pay for the dinner”. ¿Por qué en un caso
co
es aparece “for” y en el otro no? Al decir que pagamos un servicio o algo físico,
horribl empleamos el verbo “to pay” seguido de la preposición “for”: “Let me pay for the
coffees”. Sin embargo, utilizamos “to pay” sin “for” cuando pagamos un recibo, una
cuenta, una factura, unas tasas, una hipoteca etc: “Let me pay the bill”.

Si quieres pagar los servicios del abogado If you want to pay for the lawyer’s
tienes que pagar sus honorarios. service you have to pay his fees.

Si aparcas en doble fila puede

If you double park you may have to pay a fine.
que tengas que pagar una multa.

Deja que pague la cuenta que quiero pagar la cena. Let me pay the bill as I want to pay for dinner.

Pagó la cuenta de teléfono

He paid the telephone bill to pay for his phone calls.
para pagar sus llamadas de teléfono.

Pagó la tarifa para pagar el trayecto del autobús. He paid the fare to pay for the journey.

Pagó las tasas para pagar el master. He paid the fees to pay for the master’s degree.

Para poder tener carreteras pagamos tasas. In order to have roads we pay taxes.

Es decir, que pagamos las carreteras pagando impuestos. In other words, we pay for roads by paying taxes.

Normalmente paga las cosas en efectivo, He usually pays for things in cash, but sometimes
pero a veces paga con una tarjeta de crédito. he pays with a credit card (or by credit card).

Todos los meses pago la casa pagando la hipoteca. Every month I pay for the house by paying the mortgage.

35