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Native Speakers as English Teachers in China
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对文化遗产不感兴趣，这是目前我们社会的一个普遍现象。这些年，走宝、毁宝的事一而再、再而三地发生，见报的只是冰山的一角，没见报的更是不得了。新山书香楼“收宝”反映的是新加坡人“走宝”，另外还有毁宝事件更令人伤心，以下仅举一例： 读者某君要搬家了，清理祖父遗物时，发现一个陈旧不堪的木箱里有些字画，画的是奔马、飞鸟等，上面的华文他看不懂，于是打电话去向某华文报求助。 记者上门去一看。天呀，那是徐悲鸿的遗作!由于收藏不得法，用手轻轻一碰字画马上破碎，奔马变“碎马”，还有的早已在箱子里“解体”!记者眼睁睁看着艺术瑰宝被毁，无限惋惜与痛心。
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Nowhere is this more true than in the awarding of prizes. Because prizes carry the approval of an institution, we expect them to be somehow more authoritative than ordinary reviews. But even the winners of the most prestigious awards are chosen by individuals, each with his or her own particular tastes, and the high stakes involved can make those choices even more capricious. Recently, I was explaining to a mathematician friend how I had screened the scores of nonfiction books that were candidates for the short list of a national literary prize I participate in judging. If by Page 100 the author hasn’t managed to get me interested in the topic, I eliminate it, I said. Surely there are objective criteria he replied, sounding a bit offended. Well, not really; a tedious volume full of useful information may have its merits, but not enough to make me champion it as one of the five best books of the year. And determining whether a work is boring or enthralling can be only a subjective decision.
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