When hummingbirds fly, their wingbeats are so rapid that the wings seem blurred.
A.tiny
B.fragile
C.indistinct
D.inexhaustible
A.They are a source of food for insects and spiders.
B.Their diet is not restricted to flower nectar.
C.They obtain protein from eating flower seeds.
D.Their behavior. cannot be explained scientifically.
A、Everyone should go to see the new gorilla habitat.
B、Spring is the most beautiful season of all.
C、Hummingbirds are the only bird that can fly backwards.
D、We had a terrific view of the game from our seats.
Ferociously female though curiously asexual, Teresita has a particular ability to deliver babies while soothing the pains of laboring mothers. This, Urrea is saying, is what matters. "Miracles," Teresita realizes as she learns mid- wifery, "are bloody and sometimes come with mud sticking to them." The salty cradle of life is the true church. Urrea’s love for Teresita, "the Mexican Joan of Arc," and for the world she helps bring into existence is one of the strongest elements of the book. He is unstintingly, unironically and unselfconsciously tender. He is a partisan.
With such passion and care in abundant evidence, one wishes to believe. Teresita is a saint we could really use right now, and I fervently hope she can be summoned to save the galaxy. But there is a quality to Urrea’s novel that,
for all the salt and blood and childbirth, is somehow a bit distant. "The Hummingbird’s Daughter" has the woodcut feeling of a bedtime story, or of family legends that have been told so many times they’ve gone smooth, like the lettering on old gravestones.
Teresita is the motherland and the mother of us all, an emissary from the Time Before, permanently encircled by butterflies and hummingbirds and the upraised rifles of revolutionaries. She is, according to the precepts of a certain perspective, entirely perfect. Her "flaws" -- her love of the lowly and the sick, her unladylike strength, her uncouth habits -- are clearly marks of virtue to anyone but the most bloodless capitalist. Even after she’s declared dead, she manages to win.
Myths, of course, both defy and rebuke this sort of quibbling: the gods always arise from a time much larger and deeper than the present moment, and we invent them because we need to believe in someone --or something --greater than ourselves. In Vargas Llosa's scheme of things, isn't Teresita the invention we need to ignite a better world?
But it is exactly this aspect of "The Hummingbird’s Daughter" that makes it seem sealed off from the kaleidoscopic, indeterminate, loss-riven borderlands of modernity that Urrea has written about in earlier books with such depth. Toward the end of the novel, as some of the main characters flee to "great, dark North America," they feel as if the country they've left is "a strange dream." As beautiful as that dream --that notion of the unbroken whole -- may be, at this late date none of us live there. We're all citizens of a haunted, mongrel terrain where nothing, not even the most appealing saint, is that simple.
Concerning the using of language in "The Hummingbird’s Daughter", which of the following statement is NOT true?
A.The language is elegant throughout the book.
B.The language is simple.
C.The language is forceful.
D.The language mixes low humor with deep reflection on life.
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