Exercises “Making Inferences”

Group Member : 1. Imam Aldiansah Maulana ( 221211044 )

2. Khairan Giffari L. A. ( 221211045 )
3. Nurcahyo Wibowo ( 221211055 )
Class : 1-MB

I. Exeicide 3 ( Page 153 )

A: Why is he taking so long?

B: He has to get changed, you know. He's got all that make-up to take off.
A: Well, we've been here forty minutes now. It's cold out here. Are you sure we're at
the right door?
B: Yes, I'm sure. Come on. Let's not give up now. I've just got to see him close up.
A: They say he's really quite ugly.
B: Oh, no, that's not true. I've seen him on TV a couple of times. He's got the cutest
smile.
A: Well, I don't know. I'm just about frozen. If he doesn't come out in another two
minutes, I'm going home.
B: Oh, look! Here he comes. Quick, where's your pen?!?
1. Where are these people?
Answers : Out of someone house
2. What are they doing?
Answers : They waiting someone that B saw on TV
3. Who are they talking about?
Answers : A boy on tv who has a cutest smile
4. Are they men or women? How can you tell?
Answers : They are women, because they were talking about boys
II. Exereide 4

A:Excuse me. Would you mind turning down the music, please?
B: What's that?
A:I said, could you please turn the music down! My whole apartment is rattling!
B: Oh. Is that better?
A:A little better. It is after midnight.
B: Ah, come on. It's still early. It's my birthday, you know, so I asked a few friends over.
A:Well, that's very nice, but I've got to get up early tomorrow.
B: But it's Sunday tomorrow. What do you have to get up for so early?
A:That's none of your business. The rules say no noise after 11:00. So if you're going
to continue, I'll have to call the police.
B: Oh, all right. Don't get so uptight about it all.

1. Where are these people?

Answers : They are in an apartment
2. Who are they?
Answers : Apartment dwellers
3. What are they talking about?
Answers : They are talk about that making noise in night.
4. Are they men or women? How can you tell?
Answers : In the conversation there is no sign that they are a men or a women
 III. Exereide 5

A:For here or to go?

B: To go.
A:Large or small?
B: Uh... small.
A:Light or black?
B: Black.
A: Sugar?
B: Yes, two please.
A: Want a bag?
B: No, thanks.
A: OK, that'll be seventy-five.
B: Here you are.
A: Bye now.
B: Bye.

1. Where are these people?

Answers : They were in a coffee shop
2. What are they talking about?
Answers : They are talk about ordering coffee
3. Are they men or women? How can you tell?
Answers : In the conversation there is no sign that they are a men or a women
IV. Exereide 6

A: So how was it?

B: Terrible.
A: Really? You were so excited about going.
B: I know, but I tell you, I'm glad to be back.
A: What happened?
B: First of all, there was the weather. It rained every day. Not just a little, but all
day!
There we were with these gorgeous beaches and no sun!
A: I guess you didn't get much of a tan.
B: Look at me! I'm as pale as I was before.
A: At least you must have gotten some rest.
B: Rest! The second day we were there, my husband got sick. He was sneezing
and
coughing for three days and nights. And then I caught his cold. I felt just awful for
another three days.
A: Well, how was the food?
B: That was the only nice thing about the whole week. Except that we were too
sick
to enjoy it half the time. Anything new here in the office?
A: Not much. It's been a slow week.

1. Where are these people?

Answers : They are in an office
2. What is their relationship?
Answers : They are coworkers
3. What are they talking about?
Answers : They are talk about B holiday
4. Are they men or women? How can you tell?
Answers : They are women, because B said my husband. This is sign that they
are women
 V. Exereide 9

A Domestic Dilemma
The children were in the living room, so intent on play that the opening of the front door was
at first unnoticed. Martin stood looking at his safe, lovely children. They had opened the
bottom drawer of the secretary and taken out the Christmas decorations. Andy had managed
to plug in the Christmas tree lights and the green and red bulbs glowed with out-of-season
festivity on the rug on the living room. At the moment he was trying to trail the bright cord
over Marianne's rocking horse. Marianne sat on the floor pulling off an angel's wings. The
children wailed a startling welcome. Martin swung the fat little baby girl up to his shoulder
and Andy threw himself against his father's legs.'Daddy, Daddy, Daddy!'Martin set down the
little girl carefully and swung Andy a few times like a pendulum. Then he picked up the
Christmas tree cord. 'What is all this stuff doing out? Help me put it back in the drawer.
You're not to fool with the light socket. Remember I told you that before. I mean it,
Andy.'The six-year-old child nodded and shut the secretary drawer. Martin stroked his fair
soft hair and his hand lingered tenderly on the nape of the child's frail neck.'Had supper yet,
Bumpkin?' 'It hurt. The toast was hot.'The baby girl stumbled on the rug and, after the first
surprise of the fall, began to cry; Martin picked her up and carried her in his arms back to the
kitchen.'See, Daddy,' said Andy. 'The toast—'Emily had laid the childrens' supper on the
uncovered porcelain table. There were two plates with the remains of cream-of-wheat and
eggs and silver mugs that had held milk. There was also a platter of cinnamon toast,
untouched except for one tooth-marked bite. Martin sniffed the bitten piece and nibbled
gingerly. Then he put the toast into the garbage pail.'Hoo—phui—What on earth!'Emily had
mistaken the tin of cayenne for the cinnamon.'I like to have burnt up,' Andy said. 'Drank
water and ran outdoors and opened my mouth. Marianne didn't eat none.' 'Any,' corrected
Martin. He stood helpless, looking around the walls of the kitchen. 'Well, that's that, I guess,'
he said finally. 'Where is your mother now?''She's up in you ails' room.'Martin left the
children in the kitchen and went up to his wife. Outside the door he waited for a moment to
still his anger. He did not knock and once inside the room he closed the door behind him.
Emily sat in the rocking chair by the window of the pleasant room. She had been drinking
something from a tumbler and as he entered she put the glass hurriedly on the floor behind
the chair. In her attitude there was confusion and guilt which she tried to hide by a show of
spurious vivacity. 'Oh, Marty! You home already? The time slipped up on me. I was just
going down—'
1. What are the relationships among the four characters here?
Answers : They are family
2. Where are they?
Answers : They are in a house
 3. What has happened just before this passage?
Answers : They are making christmas tree
4. Which character do you think expresses the author's point of view?
Answers : The character that expresses author’s point of view is Martin
5. What do you think will happen after this in the story?
Answers : They will celebrate christmas

VI. Exereide 10
That,' said Liz after a drag of her cigarette, 'is the last glass Pop drank out of. But never
mind.''Oh..., I'm sorry,' I said, putting it down fast. All at once I felt very much like being sick
because I had a picture of old Mr. Prescott drinking his last from the glass and turning blue. 'I
really am sorry. Ben grinned 'Somebody's got to drink out of it someday.' I liked Ben. He was
always a practical guy when he wanted to be. Liz went upstairs to change then, after showing
me what to get ready for supper. 'Mind if I bring in my guitar?' Ben asked, while I was
starting to fix up the potato salad. 'Sure, it's okay by me,' I said. 'Only won't folks talk?
Guitars being mostly for parties and all? `So let them talk. I've got a yen to strum.'I made
tracks around the kitchen and Ben didn't say much, only sat and played these hill-billy songs
very soft, that made you want to laugh and sometimes cry.'You know, Ben,' I said, cutting up
a plate of cold turkey, 'I wonder, are you really sorry.' Ben grinned, that way he has. 'Not
really sorry, now, but I could have been nicer. Could have been nicer, that's all.'I thought of
Mama, and suddenly all the sad part I hadn't been able to find during the day came up in my
throat. 'We'll go on better than before,' I said. And then I quoted Mama like I never thought I
would: 'It's all the best of us can do.' And I went to take the hot pea soup off the stove.'Queer,
isn't it,' Ben said. 'How you think something is dead and you're free, and then you find it
sitting in your own guts laughing at you. Like I don't feel Pop has really died. He's down
there somewhere inside of me, looking at what's going on. And grinning away.''That can be
the good part,' I said, suddenly knowing that it really could. 'The part you don't have to run
from. You know you take it with you, and then when you go any place, it's not running away.
It's just growing up.'Ben smiled at me, and I went to call the folks in. Supper was kind of a
quiet meal, with lots of good cold ham and turkey. We talked about my job at the insurance
office, and I even made Mrs. Mayfair laugh, telling about my boss Mr. Murray and his trick
cigars. Liz was almost engaged, Mrs. Prescott said, and she wasn't half herself unless Barry
was around. Not a mention of old Mr. Prescott.
1. Who are the main characters in this story?
Answers : Mr. Ben
2. Where are they?
Answers : They are in a kitchen
3. What happened before this passage in the story?
Answers : Liz and ben dont believe that Mr. presscot died
4. What do you think will happen next?
Answers : Liz and Ben believe that Mr. Presscot died
 VII. Exereide 11

NANCY: I'm sorry—Bridget. (Reaching toward her in an impulsive gesture of affection)

Darling, I do
want you to stay. More than anything in the world, I want you to stay. We all want you—
won't you think about it? Just during the next few days, think about it. Hard.
Bunn: No! It's utterly impossible!
NANCY: Are you so happy at home?
BRIDGET: Why do you ask me that?
NANCY: I want you to be happy somewhere. If not with me, then somewhere else.
BRIDGET: You don't have to worry about that. I am happy. Terribly.
NANCY: And you like your school?
BRIDGET: I love it. The only thing I don't like—I don't like this conversation. And if it's all
right
with you, I'll dress for dinner now.
NANCY: Oh, baby—you don't have to be so lonely.
BRIDGET: Listen! Don't say a thing like that to me. Don't you dare to be sorry for me!
NANCY: Bridget!
BRIDGET: Don't you dare! You have no right! (She starts up the stairs.)
NANCY: Bridle! You come back here. Don't ever speak to me in that tone again. I don't care
what you think I have done to you, you are never to speak to me in that way again. Do you
understand?
BRIDGET: Yes.
NANCY: All right. Now come over here and sit down.
BRIDGET: I have nothing to say.
NANCY: But I have something to say. I've been waiting a long time to say it, so I hope...I
want
you to understand, that no matter how you feel toward me, you are a deep and important
part of my life. I love you very much.
BRIDGET: Is that all?
NANCY: No. No, it isn't. There is something else. I knew—you would feel resentful and
hurt...But I
didn't dream it would be like this. I've tried in every way I know to reach you. I've stayed
awake nights trying to think of a way—some way—of reaching you...
BRIDGET: Of breaking me down, you mean.
NANCY: Yes, if you want to put it that way. Bridle, you're a little girl still. In many ways a
very little girl. But soon—you will be a young woman. (Bridget starts to rise.) Now wait! It's
for your own sake I'm saying this. It's for you. Bridle, don't let the fact that there was some-
thing very bad in your life once be the most important thing about you. Don't blame every-
one you meet for something that happened a long time ago.
BRIDGET: May I go to my room now?
NANCY: Do you really hate me so much?
BRIDGET: No, I don't hate you. I don't feel anything about you at all. Just blankness. And
I want to keep it that way.
BRIDGET: Bridle, it wasn't all my fault—what happened wasn't all my fault! I've never
told you this before, but your father was—Oh, dear.
BRIDGET: I don't care whose fault it was! You were the one who ran away!
NANCY: Not from you! I wanted you with me. I tried—you know I tried—I didn't run
away from you.
BRIDGET: You ran away from Dad and me. Why? Because you liked Jay
better? NANCY: No—things aren't that simple.
BRIDGET: Then why?
NANCY: Bridle, listen—there are things you won't understand until you are older, but try—
try to
understand this—the love I have for Jay is love your father did not want from me. And it has
nothing whatever to do with the love I feel for you.
BRIDGET: You're too late, Mother. I don't care anymore. That's funny. I call you Mother.
But it's
only because I don't know what else to call you. To me you aren't my mother. As far as I'm
concerned, my mother is dead. And I used to wish you had died. Oh, how I wished...I'd lie
awake in bed at night and pretend that you had died. Sometimes it seemed so real—and I'd
cry... All right, now you know what I really feel about you. Do you still want me to stay?
NANCY: More than ever.
BRIDGET: You're crazy!... (She turns and runs up the stairs.)

1. What is the relationship between these two characters?

Answers : They are mother and child
2. Where are they?
Answers : They are in a house
3. What can you tell about the past?
Answers : In the past Bridget’s mother and father had a problems and her mother
( nancy ) just left Bridget and her father.
4. What do you think will happen after this in the story?
Answers : Bridget back to her room and she still angry to her mom.
VIII. Exereide 13

1. In the early days, people thought it would have a positive effect on family life.
It brought the whole family together in one room. It also put an end to the
usual family quarrels. Everyone stayed quiet and just listened, for a change.
But now it is clear that not all the effects are positive. Some researchers
believe that it prevents parents and children from having normal relationships.
The members of the family may be sitting together, but most of the time no
one talks. No one relates to anyone else in the room. The only communication
that happens is one-way: from the actors to each individual. And this brings up
another problem. Many children spend most of their free time this way. That
means that they have no idea of what family life can be. The picture they get
of a family—from what they see—is false and too simple. It leaves out many
negative aspects and many uncertainties. This may mean that they may not be
able to tolerate real family life with all its complexities.

Topic : Bringing the family into one room to gather

How can you tell? In the first paragraph it is explained that bringing the family
in a room has positive and negative impacts

2. Some of us have done this hundreds of times—we sometimes think we could

do it in our sleep. But if it's your first time, don't worry. It's really a very
simple procedure. First you sort everything into piles. It's better to separate
things carefully at this point or you can cause real damage. Then when one
pile is ready, let technology work. Be sure you follow the directions. And
remember that it is better not to do too many things at once. Mistakes can be
expensive. The next step depends on your equipment.You may be able to put
technology to work again. Or you may have to use old-fash-ioned methods
 and take it outside. In any case, it will eventually be time to make piles again
and put everything where it belongs. And then you are done—for now. All too
soon the time will come to repeat the whole procedure again!

Topic : How to use something

How can you Tell ?

Because this text is show how to do something

IX. Exereide 14
1. "The minute you climb in, you start feeling excited. There's nothing so
exciting for me, not even a jet plane. You get in and start up and off you go.
And then you've got to pay attention every minute. There's always someone
doing something crazy who's likely to end up under your wheels. I sometimes
think it's a miracle if I can get all the way there with no accidents. You've
always got to be thinking ahead. There's a lot of people in this job who have
stomach problems from the tension. They lose their hearing too, because of the
noise. You've got to be tough on this job, you know."
Job : Machinist

2. "My day starts at four o'clock in the morning. That's when my feet hit the
floor. I'm at work at five-thirty and I finish at two in the afternoon. In between
I do a lot of walking. I wear out a lot of shoes each year—maybe four or five
pairs. And my poor feet, at the end of the day they're really hurting. The other
problem is the dogs. Sometimes you can make friends with them and they'll
follow you around. But other times, they can be mean. I've been bitten a
couple of times. I can't say as I care much for dogs any more. But it's not all
bad, my job. One thing I like is the way you meet a lot of people. You learn all
about their private lives, too. It never gets boring."
 Job: Mailman

3. "The most important thing is to understand people. You've got to know what
they're thinking. If you can figure that out you can get them to do anything.
They come in with an idea about what they want. You get them talking about
themselves, about what they like. If it's a man, you talk about baseball, or
something like that. If it's a woman, you ask her about fashions. That way they
get comfortable with you. You ask them a lot of questions and get them saying
yes. Then they just get into the habit of saying yes. In the end you can put
them into anything you want, if you're really good. They need a little car for
the city; you send them home with a truck. Of course, I wouldn't really do that.
It wouldn't be right. You've got to sell on this job, but you also have to be fair.
It's not fair to take advantage of people too much. There are some people in
this business who'd do anything. But I don't believe in that."
Job: Salesman

X. Exereide 16

1. This modern cowboy story is set in 1949. It follows three young men on a wild
ride on horseback out of Texas and into northern Mexico. Their adventure
takes them out of twentieth century America and into a totally different world.
Here, it is still possible to live with horses and nature. There are the bad guys
and good guys, as in the classic films. But the book is not just a rewrite of a
John Wayne movie. The characters are convincing and the descriptions of the
natural world are truly brilliant. The style is ambitious—we are reminded of
Faulkner—and it could easily have become terribly stylized. But this author
has the skill to make it work. The masterly writing and action-filled plot keep
the reader's attention throughout. We hope the second volume that the author
promises will be as satisfying as this.
What is the reviewer's opinion of this book?
Answers : The Reviewer satisfying with this book

How do you know?

Answers : In the last sentences reviewer say “We hope the second volume that
the author promises will be as satisfyinf as this”

Does it sound like something you would like to read?

Answers : Yes, i interesting with the reviewer opinion

2. One of the oldest themes in literature is the love triangle. This theme has
inspired some of the world's classics. However, it has also inspired some very
poor writing. This first novel unfortunately falls in the second category. The
situation is not new: a man falls in love with his best friend's wife. At first the
characters are interesting and the reader begins to like them. But that interest
soon dies out. The characters talk on and on but nothing ever seems to happen.
And their conversation is all on the same topic: themselves. The ending is
tragic, or at least it is supposed to be. But by the time we get to the end of the
book, we don't really care about these people. I suggest this author take up
banking, or some other career that doesn't require too much imagination!
What is the reviewer's opinion of this book?
Answers : The reviewer not too satisfy with this book

How do you know?

Answers : In the last sentences reviewer says too much imagination.

Does it sound like something you would like to read?

Answers : Yes, i interesting with the reviewer opinion