He emerged, all of a sudden, in 1957: the most explosive new poetic talent of the English post-war era. Poetry specialised， at that moment,in the wry chronicling of the everyday. The poetry of Yorkshire-born Ted Hughes,first published in a book called "The Hawk in the Rain" when he was 27, was unlike anything written by his immediate predecessors. Driven by an almost Jacobean rhetoric, it had a visionary fervour. Its most eye-catching characteristic was Hughes 's ability to get beneath the skins of animals: foxes, otters, pigs.These animals were the real thing all right, but they were also armorial devices-symbols of the countryside and lifeblood of the earth in which they were rooted. It gave his work a raw, primal stink.
lt was not only England that thought so either.Hughes's book was also published in America,where it won the Galbraith prize, a major literary award. But then, in 1963,Sylvia Plath, a young American poet whom he had first met at Cambridge University in 1956, and who became his wife in the summer of that year, committed suicide.Hughes was vilified for long after that, especially by feminists in America. In 1998, the year he died,Hughes broke his own self-imposed public silence about their relationship in a book of loose-weave poems called "Birthday Letters".In this new and exhilarating collection of real letters,Hughes returns to the issue of his first wife's death,which he calls his "big and unmanagcable event". He felt his talent muffled by the perpefual eavesdropping upon his every move. Not until he decided to publish his own account of their relationship did the burden begin to lighten.
The analysis is raw, pained and ruthlessly self-aware.For all the moral torment, the writing itself has the same rush and vigour that possessed Hughes's early poetry. Some books of letters serve as a personalised historical chronicle.Poets' letters are seldom like that, and Hughes 's are noexception. His are about a life of literary engagement: almost all of them include some musing on the state or the nature of writing, both Hughes's own or other people's. The trajectory of Hughes's literary career had him moving from obscurity to fame, and then, in the eyes of many, to life-long notoriety. These letters are filled with his wrestling with the consequences of being the part-private,part-public creature that he became, desperate to devote himself to his writing,and yet subject to endless invasions of his privacy.
Hughes is an absorbing and intricate commentator upon his own poetry,even when he is standing back from it and good-humouredly condemning himself for "its fantasticalia，its pretticisms and its infinite verballifications". He also believed, from first to last, that poetry had a special place in the education of children."What kids need", he wrote in a 1988 letter to the secretary of state for education in the Conservative government, " is a headfull [sic] of songs that are not songs but blocks of refined and achieved and exemplary language." When that happens,children have "the guardian angel installed behind the tongue".Lucky readers, big or small.
From the letters,we may find the cause of Hughes's internal struggle is_______.
社会工作者小张为了鼓励居民参与社区活动，对居民参与态度和参与能力进行了调查，提出下列观点，其中错误的是（ ）。
在社区参与的（ ）形式中，虽然居民被邀请参加了决策过程，但社区建设或改造的最初设计者通常会设定讨论议题的范围，限定其他参与者的决策权。
老年人有老年人的意愿需要表达，有老年人的利益需要维护，有老年人的作用需要发挥，这是指老年人的（ ）需要。
（ ）是老年人最显著的特点。
社会工作者在为老年人提供服务时可以采用小组工作的方法，但是下列情形中不宜采用此种方法的是（ ）。
谢慧在为社区孤寡老人提供服务时，总是把他们当成自己的父母来照顾。面对这些无儿无女的老人，她总会潸然泪下。显然，在她心里这些孤寡老人也是自己的亲人。谢慧的这种现象属于（ ）。
在为老年人做预估时，应考虑（ ）。
独居老人张伯伯不慎摔倒，造成骨折。出院后社会工作者为他联系社区医院协助其康复训练。同时，还联系社区服务机构为张伯伯提供居家和送餐服务。上述社会工作服务属于（ ）。
以下有关老年人特点的表述中，不正确的有（ ）。
老年社区工作的基本原则包括（ ）。
