Allow me to introduce you to Terry, a window salesman from England. If I could take you back about 20 years, you'd know Terry as a complete green hand, who was wet behind the ears in just about everything he attempted. A person couldn't sell false teeth to his own Granny, let alone he could compete with the other salespeople in the industry. You know, the kind who could sell snow to Eskimos.

    Terry's boss decided to send him out on a practical field trip on his first day. So off he went, but he was extremely nervous. With his hands and his knees shaking, he approached the front door and knocked at it. And an old woman appeared. After dozens of cups of tea and pieces of biscuits, the woman signed a contract and purchased over $7,000 worth of windows.

    The woman had already talked with 6 excellent salesmen that week, all of whom offered her cheaper ones! That's right—Terry's price was the most expensive and he was also the most inexperienced salesman there ever was.

    So, what happened then? Here comes the secret. The woman said she liked the young lad more than the others. That's all there was to it. She didn't care about the extra expense. Even the other salesmen couldn't persuade her to pay less than this young lad was asking for.

    The truth is that the young lad left on the woman the first impression that shone brighter than any of the salesman's talk. First impressions count, not the sales techniques, not the low prices. The actual “personality” the kid honestly gave was all that was required. If you market your own products and services, consider what impression you are giving to others. If you appeal to them, then you've already done half of the work. If this means redesigning your presentation, then so be it. If this means going out of your way to be polite, helpful and giving the best possible shopping experience to your customers, the so be it.

    In Hollywood, as in war, truth is often the first casualty. Stories told on screen demand heroes, devils and a clear plot line. Real life, on the other hand, tends to get messy—the lines between good and bad often cross. Two years ago, director Oliver Stone was severely criticized in the press for playing fast and loose with certain facts in JFK. Jim Sheridan's In the Name of the Father has largely escaped such criticism in the U.S., but only because Americans are unfamiliar with the story it is based on.In Britain,where people have lived with the case of the Guildford Four for 20 years,the film's reception has been considerably stormier.

    The movie tells the tale of Gerry Conlon,who along with three other youths was falsely accused of killing five people in a 1974 I.R.A.bombing of two pubs in Guildford,England.The four—three men and a woman—served 14 years in prison before their convictions（定罪）were overturned. Seven friends and relatives of Conlon's (the Maguire Seven),including his father,also served many years on false charges of having made the bombs.

    Though Sheridan never set out to make a documentary,he has been attacked for needlessly twisting the facts of the case.The film,for instance,shows the Maguire Seven on trial with the Guildford Four,though the cases were tried separately.In some of its most affecting scenes,it shows Conlon,played by Daniel Day-Lewis,sharing a jail cell with his father,though the two were often not even in the same prison.A grand and heroic part is carved for actress Emma Thompson,playing Conlon's lawyer,Gareth Peirce,but in reality Peirce was a minor figure and another lawyer, Alastair Logan,deserves most of the credit for freeing the Four.An important scene in which Peirce steals a crucial piece of evidence from a police file was fabricated for the film;it was a police investigation that uncovered the buried evidence of Conlon's innocence.

    Sheridan insists that he was seeking an "emotional honesty" and that the real subject of his film was a son's changing relationship with his father.But if that was his intended subject,say some close to the case,the director should have used someone else's story."The truth is that Gerry Conlon had very little time for his father,"says Sean Smyth,an uncle."It's a good film,well acted and everything,"admits Conlon's aunt,Anne Maguire."But I think if they'd put more of the true facts in,it would have been a much more powerful film."

B

    According to a new study ,a smiley face emoji（笑脸符）in work-related e-mails may not create a positive impression and could even weaken information sharing. In formal business emails, a smiley is not a smile.

    In one of the experiments, people were asked to read a work-related e-mail from an unknown person and then tell about both the ability and warmth of that person. Before that, they all received similar messages. But some included smileys while others did not. The results suggested that contrary to face-to-face smiles, which increase both ability and warmth, the smileys in a business e-mail had no effect on the perception（感知）of warmth, and in fact had a bad effect on the perception of ability. The perceptions of low ability in turn weakened information sharing.

    In another experiment, the use of a smiley was compared to a smiling or neutral photograph. The findings showed that in the case（情况）of a photograph, a smiling sender was judged to be more able and friendly than a neutral one. However, when an e-mail on formal work-related maters included a smiley, the sender was thought to be less able. The smiley did not influence the opinion on the sender's friendliness.

    “People are easy to accept that a smiley equals a real smile, but the findings of this study show that in the workplace, this seems not the case, especially when first communications are concerned.” Dr. Glikson says. “In such a situation, it is better not to use smileys to people at whatever age. Smileys could hardly be a wise choice to a person you are not familiar with.”

    A MENTORING (导师制）program is giving life changing opportunities to Banbury youth. Young Inspirations was founded two years ago to provide mentoring sessions for students and unemployed young adults aged 11 to 21.

    Alex Goldberg, the program's founder, said： "We set up Young Inspirations because we wanted to give young people experiences which will potentially be life changing and broaden their outlook." "We try to create work experience opportunities that will really make a difference to our youth. For example, we've secured internships (实习）with world-famous firms such as Honda."

    "At a time of funding cutbacks, schools are finding it more and more difficult to offer this kind of mentoring because of that- It is extremely important that these opportunities are available both to help youth with their school work and grades and to give them opportunities which may help shape their futures." Kieran Hepbum, 14, is one of a group of Banbury youth who has benefited from the program so far. In October the Banbury School pupil was accompanied by Young Inspirations staff to Paris where he was an observer at the United Nations Educational, Scientific and Cultural Organization's (UNESCO) International Youth Forum(论坛).

    The event was held for young people from around the world, to seek their views on how the future of youth and education should look. Kieran joined several hundred observers mostly in their 20s and was the only UK school pupil to attend the event. Kieran thinks the trip was a life changing experience. Before we left 1 didn't quite know what to make of it but when we got there we didn't stop, it was amazing" he said, "We went to three or four hours of debates each day and then did something cultural each afternoon."

    The main theme of the forum was how youth can drive change in political and public life. It  dealt with issues(问题）such as drug abuse, violence and unemployment. kieran said： It has really helped me to improve my confidence and social skills as well as my school grades and I was voted most improved pupil at school in August."

    The Young Inspirations mentoring sessions take place each Friday in Banbury. For details visit www.younginsviratiom.com.

    With the New Year just months away, you are probably looking forward to watching the wonderful fireworks(烟花) shows. Unfortunately, the over ten million blind Americans, and scores more around the world, have never been able to experience this joyful celebration. That may change soon thanks to Feeling Fireworks, a tactile(可触摸的) fireworks experience invented by the masterminds at the Disney Research Lab in Switzerland.

    To experience the show, users stand in front of a large screen, which is made of special material. They then place their hands at the base of the screen and move them around to feel the fireworks. Alternatively, their hands can be placed in the center of the screen, where the initial explosions happen, and then moved across to explore other fireworks.

    As the fireworks begin to explode, one of five nozzles(喷嘴) at the back of the screen starts to send out water, creating shaking movements. One specializes in the “blooming(开花) flower effect,” while another reproduces the“crackle(噼啪声)” effect. The rest take care of rockets and explosions. A computer controls the timing, while a Microsoft Kinect camera tracks the person's movement. According to the inventors, Feeling Fireworks allows users to experience “tactile fireworks that are similar to physical fireworks happening in the sky.”

    First appearing at the User Interface Software and Technology conference held in Quebec City, Canada from October 22 to October 25, 2017, the low-cost technology is still in its early stage, with only a 66 percent success rate. However, the team plans to continue-improving the experience and believes the day when everyone will be able to enjoy the thrill of fireworks shows is not far. When ready, Feeling Fireworks will initially be available only at Disney theme parks, and then hopefully, at fireworks shows worldwide.

    As time went on, Philip's deformity was accepted like one boy's red hair and another's unreasonable obesity. But meanwhile he had grown horribly sensitive. He never ran if he could help it, because he knew it made his limp more noticeable. He stood still as much as he could, with his badly shaped foot behind the other. Because he could not join in the games which other boys played, their life remained strange to him; sometimes they seemed to think that it was his fault if he could not play football, and he was unable to make them understand. He was left a good deal to himself. He had been inclined to talkativeness, but gradually he became silent.

    The biggest boy in his dormitory, Singer, took a dislike to him, and Philip, small for his age, had to put up with a good deal of hard treatment. About half-way through the term there was a game called Nibs. It was a game for two, played on a table or a form with steel pens. Soon nothing was seen but boys playing this game, and the more skilful acquired vast stores of nibs. But in a little while Mr. Watson made up his mind that it was a form of gambling, and forbade the game. Then he ordered all the nibs in the boys' possession be handed in. Philip had been very skilful, and it was with a heavy heart that he gave up his winning; but his fingers itched to play still, and a few days later, on his way to the football field, he went into a shop and bought a pennyworth of J pens. He carried them loose in his pocket and enjoyed feeling them. Presently Singer found out that he had them. Singer had given up his nibs too, but he had kept back a very large one, called a Jumbo, which was almost unconquerable, and he could not resist the opportunity of getting Philip's Js out of him. Though Philip knew that he was at a disadvantage with his small nibs, he had an adventurous disposition and was willing to take the risk; besides, he was aware that Singer would not allow him to refuse. He had not played for a week and sat down to the game now with a thrill of excitement. He lost two of his small nibs quickly, and Singer was jubilant, but the third time by some chance the Jumbo slipped round and Philip was able to push his J across it. He crowed with triumph. At that moment Mr. Watson came in.

    "What are you doing?" he asked.

    He looked from Singer to Philip, but neither answered.

    "Don't you know that I've forbidden you to play that game?"

    Philip's heart beat fast. He knew what was coming and was dreadfully frightened, but in his fright there was a certain exultation. He had never been swished. Of course it would hurt, but it was something to boast about afterwards.

    "Come into my study."

    The headmaster turned, and they followed him side by side. Singer whispered to Philip:

    "We're in for it."

    Mr. Watson pointed to Singer.

    "Bend over," he said.

    Philip, very white, saw the boy quiver at each stroke, and after the third he heard him cry out. Three more followed.

    "That'll do. Get up."

    Singer stood up. The tears were streaming down his face. Philip stepped forward. Mr. Watson looked at him for a moment.

    "I'm not going to beat you. You're a new boy. And I can't hit a cripple. Go away, both of you, and don't be naughty again."

    When they got back into the school-room a group of boys, were waiting for them. They set upon Singer at once with eager questions. But he did not answer. He was angry because he had been hurt.

    "Don't ask me to play Nibs with you again,' he said to Philip. 'It's jolly nice for you. You don't risk anything."

    "I didn't ask you."

    "Didn't you!"

    He quickly put out his foot and tripped Philip up. Philip was always rather unsteady on his feet, and he fell heavily to the ground.

    "Cripple," said Singer.

    For the rest of the term he tormented Philip cruelly, and, though Philip tried to keep out of his way, the school was so small that it was impossible; he tried being friendly and jolly with him; he abased himself, so far as to buy him a knife; but though Singer took the knife he was not placated. Once or twice, driven beyond endurance, he hit and kicked the bigger boy, but Singer was so much stronger that Philip was helpless, and he was always forced after more or less torture to beg his pardon. It was that which rankled with Philip: he could not bear the humiliation of apologies, which were wrung from him by pain greater than he could bear. And what made it worse was that there seemed no end to his wretchedness; Singer was only eleven and would not go to the upper school till he was thirteen. Philip realized that he must live two years with a tormentor from whom there was no escape. He was only happy while he was studying and when he got into bed. And often there recurred to him then that queer feeling that his life with all its misery was nothing but a dream, and that he would awake in the morning in his own little bed in London.