US student Vanessa Tahay stands out from the other teenagers in her school. Her skin is dark, her accent is thick, and if you ask her, she will tell you these are the things she is proudest of. Tahay is a poet, and at 18 she was considered among the best in Los Angeles.

    When she is on the stage, audiences often go silent. They also laugh, shout and cry. But this doesn't come easily for someone who comes from a village that sits at the base of a huge mountain range in Central America. When she first appeared at school, she was teased by others for being short and different. She never spoke, so they called her “mouse”.

    “How do I defend myself?” Tahay thought. “I don't know how.”

    “Keep going,” her mother would tell her. “At some point, you'll learn.”

    She spent hours after school and on weekends watching the same DVDs: English without Barriers.

    Tahay's elder brother, Elmer, persuaded her to go to the after-school poetry club. In the last six years, her English teacher Laurie Kurnick has turned Cleveland Charter High School's poetry program into one of the most respected in the city. Her team draws from the likes of D.H. Laurence, Pat Mora and Kendrick Lamar to create poems about their own lives. The poems focus on many things —some funny, some painful.

    The first time Tahay read the group's poems, chills went up her spine (脊柱). “I wish I could write like that,” she thought. “I want to say something.”

She wrote her first poem about her first year in America. She called it Invisible. The day her turn came to recite in front of the team, she broke down crying. She cried for 15 minutes. “I had so much held in,” Tahay said. “I couldn't even finish it.”

    But she kept at it despite her less-than-perfect grammar, spelling and diction (措辞). Still, she wouldn't tell her friends about her poetry because she worried they would make fun of her.

    But with time, her poems changed her. “They gave me pride,” Tahay said. “They told me that I'm worth something.”

    “She had this innocence,” Kurnick said. “This willingness to be genuine and show you things you don't ever see.”

    Will it matter if you don't take your breakfast? Recently a test was given in the United States. Those tested included people of different ages, from 12 to 83. During the experiment, these people were given all kinds of breakfasts, and sometimes they got no breakfast at all. Special tests were set up to see how well their bodies worked when they had eaten a certain kind of breakfast. The results show that if a person eats a proper breakfast, he or she will work with better effect than if he or she has no breakfast. This fact appears to be especially true if a person works with his brains. If a student eats fruit, eggs, bread and milk before going to school, he will learn more quickly and listen with more attention to class.

    Opposite to what many people believe, if you don't eat breakfast, you will not lose weight. This is because people become so hungry at noon that they eat too much for lunch, and end up gaining weight instead of losing. You will probably lose more weight if you reduce your other meals.

    Mrs Smith trembled(颤抖)with excitement when she was told her fortunes(命运). "Somebody is coming home to you, " Mrs Gray said slowly. "He's carrying a rifle(步枪)on his back and he's almost there."

    Mrs Smith felt as if she could hardly breathe. "And there he is!"Mrs Gray cried, pointing to the road. They all rushed to the door to look.

    A man in a blue coat, with a gun on his back, was walking down the road toward the Smith farm. His face was hidden by a large pack on his back.

    Laughing and crying, Mrs Smith grabbed(抓住)her hat and her children and ran out of Mrs Gray's house. She hurried down the road after him, calling his name and pulling her children along with her. But the soldier was too far away for her voice to reach him.

    When she got back to their farm, she saw the man standing by the fence. He was looking at the little house and the field of yellow wheat. The sun was almost touching the hills in the west. The cowbells rang softly as the animals moved toward the barn(畜棚).

    "How peaceful it all is, "Private Smith thought." How far away from the battles, the hospitals, the wounded and the dead. My little farm in Wisconsin. How could I have left it for those years of killing and suffering?"

    Mrs Smith hurried up to her husband. Her feet made no sound on the grass, but he turned suddenly to face her. For the rest of his life, he would never forget her face at that moment.

    "Emma!" he cried.

    The children stood back watching their mother kissing this strange man. He saw them, and kneeling down, he pulled from his pack three huge red apples. In a moment, all three children were in their father's arms. Together, the family entered the little unpainted farmhouse.

    Later that evening, after supper, Smith and his wife went outside. The moon was bright, above the eastern hills. Sweet, peaceful stars filled the sky as the night birds sang softly.

    His farm needed work. His children needed clothing. He was no longer young and strong. But he began to plan for next year. With the same courage he had faced the war, Private Smith faced his difficult future.

    The koala is an unusual creature. Native to Australia and a bit bigger than a rabbit, it spends most of its time in eucalyptus trees（桉树）, feeding on leaves that are poisonous to nearly every other animal on the planet.

    The koala sleeps about 22 hours a day and spends the remainder of its time eating and resting. It might spend 10 minutes a day moving, experts say, usually from one tree to another. It has a soft pad at the end of its spine and extra thick fur on its rear end to make the effort, of sitting more comfortable.

    Threats and protective measures

    The unique lifestyle of the koala has helped it prosper, but today the cute and iconic creature is facing threats from habitat loss, disease and a changing climate. Koala populations are expected to decline by 50 percent in the next 20 years according to the Australian Museum.

    To help protect these animals, which bring in an estimated $1.1 billion to Australia each year through koala-related tourism, an international team of researchers has published the first complete genome（基因组）of the koala. Their hope is that the keys to the marsupial's（有袋动物）long-term survival might be planted in its genetic code.

"The ultimate goal is that we won't have to…rescue them from the edge of extinction," said Rebecca Johnson of the Australian Museum Research Institute in Sydney, who led the work.

    "Now we have a really good understanding of the koala genome, and we are in a fantastic position to use that knowledge to help us manage them."

    Early findings

    An elementary analysis of the koala's genome, published in Nature Genetics, has already yielded some interesting findings.

    For example, the authors found that, compared to other mammals, the koala's DNA includes an expansion in the number of genes that encode for enzymes involved in anti-poison. That allows them to have a diet that depends almost entirely on eucalyplus leaves which are unusually high in poison. However, it also means that koalas metabolize（代谢）medicines like anti-chlamydia antibiotics faster than other animals.

    The koala genome also revealed why koalas are such famously picky eaters. They are known to consume leaves from just 20 of Australia's 60 known eucalyplus species. And even when they are in one of their preferred trees, koalas take leaf selection very seriously.

    Information waiting to be discovered

    Johnson said that the information encoded in the koala's DNA is already being included in management strategies by conservation groups. However, she said the findings described in the new paper represent the early stages of what can be gleamed from the marsupial's genome.

    "The data is public, and I would love for anyone to start mining it and see what other amazing things they can find," she said." Once you have a genome of this quality, the sky's the limit with what you can do with it."

    Let's look at the movies we can't wait to watch in 2019:

    Dumbo (March 29)

    Dumbo is a 1941 American film produced by Walt Disney Productions. The main character is an elephant who is nicknamed "Dumbo". Dumbo is always laughed at for his big ears, and he is rejected by the other elephants. With no parent to care for him, he is alone. But in fact, he is capable of flying by using his ears as wings. A live-action adaptation of the film directed by Tim Burton is scheduled to be released on March 29, 2019.

    Shazam! (April 5)

    Shazam! is an upcoming American superhero film based on the DC Comics character of the same name. Directed by David F. Sandberg, the film is set to star Asher Angel as Billy Batson, a teenage boy who can transform via the magic word "Shazam" into an adult superhero, played by Zachary Levi. It will be the first film version of the character since the 1941 series Adventures of Captain Marvel (the character's original name).

    Aladdin (May 24)

    Aladdin is a fictional character and the role of the film Aladdin (1992) based on Aladdin, a folk tale of Middle Eastern origin. He is voiced by Scott Weinger, while his singing voice is provided by Brad Kane. Aladdin never received a formal education, and has only learned by living on the streets of Agrabah. He has to steal food in the local market in order to survive. Mena Massoud is set to play a live-action version of the character in a live action adaptation of the 1992 film.

    Godzilla, King of the Monsters (May 31)

    Godzilla, King of the Monsters is a 1956 Japanese-American science fiction film, co-directed by Terry O. Morse and Ishiro Honda. It is a heavily re-edited American adaptation. For this new version of Godzilla, some of the original Japanese dialogue was translated into English, and some of the political, social and anti-nuclear themes were removed completely.

    Have you ever fallen for a novel and been amazed not to find it on lists of great books? Or walked around a sculpture known as a classic, struggling to see why it is famous? If so, you've probably thought about the question a psychologist, James Cutting, asked himself: How does a work of art come to be considered great?

    The direct answer is that some works of art are just great: of inner superior quality. The paintings that win prime spots in galleries, get taught in classes are the ones that have proved their artistic value over time. If you can't see they're superior, that's your problem. But some social scientists have been asking questions of it, raising the possibility that artistic canons(名作目录)are little more than old historical accidents.

    Cutting, a professor at Cornell University, wondered if a psychological pattern known as the "mere­exposure effect" played a role in deciding which paintings rise to the top of the cultural league. Cutting designed an experiment to test his hunch(直觉). Over a lecture course he regularly showed undergraduates works of impressionism for two seconds at a time. Some of the paintings canonical, included in art­history books. Others were lesser known but of comparable quality were exposed four times as often. Afterwards, the students preferred them to the canonical works, while a control group liked the canonical ones best. Cuttings students had grown to like those paintings more simply because they had seen them more.

    Cutting believes his experiment casts light on how canons are formed. He reproduced works of impressionism today bought by five or six wealthy and influential collectors in the late 19th century. Their preferences given to certain works made them more likely to be hung in galleries and printed in collections. And the fame passed down the years. The more people were exposed to, the more they liked it, and the more they liked it, the more it appeared in books, on posters and in big exhibitions. Meanwhile, academics and critics added to their popularity. After all, it's not just the masses who tend to rate what they see more often more highly. Critics' praise is deeply mixed with publicity. "Scholars", Cutting argues, "are no different from the public in the effects of mere exposure."

    The process described by Cutting show a principle that the sociologist Duncan Watts calls "cumulative advantage": once a thing becomes popular, it will tend to become more popular still. A few years ago, Watts had a similar experience to Cutting's in another Paris museum. After queuing to see the "Mona Lisa" at the Louvre, he came away puzzled: why was it considered so superior to the three other Leonardos, to which nobody seemed to be paying the slightest attention?

    When Watts looked into the history of "the greatest painting of all time", he discovered that, for most of its life, the "Mona Lisa" remained in relative obscurity. In the 1850s, Leonardo da Vinci was considered no match for giants of Renaissance art like Titian and Raphael, whose works were worth almost ten times as much as the "Mona Lisa" It was only in the 20th century that "Mona Lisa rocketed to the number­one spot. What brought it there wasn't a scholarly re­evaluation, but a theft. In 1911 a worker at the Louvre walked out of the museum with the "Mona Lisa" hidden under his coat. Parisians were shocked at the theft of a painting to which, until then, they had paid little attention. When the museum reopened, people queued to see it. From then on, the "Mona Lisa "came to represent Western culture itself.

    The intrinsic (本质的) quality of a work of art is starting to seem like its least important attribute. But perhaps it's more significant than our social scientists admit. Firstly, a work needs a certain quality to reach the top of the pile. The "Mona Lisa" may not be a worthy world champion but it was in the Louvre in the first place, and not by accident. Secondly, some objects are simply better than others. Read "Hamlet" after reading even the greatest of Shakespeare's contemporaries, and the difference may strike you as unarguable.

    A study suggests that the exposure effect doesn't work the same way on everything, and points to a different conclusion about how canons are formed. Great art and mediocrity (平庸)can get confused, even by experts. But that's why we need to see, and read, as much as we can. The more were exposed to the good and the bad, the better we are at telling the difference.