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The old bookstore on Maple Street had been Mr. Hale's life work. For forty years, he'd stacked its shelves with weathered novels, dog-eared poetry collections, and rare first editions, each with a story he could recite by heart. But last month, the bank had sent a notice — rising rents and falling sales meant the store would close by the end of the week.

Lila, a regular since she was a kid, couldn't bear the thought. She'd grown up here, hiding in the back corner with a book while her mom worked next door. Now a college student home for summer, she'd started a "Save the Bookstore" campaign: a petition, a GoFundMe page, even hand-painted signs taped to lampposts. But donations trickled in, and the petition barely had a hundred signatures.

"This isn't just a store," Lila said to Mr. Hale one afternoon, gesturing to the creaky wooden floors and the smell of old paper. He smiled sadly, polishing a leather-bound Dickens. "It's where Mrs. Carter met her late husband — they bonded over a shared love for Hemingway. Where Tommy, the shy kid from down the street, found the courage to join the debate team after reading To Kill a Mockingbird."

Lila's throat tightened. She knew those stories too. She'd left her own mark here: a faded drawing of a cat tucked inside The Secret Garden, a note scrawled in the margin of Pride and Prejudice ("Mr. Darcy is overrated!") when she was twelve.

On the penultimate day, Lila arrived to find Mr. Hale packing boxes. "I'm sorry, kiddo," he said, his voice rough. "We tried." She noticed a dusty box labeled "Memorabilia" in the corner — newspaper clippings from the store' s opening, a photo of Mr. Hale as a young man, and a stack of handwritten letters.

Curious, she pulled one out. It was dated 1998, from a girl named Clara: "Your store kept me going when my dad left. I'll never forget the day you let me take Anne of Green Gables home even though I couldn't pay — said ‘stories should be free to heal.'" Lila froze. Clara was her mom's name.

Before she could ask, the bell above the door jingled. A woman in a business suit stepped in, scanning the shelves. "I'm from the real estate company," she said, holding out a clipboard. "We need the keys by Friday."

Mr. Hale's shoulders slumped. Lila grabbed the letter, her heart racing. "Wait — this store matters. To all of us." The woman raised an eyebrow. "Prove it."

注意：

1.续写词数应为150左右；

2.请按如下格式在答题卡的相应位置作答。

Paragraph 1: Lila sprinted out the door, the letter clutched in her hand.

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Paragraph 2: By sunset, the bookstore's front lawn was crowded.

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（1）阐释项目核心；

（2）介绍项目活动；

（3）强调参与价值。

注意：

1.写作词数应为80左右；

2.请按如下格式在答题纸的相应位置作答。

Dear students,

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Yours,

Li Hua

A traditional Chinese cultural exhibition at the City Art Gallery is showcasing works inspired by Chinese shadow puppetry (皮影戏) , has a history of over 2,000 years in China.

Chinese shadow puppetry is one of most ancient forms of storytelling through visual art. The vivid images of characters and the stories they tell reflect the wisdom and values of Chinese folk culture, according to Lin Hua, the curator (馆长) of the exhibition.

"The exhibition combines shadow puppetry culture, modern technology and contemporary art," says Lin. "We hope (show) the charm of this traditional art in a new way, and start conversations with modern art forms like installation art, multimedia art and pop art."

"In a shadow puppetry performance, each movement of the puppets is carefully designed. The performers use their skills to guide the puppets, leading the audience into a world (fill) with myths and legends," explains Chen Lei, a shadow puppetry performer participating in the exhibition.

"The performers' emotions (convey) through the puppets' actions, and their understanding of the stories is presented to the audience," she adds. "A skilled performer always (try) to make the performance touching, not just by the skills, also by the deep connection with the story."

Lin says that the unique shapes of the shadow puppets, the beauty in the (careful) arranged storylines, and the cultural meanings behind each character inspired artists to create paintings, sculptures, digital artworks for the exhibition. These works aim to let more people appreciate the charm of Chinese shadow puppetry in the context of modern art, (bridge) the gap between tradition and modernity.

We sorted items into three piles: keep, donate, and3. The "sell" pile included a vintage clock, a hand-knitted blanket, and an old camera. I took photos of these items and posted them online, hoping to4 them to people who'd appreciate them.

Days passed, and responses poured in. A woman messaged about the clock, asking for more5 — its age, condition, and whether it still worked. Another caller wanted to know if the blanket could be6 as a gift. As our moving day7, I felt a mix of sadness and relief.

Then came a8 that touched my heart: "I lost my grandma's clock last year. Your clock reminds me of her. Can I have it?" I agreed immediately. When she came to pick it up, her eyes9 up as she held the clock. "Thank you," she whispered, "this means so much."

10 by this experience, I started giving away more items for free. An elderly man took the old camera, sharing how he'd loved photography in his youth. Each exchange brought a sense of11 — these things weren't just objects; they were pieces of someone's past, now part of a new story.

Now, in our new apartment, the space feels12 but meaningful. I take13 in knowing that somewhere, the clock is keeping time for a new family, the blanket is warming someone's lap, and the camera is capturing new memories.

The process of letting go taught me that14 isn't about losing the past, but about15 it forward — allowing stories to continue in new hands.