黑體字部分我認為有問題，強加解釋處頗多。
By the second museum, I realized the solution was to roam the room with an audio guide, swooping in periodically, Montessori-style, lest it start feeling — to me — too much like homework.來到第二座博物館之前，我留意到語音導遊器是個好東西。它偶爾的穿插講解，像蒙台梭利(Montessori)的教育一樣潤物無聲，因為這場遊覽我最怕的就是變得像學校功課那樣刻意而乏味。http://cn.tmagazine.com/travel/20140801/t01london/zh-hant/
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世人總是拿着精確的審美標準線來提升孩子對一幅畫、一座紀念碑或一片風景的理解，卻不能幹脆任由她自己的能力去感受。如果我打斷她熱情洋溢的塗鴉，向她介紹我從《101年藝術史》(Art History 101)一書中了解到的一件作品，對她將是干擾，而非提升。http://cn.tmagazine.com/travel/20140801/t01london/zh-hant/《101年藝術史》(Art History 101)應該是錯誤的。
According to Books in Print, more books are now published with a title that begins with '101' than '100'. They usually describe or discuss a list of items, such as 101 Ways to... or 101 Questions and Answers About... . This marketing tool is used to imply that the customer is given a little extra information beyond books that include only 100 items. Some books have taken this marketing scheme even further with titles that begin with '102', '103', or '1001'. The number is used in this context as a slang term when referring to "a 101 document" what is usually referred to as a statistical survey or overview of some topic.
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OP-ED WRITER
Robin Williams, the Vulnerable Showman
By TIMOTHY EGAN August 15, 2014
http://cn.nytimes.com/opinion/20140815/c15egan/dual/
觀點
羅賓·威廉姆斯，那個脆弱的表演者
蒂莫西·伊根2014年08月15日
Every writer fears the blank page. Every comedian dreads silence at the end of a punch line. Every creative soul quivers at the prospect of brush touching canvas or fingers reaching for keyboards and finding — nothing.
每個作者都害怕空白的紙頁。每個笑星都擔心抖出包袱後出現沉默。每一個從事創作的人，想到畫筆碰到畫布，手指觸到鍵盤，卻無從下手的時候都會顫抖。
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at the end of a punch line 翻譯成"抖出包袱"，典故或許是：
一位相聲界元老曾說，放下包袱才能抖出 “ 包袱 ”，喜劇綜藝要做好，在把握住度的前提下讓觀眾適當減壓是關鍵。
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