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考研英语阅读经典试题及答案
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Roger
Rosenblatt
’
s book Black
Fiction, in attempting to apply literary
rather
than
sociopolitical
criteria
to
its
subject,
successfully
alters
the
approach taken by most
previous studies. As Rosenblatt notes, criticism
of Black writing has often served as a
pretext for expounding on Black
history. Addison
Gayle
’
s recent work, for
example, judges the value of
Black
fiction by overtly political standards, rating
each work according to
the notions of
Black identity which it propounds.
Although
fiction
assuredly
springs
from
political
circumstances,
its
authors react to those
circumstances in ways other than ideological, and
talking
about
novels
and
stories
primarily
as
instruments
of
ideology
circumvents
much
of
the
fictional
enterprise.
Rosenblatt
’
s
literary
analysis
discloses
affinities
and
connections
among
works
of
Black
fiction which solely
political studies have overlooked or ignored.
Writing
acceptable
criticism
of
Black
fiction,
however,
presupposes
giving satisfactory answers to a number
of questions. First of all, is there
a
sufficient reason, other than the facial identity
of the authors, to group
together works
by Black authors? Second, how does Black fiction
make
itself
distinct
from
other
modern
fiction
with
which
it
is
largely
contemporaneous?
Rosenblatt
shows
that
Black
fiction
constitutes
a
distinct body of writing that has an
identifiable, coherent literary tradition.
Looking
at
novels
written
by
Black
over
the
last
eighty
years,
he
discovers
recurring
concerns
and
designs
independent
of
chronology.
These structures are thematic, and they
spring, not surprisingly, from the
central
fact
that
the
Black
characters
in
these
novels
exist
in
a
predominantly white culture, whether
they try to conform to that culture
or
rebel against it.
Black Fiction does leave
some aesthetic questions open.
Rosenblatt
’
s
thematic
analysis
permits
considerable
objectivity;
he
even
explicitly
states that it is not his intention to
judge the merit of the various works
—
yet
his
reluctance
seems
misplaced,
especially
since
an
attempt
to
appraise might have led to interesting
results. For instance, some of the
novels appear to be structurally
diffuse. Is this a defect, or are the authors
working
out
of,
or
trying
to
forge,
a
different
kind
of
aesthetic?
In
addition,
the
style
of
some
Black
novels,
like
Jean
Toomer
’
s
Cane,
verges
on
expressionism
or
surrealism;
does
this
technique
provide
a
counterpoint to the prevalent theme
that portrays the fate against which
Black
heroes
are
pitted,
a
theme
usually
conveyed
by
more
naturalistic
modes of
expression?
In
spite
of
such
omissions,
what
Rosenblatt
does
include
in
his
discussion
makes
for
an
astute
and
worthwhile
study.
Black
Fiction
surveys a wide variety of novels,
bringing to our attention in the process
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