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SAT Section One : Critical Reading Sample Questions:

1. Your knowledge of English Literature--to which I am indebted for the first faithful and intelligent translation
of my novels into the Italian language--has long since informed you, that there are certain important social
topics which are held to be forbidden to the English novelist (no matter how seriously and how delicately
he may treat them), by a narrow-minded minority of readers, and by the critics who flatter their prejudices.
You also know, having done me the honor to read my books; that I respect my art far too sincerely to
permit limits to be wantonly assigned to it, which are imposed in no other civilized country on the face of
the earth. When my work is undertaken with a pure purpose, I claim the same liberty which is accorded to
a writer in a newspaper, or to a clergyman in a pulpit; knowing, by pre- vious experience, that the increase
of readers and the lapse of time will assuredly do me justice, if I have only written well enough to deserve
it.
Which statement least describes the author's feelings about English critics?

A) They think more of their artificial airs than of dealing with current social issues.
B) They are not educated enough to understand the social implications of these writings.
C) They do not know how to deal with enlightened authors so they forbid the reading of them.
D) They are wont to hold others who express views in various forums to the same restrictions as literary
authors.
E) They wish their country to remain sheltered and backward by restricting authors' freedoms.

2. This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century. Abe Kobo is
one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-ranging than
that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is infused with the
passion and strangeness of his experiences in Manchuria, which was a Japanese colony on mainland
China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944--just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera.
He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the
militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group
of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting
black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It
was a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be
more accurate to say that the novel simply marked a turning point in his career, when Abe turned away
from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to
furusato and the emperor after all, but rather began a somewhat more realistic exploration of his
continuing obsession with homelessness and alienation. Not completely a stranger to his earlier
commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual
of Japan's rapidly urbanizing, growth driven, increasingly corporate society.
Which of the following does the passage present as a fact?

A) Abe was a better playwright than novelist.
B) Abe's early work was of greater quality than his later work.
C) The themes of furusa to and the emperor have precluded Japanese literature from playing a major role
in world literature.
D) The group of avant-garde artists of which Abe was a part were influenced by Marxism.
E) Abe's work is richer than his contemporaries' because he included auto bio graphical elements.

3. (1) On my nineteenth birthday, I began my trip to Mali, West Africa.
(2) Some 24 hours later I arrived in Bamako, the capital of Mali.
(3) The sun had set and the night was starless.
(4) One of the officials from the literacy program I was working was there to meet me.
(5) After the melee in the baggage claim, we proceeded to his car.
(6) Actually, it was a truck.
(7) I was soon to learn that most people in Mali that had automobiles actually had trucks or SUVs.
(8) Apparently, there not just a convenience but a necessity when you live on the edge of the Sahara.
(9) I threw my bags into the bed of the truck, and hopped in to the back of the cab.
(10) Riding to my welcome dinner, I stared out the windows of the truck and took in the city.
(11) It was truly a foreign land to me, and I knew that I was an alien there.
(12) "What am I doing here?" I thought.
(13) It is hard to believe but seven months later I returned to the same airport along the same road that I
had traveled on that first night in Bamako, and my perspective on the things that I saw had completely
changed.
(14) The landscape that had once seemed so desolate and lifeless now was the homeland of people that I
had come to love.
(15) When I looked back at the capital, Bamako, fast receding on the horizon, I did not see a city
foreboding and wild in its foreignness.
(16) I saw the city which held so many dear friends.
(17) I saw tea drinking sessions going late into the night.
(18) I saw the hospitality and open- heartedness of the people of Mali.
(19) The second time, everything looked completely different, and I knew that it was I who had changed
and not it.
Which of the following must be done to sentence 8 (reproduced below) to make it conform to the rules of
written English? Apparently, there not just a convenience but a necessity when you live on the edge of the
Sahara.

A) Change "there" to "they are"
B) Add "Desert" after "Sahara"
C) Eliminate the comma after "Apparently"
D) Add commas after "convenience" and "necessity"
E) Change "you live" to "one lives"

4. Scott Fitzgerald was a prominent American writer of the twentieth century. This passage comes from one
of his short stories and tells the story of a young John Unger leaving home for boarding school.
John T. Unger came from a family that had been well known in Hades a small town on the Mississippi
River for several generations. John's father had held the amateur golf championship through many a
heated contest; Mrs. Unger was known "from hot-box to hot-bed," as the local phrase went, for her
political addresses; and young John T. Unger, who had just turned sixteen, had danced all the latest
dances from New York before he put on long trousers.
And now, for a certain time, he was to be away from home That respect for a New England education
which is the bane of all provincial places, which drains them yearly of their most promising young men,
had seized upon his parents.
Nothing would suit them but that he should go to St. Midas's School near Boston--Hades was too small to
hold their darling and gifted son. Now in Hades--as you know if you ever have been there the names of
the more fashionable preparatory schools and colleges mean very little. The inhabitants have been so
long out of the world that, though they make a show of keeping up-to-date in dress and manners and
literature, they depend to a great extent on hearsay, and a function that in Hades would be considered
elaborate would doubtless be hailed by a Chicago beef-princess as "perhaps a little tacky." John T. Unger
was on the eve of departure. Mrs. Unger, with maternal fatuity, packed his trunks full of linen suits and
electric fans, and Mr. Unger presented his son with an asbestos pocket-book stuffed with money.
"Remember, you are always welcome here," he said. "You can be sure, boy, that we'll keep the home
fires burning." "I know," answered John huskily.
"Don't forget who you are and where you come from," continued his father proudly, "and you can do
nothing to harm you. You are an Unger--from Hades."
So the old man and the young shook hands, and John walked away with tears streaming from his eyes.
Ten minutes later he had passed outside the city limits and he stopped to glance back for the last time.
Over the gates the old-fashioned Victorian motto seemed strangely attractive to him. His father had tried
time and time again to have it changed to something with a little more push and verve about it, such as
"Hades--Your Opportunity," or else a plain "Welcome" sign set over a hearty handshake pricked out in
electric lights. The old motto was a little depressing, Mr. Unger had thought--but now.
So John took his look and then set his face resolutely toward his destination. And, as he turned away, the
lights of Hades against the sky seemed full of a warm and passionate beauty.
The phrase "maternal fatuity", suggests that

A) John never enjoyed linen suits or electric fans.
B) John resented his mother packing for him.
C) John's mother was excessively doting.
D) John's mother packed frantically and ineffectively.
E) John will not need linen suits and electric fans at St. Midas's.

5. Mathew ascended three flights of stairs--passed half-way down a long arched gallery--and knocked at
another old-fashioned oak door. This time the signal was answered. A low, clear, sweet voice, inside the
room, inquired who was waiting without? In a few hasty words Mathew told his errand. Before he had
done speaking the door was quietly and quickly opened, and Sarah Leeson confronted him on the
threshold, with her candle in her hand.
Not tall, not handsome, not in her first youth--shy and irresolute in manner--simple in dress to the utmost
limits of plainness--the lady's-maid, in spite of all these disadvantages, was a woman whom it was
impossible to look at without a feeling of curiosity, if not of interest. Few men, at first sight of her, could
have resisted the desire to find out who she was; few would have been satisfied with receiving for answer,
She is Mrs. Treverton's maid; few would have refrained from the attempt to extract some secret
information for themselves from her face and manner; and none, not even the most patient and practiced
of observers, could have succeeded in discovering more than that she must have passed through the
ordeal of some great suffering at some former period of her life. Much in her manner, and more in her face,
said plainly and sadly: I am the wreck of something that you might once have liked to see; a wreck that
can never be repaired--that must drift on through life unnoticed, unguided, unpitied--drift till the fatal shore
is touched, and the waves of Time have swallowed up these broken relics of me forever.
This was the story that was told in Sarah Leeson's face--this, and no more. No two men interpreting that
story for themselves, would probably have agreed on the nature of the suffering which this woman had
undergone. It was hard to say, at the outset, whether the past pain that had set its ineffaceable mark on
her had been pain of the body or pain of the mind. But whatever the nature of the affliction she had
suffered, the traces it had left were deeply and strikingly visible in every part of her face.
Her cheeks had lost their roundness and their natural color; her lips, singularly flexible in movement and
delicate in form, had faded to an unhealthy paleness; her eyes, large and black and overshadowed by
unusually thick lashes, had contracted an anxious startled look, which never left them and which piteously
expressed the painful acuteness of her sensibility, the inherent timidity of her disposition. So far, the
marks which sorrow or sickness had set on her were the marks common to most victims of mental or
physical suffering. The one extraordinary personal deterioration which she had undergone consisted in
the unnatural change that had passed over the color of her hair.
It was as thick and soft, it grew as gracefully, as the hair of a young girl; but it was as gray as the hair of an
old woman. It seemed to contradict, in the most startling manner, every personal assertion of youth that
still existed in her face. With all its haggardness and paleness, no one could have looked at it and
supposed for a moment that it was the face of an elderly woman. Wan as they might be, there was not a
wrinkle in her cheeks. Her eyes, viewed apart from their prevailing expression of uneasiness and timidity,
still preserved that bright, clear moisture which is never seen in the eyes of the old. The skin about her
temples was as delicately smooth as the skin of a child. These and other physical signs which never
mislead, showed that she was still, as to years, in the very prime of her life.
Sickly and sorrow-stricken as she was, she looked, from the eyes downward, a woman who had barely
reached thirty years of age. From the eyes upward, the effect of her abundant gray hair, seen in
connection with her face, was not simply incongruous--it was absolutely startling; so startling as to make it
no paradox to say that she would have looked most natural, most like herself if her hair had been dyed. In
her case, Art would have seemed to be the truth, because Nature looked like falsehood.
What shock had stricken her hair, in the very maturity of its luxuriance, with the hue of an unnatural old
age? Was it a serious illness, or a dreadful grief that had turned her gray in the prime of her womanhood?
That question had often been agitated among her fellow-servants, who were all struck by the peculiarities
of her personal appearance, and rendered a little suspicious of her, as well, by an inveterate habit that
she had of talking to herself. Inquire as they might, however, their curiosity was always baffled. Nothing
more could be discovered than that Sarah Leeson was, in the common phrase, touchy on the subject of
her gray hair and her habit of talking to herself, and that Sarah Leeson's mistress had long since forbidden
every one, from her husband downward, to ruffle her maid's tranquility by inquisitive questions.
The phrase "Sickly and sorrow-stricken" is an example of which literary device?

A) intonation
B) repetition
C) alliteration
D) assonance
E) parallelism

Solutions: