Despite the great differences among the cultures from which we spring,

Despite the great differences among the cultures
from which we spring, there is a trait shared by many
Hispanic-American writers: the use of a European
language, Spanish, transplanted to the Western
(5) hemisphere. This fact has marked our literature
profoundly and radically. We Hispanic Americans who
write in Spanish have attempted from the beginning to
break the ties of dependency that linked us with the
literature of Spain. We have pursued this goal of ever-
(10) increasing independence through a twofold move
-ment, seeking to adopt the literary forms and styles in
vogue in other European and North American literatures,
and endeavoring to describe the nature of the United States
and give voice to the Hispanic peoples who live there.
(15) These often conflicting tactics can be described as
cosmopolitanism and nativism, respectively.

The opposition between cosmopolitanism and
nativism has divided the Hispanic-American literary
consciousness for generations. For example, the work
(20) of one Mexican-American novelist was praised by
some Hispanic-American critics for its skillful
adaptation of European literary techniques but
criticized for its paucity of specifically Mexican
American settings or characters. On the other hand, a
(25) Cuban-American novel was admired by other Hispanic
American critics for the vivid portrayal of its
characters’ daily lives but faulted for its “roughness” of
form and language.

Cosmopolitanism is the venturing forth into the
(30) public or mainstream culture; nativism, the return to
the private or original culture. There are periods in
which the outward-oriented sensibility predominates,
and others in which tendencies toward self-absorption
and introspection prevail. An example of the former
(35) was the rich period of the avant-garde between 1918
and 1930. This was a time of searching and
experimentation, when successive European
movements from expressionism to surrealism—
movements that were also inspiring other North
(40) American writers—had a profound influence on many
Hispanic-American poets and novelists. This phase,
which produced a number of outstanding works of
exceptional boldness of expression, was followed by
another characterized by a return to our peoples and
(45) our colloquial dialects, by the creation of works less
indebted to current trends in the mainstream culture.
Throughout our history, a concern for novelty and
experimentation has been followed by a return to
origins.

(50) We contemporary Hispanic-American writers who
write in Spanish live somewhere between the European
tradition and the reality of the Americas. Our roots may
be European, but our horizon is the land and history of
the Americas. This is the challenge that we confront
(55) each day: in order to appreciate the value of one’s
own culture, one must first venture forth into the public
sphere; in order not to disappear into the mainstream,
one must return to one’s origins. In this way, we
attempt to reconcile the opposing tendencies of
(60) cosmopolitanism and nativism.

1. Which one of the following statements most accurately expresses the passage’s main point?

(A) Although differing in culture, style, and content, the various branches of Hispanic-American literature are linked by their shared use of the Spanish language, a condition that gives them a strong connection to their European heritage.
(B) Many Hispanic-American writers have attempted to separate their literature from that of Spain through a mixture of cosmopolitanism and nativism, conflicting tendencies that alternately dominate Hispanic-American literature.
(C) Many Hispanic-American writers attempt to reconcile the opposing tendencies of cosmopolitanism and nativism by beginning their careers writing European-influenced novels and later switching to works that utilize specifically Hispanic-American settings.
(D) Despite statements by literary critics to the contrary, the cosmopolitanist and nativist tendencies in Hispanic-American literature do not compete with one another for dominance even though they occur concurrently.
(E) If Hispanic-American literature is to achieve its full potential, it must reconcile the conflicting tendencies of cosmopolitanism and nativism that have isolated writers of differing cultures from one another.

2. According to the passage, many of the Hispanic-American literary works produced between 1918 and 1930 were especially notable for their

(A) unusual expressiveness
(B) use of colloquial language
(C) unprecedented reliance on Spanish literary forms
(D) introspective quality
(E) reduced emphasis on current trends in mainstream North American culture

3. According to the passage, the nativist tendency represents an attempt to

(A) experiment with form and style to illustrate the range of Hispanic-American literary achievement
(B) adapt the forms and styles of other literatures to the exploration of Hispanic-American themes
(C) transform the Spanish language into an apt vehicle for any theme
(D) align Hispanic-American literature with other North American literary movements
(E) depict the experiences of various Hispanic peoples in U.S. settings

4. It can be inferred from the passage that the Hispanic-American literature written in Spanish in the period immediately following 1930 was most likely characterized by

(A) narrative experimentation
(B) expressionistic tendencies
(C) surreal imagery
(D) use of mainstream literary forms
(E) greater naturalness of expression

5. The author of the passage suggests that contemporary Hispanic-American writers who write in Spanish are

(A) continually confronted by cosmopolitanist and nativist influences
(B) writing more works in the nativist mode than in the cosmopolitanist mode
(C) unaffected by the debate between cosmopolitanism and nativism that previous generations experienced
(D) uncertain whether cosmopolitanism and nativism will help achieve their literary goals
(E) cleanly and strongly divided into cosmopolitanist and nativist camps

6. Based on the passage, the author’s attitude toward nativism in Hispanic-American literature is most likely

(A) enthusiastic support
(B) general approval
(C) reluctant acceptance
(D) strong skepticism
(E) clear disapproval

7. The primary purpose of the passage is to

(A) illustrate a general problem of literature by focusing on a particular culture’s literature
(B) illuminate a point of tension in a particular culture’s literature
(C) summarize the achievements of a particular culture’s literature
(D) provoke a discussion of the political aspect of literature by focusing on a particular culture’s literature
(E) refute a prevailing assumption about the development of a particular culture’s literature