Selectivity in Willa Cather's opinion, is the principle most crucial to the novelist's craft. On every level, from choice of subject to choice of form to choice of individual word, selections, she argued, must constantly be made. Cather thus could not agree With Walt Whitman that all subjects, from the ocean's imperious waves to flyspecks on the wall, were of equal worth_ She felt that Whitman wrote "reckless rhapsodies" whose veneration for all things, sublime and ridiculous, although very nearly convincing, in the end simply proved his weakness as a poet and showed that he had "no literary ethics at all beyond those of nature." Lacking finer discriminations, she felt, he enjoyed everything with boyish enthusiasm—and never quite grew up.
Cather's own experiences made her acutely aware of the distinction between the person trained to write equally well on all subjects, the journalist, and the creative novelist who works' best only with subjects of deep personal involvement. Having entered journalism to learn the skills necessary for her desired career as a writer, she later branded journalism "the vandalism of literature." The newspaper in particular lowered art to the level of a trade; devouring intellect and talent, it returned only gossip. Journalism, she declaimed in a bitter moment, "is written by machines, set by machines, and read by machines. No one can write long for any Journal in this country without for the most part losing that precious thing called style. Newspapers have no style and want none. A newspaper writer should have no more individuality than those clicking iron machines that throw the type together." Cather believed too that the artist must resist writing without first reflecting. Only those subjects above the hubbub of life and that persist in demanding expression may be heeded; by this reticence the true, the genuine, and the significant would prevail.
Cather suggests some of these views in her essay "The Novel Derneubl'' (the unfurnished novel), which calls for a novel stripped of excess events and language. In this essay Cather argued that the value of description is “in inverse relation” to its length, and that the presentation of information must not be the major aim of fiction. Writers, she feared, were led astray by a false analogy with landscape painters, who filled every inch of canvas with detail. Such a method was self-defeating in fiction, Cather felt, for the eye could take in an entire canvas at a single glance, but the printed page must be read particularly particular, and excess detail "is likely to overtax the memory and blur the ultimate clearness of the picture." For this reason "a few masterly strokes suffice." and the writer's ability is measured by what is felt to be on the page without its actually being there.
1. The author's main purpose in the passage is to (A) argue for a new estimation of Cather's contribution to literature
(B) present to the reader some of the differences between journalism and literature
(C) summarize Cather's essay "The Novel Demeubli"
(D) urge writers to follow Cather's example in writing novels
(E) outline some of Cather's ideas about the art of the novel
2. According to the passage, Cather criticized Walt Whitman for what she felt was his lack of (A) imagination
(B) maturity
(C) morality
(D) ambition
(E) humility
3. It can be inferred from the passage that Cattier would regard which of the Following as most essential for a creative novelist?(A) Economic security
(B) Controversial beliefs
(C) Knowledge of other writers
(D) Isolation from current events
(E) Personal involvement with a subject
4. The quotation from Cather in lines 25-31 (Highlighted: Is written by .......... type together) is best described as an example of (A) humor
(B) understatement
(C) caustic exaggeration
(D) heightened selectivity
(E) sensitive perception
5. The author suggests that Cather thought that the abundant use of detail in landscape painting was valid in that medium because (A) landscape paintings are meant to convey information
(B) abundant detail is representative of our actual perceptions of landscape
(C) the details can be seen and comprehended immediately
(D) viewers object to paintings that attempt to abstract only the most significant details of a scene
(E) viewers can easily scan a painting again to pick out further details
6. It can be inferred from the passage that Cather's hostility to journalism arose from her(A) desire to reform readers' tastes
(B) dislike for the common newspaper reader
(C) lack of success in the field
(D) personal conflict with newspaper editors
(E) frustration with the demands of the medium
7. The passage suggests that Cather became a journalist in order to (A) learn to write dispassionately on a variety of subjects
(B) write critical essays on the fine arts
(C) change the artistic repute of journalists
(D) gather material for a book on the publishing industry
(E) improve her prospects for success as a writer
8. Which of the following best summarizes the sup-porting logic of Cather's assertion that the value of description is "In inverse relation" (Highlighted) to its length? (A) The longer the description, the less the dialogue that can be presented.
(B) The longer the description, the less the action that can take place.
(C) The longer the description, the less clear its overall effect.
(D) The longer the description, the more particular the viewpoint forced on the reader.
(E) The longer the description, the more unemotional the description.