I decided to begin the terms work with the short story since that for

I decided to begin the term’s work with the short story since that form would be the easiest for [the police officers], not only because most of their reading up to then had probably been in that genre, but also because a study of the reaction of people to various situations was something they relied on in their daily work.

The officer must remain neutral and clearly try to present a picture of the facts, while the artist usually begins with a preconceived message or attitude which is then transmitted through the use of carefully selected details of action described in words intended to provoke associations and emotional reactions in the reader. Only at the end of the term did the officer point out to me that he and his men also try to evaluate the events they describe and that their description of a sequence of events must of necessity be structured and colored by their understanding of what has taken place.

The policemen’s reactions to events and characters in the stories were surprisingly unprejudiced. They did not object to writers whose stories had to do with their protagonist’s rebellion against society’s accepted values. Nor did stories in which the strong father becomes the villain and in which our usual ideals of manhood are turned around offend them. The many hunters among my students readily granted the message in those hunting tales in which sensitivity triumphs over male aggressiveness, stories that show the boy becoming a man because he fails to shoot the deer, goose, or catbird. The only characters they did object to were those they thought unrealistic. As the previous class had done, this one also excelled in interpreting the ways in which characters reveal themselves, subtly manipulate and influence each other; they, too, understood how the story usually saves its insight, its revelation, for the end.

This almost instinctive grasp of the writing of fiction was revealed when the policemen volunteered to write their own short stories. They not only took great pains with plot and character, but with style and language. The stories were surprisingly well written, revealing an understanding of what a solid short story must contain: the revelation of character, the use of background description and language to create atmosphere and mood, the need to sustain suspense and yet make each event as it occurs seem natural, the insight achieved either by the characters in the story or the reader or both. They tended to favor surprise endings. Some stories were sheer fantasies, or derived from previous reading, films, or television shows. Most wrote stories, obviously based on their own experiences, that revealed the amazing distance they must put between their personal lives and their work. These stories demonstrated how clearly, almost naively, these policemen wanted to continue to believe in some of the so-called American virtues—that courage is worth the effort and will be admired; that hard work will be rewarded; that life is somehow good; and that, despite the weariness, boredom, and occasional ugliness and danger, despite all their dislike of most of their routine and despite their own occasional grousing and complaints, they somehow did like being cops; that life, even in a chaotic and violent world, is worth it after all.

1. Compared to the artist, the policeman is

(A) ruled by action, not words
(B) factual and not fanciful
(C) neutral and not prejudiced
(D) stoic and not emotional
(E) aggressive and not passive


2. Policemen reacted to story events and characters

(A) like most other people
(B) according to a policeman’s stereotyped image
(C) like dilettantes
(D) unrealistically
(E) without emotion


3. To which sort of characters did policemen object?

I. Unrealistic
II. Emotional
III. Sordid

(A) I only
(B) II only
(C) I and II only
(D) II and III only
(E) I, II, and III


4. The instructor chose the short story because

I. it was easy for the students
II. students had experience with it
III. students would enjoy it

(A) I only
(B) II only
(C) I and II only
(D) II and III only
(E) I, II, and III