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Can you share a sentence from the RC passage, maybe I Can help you find a FORUM discussion for it. I usually rely on it when Im in despair.
READINGARTICLE 2
Richard L. Jackson’s most recent book,
Black Writers in Latin America,
continues the task of his previous
project, The Black Image in Latin
American Literature. But whereas the
earlier work examined ethnic themes in
the writings of both black and non-black
authors, the new study examines only
black writers living in Latin America
(that is, African Hispanic writers).
Consequently, there is a shift in
emphasis. While the earlier book
studied various attitudes toward black
people in Latin America as revealed in a
wide range of literature, the later work
examines the black representation of
black consciousness in Spanish
American literature from the early
nineteenth century to the present.
In Black Writers in Latin America,
Jackson states that “personal
identification with blackness and
personal experience with the black
experience have a great deal to do with
a black writer’s choice of words,
symbols, and images.” He goes on to
argue that only black writers have the
necessary insight and mastery of the
appropriate techniques to depict their
situation authentically. In this regard,
Jackson joins a number of other North
American critics who tend to
conceptualize African Hispanic
literature as culturally autonomous,
with its own style and themes deriving
primarily from the experience of in
African Hispanic history. Critics
influenced by the Latin American ideal
of racial blending, on the other hand,
believe that black and non-black writers
share the same cultural context and
that, given comparable talent, both are
equally equipped to overcome their
ethnocentrism. Although Jackson clearly
embraces the North American
perspective, he does concede in his
introduction that most African Hispanic
writers espouse integration rather than
separatism.
At times Jackson’s own analysis reveals
the problems inherent in using ethnicity
as the primary basis for critical
judgment: the textual evidence he cites
sometimes subverts the intent to find
commontendencies among all writers
of a particular racial group. For example,
in his chapter on Nicolás Guillén,
Jackson attempts to dissociate the black
Cuban poet from the Negrista
movement, claiming that “rather than
associate Guillén with poetic Negrism,
weshould see his dramatic conversion
to blackness in the late 1920s and early
1930s as a reaction against this white
literary fad that was sweeping the
world.” Admittedly, several of Guillén’s
poems from the 1920s show an
awareness of social ills like poverty,
unemployment, and racial
discrimination that is absent from the
work of peers influenced by the Negrista
movement. But it is difficult to argue
that Guillén’s portraits of black people in
poems from the early 1930s such as
“Canto negro” and “Rumba” are more
authentic and less superficial than those
in Luis Palés Matos’s “Danza negra” or
Emilio Ballagas’s “Elegía de María Belén
Chacón.” This effort to distance Guillén
from his Hispanic colleagues thus fails,
given the very texts Jackson uses to
demonstrate his points
3. Which one of the following, if true,
would most seriously undermine
Jackson’s use of ethnicity as a basis for
critical judgment of African Hispanic
literature?
(A) Several nineteenth-century authors
whose novels Jackson presents as
reflecting the black experience in Latin
America have been discovered to have
lived in the United States before moving
to Central America.
(B) Luis Palés Matos, Emilio Ballagas, and
several other Hispanic poets of the
Negrista movement have been shown to
have plagiarized the work of African
Hispanic poets.
(C) It has been discovered that African
Hispanic authors in Latin America over
the last two centuries usually developed
as writers by reading and imitating the
works of other black writers.
(D) A significant number of poems and
novels in which early-twentieth-century
Hispanic writers consider racial
integration have been discovered.
(E) Several poems that are presented by
Jackson as authentic portraits of the
black experience have been discovered
to be misattributed to black poets and
can instead be traced to non-black
poets
I’m wondering this question