Jean Wagner's most enduring contribution to the study of Afro-American

Hello, Lakshay and others. In the interest of helping the community, I would be happy to offer my thoughts on each question. On a personal note, I went 3/3. Question 1, with the reading of the passage factored in, took 1:46; question 2 took 1:03; and question 3 took 0:54. I record these times to emphasize the point that there should be no strict cutoff per question when you approach RC. I am not ashamed to admit that I have taken up to 4 minutes on a single question before (on a Hard passage)--not even the first question, mind you, so I cannot hide behind the excuse that I was reading the passage. I just wanted to read for accuracy, and my timing across the RC set was still around 2 minutes per question. Again, focus on improving your reading skills and question techniques first; timing can come later.

With that said, I will get right to the matter at hand.

QUESTION 1


The passage points out that Wagner added a religious interpretation or analysis to the existing secular one in the study of Afro-American poetry. There is no such contrast of theories presented in the passage. The very fact that the first line acknowledges that Wagner insists that the poetry in question be analyzed in a religious, as well as secular, frame of reference shows that the two theories are not incompatible, just that the established secular outlook mentioned at the end of the first paragraph missed the fusion, union, or intertwined nature of the religious and secular in Afro-American poetry, to borrow the language of the passage.


I probably spent the most time assessing this option, although it is a clear case of misdirection. I like the neutral document here. However, Wagner cannot be said to have influenced Afro-American poetry; rather, he writes about influences, both secular and religious, on Afro-American poetry.


According to the passage, the analysis of Wagner is not just relevant to the study of Afro-American poetry, but it has changed an established view of the lens through which such poetry should be interpreted. Furthermore, it is the study of Afro-American poetry, not religion, in which Wagner has played a seminal role. Yes, Wagner introduced the notion that religion should be considered when studying Afro-American poetry, but this is not the same thing as studying Afro-American religion itself. This is the kind of sleight of hand I would expect of a GMAT™ or GRE® answer choice.


Notice the lack of red. There is simply nothing to argue against here. The passage does indicate something. (Notice the toned-down language, a hallmark of correct responses in many main idea or primary purpose questions.) The passage also discusses how pivotal, or important, the work of Jean Wagner has been. Finally, the analysis matches up as well. Unlike the Afro-American religion of the previous answer choice, this one puts poetry front and center. An unassailable answer is the correct one.


Again, I have no problem with the opening word, present. But Wagner did not analyze Black spirituals. Instead, the analysis in question pertains to Afro-American poetry. This answer runs in a similar vein to (B), and it can be rejected on similar grounds.

QUESTION 2


This is a detail question, one that has a basis in a single line from the passage. If you need to answer a question that mentions Wesleyan hymnals, then find Wesleyan hymnals in the passage and stick to that information as closely as possible. (I call this keyword matching.) The first paragraph contains our line:

The appropriateness of such an approach may seem self-evident for a tradition commencing with spirituals and owing its early forms, rhythms, vocabulary, and evangelical fervor to Wesleyan hymnals.

This should be like knocking down ducks in a row (in a carnival game, not in real life). Which elements are mentioned, and which is the odd one out?


As odd as it may seem, this is the omitted element. Our four parts from the above line are forms, rhythms, vocabulary, and evangelical fervor. If you are unsure whether subject matter is the same as maybe forms, then you could yellow-light the answer for the time being and see if you can get rid of other, more obviously INCORRECT answer choices.


This sounds an awful lot like vocabulary to me. Let this one bow out of the running.


No one should be picking this answer, as rhythms are explicitly mentioned as the second item in the list above.


Structure is synonymous with form from the excerpt. Although the two are not always linked in this way--you would not talk about an architectural form in reference to a building, for example--the context makes it clear enough that of the four elements from the line above, this one matches up with forms. Thus, we need to look elsewhere for our exception.


Another answer choice that requires a little vocabulary-flexing. Here, tone pairs perfectly well with fervor. The tone of a speech or passage is the manner in which the speaker or author approaches the task at hand, with an eye on the audience and how the words may be perceived. Likewise, the evangelical fervor mentioned above might make you think of impassioned speakers--maybe televangelists pushing religion, or salespeople getting a rise out of the audience to sell a product or service--and the effect they hope their delivery will have. If you had any doubts about (A) before, now would be the time to go back and pick it.

QUESTION 3


This is almost a reiteration of the main idea. We should understand by the third question that Wagner introduced the notion of analyzing the influence of religion, as well as secular sources, in the study of Afro-American poetry. Since the question asks specifically about the study of such poetry before Wagner, we need to find a line that references time in some way, either pre- or post-Wagner. The last line of the first paragraph fits the bill:

But before Wagner a secular outlook that analyzed Black poetry solely within the context of political and social protest was dominant in the field.

We have our anchor in the text, so we are ready to find the answer that matches.


This sounds important, but the line above does not discuss spearheading political movements based on poetry. It mentions merely that before Wagner, a secular outlook, rather than an integrated outlook, dominated the field.


Again, no red. There is no absolute or definitive language. The padded at least some works, given that we know from the passage that Wagner is praised for his analysis of both religious and secular influences on Afro-American poetry. What was missing before was the acknowledgment of such religious influences. This is our answer.


A full analysis would have covered the various influences that Wagner had to come along and point out. But beyond this, if you look at the part of the passage that discusses the Black spiritual, you see that it mentions only racial issues and racial problems, which is not the same as saying all aspects of social protest. Keep moving.


It is not that previous students failed to appreciate anything having to do with emotionalism. The issue is one of religious influence. For this to be the correct answer, you would have to find something in the text to justify it. You cannot simply conjure up something that sounds pertinent. There is just no basis for this claim in the passage. (If you can find a line, you have better eyes than I.)


Like the previous answer, this one has no grounding in the passage. Previous students overlooked religious influences on Afro-American poetry, plain and simple. All this mumbo-jumbo about complexity and technical elements is nothing more than important-sounding fluff.

I hope that helps the community. I do not typically respond to RC requests, not because I do not enjoy the questions, but it takes a long time to respond to several of them at once and provide thoughtful analyses.

Anyway, best of luck to you in your studies.

- Andrew