For decades, there has been a deep rift between poetry and fiction in

Got 8/8 during 7'27s

1. Four paragraphs. The first 2 stating the background information of segregation between poet and fiction in the US and the reason behind that rift: "The answer lies perhaps in a widespread attitude in U.S. culture, which often casts a suspicious eye on the generalist. Those with knowledge and expertise in multiple areas risk charges of dilettantism, as if ability in one field is diluted or compromised by accomplishment in another."

The third paragraph states that the aforementioned trend is reversing, put out an example of Rita Dove

The last one provides details of how Dove "blends" poetry and fiction: She combine two genres by writing both, and using the element of a genre to compose works of the other (genre).

(A) Rita Dove’s work has been widely acclaimed primarily because of the lyrical elements she has introduced into her fiction.
Nope. The paragraphed only states that Dove is respected for her works in both genres and does not provide any detailed reason behind that respect.

(B) Rita Dove’s lyric narratives present clusters of narrative detail in order to create a cumulative narrative without requiring the reader to interpret it in a linear manner.
Wrong information. "(...invokes emotion and inner states) without requiring the reader to interpret it in a linear manner" is a quality of "being lyrical", while "present clusters of narrative detail" is that of fiction.

(C) Working against a bias that has long been dominant in the U.S., recent writers like Rita Dove have shown that the lyrical use of language can effectively enhance narrative fiction.
Rita Dove doesn't compose to "work against a bias", she just happen to cross the boundary between poetry and fiction in the US and "expressed gentle incredulity about the habit of segregating the genres".
Additionally, Dove does not show that "the lyrical use of language can effectively enhance narrative fiction".

(D) Unlike many of her U.S. contemporaries, Rita Dove writes without relying on the traditional techniques associated with poetry and fiction.
Yes she did. The difference here is that she's fusing techniques in both genres on her works.

(E) Rita Dove’s successful blending of poetry and fiction exemplifies the recent trend away from the rigid separation of the two genres that has long been prevalent in the U.S.
Match our pre-thinking.


2. The example should have two characteristics: Providing two profoundly segregated genres of work within a field
Having some kind of "crossing the boundaries" between the two

(A) A chef combines nontraditional cooking methods and traditional ingredients from disparate world cuisines to devise new recipes.
Comparing "cooking methods" and "traditional ingredients" - they are not so segregated.

(B) A professor of film studies becomes a film director and succeeds, partly due to a wealth of theoretical knowledge of filmmaking.
No segregation here.

(C) An actor who is also a theatrical director teams up with a public health agency to use street theater to inform the public about health matters.
An actor "teams up" with PHA. Not a preferable choice.

(D) A choreographer defies convention and choreographs dances that combine elements of both ballet and jazz dance.
Yes, this is what we need.

(E) A rock musician records several songs from previous decades but introduces extended guitar solos into each one.
Nope, no segregation here either.

3.

(A) poetry should not involve characters or narratives
Yes. "Both poets and writers of fiction have tended to support this separation, in large part because the current conventional wisdom holds that poetry should be elliptical and lyrical, reflecting inner states and processes of thought or feeling, whereas character and narrative events are the stock-in-trade of fiction." - as stated in the passage

(B) unlike the writing of poetry, the writing of fiction is rarely an academically serious endeavor
No where stated in the passage. In fact, the passage stated that "why have specialized education and literary territoriality resulted from this distinction?" - implying that academics pay equal attention to both genres.

(C) graduate writing programs focus on poetry to the exclusion of fiction
Not mentioned in the passage

(D) fiction is most aesthetically effective when it incorporates lyrical elements
Not mentioned in the passage

(E) European literary cultures are suspicious of generalists
THE US is suspicious of generalists, while Germany (an EU country) doesn't really care.


4. THe author stated that "Fortunately, there are signs that the bias against writers who cross generic boundaries is diminishing", which means that he's against this segregation.

(A) perplexity as to what could have led to the development of such a rift
He actually provided reasons for this phenomenon.

(B) astonishment that academics have overlooked the existence of the rift
He doesn't display anything relating to this view.

(C) ambivalence toward the effect the rift has had on U.S. literature
The effect of the rift on US literature is not discussed here

(D) pessimism regarding the possibility that the rift can be overcome
He's already cited Dove as an example of overcoming this rift.

(E) disapproval of attitudes and presuppositions underlying the rift
Yes. Remember, the author used the term "fortunately".

5. The reason for this segregation, as per the passage, is "a widespread attitude in U.S. culture, which often casts a suspicious eye on the generalist. Those with knowledge and expertise in multiple areas risk charges of dilettantism, as if ability in one field is diluted or compromised by accomplishment in another".

(A) poets and fiction writers each tend to see their craft as superior to the others’ craft
(B) the methods used in training graduate students in poetry are different from those used in training graduate students in other literary fields
(C) publishers often pressure writers to concentrate on what they do best
(D) a suspicion of generalism deters writers from dividing their energies between the two genres
(E) fiction is more widely read and respected than poetry

6.

(A) suggest that the habit of treating poetry and fiction as nonoverlapping domains is characteristic of English-speaking societies but not others
Not stated anywhere in the passage

(B) point to an experience that reinforced Dove’s conviction that poetry and fiction should not be rigidly separated
Yes. Dove displayed a gentle incredulity about the habit of segregating the genres in one of a speech, and recalled her childhood memories and her time in Germany to support her view.

(C) indicate that Dove’s strengths as a writer derive in large part from the international character of her academic background
Her past is not used in the passage as evidences explaining her strengths.

(D) present an illuminating biographical detail about Dove in an effort to enhance the human interest appeal of the passage
Nope.

(E) indicate what Dove believes to be the origin of her opposition to the separation of fiction and poetry in the U.S.
The passage used the phrase "she observes" - which means that these memories are recalled by Dove, not stated by the author to indicate anything about Dove.

7.

(A) Each of Dove’s works can be classified as either primarily poetry or primarily fiction, even though it may contain elements of both.
Yes. The passage discussed Dove's fictions and Dove's poetry, which means that her works are classifiable into conventional genres.

(B) The aesthetic value of lyric narrative resides in its representation of a sequence of events, rather than in its ability to evoke inner states.
Nope, the aesthetic value of lyrics still lies in its ability to evoke inner states.

(C) The way in which Dove blends genres in her writing is without precedent in U.S. writing.
Dove is among some examples of writers who has "crossed the boundary" between poetry and fiction. The passage does not name her a pioneer in breaking this wall.

(D) Narrative that uses lyrical language is generally aesthetically superior to pure lyric poetry.
No such comparison made in the passage.

(E) Writers who successfully cross the generic boundary between poetry and fiction often try their hand at genres such as drama as well.
No such information provided in the passage.

8.

(A) The number of writers who write both poetry and fiction will probably continue to grow.
(B) Because of the increased interest in mixed genres, the small market for pure lyric poetry will likely shrink even further.
Can't be sure. The passage does not mention readers' interest.

(C) Narrative poetry will probably come to be regarded as a sub-genre of fiction.
Can't be sure.

(D) There will probably be a rise in specialization among writers in university writing programs.
No information provided.

(E) Writers who continue to work exclusively in poetry or fiction will likely lose their audiences.
No information provided regarding audiences' altitude towards "pure poetry" or "pure fiction"