Labeling Zora Neale Hurston "a writer of the Harlem Renaissance"

Question

Labeling Zora Neale Hurston "a writer of the
 Harlem Renaissance" is a characterization that
 may, at first glance, obscure, rather than clarify, the
 particularities of her career. The Harlem Renais-
 
(5) 
 
sance was a spirit more than a movement, and
 because a spirit is ephemeral, generalizations about
 the Harlem Renaissance and its writers are either
 too hard or too easy. They have come easily
 enough to a whole generation of critics, but their
 
(10) 
 
pithy summaries seldom reflect the wide divisions
 between Blacks and Whites, the Black intelligentsia
 and Black workers, Black writers and their middle-
 class audience, that marked the era. When one
 studies in depth the phenomenon of what was then
 
(15) 
 
called the Negro Renaissance or the New Negro
 Renaissance, and what is now called the Harlem
 Renaissance, one comes away with a bewildering
 complex of notions, statements, affirmations, and
 manifestos. Although there is general agreement
 
(20) 
 
that the Harlem Renaissance is bounded by the
 1918 armistice ending the First World War and the
 beginning of the Great Depression in 1930, some
 historians have stretched the boundaries to before
 the war (1914) and after Franklin Delano Roo-
 
(25) 
 
sevelt's second term (1941). There has been a wide-
 spread tendency to regard the Harlem Renaissance
 as a monolithic cultural movement, capable of
 reduction to one orthodoxy or another or to a set
 of characteristic principles. This presumption
 
(30) 
 
reflects the bias in most American scholarship that
 postulates Black people as a united entity and then
 poses theories ignoring individuation of thought
 and feeling.

Sometimes, however, an individual career can be
(35) best assessed in the context of an age, and this is
 largely the case with the writer and anthropologist
 Zora Neale Hurston. She spends exactly two para-
 graphs on the Renaissance in her autobiography,
 and her other writing, public and private, offers
 
(40) 
 
a very little discussion of what the Harlem Renais-
 sance meant to her. Yet her part in the Renaissance
 is well-documented in the reminiscences of others,
 with unanimous agreement that she was one of the
 most memorable personages of the period. As
 
(45) 
 
Langston Hughes put it in The Big Sea, she "was
 certainly the most amusing" of the Harlem Renais-
 sance artists, "full of side-splitting anecdotes,
 humorous tales, and tragicomic stories." Hughes's
 words should not imply that she was solely an
 
(50) 
 
entertainer. Although she was independent and
 scornful of literary movements, she shared in the
 historical and cultural forces that made the Harlem
 Renaissance  an identifiable moment in American
 intellectual history , a part of a historical process
 
(55) 
 
that, as most critics recognize, altered Black life in
 America. She, in turn, responded to and helped to
 shape the aesthetic assumptions of that era.
 Between 1919 and 1930, Black writers were pub-
 lished in greater numbers than in any single decade
 
(60) 
 
in American life prior to the 1960's. Hurston's
 awareness of this literary ferment certainly con-
 tributed to her development as a writer.
 
   1 
 1. The main purpose of the passage is to

(A) define the Harlem Renaissance as a distinct period in Afro-American culture and Ameri- can culture as a whole
(B) demonstrate that the Harlem Renaissance included more varied points of view than scholars generally assume
(C) dispute the accepted estimation of Zora Neale Hurston's contribution to Afro-American culture
(D) acknowledge the conflicts and contradictions that were a distinct part of the cultural life of the Harlem Renaissance
(E) place Zora Neale Hurston within a historical and intellectual context

2 
 2. It can be inferred from the passage that the author would regard which of the following as characteristic of a movement but not of a spirit?

(A) Individual statements of purpose
(B) Conflicts between rivals
(C) The cultivation of notoriety
(D) The development of new ideas
(E) An explicit ideology

3 
 3. The author suggests that which of the following is an overlooked yet significant aspect of the Harlem Renaissance?

(A) The similarity of the works produced by Black writers during the Harlem Renaissance
(B) The perceptions of the central figures of the Harlem Renaissance as recorded in autobi- ographies and letters
(C) The interdisciplinary nature of Hurston's work 
(D) The nature of the relationship between Black artists and their audiences
(E) The effect of Roosevelt's policies on artists and writers

4 
 4. Which of the following facts, mentioned in the passage, supports the author's statement that the Harlem Renaissance was "an identifiable moment in American intellectual history" in the highlighted text?

(A) During this period, scholars who had previously been unaware of Black literary tradition began to assess that tradition.
(B) Widespread social reform took place during this period.
(C) During this period, Black people acted upon common concerns for the first time in the twentieth century.
(D) The number of published works by Black writers increased dramatically during this period.
(E) The armistice ending the First World War began a period of increased prosperity for Americans.

5 
 5. According to the passage, Hurston's attitude toward literary movements in general was

(A) bemused 
(B) ambivalent 
(C) indifferent 
(D) disdainful 
(E) belligerent

6 
 6. The author implies that Hurston's account of her role in the Harlem Renaissance is

(A) embellished 
(B) unenlightening 
(C) comic
(D) sardonic
(E) sentimental

7 
 7. It can be inferred from the passage that accounts of Hurston given by her contemporaries emphasized which of the following?

(A) Her work as an anthropologist
(B) Her independence from political movements 
(C) Her humor
(D) Her friendliness
(E) Her contributions to aesthetic theory

8 
 8. On which of the following grounds does the author dismiss previous critical work on the Harlem Renaissance?

(A) It is based on a faulty assumption about the homogeneity of Black experience.
(B) It has failed to acknowledge the work of the most talented writers of the Harlem Renaissance.
(C) It has failed to explain the consequences of the Harlem Renaissance for Black life.
(D) It has taken a sociological and historical approach rather than an aesthetic one.
(E) It has concentrated on the personalities of the writers of the Harlem Renaissance rather than on their work.

9 
 9. Which of the following statements is best supported by information in the passage?

(A) Black workers were not the primary audience for works produced by Black writers during the Harlem Renaissance.
(B) The number of works produced by Black writers has continued to increase annually since 1919.
(C) Langston Hughes created an unintentionally misleading portrait of Zora Neale Hurston in The Big Sea.
(D) Zora Neale Hurston is better known for her anthropological work than for her literary work.
(E) There was almost no market for works produced by Black writers during the Harlem Renaissance.

Kanika3agg · Accepted Answer

New RC from 1988 Official Guide

Labeling Zora Neale Hurston "a writer of the
 Harlem Renaissance" is a characterization that
 may, at first glance, obscure, rather than clarify, the
 particularities of her career. The Harlem Renais- 
(5)  sance was a spirit more than a movement, and
 because a spirit is ephemeral, generalizations about
 the Harlem Renaissance and its writers are either
 too hard or too easy. They have come easily
 enough to a whole generation of critics, but their 
(10)  pithy summaries seldom reflect the wide divisions
 between Blacks and Whites, the Black intelligentsia
 and Black workers, Black writers and their middle-
 class audience, that marked the era. When one
 studies in depth the phenomenon of what was then 
(15)  called the Negro Renaissance or the New Negro
 Renaissance, and what is now called the Harlem
 Renaissance, one comes away with a bewildering
 complex of notions, statements, affirmations, and
 manifestos. Although there is general agreement 
(20)  that the Harlem Renaissance is bounded by the
 1918 armistice ending the First World War and the
 beginning of the Great Depression in 1930, some
 historians have stretched the boundaries to before
 the war (1914) and after Franklin Delano Roo- 
(25)  sevelt's second term (1941). There has been a wide-
 spread tendency to regard the Harlem Renaissance
 as a monolithic cultural movement, capable of
 reduction to one orthodoxy or another or to a set
 of characteristic principles. This presumption 
(30)  reflects the bias in most American scholarship that
 postulates Black people as a united entity and then
 poses theories ignoring individuation of thought
 and feeling. 
  Sometimes, however, an individual career can be
(35) best assessed in the context of an age, and this is
 largely the case with the writer and anthropologist
 Zora Neale Hurston. She spends exactly two para-
 graphs on the Renaissance in her autobiography,
 and her other writing, public and private, offers 
(40)  a very little discussion of what the Harlem Renais-
 sance meant to her. Yet her part in the Renaissance
 is well-documented in the reminiscences of others,
 with unanimous agreement that she was one of the
 most memorable personages of the period. As 
(45)  Langston Hughes put it in The Big Sea, she "was
 certainly the most amusing" of the Harlem Renais-
 sance artists, "full of side-splitting anecdotes,
 humorous tales, and tragicomic stories." Hughes's
 words should not imply that she was solely an 
(50)  entertainer. Although she was independent and
 scornful of literary movements, she shared in the
 historical and cultural forces that made the Harlem
 Renaissance  an identifiable moment in American
 intellectual history , a part of a historical process 
(55)  that, as most critics recognize, altered Black life in
 America. She, in turn, responded to and helped to
 shape the aesthetic assumptions of that era.
 Between 1919 and 1930, Black writers were pub-
 lished in greater numbers than in any single decade 
(60)  in American life prior to the 1960's. Hurston's
 awareness of this literary ferment certainly con-
 tributed to her development as a writer.   
 1. The main purpose of the passage is to

(A) define the Harlem Renaissance as a distinct period in Afro-American culture and Ameri- can culture as a whole -  The american culture was not defined in the passage 
(B) demonstrate that the Harlem Renaissance included more varied points of view than scholars generally assume -  it doesnt include Zora neale Hurston's contribution. 
(C) dispute the accepted estimation of Zora Neale Hurston's contribution to Afro-American culture -  It was not entirely about disputing the contribution. It did start with that but later on it moved on to becoming much more about the Harlem resistance and then ZNH. 
(D) acknowledge the conflicts and contradictions that were a distinct part of the cultural life of the Harlem Renaissance -  It doesnt include ZNH. 
(E) place Zora Neale Hurston within a historical and intellectual context -  This is broad enough to include the historical and cultural context in the passage. So, thats why correct.

2. It can be inferred from the passage that the author would regard which of the following as characteristic of a movement but not of a spirit?

Author said that  "The Harlem Renais- 
(5)  sance was a spirit more than a movement, and
 because a spirit is ephemeral, generalizations about
 the Harlem Renaissance and its writers are either
 too hard or too easy."
 
 Something that is not easy to pin down is spirit and movement is just opposite of spirit so movement is something which can be easily stated. Therefore, answer choice E. 
(A) Individual statements of purpose 
(B) Conflicts between rivals
(C) The cultivation of notoriety
(D) The development of new ideas
(E) An explicit ideology -  Correct

3. The author suggests that which of the following is an overlooked yet significant aspect of the Harlem Renaissance?

Author stated that  "They have come easily
 enough to a whole generation of critics, but their 
(10)  pithy summaries seldom reflect the wide divisions
 between Blacks and Whites, the Black intelligentsia
 and Black workers, Black writers and their middle-
 class audience, that marked the era." 
 So, the overlooked fact is the relationship between the Black writers and their middle class audience. So, D is correct.
 
(A) The similarity of the works produced by Black writers during the Harlem Renaissance 
(B) The perceptions of the central figures of the Harlem Renaissance as recorded in autobi- ographies and letter.
(C) The interdisciplinary nature of Hurston's work 
(D) The nature of the relationship between Black artists and their audiences -  Correct. 
(E) The effect of Roosevelt's policies on artists and writers

4. Which of the following facts, mentioned in the passage, supports the author's statement that the Harlem Renaissance was "an identifiable moment in American intellectual history" in the highlighted text?

By identifiable means that we are able to pinpoint exactly what was the outcome and in this case, the outcome was that the number of published work increased.

(A) During this period, scholars who had previously been unaware of Black literary tradition began to assess that tradition.
(B) Widespread social reform took place during this period.
(C) During this period, Black people acted upon common concerns for the first time in the twentieth century.
(D) The number of published works by Black writers increased dramatically during this period. -  Correct. 
(E) The armistice ending the First World War began a period of increased prosperity for Americans.

5. According to the passage, Hurston's attitude toward literary movements in general was

Author stated that " Although she was independent and
 scornful of literary movements "

(A) bemused 
(B) ambivalent 
(C) indifferent 
(D) disdainful -  Correct as noted in the above passage 
(E) belligerent

6. The author implies that Hurston's account of her role in the Harlem Renaissance is

(A) embellished 
(B) unenlightening -  true as she didnt mention more than two para in her autobiography 
(C) comic
(D) sardonic
(E) sentimental

7. It can be inferred from the passage that accounts of Hurston given by her contemporaries emphasized which of the following?

(A) Her work as an anthropologist
(B) Her independence from political movements 
(C) Her humor -  Correct 
(D) Her friendliness
(E) Her contributions to aesthetic theory

8. On which of the following grounds does the author dismiss previous critical work on the Harlem Renaissance?

Author stated here  "There has been a wide-
 spread tendency to regard the Harlem Renaissance
 as a monolithic cultural movement, capable of
 reduction to one orthodoxy or another or to a set
 of characteristic principles. This presumption 
(30)  reflects the bias in most American scholarship that
 postulates Black people as a united entity and then
 poses theories ignoring individuation of thought
 and feeling."

(A) It is based on a faulty assumption about the homogeneity of Black experience. -  Correct 
(B) It has failed to acknowledge the work of the most talented writers of the Harlem Renaissance.
(C) It has failed to explain the consequences of the Harlem Renaissance for Black life.
(D) It has taken a sociological and historical approach rather than an aesthetic one.
(E) It has concentrated on the personalities of the writers of the Harlem Renaissance rather than on their work.

9. Which of the following statements is best supported by information in the passage?

Author stated here "  Black writers and their middle-
 class audience, that marked the era."

(A) Black workers were not the primary audience for works produced by Black writers during the Harlem Renaissance. -  Correct  
(B) The number of works produced by Black writers has continued to increase annually since 1919.
(C) Langston Hughes created an unintentionally misleading portrait of Zora Neale Hurston in The Big Sea.
(D) Zora Neale Hurston is better known for her anthropological work than for her literary work.
(E) There was almost no market for works produced by Black writers during the Harlem Renaissance.

KarishmaB · Answer

Middle class falls between upper class and working class.

the wide divisions
between Blacks and Whites, the Black intelligentsia
and Black workers, Black writers and their middle-
class audience, that marked the era.

The audience of Black writers was middle class, not working class.
Hence (A) is correct.

As for (C), Langston Hughes' portrait is not misleading. It is incomplete. It talks about one aspect of Zora's writing.

pandeyashwin · Answer

Q1 : E

A : Out of scope
B : Out of scope
C : No one is disputing anything about her
D : no one is acknowledging any conflicts
E : Correct

Q2 : E

"There has been a widespread tendency to regard the Harlem Renaissance as a monolithic cultural movement, capable of reduction to one orthodoxy or another or to a set of characteristic principles. This presumption reflects the bias in most American scholarship that postulates Black people as a united entity and then poses theories ignoring individuation of thought and feeling."

Q3 : D

" generalizations about the Harlem Renaissance and its writers are either too hard or too easy . They have come easily enough to a whole generation of critics, but their pithy summaries seldom reflect the wide divisions between Blacks and Whites, the Black intelligentsia and Black workers,  Black writers and their middle- class audience , that marked the era"

Q4 : D

"Between 1919 and 1930, Black writers were published in greater numbers than in any single decade in American life prior to the 1960's." - 2nd para bottom part

Q5 : D

"Hughes's words should not imply that she was solely an entertainer. Although  she was independent and scornful of literary movements , she shared in the historical and cultural forces that made the Harlem Renaissance an identifiable moment in American intellectual history"

Q6: B

"She spends exactly two paragraphs on the Renaissance in her autobiography, and her other writing, public and private, offers a very little discussion of what the Harlem Renaissance meant to her"

Q7: C

"As Langston Hughes put it in The Big Sea, she "was certainly the most amusing" of the Harlem Renaissance artists, "full of side-splitting anecdotes, humorous tales, and tragicomic stories.""

Q8 : A

"generalizations about the Harlem Renaissance and its writers are either too hard or too easy. They have come easily enough to a whole generation of critics, but their pithy summaries seldom reflect the wide divisions between Blacks and Whites, the Black intelligentsia and Black workers, Black writers and their middle- class audience, "

Q9 : A

A : Correct
B : "Black writers has continued to increase annually since 1919" no data to prove this
C : False
D: Out of scope
E : Out of scope

Debashis Roy · Answer

GMATNinja   SajjadAhmad   VeritasKarishma 
Why is C not the correct answer choice.

lines 45-50 state the following and the last line clearly states that Hughes words should not mislead people into believing that zora was soley an entertainer.

" As
Langston Hughes put it in The Big Sea, she "was
certainly the most amusing" of the Harlem Renais-
sance artists, "full of side-splitting anecdotes,
humorous tales, and tragicomic stories." Hughes's
words should not imply that she was solely an
entertainer.

AdityaHongunti · Answer

Debashis Roy Ashokshiva " Hughes's words should not imply that she was solely an entertainer." : what dos this mean ??? the author says that Hughes portrays ZL as an enyertainer ... BUT SHE is not ONLY an entertainer but something else too... This is what author says, Author does not discredit or dispute the claim that ZL was an entertainer , author rather says that she was NOT ONLY na entertainer BUT ALSO something else... option C

C) Langston Hughes created an unintentionally misleading portrait of Zora Neale Hurston in The Big Sea. now was the claim by Hughes about ZOra "misleading" ...that is what is it somehwat wrong??? Author says that there is much more to ZORA... Hughes never says that zora was ONLY an entertainer..he just says that she was an entertainer...but author clarifies for the readers to not take zora as just an entertainer !!! so the claim by Hughes is not misleading/incorrect , rather the claim does not encompass all of her prersonality...no one is misleaded by knwoing that zora is an entertainer...zora actually IS an entertainer...but there is more to it which is not explcitly mentioned !!! so info provided by Huges is definitley LIMITED but NOT MISLEADING...his claim is true ...but there are additional truths too....

arora1 · Answer

Can someone help with Q9? I marked C. I fail to understand how is A better. I am sure to not mark the correct answer if i see this on my exam
  GMATNinja   VeritasKarishma   AdityaHongunti

Basshead · Answer

1. The reason the passage discusses the Harlem Renaissance in the first place is to provide context to the first sentence: “Labeling Zora Neale Hurston "a writer of the Harlem Renaissance" is a characterization that may, at first glance, obscure, rather than clarify, the particularities of her career.”

The passage goes into the Harlem Renaissance in detail, but this period is not the main purpose of the passage – the main purpose is about Hurston. The second paragraph suggests that even though the Harlem Renaissance only took up two paragraphs in her autobiography, she played a significant role in altering black life in America.

_________________________________

2. We’re told the Harlem Renaissance was a spirit more than a movement; as a result, generalizations about this period and its writers are either too hard or too easy. If the reverse was true (a movement but not of a spirit), we can infer the that generalizations would be more in the middle.  E matches this best – an explicit ideology.

_________________________________

3. The author suggests that which of the following is an overlooked yet significant aspect of the Harlem Renaissance?

(A) The similarity of the works produced by Black writers during the Harlem Renaissance
(B) The perceptions of the central figures of the Harlem Renaissance as recorded in autobi- ographies and letters
(C) The interdisciplinary nature of Hurston's work
 (D) The nature of the relationship between Black artists and their audiences 
(E) The effect of Roosevelt's policies on artists and writers

D is the answer.  In the first paragraph we’re told that “they have come easily enough to a whole generation of critics, but their pithy summaries seldom reflect the wide division between Blacks and Whites, the Black intelligentsia and Black workers, Black writers and their middle-class audience, that marked the era.”

_________________________________

4. Which of the following facts, mentioned in the passage, supports the author's statement that the Harlem Renaissance was "an identifiable moment in American intellectual history" in the highlighted text?

(A) During this period, scholars who had previously been unaware of Black literary tradition began to assess that tradition.
(B) Widespread social reform took place during this period.
(C) During this period, Black people acted upon common concerns for the first time in the twentieth century.
 (D) The number of published works by Black writers increased dramatically during this period. 
(E) The armistice ending the First World War began a period of increased prosperity for Americans.

D is the answer.  In the second paragraph we’re told “Between 1919 and 1930, Black writers were published in greater numbers than in any single decade in American life prior to the 1960's”

_________________________________

5. According to the passage, Hurston's attitude toward literary movements in general was

(A) bemused
(B) ambivalent
 (C) indifferent
(D) disdainful 
(E) belligerent

D is the answer.  In the second paragraph we’re told “she was independent and scornful of literary movements, she shared in the historical and cultural forces that made the Harlem Renaissance an identifiable moment in American intellectual history.” We can conclude that she was not particularly a fan of literary movements.

_________________________________

6. The author implies that Hurston's account of her role in the Harlem Renaissance is

(A) embellished
 (B) unenlightening 
(C) comic
(D) sardonic
(E) sentimental

The answer is B . Hurston’s account of her role in the Harlem Renaissance was not embellished – she was independent and scornful of literary movements. Embellished means to make more attractive by the addition of decorative details or features. Unenlightened is the best word to describe Hurston’s own account of her role – she writes only two paragraphs in her autobiography about this period of time.

_________________________________

7. It can be inferred from the passage that accounts of Hurston given by her contemporaries emphasized which of the following?

(A) Her work as an anthropologist
(B) Her independence from political movements
 (C) Her humor 
(D) Her friendliness
(E) Her contributions to aesthetic theory

C is the answer . In the second paragraph we’re told "was certainly the most amusing" of the Harlem Renaissance artists, "full of side-splitting anecdotes, humorous tales, and tragicomic stories."

_________________________________

8. On which of the following grounds does the author dismiss previous critical work on the Harlem Renaissance?

(A) It is based on a faulty assumption about the homogeneity of Black experience. 
(B) It has failed to acknowledge the work of the most talented writers of the Harlem Renaissance.
(C) It has failed to explain the consequences of the Harlem Renaissance for Black life.
(D) It has taken a sociological and historical approach rather than an aesthetic one.
(E) It has concentrated on the personalities of the writers of the Harlem Renaissance rather than on their work.

A is the answer.  In the beginning of the passage we’re told that generalizations did not paint a complete picture of what occurred during the Harlem Renaissance.

_________________________________

9. Which of the following statements is best supported by information in the passage?

(A) Black workers were not the primary audience for works produced by Black writers during the Harlem Renaissance. 
(B) The number of works produced by Black writers has continued to increase annually since 1919.
(C) Langston Hughes created an unintentionally misleading portrait of Zora Neale Hurston in The Big Sea.
(D) Zora Neale Hurston is better known for her anthropological work than for her literary work.
(E) There was almost no market for works produced by Black writers during the Harlem Renaissance.

The answer is A.  The Harlem Renaissance gave black writers a voice to the African American identity, as well as a strive for acceptance.

kittle · Answer

KarishmaB   GMATNinja  - can you let me know how we answer Q2? I couldn't find a convincing explanation to the question thus far. Appreciate your response. Thank you in advance.

KarishmaB · Answer

2. It can be inferred from the passage that the author would regard which of the following as characteristic of a movement but not of a spirit?

(A) Individual statements of purpose
(B) Conflicts between rivals
(C) The cultivation of notoriety
(D) The development of new ideas
(E) An explicit ideology

Look at what the passage gives:

There has been a wide-
 spread tendency to regard the Harlem Renaissance
 as a monolithic cultural movement,  capable of
 reduction to one orthodoxy or another or to a set
 of characteristic principles . This presumption
(30)
reflects the bias in most American scholarship that
 postulates Black people as a united entity and then
 poses theories ignoring individuation of thought
 and feeling...

Note the line in Blue. A movement as per the author can be reduced to one ideology or principle. But she says that Harlem R is a spirit (line 5), not a movement so you can't make generalisations about Harlem R. Hence, a spirit does not have an explicit single ideology but a movement does.

An option that could be a bit confusing is option (A).

But look at this excerpt from the passage:

When one
 studies in depth the phenomenon of what was then
(15)
called the Negro Renaissance or the New Negro
 Renaissance, and what is now called the Harlem
 Renaissance, one comes away with a bewildering
 complex of notions, statements, affirmations, and
 manifestos. Although there is general agreement
(20)
that the Harlem Renaissance is bounded by ...

When one studies Harlem R, one comes out with many notions, statements, affirmations etc. So a spirit could have multiple 'statements.'

Answer (E)

Sneha2021 · Answer

KarishmaB   GMATNinja

3. The author suggests that which of the following is an overlooked yet significant aspect of the Harlem Renaissance?

(B) The perceptions of the central figures of the Harlem Renaissance as recorded in autobi- ographies and letters
(D) The nature of the relationship between Black artists and their audiences

They have come easily enough to a whole generation of critics, but their(10) pithy summaries seldom reflect the wide divisions between Blacks and Whites, the Black intelligentsia and Black workers, Black writers and their middle-class audience
Based on the info, I understand how it was overlooked by critics but how can I infer that nature of relationship between Black artists and their audiences was "SIGNIFICANT" aspect of HR?

how to reject B? ZNR was the a central figure and her perceptions was changed later on in the second para.

GMATNinja · Answer

Question 3 
 
There are several problems with choice (B).

First, the passage refers to ZNR as a writer of the Harlem Renaissance (and, according to Langston Hughes at least, the most amusing), but ZNR is not described as a CENTRAL figure.

Also, ZNR barely mentions the Harlem Renaissance in her autobiography or other public and private writings:

So even if she was a central figure, her perceptions of the Harlem Renaissance as recorded in her autobiography hardly qualify as a "significant" aspect of the Harlem Renaissance.

Finally, the passage never describes such perceptions as an  overlooked  aspect of the Harlem Renaissance.

So there's actually no evidence that the author would consider choice (B) to be an overlooked yet significant aspect of the Harlem Renaissance.

As for choice (D), you left out the critical last few words of the sentence starting in line 10: 
 
Since the era was "marked" by those divisions, we have no choice but to consider them a SIGNIFICANT aspect of the era.

I hope that helps!

VerbalBot · Answer

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Labeling Zora Neale Hurston "a writer of the Harlem Renaissance"

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Labeling Zora Neale Hurston "a writer of the Harlem Renaissance"

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