Rosenblatt‘s literary analysis discloses affinities and connections among works of Black fiction which solely political studies have overlooked or ignored. Writing acceptable criticism of Black fiction, however, presupposes假定以。。。为条件 giving satisfactory answers to a number of questions. First of all, is there a sufficient reason, other than the racial identity of the authors, to group together works by Black authors? Second, how does Black fiction make itself distinct from other modern fiction with which it is largely contemporaneous同时代的，同时期的? Rosenblatt shows that Black fiction constitutes a distinct body of writing that has an identifiable, coherent literary tradition. Looking at novels written by Blacks over the last eighty years, he discovers recurring循环的 concerns and designs independent of chronology. These structures are thematic主题的, and they spring, not surprisingly, from the central fact that the Black characters in these novels exist in a predominantly White culture, whether they try to conform to that culture or rebel against it.

　　Black Fiction does leave some aesthetic questions open. Rosenblatt‘s thematic analysis permits considerable objectivity; he even explicitly states that it is not his intention to judge the merit of the various works—yet his reluctance seems misplaced, especially since an attempt to appraise评价，鉴定 might have led to interesting results. For instance, some of the novels appear to be structurally diffuse弥漫的. Is this a defect, or are the authors working out of, or trying to forge, a different kind of aesthetic? In addition, the style of some Black novels, like Jean Toomer‘s Cane, verges on趋近，接近 expressionism or surrealism; does this technique provide a counterpoint to the prevalent theme that portrays the fate against which Black heroes are pitted, a theme usually conveyed by more naturalistic modes of expression?

　　In spite of such omissions疏忽【提示上文描写了这个critism的缺点】, what Rosenblatt does include in his discussion makes for an astute机敏的 and worthwhile study. Black Fiction surveys a wide variety of novels, bringing to our attention in the process some fascinating and little-known works like James Weldon Johnson‘s Autobiography of an Ex-Colored Man. Its 55 argument is tightly constructed, and its forthright, lucid style exemplifies levelheaded and penetrating criticism.

　　3. The author of the passage objects to反对 criticism of Black fiction like that by Addison Gayle because it

　　(A) emphasizes purely literary aspects of such fiction

　　(B) misinterprets the ideological content of such fiction

　　(C) misunderstands the notions of Black identity contained in such fiction

　　(D) substitutes political for literary criteria in evaluating such fiction 【Addison Gayle‘s recent work, for example, judges the value of Black fiction by overtly明显地，公开地 political standards】

　　(E) ignores the interplay between Black history and Black identity displayed in such fiction

　　4. The author of the passage is primarily concerned with

　　(A) evaluating the soundness of a work of criticism

　　(B) comparing various critical approaches to a subject

　　(C) discussing the limitations of a particular kind of criticism

　　(D) summarizing the major points made in a work of criticism【是讲了RR评论的优缺点，不是major points】

　　(E) explaining the theoretical background of a certain kind of criticism

　　5. The author of the passage believes that Black Fiction would have been improved had Rosenblatt

　　(A) evaluated more carefully the ideological and historical aspects of Black fiction

　　(B) attempted to be more objective in his approach to novels and stories by Black authors

　　(C) explored in greater detail the recurrent thematic concerns of Black fiction throughout its history

　　(D) established a basis for placing Black fiction within its own unique literary tradition