Self-study
P1
In the 1980s there was a proliferation of poetry collections, short stories, and novels published by women of Latin American descent in the United States. ██ ███ ███ ██ ███ ███████ ███████ █████ ██ ████ ██████ ████████ ███ ██████████████ ████ ████ ████ ██████████ ████ ███ ███████████ ██ █████ ███████ ████████████████ ████████████ ██████ ██ ███ ███ ██████ ██ ███ █████ █████ ███ ███ ███████ ██ ████████ ███████ ███████ ████ ██████ ██ ██████ ██████ ███████ ███ ███████ ████████ ███ ██████████████ █████████ ██ ██████ ██████████
Intro topic ·
Three notable autobiographical collections by U.S. Latina authors
Expect the main point to relate to why these three collections are significant
P2
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Significance of collections ·
They cross boundaries between languages, identities, and rhetorical styles
P3
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Significance of first collection ·
Borderlands/La Frontera
Blends personal and cultural history using narrative and poetry
Significance of second collection ·
Loving in the War Years
Blends genres, non-chronological sequence of events
Critic's perspective ·
Non-chronological writing sets women's autobiographies apart from men's
It's unclear if this critic thinks men's autobiographies never use non-chronological writing, but at the very least, it's not the traditional approach
Significance of third collection ·
Getting Home Alive
Combines mother's and daughter's perspectives
Author's perspective ·
These complex narrative styles convey complex identities
P4
Main point ·
These three collections by U.S. Latina authors use innovative methods to express complex, marginalized identities
Passage Style
Single position
Spotlight
4.
The passage indicates which one ██ ███ █████████ █████ ███ ██████ ███████████████ ████ ███ ██████ ██████████
Question Type
Stated
It’s difficult to predict the correct answer just based on the question stem, since the whole passage is about the Latina autobiographies. Let’s just go to the answers.
a
Each contains some ████████ ████ █████ ██████████ ██ ████████ ██ █████████ ██ █ █████ ██ ██████████ █████ ████ ██████████████
Supported by P2. Anzaldua’s work involves poetry. Moraga’s work involves a “mixture of genres.” And Getting Home Alive involves poems. The author also calls the works “
b
Each quotes from ██████████ ███████████ ███████ ████████ ██ █████ ███████ ██████████
We don’t know that each of the quotes from “unpublished” private documents.
c
Each contains analysis ██ ███ ████ ██ █████ ███ ███████ ███ ██████████ ██ ███ ████████ ████████ ███████████
We’re not told that each work analyzes the ways in which its content was influenced by cultural background. Don’t confuse the passage author’s commentary on what influenced the works with the Latina authors’ own analysis of how they were influenced.
d
Each contains writings ████ ████ ████████ ██ ████ ████ ███ ███████
One work involved multiple voices. We’re not told that each work did.
e
Each includes explanations ██ ███ █████████████ ████ ███ ███████ ██ ████████ ████ ██ ███████ ███ ██████████████
We’re not told that each work explains its own methodologies. One work arguably does (Moraga’s), but we don’t know that the other works do. Don’t confuse the passage author’s commenting on each author’s methodology with the Latina authors’ own explanations of their methodologies.