Although the author does note that corridos affirm the cohesiveness of Border communities, she doesn’t suggest that corrido imagery are among the “clearest” indicators of cohesiveness. Also, the main point isn’t about what corridos show about cohesiveness; it’s more broadly about the features of corridos.

This is too narrow. The main point isn’t just about the roots of the corrido. The passage goes into many other aspects of corridos.

The author never suggests that Gregorio Cortez is the “ideal representation” of the corrido form. Although the author uses Gregorio Cortez as an example to illustrate aspects of the corrido, this doesn’t imply the author thinks it’s the ideal representation. In any case, even if she does think it’s the ideal representation, the main point isn’t about the ideal quality of Gregorio Cortez; it’s about the corrido and and its features.

This is too narrow. The main point isn’t about what corridos are noted for; it’s about what corridos are. The author tells us about the features of corridos to help us understand this art form.

This best captures the overall point of the passage. The author teaches us about the features of corridos and tells us that they’re a folk song, that they promote cohesiveness in Border communities, and that they use familiar conventions. Any other answer that you think is supported by the passage is too narrow. Notice that (E) doesn’t only focus on cohesiveness; it doesn’t only focus on imagery.