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  3. [A] Weirdly, in the midst of this heyday for fictional detectives, true crime gets hardly a mention. True crime was, not 20 year

[A] Weirdly, in the midst of this heyday for fictional detectives, true crime gets hardly a mention. True crime was, not 20 year

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问题 [A] Weirdly, in the midst of this heyday for fictional detectives, true crime gets hardly a mention. True crime was, not 20 years ago, one of the booming trends in American letters. Not much of it was top-tier stuff, but people gobbled it up. Now you hardly hear of it. You’d think that our fascination with fictional spies and gumshoes would mean that we’d be just as greedy for true stories of real murder, theft and other criminal enterprises, but no. We prefer the made-up kind of crime.
[B] You hear more than you want about our obsession with vampires (bloodsuckers) these days, on television, in books, and now and then at the movies. There’s no denying the trend, or subsidiary fads with angels and zombies. But those phenomena look like mere momentary distractions when compared to a literary trend that’s so overwhelming it might be considered less a movement than a crucial element of life itself, like air, water, earth and fire. I mean, of course, our love affair with crime fiction.
[C] Why did the spy novel take so long to mature? Spying is as old as civilization itself, after all; but while agents of Joshua may have gone deep cover in Jericho, spy stories, as a discrete and at least minimally self-respecting category of fiction, lagged far behind detective fiction, which had Poe and Wilkie Collins to lend it early pedigree.
[D] I have no ready explanations for this phenomenon, maybe because I’m as caught up in it as anyone. I certainly have my favorites and read more than my fair share. Yes, people like murder stories, or stories about betrayal and treachery, but they always have. Lately, though, this interest in crime of the fictional kind has turned into a mania.
[E] Crime fighters get to go everywhere and talk to everyone. Most fiction writers today are slaves to the idea of "write what you know," which they seem to think means: write about people just like you. Richard Price and Tom Wolfe may be no match for Balzac, but at least they get out of the office now and then and have a look at what’s going on in the world, and they write about it. Two hundred years from now, historians will be lucky to come across the work of writers such as George Pelecanos or Dennis Lehane, writers who use fictional crime like a crowbar to open up the workings of our inner cities and, more often than you might suppose, our inner lives.
[F] People have been reading detective stories and spy novels in large doses for the better part of two centuries, but in the last couple of decades, this fondness has flowered into a devouring obsession so big that in any given week, the best-seller lists leave room for almost nothing else.
[G] Is it because we crave, in the midst of life that seems ever more complicated and confusing, stories where something is settled squarely at the end? Is it because form (crime—investigation—solution) is paramount, because, in the simplest sense, we know how it’s all going to end? Is it the way we do with people on cop and lawyer shows on television? Is it because, for a long time, mainstream fiction became less interested in sociology? Or is it because crime fiction has taken out a long-term lease on the territory once staked out by social-minded novelists such as James Gould Cozzens or Sloan Wilson?

【C5】
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答案A
解析 [E]段最后提到，这些作者利用虚构的犯罪像铁橇一样去打开我们城市内部的运行方式，同时，更多地在你意想不到的时候，打开我们的内心生活。[A]段开头“在虚构的侦探故事的全盛期”承接上文，接着讨论了“真正的犯罪却几乎不被提及”这一现象。纵观全文，此现象虽与文章主题“虚构的犯罪故事盛行”相关，但属于对主题现象的侧面补充，故适合放在文章末尾一带而过，故[A]为答案。
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