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  3. In the days and weeks after 9/11 a number of writers asked what the future of fiction could be after such a rupture. The comment

In the days and weeks after 9/11 a number of writers asked what the future of fiction could be after such a rupture. The comment

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问题     In the days and weeks after 9/11 a number of writers asked what the future of fiction could be after such a rupture. The comments echoed philosopher Theodor Adorno’s comment: "Writing poetry after Auschwitz is barbaric."
    Ten years on it is abundantly clear that fiction does, of course, have a future. Some novelists have tackled the events of that September day head on; others have used the episode as a spur to look at the Western world shaken out of its complacency. The quality of the output, as in all areas of fiction, is highly variable.
    Jay Mclnerney’s "The Good Life" was a rather crass before-and-after view of a couple forced to re-examine their relationship following the events of 9/11; Don Delillo’s "Falling Man" was a strange sort of novel which lacked the density of his other work, but it did capture some of the most chilling elements of the events: "By the time the second plane appears," Keith comments as he and Lianne watch the endlessly cycling video of the attacks, "we’re all a little older and wiser."
    There are three important reasons why it is hard to write a good 9/11 novel. The first is that the attack on the World Trade Centre was such a huge and overpowering event that it often overshadows and dominates the fictional elements of a novel: literary novelists normally shy away from choosing such a big and unbelievable event as the backdrop to a story. Mr Mclnerney’s book is the poorer, I think, because his characters seem so paper-thin beside the burning towers and anguished souls the television footage depicted. For this reason non-fiction has often been the better medium to convey the most moving and poignant record of the day.
    The second is that all fiction of every genre hinges around some kind of crisis, internal or external, that a book has to see its way through. This can take many forms. But 9/11 is in a sense a bigger crisis than many novels can contain or capture: it’s a situation where truth is both bigger and stranger than fiction. That is probably why many authors have taken 9/11 as a jumping-off point to look at a group or type of person they had not thought to before.
    The third thing that makes it hard to write a successful novel about 9/11 is simply that it’s too soon. Ten years on that may sound limp, but I think it’s true. "Catch 22" , one of the best novels of the second world war, was not written until 1961. And because 9/11 was a day in the life of the world, as opposed to many years, the imprint of personal memories is still very strong. It is hard to relay an event that many people still remember so clearly—even if, by contrast, those vivid impressions are one reason why 9/11 books have such an audience.
    None of this means that people can’t or shouldn’t be writing about 9/11. But I think it explains why some of the better books take 9/11 as one element rather than the centre of the story.
The reason why novelists don’t tend to use a big and incredible event as a backdrop is that______.
选项 A、they like to depict the terrifying scene of the event itself
B、non-fictional genres can better record the touching moments of the event
C、it hasn’t been a long time since the event took place
D、the event itself usually outweighs the fictional parts of the novel
答案D
解析 属信息推断题。选项A犯了移花接木的错误，将原文与题目不相关的部分拼凑起来，故错误。选项B的确符合原文所说，但犯了答非所问的错误。选项C出现在文章第六段首句，是作者对于有关9／11事件的小说难写这一观点所陈述的第三点原因，与题目无关，同样犯了答非所问的错误。其实从题目内容所在的第五段第三句就可判断本题答案，第三句冒号前面的内容即是，冒号表示的正是“that is to say”，由此判断选项D正确。
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