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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.
Which of the following would the author most probably agree on?
选项 A、9/11 is one of the crises that fictional stories start from.
B、People would like to read 9/11 books because of the unforgettable memories of the event.
C、The stories of successful 9/11 books center the event itself.
D、People ought not to write 9/11 books as it hasn’t passed a long time.
答案B
解析 属态度推断题。选项A犯了曲解原文的错误，文中第五段第三句提到9／11事件与通常展开小说的危机事件不同，故错误。文章第六段末句讲到“人们虽然会因为那些熟悉的记忆去阅读有关9／11的书籍，但是作家却很难描绘这个揭起人们伤疤的事件”，故选项B正确。选项C和D，均出现在文章最后一段，但与作者观点恰好相反，故错误。
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