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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.
By mentioning the work of Jay Mclnerney and Don Delillo, the author intends to______.
选项 A、state that evidence has indicated that fiction has a future
B、claim that most novelists have focused on the Western World after 9/11
C、prove that fictions after 9/11 varies a lot in quality
D、illustrate that novelists need courage to face the events of 9/11 directly
答案C
解析 属逻辑关系题。选项A属于答非所问，虽然选项A符合第二段第一句的表述，但并非作者提到第三段两个人的作品的真正意图。选项B也属于答非所问，且犯了夸大其词的错误，并非所有小说家都关注9／11后的西方世界。作者对第三段中提到的两位作者的作品做出了不同的评价，对J．M．的作品，作者用到了crass，即“愚钝的；粗糙的”，可以看出作者并不认可该作品的质量；而作者则对D．D．的作品表示尽管缺少其以往作品的深度，但抓住了事件让人害怕的要素，既有正面也有反面的评价，所以可知作者是在证明9／11后的小说质量参差不齐。选项D则属于无中生有。
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