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SAT Section One : Critical Reading Sample Questions:

1. This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century.
Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-
ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is
infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony
on mainland China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944--just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera. He returned to mainland Japan once more, where the young were turning to
Marxism as a rejection of the militarism of the war. After a brief, unsuccessful stint at medical school, he
became part of a Marxist group of avant-garde artists. His work at this time was passionate and
outspoken on political matters, adopting black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It
was a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be
more accurate to say that the novel simply marked a turning point in his career, when Abe turned away
from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to
furusato and the emperor after all, but rather began a somewhat more realistic exploration of his
continuing obsession with homelessness and alienation. Not completely a stranger to his earlier
commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual
of Japan's rapidly urbanizing, growth driven, increasingly corporate society.
The phrase "blind us" in the last paragraph refers to the

A) overwhelming power of Abe's novel, Woman in the Dunes.
B) absence of film adaptations for Abe's other novels.
C) excessive critical attention to Abe's novel, Woman in the Dunes.
D) challenge of interpreting Abe's more experimental works.
E) difficulty in reconciling Woman in the Dunes and other later works with the form and content of his
earlier works.

2. This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century.
Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-
ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is
infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony
on mainland China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944--just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera.
He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the
militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group
of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting
black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It
was a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be
more accurate to say that the novel simply marked a turning point in his career, when Abe turned away
from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to
furusato and the emperor after all, but rather began a somewhat more realistic exploration of his
continuing obsession with homelessness and alienation. Not completely a stranger to his earlier
commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual
of Japan's rapidly urbanizing, growth driven, increasingly corporate society.
From the sentence beginning "He entered medical school", it can be inferred that

A) Abe never intended to practice medicine
B) Abe wanted to help the ill and injured in World War II, rather than fight.
C) sick people were sent to Manchuria during World War II.
D) illness would excuse one from military duty in World War II Japan.
E) Abe entered medical school because he was sick.

3. The professor's oldest colleague was selected to give the ______ at the funeral.

A) epitaph
B) epigraph
C) eulogy
D) eponymy
E) elegy

4. When Rob became interested in electricity, his clear-headed father considered the boy's fancy to be
instructive as well as amusing; so he heartily encouraged his son, and Rob never lacked batteries, motors,
or supplies of any sort that his experiments might require.
He fitted up the little back room in the attic as his workshop, and from thence, a network of wires soon ran
throughout the house. Not only had every outside door its electric bell, but every window was fitted with a
burglar alarm; moreover, no one could cross the threshold of any interior room without registering the fact
in Rob's work- shop. The gas was lighted by an electric fob; a chime, connected with an erratic clock in
the boy's room, woke the servants at all hours of the night and caused the cook to give warning; a bell
rang whenever the postman dropped a letter into the box; there were bells, bells, bells everywhere,
ringing at the right time, the wrong time and all the time. And there were telephones in the different rooms,
too, through which Rob could call up the different members of the family just when they did not wish to be
disturbed. His mother and sisters soon came to vote the boy's scientific craze a nuisance; but his father
was delighted with these evidences of Rob's skill as an electrician and insisted that he be allowed perfect
freedom in carrying out his ideas.
The author's purpose for the second paragraph is:

A) to show just how intrusive the experiments were, much to the chagrin of all inhabitants
B) to represent just how far Rob's experiments went
C) to fully develop the latitude father gave and the control he had.
D) to evidence that Rob lacked for no supplies.
E) to show how ingenious Rob was

5. The neighborhood group's rendering of the proposed office complex ______ the ______ of the project: as
they appeared on the drawing, the proposed office buildings appeared to dwarf the rest of the downtown
area.

A) underscored . . vastness
B) revealed . . immensity
C) accentuated . . beauty
D) trivialized . . enormity
E) minimized . . grandiosity

Solutions: