2. In "On Beloved," Morrison says that what field of study drew her to the subject matter of Beloved?
(a) History.
(b) Science.
(c) Literature.
(d) Philosophy.

3. In "The Trouble with Paradise," Morrison says that writers must hold "an unblinking gaze into the realm of" what?
(a) Sorrow.
(b) Inequality.
(c) Difference.
(d) Death.

4. What is one of the main subjects of Beloved?
(a) Friendships among women.
(b) Women's control over their own bodies.
(c) The justice system.
(d) The difference between education and wisdom.

5. In "Memory, Creation, and Fiction," what does Morrison say about basing characters on people she knows well?
(a) She does not do it, because it is immoral.
(b) She does not do it, because real people do not provide enough room for her imagination.
(c) She does it often, because for her it is part of assembling the "collage" of memory.
(d) She does it often, because real people provide a kind of accuracy that wholly fictional people do not.

6. In "The Source of Self-Regard," what image does Morrison say she uses to convey the horrors of slavery?
(a) Chains.
(b) A whip.
(c) A bit.
(d) Shackles.

7. In "Goodbye to All That," what does Morrison say was her motive for insisting on being identified as a Black writer from the beginning?
(a) She wanted to expand critical vocabulary to encompass territory within Black culture.
(b) She hoped to provoke a conversation about the viability of Black culture.
(c) She hoped to make an argument for Black universalism.
(d) She wanted to unambiguously reject white culture.

8. In "Goodbye to All That," to what other group's struggle does Morrison compare the struggle of Black writers to claim territory that is both identity-specific and identity-neutral?
(a) Women.
(b) Immigrants.
(c) Muslims.
(d) The poor.

9. In "Unspeakable Things Unspoken," Morrison introduces Rogin's commentary on Moby Dick for what purpose?
(a) As part of her explication of the timeline of Western literature.
(b) So that she can rebut Rogin's reading of Moby Dick.
(c) To highlight the importance of Black scholarship.
(d) As an example of how a canonical piece can be enriched by reading for the Black presence.

10. In "Chinua Achebe," Morrison says that she learned what from Achebe?
(a) The importance of the Africanistic presence in American literature.
(b) How to focus her writing on her own truth instead of on nonwhite audiences' expectations.
(c) How to properly structure a narrative.
(d) The meaning of aspects of African culture that had frustrated and puzzled her.

11. In "Hard, True, and Lasting," Morrison says that she identifies the things she loves and values by doing what?
(a) Imagining them in danger.
(b) Focusing on their civilizing qualities.
(c) Contrasting them with the alien world around her.
(d) Reading scholarly work.

12. In "The Trouble with Paradise," Morrison says she knows how whiteness "matures and ascends the throne of universalism." What is the best descriptor of this phrase?
(a) Morrison uses royal imagery to establish the legitimacy of white universalism.
(b) Morrison metaphorically compares whiteness to a royal leader and universalism to a kingdom.
(c) Morrison uses sibilance to suggest that whiteness is demonic.
(d) Morrison personifies whiteness in order to attribute dark motives to its actions.

13. In "Gertrude Stein and the Difference She Makes," Morrison posits that the "Lone" Ranger is "lone" because of what?
(a) His gender.
(b) His race.
(c) Hiding his face behind a mask.
(d) The presence of Tonto.

14. In "Academic Whispers," Morrison says that interview requests used to make her feel like she was being used as what?
(a) A "humanistic disciple."
(b) "Journalistic glue."
(c) A "specimen."
(d) "Literary enforcement."

15. In "The Site of Memory," Morrison says that slave narratives had two purposes: one was to record the life of an individual human being, and the other was what?
(a) To rebut narratives by plantation owners.
(b) To advance the cause of abolition.
(c) To condemn their former masters.
(d) To contribute to the historical record.