This space contains
reference material beginning next to Question 13.
To answer Questions 13-18, please read the following passage from
Chapter 14 of Haruki Murakami’s After Dark. Choose the best
responses to the prompts next to the passage. There is one and only one
correct answer to each prompt.
Chapter 14, pages 187-88
“A different clock in a different
place. A round electric clock hanging on the wall. The hands point to
4:31. This is the kitchen of the Shirakawa house. Collar button open,
tie loosened, Shirakawa sits alone at the breakfast table, eating plain
yogurt with a spoon. He scoops it directly from the plastic container to
his mouth.
He is watching the small TV they
keep in the kitchen. The remote control sits next to the yogurt
container. The screen is showing pictures of the sea bottom. Weird deep
sea creatures. Ugly ones, beautiful ones. Predators, prey. Miniature
research submarine outfitted with high-tech equipment. Powerful
floodlights, precision arm. The programme is called Creatures of the
Deep. The sound is muted. His face expressionless, Shirakawa follows the
movements on the screen while conveying spoonfuls of yogurt to his
mouth. His mind, however, is thinking about other things. He is
considering aspects of the interrelationship of thought and action. Is
action merely the incidental product of thought, or is thought the
consequential product of action? His eyes follow the TV image, but he is
actually looking at something deep inside the screen—something miles
beyond the screen. He glances at the clock on the
wall. The hands point to 4:33. The second hand glides its way round the
dial. The world moves on continuously, without interruption. Thought and
action continue to operate in concert. At least for now.” (Murakami,
187-88)
To answer Questions 18-23, please
read the following passage from Chapter 18 of Haruki Murakami’s After
Dark. Choose the best responses to the prompts next to the passage.
There is one and only one correct answer to each prompt.
Chapter 18, page 244
“And as for Eri, we can see no
change in either her pose or her expression. She seems totally unaware
that her little sister has crawled into bed and is sleeping beside her.
Eventually, Eri's small mouth does move slightly, as if in response to
something. A quick trembling of the lips that lasts but an instant,
perhaps a tenth of a second. Finely honed pure point of view that we
are, however, we cannot overlook this movement. Our eyes take positive
note of this momentary physical signal. The trembling might well be a
minuscule quickening of something to come. Or it might be the barest
hint of a minuscule quickening. Whatever it is, something is trying to
send a sign to this side through a tiny opening in the consciousness.
Such an impression comes to us with certainty.
Unimpeded by other schemes, this
hint of things to come takes time to expand in the new morning light,
and we attempt to watch it unobtrusively, with deep concentration. The
night has begun to open up at last. There will be time until the next
darkness arrives.” (Murakami, 244)
To answer Questions 24-27, please read the following book review of
Haruki Murakami’s After Dark. Choose the best responses to the
prompts next to the review. There is one and only one correct answer to
each prompt.
“During her night in the city, Mari
first meets Tetsuya Takahashi, a young musician who claims to have met
her before when they were brought together on a double date with Mari's
sister and Takahashi's friend. Mari and Takahashi subtly flirt over
coffee until he heads off to late-night band practice, leaving her alone
in the restaurant again. But soon after his departure, a woman named
Kaoru comes in looking for Mari. Kaoru runs a "love hotel," where a
Chinese prostitute has just been beaten and robbed but speaks no
Japanese. She calls Takahashi for help, and he tells her he just left
Mari who, coincidentally, speaks Chinese. With this, Mari is drawn into
the world of the hotel and the lives of the people who work and stay
there.
While Mari moves through the night,
we follow her and also return back to her house to watch Eri in her
sleep. As the story unfolds, we are left to unravel the connection
between the individual who beat the prostitute and Eri. Is he the man in
the bare room? By the end of this short novel, Mari is safely back home
and has plans to leave Japan to study in China --- but her sister is
still in a deep sleep. Mari is undeniably altered, learning about
herself and her city and finding a new love for the sister from whom she
has felt emotionally estranged for so long.”
“Review-After Dark by Haruki
Murakami,” Reviewed by Sarah Rachel Egelman on December 22, 2010
<http://www.bookreporter.com/reviews/after-dark#>
For Questions 1-12, please mark the letter of the correct definition of the given vocabulary word.
intonation
(n.) modulation
(n.) stability
(v.) to frown
(v.) to weaken
incidental
(adj.) informative
(adj.) undelayed
(adj.) mysterious
(adj.) random
dilute
(n.) modulation
(n.) stability
(v.) to frown
(v.) to weaken
unimpeded
(adj.) informative
(adj.) undelayed
(adj.) mysterious
(adj.) random
grimace
(n.) modulation
(n.) stability
(v.) to frown
(v.) to weaken
enigmatic
(adj.) informative
(adj.) undelayed
(adj.) mysterious
(adj.) random
clarity
(n.) a model
(n.) a reference
(n.) clearness
(n.) doubleness
equilibrium
(n.) modulation
(n.) stability
(v.) to frown
(v.) to weaken
dualism
(n.) a model
(n.) a reference
(n.) clearness
(n.) doubleness
guarantor
(n.) a model
(n.) a reference
(n.) clearness
(n.) doubleness
precedent
(n.) a model
(n.) a reference
(n.) clearness
(n.) doubleness
declarative
(adj.) informative
(adj.) undelayed
(adj.) mysterious
(adj.) random
(RL9) Which of the following quotations from Mahatma Gandhi most closely resembles what Shirakawa is contemplating in this passage? “To objectify all the senses, to flatten the consciousness, to put a temporary freeze on logic, to bring the advance of time to a halt if only momentarily--”
“Your beliefs become your thoughts.”
“Your actions become your habits.”
“Your thoughts become your actions.”
“Your habits become your values.”
(RL1) What can we infer isn’t moving and changing during this interlude in Shirakawa’s kitchen? “To objectify all the senses, to flatten the consciousness, to put a temporary freeze on logic, to bring the advance of time to a halt if only momentarily--”
time
Shirakawa’s thoughts
the clock
Shirakawa’s expression
(RL2) How is the program playing on the TV related symbolically to the thematic import of the scene? “...this is what he is trying to do: to fuse his being with the scene behind him, to make everything look like a neutral still life.”
The “weird deep sea creatures” are out of place just as Shirakawa is out of place in his home’s kitchen.
Hidden depths are being explored as Shirakawa is delving in the uncharted depths of his consciousness.
A “miniature research submarine” is “outfitted with high-tech equipment” resembling the kitchen clock.
Similar to Shirakawa’s arm scooping yogurt, a “precision arm” is scooping up treasure from the sea floor.
(RL4) What is the meaning of “consequential” in the following quote? “Is action merely the incidental product of thought, or is thought the consequential product of action?”
resulting
accidental
random
mysterious
(RL3) What thematic statement best summarizes the conclusion that Shirakawa comes to at the end of the passage?
Actions and thoughts operate an interdependent, hand-in-hand fashion.
Thought and action are mutually exclusive and have nothing to do with one another.
Time passes like sand through an hourglass; these are the days of our lives.
Everyone thinks that the dependent time for independent action is now.
(RL6) Which of the following best sums up Murakami’s purpose in this particular passage?
He wants to examine the mystery of why deep thinkers like Shirakawa always gravitate towards the kitchen.
He wants to downplay the impact of television on daily lives as compared to the importance of clocks.
He wants to convey that Shirakawa is struggling with how his thoughts and actions are interrelated.
He wants to provide some comic relief in the novel by having Shirakawa contemplate some fresh yogurt.
(RL4) How could the words “miniscule” and “unobtrusively”--as they’re used in this passage--relate to one another?
A miniscule change can happen unobtrusively.
Miniscule problems can’t be unobtrusively ignored.
Without miniscule help, joy grows unobtrusively.
Miniscule clothes are always unobtrusively acceptable.
(RL5) What “hint of things to come” does Murakami leave readers yearning for at the end of the novel?
the inevitability of Eri’s death
the likelihood of Mari’s marriage to Takahashi
the possibility of Eri recovering consciousness
the eventual downfall of Shirakawa
(RL1) Which of the following is a sign that we can infer hints at “things to come”?
Eri’s pose
Eri’s expression
Eri’s trembling lips
Eri’s awareness
(RL3) What phrase best reflects how Mari has changed from the beginning to the end of the novel?
“And as for Eri, we can see no change…”
“...her little sister has crawled into bed and is sleeping beside her.”
“Finely honed pure point of view that we are, however…”
“The trembling might well be a minuscule quickening…”
(RL4) What symbolic motif is utilized to convey a positive author’s tone and reader’s mood at the novel’s end?
a bed where people sleep
lips used for kissing
miniscule changes in expression
the dawning of a new day
(RI1) What can we infer is the time period of the entire novel, and what quote supports this inference?
one night; “During her night in the city, Mari…”
one week; “...a young musician who claims to have met her before…”
one month; “...they were brought together on a double date…”
one year; “...with Mari’s sister and Takahashi’s friend.”
(RI3) How is Mari “drawn into the world of the hotel and the lives of the people who work and stay there”?
Mari flirts with Takahashi “over coffee until he heads off to a late-night band practice.”
“A Chinese prostitute has just been beaten and robbed but speaks no Japanese.”
Kaoru, who “runs a ‘love hotel,’” calls Takahashi, a former customer, for help.
After speaking to Takahashi, “Kaoru comes in looking for Mari.”
(RI4) What is the best translation of the following? “Mari is undeniably altered...and...has felt emotionally estranged”
Mari is completely uplifted and has felt overly happy.
Mari is definitely changed and has felt deeply separated.
Mari is debatably stable and has felt physically aware.
Mari is questionably weary and had has felt joyously excited.
(RI2) What is the author’s central idea about what Mari will take from her journey through the night?
The man who beat the prostitute and Eri are definitely connected.
If
Mari wants to live, she must escape to China.
Mari knows more about herself, the city, and her love for her sister.
The relationship between Mari and her sister will never be repaired.
Pick the best possessive nouns to fill in the blanks. ________ and my two older _________ efforts had succeeded, but ________ face was covered with dust.
Mama’s; brothers’; Kiyos’
Mama’s; brother’s; Kiyo’s
Mamas’; brothers’; Kiyo’s
Mama’s; brothers’; Kiyo’s
Which sentence is written correctly?
Pocahontas and her husband’s house in England is famous. She was buried near there.
Pocahontas and her husbands house in england are famous she were buried near theyre in england.
Pocahontas and her husbands house in England are famous she was buried near there in England.
Pocahontas and her husband's house in England are famous, she was buried near there.