| a. The 1960s protest movements | ||
| b. The attempts of African slaves to communicate with each other | ||
| c. Slave owners teaching slaves Elizabethan English | ||
| d. Slaves' attempts to keep their conversations secret |
| a. Toasting is oral | ||
| b. Toasting is a male event | ||
| c. Toasting glorifies women | ||
| d. Toasting provides cultural identification |
| a. Trickster | ||
| b. Victim | ||
| c. Representation of the slave master | ||
| d. "Uncle Tom" character who feels slavery is best for the African American |
| a. Explain how African Americans could not learn standard English | ||
| b. Make his written inaccessible to white audiences | ||
| c. To encourage feelings of pride in African American readers | ||
| d. Challenge American stereotypes about race |
| a. To impress the horrors of slavery on listeners | ||
| b. To ease their pain | ||
| c. To pray for deliverance | ||
| d. To show that they were content in their work |
| a. Weasel. | ||
| b. Bear. | ||
| c. The farmer. | ||
| d. The young boy. |
| a. Cakewalk tunes. | ||
| b. Gospel. | ||
| c. Jazz. | ||
| d. Blues. |
| a. Giving words double meaning that appear differently to white and black readers. | ||
| b. Fixing words with very specific meanings. | ||
| c. Making sure that what is written makes sense. | ||
| d. Lying to mislead the reader. |
| a. Strengthened the African American's place in the world of literature | ||
| b. Perpetuated stereotypes | ||
| c. Allowed African American authors to sell their works more widely to white audiences | ||
| d. Showed that African Americans couldn't speak properly. |
| a. They showed that a hero would deliver them from slavery. | ||
| b. They gave hope that God would deliver them from slavery. | ||
| c. They helped them do their work faster. | ||
| d. They were based on African songs. |
| a. The persona that the characters show the world. | ||
| b. The carved masks of African gods. | ||
| c. Characters from the Bible. | ||
| d. Who the narrator wishes to be. |
| a. Amoral (neither good nor evil) | ||
| b. Christian | ||
| c. Evil |
| a. Their belief in necessary violence. | ||
| b. Their belief that women should have equal rights. | ||
| c. Their appeals to Christians. | ||
| d. Their belief that African Americans should govern themselves. |
| a. The races should not intermarry. | ||
| b. Christians the only ones not to blame for the existence of slavery. | ||
| c. Blacks have the duty to resist slavery. | ||
| d. Blacks should return to Africa. |
| a. Stowe's novel is sentimental. | ||
| b. Stowe describes the treatment of slaves. | ||
| c. Stowe describes the escape of slaves. | ||
| d. Uncle Tom's Cabin was used by abolitionists. |
| a. That female slaves were escaping more frequently than men. | ||
| b. How slavery was worse for men. | ||
| c. How females were affected by slavery. | ||
| d. That female slaves were more valuable than male slaves. |
| a. Under the floorboards. | ||
| b. With a friend. | ||
| c. In the stables. | ||
| d. In a remote cabin. |
| a. She is one-quarter Black. | ||
| b. She is one-eighth Black. | ||
| c. She is White. | ||
| d. She cannot be a slave. |
| a. The mistress of the house was afraid her husband would be attracted to Clotel. | ||
| b. To keep the lice away. | ||
| c. So that the other slaves would get along with her. | ||
| d. So she could sell it. |
| a. The scene invokes audience sympathy. | ||
| b. The heroine has to balance autonomy with self-denial. | ||
| c. The heroine conquers her passions. | ||
| d. A and B | ||
| e. B and C |
| a. Highly original. | ||
| b. Typical of Colonial poetry. | ||
| c. Progressive and challenging. | ||
| d. Abolitionist in subject. |
| a. Harriet Jacob's Incidents in the Life of a Slave Girl. | ||
| b. Harriet Wilson's Our Nig. | ||
| c. William Wells Brown's Clotel. | ||
| d. Toni Morrison's Beloved. |
| a. Captivity narratives. | ||
| b. Abolitionist newspaper accounts. | ||
| c. Folktales. | ||
| d. African mythology. |
| a. Slaveholders objected to losing leisure time. | ||
| b. Slaves outnumbered non-slaves and might rebel. | ||
| c. Slaveholders felt economic security rested on the system of slavery. | ||
| d. B and C. | ||
| e. A and C. |
| a. 1804 | ||
| b. 1865 | ||
| c. 1848 | ||
| d. 1807 |
| a. Led to novels of passing. | ||
| b. Existed only in fiction by White authors. | ||
| c. Developed in the 20th century. | ||
| d. Existed only in fiction by female authors. |
| a. It was the first African American novel. | ||
| b. It was the first African American newspaper. | ||
| c. It was published by Frederick Douglass. | ||
| d. It argued for a separate African American community in America. |
| a. The poem is the first-known writing of an African American. | ||
| b. The poem is better than the poems of the more famous Phillis Wheatley. | ||
| c. The poem is the first of many poems by Terry. | ||
| d. The poetry focuses on slave life in the 18th century. |
| a. The poem's form of rhymed tetrameter couplets. | ||
| b. The poem shows her future work as a advocate of civil rights. | ||
| c. The poem is filled with Christian symbolism. | ||
| d. The fact that the poem is the most accurate account of the 1742 Indian-White engagement in Deerfield, Massachusetts. |
| a. Women's rights. | ||
| b. Negro rights. | ||
| c. The right to keep one's children. | ||
| d. The rights of farm hands. | ||
| e. A and B. |
| a. Resistance to the overseers. | ||
| b. Learning to be midwives. | ||
| c. Resistance against dehumanization. | ||
| d. Lower suicide rates. |
| a. Slaves are capable of becoming good Christians. | ||
| b. Slaves should rebel against the Christian religion. | ||
| c. Slaves are the children of Cain. | ||
| d. Christians should free their slaves. |
| a. Based on a New England captivity narrative. | ||
| b. An anonymous narrative. | ||
| c. Fiction written by Lydia Maria Child. | ||
| d. Written by Jacob's son. |
| a. The Bible. | ||
| b. Greek history. | ||
| c. Slave narratives. | ||
| d. Abolitionist newspapers. |
| a. She tries to pass as White. | ||
| b. She washes clothes for White women. | ||
| c. She lets a man help her out. | ||
| d. She marries a Black man. |
| a. Narration of a deserved punishment. | ||
| b. Depictions of a beautiful rural environment. | ||
| c. Descriptions of the kinds of food and clothing slaves were given. | ||
| d. The author's father is often a white man. |
| a. Most slave children lived in two-family homes. | ||
| b. Slave owners did not allow their slaves to live as married couples. | ||
| c. Slaves were given limited civil rights. | ||
| d. Most slaves were not Christian. |
| a. William Wells Brown | ||
| b. Lydia Maria Child | ||
| c. Harriet Jacobs | ||
| d. Harriet Beecher Stowe |
| a. Lucy Terry | ||
| b. William Wells Brown | ||
| c. Harriet Wilson | ||
| d. Harriet Jacobs |
| a. Harriet Beecher Stowe | ||
| b. Richard Wright | ||
| c. Frederick Douglass | ||
| d. Phillis Wheatley |
| a. So the author could get paid. | ||
| b. In order for people to believe the events in the narratives. | ||
| c. So that slave owners could refute the events in the narratives. | ||
| d. So that the author could be assured he wouldn't be recaptured. |
| a. Whites should pay reparations to former slaves. | ||
| b. African Americans should acculturate to mainstream White culture. | ||
| c. White institutions should reform to meet African American needs. | ||
| d. African Americans will have to help themselves by becoming educated. |
| a. Rejecting all White assistance. | ||
| b. Allowing Whites to help African Americans to reach their potential. | ||
| c. Calling for violent uprisings. | ||
| d. Separating Blacks by income level. |
| a. Get an education. | ||
| b. Get a job. | ||
| c. To be clean. | ||
| d. To be a teacher. |
| a. To describe the horrors of life on the Post-bellum plantation. | ||
| b. To explain his religious views. | ||
| c. To amuse the narrator's sickly wife. | ||
| d. So they won't interrupt his income from the neglected grape harvest. |
| a. Is the time period that followed the Civil War. | ||
| b. Describes the rebuilding after World War I. | ||
| c. Refers to the Civil Rights movement. | ||
| d. Took place only in the North. |
| a. Harriet Beecher Stowe | ||
| b. Joel Chandler Harris | ||
| c. Richard Wright | ||
| d. Charles Chesnutt |
| a. A Christian. | ||
| b. A radical. | ||
| c. An accomodationist. | ||
| d. A coward. |
| a. The "Talented Tenth." | ||
| b. All African Americans. | ||
| c. African American women. | ||
| d. Only White Americans. |
| a. William Wells Brown | ||
| b. Richard Wright | ||
| c. Charles Chesnutt | ||
| d. Booker T. Washington |
| a. Jean Toomer | ||
| b. Charles Chesnutt | ||
| c. Booker T. Washington | ||
| d. Frederick Douglass |
| a. Redefining black people in terms of a presence, not an absence. | ||
| b. Working against the existing racist stereotypes. | ||
| c. A struggle ongoing since 1619. | ||
| d. All of the above |
| a. Sharecropping. | ||
| b. Slavery. | ||
| c. Segregation. | ||
| d. Prostitution. |
| a. To obtain justice for black people. | ||
| b. To get better accommodations on the train, better seats in the theatre. | ||
| c. To escape from slavery. | ||
| d. None of the above. |
| a. A waterfall. | ||
| b. Electricity. | ||
| c. A war. | ||
| d. A factory. |
| a. She almost died in childbirth with her first child. | ||
| b. She doesn't want to lose her figure. | ||
| c. Her husband has threatened to leave her. | ||
| d. She is afraid it may have dark skin. |
| a. Its fractured, collage effect. | ||
| b. Its insistence on plot. | ||
| c. Its focus on landscape. | ||
| d. Its focus on modern city life. |
| a. Bringing African culture to the United States. | ||
| b. Leaving the African peoples alone. | ||
| c. Writers who took African themes for their work. | ||
| d. Completing an oppressed people's quest for freedom, liberty and democracy. |
| a. Her relationship with a patron. | ||
| b. Her mother. | ||
| c. Her best friend. | ||
| d. Her job as a waitress. |
| a. Collectivism versus the authority of the individual. | ||
| b. The wearing away of traditional class structures. | ||
| c. The impact of WWI and the 1918 Bolshevik Revolution in Russia. | ||
| d. The disassociated, anomic self. |
| a. Negro spirituals being sung in the cotton fields. | ||
| b. The call and response of an African American church congregation. | ||
| c. African American toasting on a city street corner. | ||
| d. Blues being played in a Harlem bar. |
| a. The ability of an African American to live as a White person. | ||
| b. To do well on one's schoolwork. | ||
| c. To leave one's past behind. | ||
| d. To gain approval from one's community. |
| a. Rabid dogs. | ||
| b. Her husband. | ||
| c. Snakes. | ||
| d. Bertha. |
| a. It was home to the Harlem Renaissance. | ||
| b. Most of its inhabitants worked for White people. | ||
| c. It was primarily African American. | ||
| d. It was destroyed after the Civil War. |
| a. A period of time when African Americans moved North in large numbers. | ||
| b. When African Americans settled Liberia. | ||
| c. When slaves traveled the Underground Railroad. | ||
| d. When African Americans migrated to the South from the North. |
| a. William Wells Brown | ||
| b. Nella Larsen. | ||
| c. Charles Chesnutt | ||
| d. James Weldon Johnson |
| a. Alice Walker | ||
| b. Etheridge Knight | ||
| c. Martin Luther King, Jr. | ||
| d. Langston Hughes |
| a. Because in was cheaper to live in Africa. | ||
| b. Because he did not feel African Americans would ever achieve equality in America. | ||
| c. He was asked by African countries to bring African Americans to Africa. | ||
| d. He had to leave the country. |
| a. To go to a party. | ||
| b. To go pay old man Stevenson. | ||
| c. To end their lives. | ||
| d. To go to church. |
| a. To keep the slave offspring of White slave owners from inheriting. | ||
| b. To allow mixed-race children to get scholarships meant for African Americans. | ||
| c. To make sure mothers of mixed-race children got custody. | ||
| d. To keep White slave owner parents of mixed-race offspring from having to pay for their children. |
| a. Getting an education. | ||
| b. Fighting. | ||
| c. Making friends with the guards. | ||
| d. Contacting famous authors. |
| a. Having a bathroom with warm water. | ||
| b. Following one's dreams. | ||
| c. Getting food on the table. | ||
| d. Finding a mate. |
| a. The name of a restaurant the pool players cannot enter. | ||
| b. A metaphor for colossal lies they have been buried with. | ||
| c. A metaphor for the pool players who are trying to dig out of their neighborhood. | ||
| d. The name of a pool hall. |
| a. The narrator's attempt to stay hidden. | ||
| b. The narrator's desire to be safe. | ||
| c. The narrator's invisibility to society. | ||
| d. The narrator's attempt to stay out of prison. |
| a. Breaking the law. | ||
| b. Using violence when necessary. | ||
| c. Waiting for times to get better. | ||
| d. Disobeying unjust laws. |
| a. Jean Toomer. | ||
| b. Richard Wright. | ||
| c. Ralph Ellison. | ||
| d. James Baldwin. |
| a. He had known many "Biggers" in his life. | ||
| b. He was trying to overcome his fears of powerful men. | ||
| c. He was proud of all the African American men he had seen stand up to Whites. | ||
| d. He wanted to show African American males how not to live. |
| a. The theme of man against nature. | ||
| b. The theme of man against man. | ||
| c. The theme of heredity. | ||
| d. Nature as an invisible force. |
| a. William Gates | ||
| b. Henry David Thoreau | ||
| c. Booker T. Washington | ||
| d. Alain Locke |
| a. Characters are not as important as plot. | ||
| b. Presentation is objective. | ||
| c. Ordinary language is used. | ||
| d. Events are plausible. |
| a. To speak to the spiritual and cultural needs of African Americans. | ||
| b. To raise awareness of violence in African American youth. | ||
| c. To support the Back to Africa Movement. | ||
| d. To raise money for Sickle Cell Anemia research. |
| a. To help the other inmates escape. | ||
| b. To win money by fighting. | ||
| c. To do what the other inmates were afraid to do. | ||
| d. To keep the Blacks and Whites separated. |
| a. African mythology. | ||
| b. African American folktale. | ||
| c. Greek mythology. | ||
| d. Contemporary female artists. |
| a. That they learn from her mistakes. | ||
| b. That they have richer lives than hers. | ||
| c. That they have all they ever wished for themselves. | ||
| d. That they experience all the pain and embarrassment of being a woman. |
| a. W.E.B. DuBois | ||
| b. Amiri Baraka | ||
| c. Booker T. Washington | ||
| d. Frederick Douglass |
| a. African American art should exclude women. | ||
| b. African American images should inspire African Americans. | ||
| c. African American art should subvert the art of Europeans and White Americans. | ||
| d. African American literature should replicate educated White language. |
| a. A child dying of SIDS. | ||
| b. The stillborn death of a child. | ||
| c. Abortion. | ||
| d. A murdered child. |
| a. The poem's rhythmic lines. | ||
| b. The references to jazz songs and musicians. | ||
| c. The poem can be set to music. | ||
| d. There is repetition. |
| a. Betrayal by the educational system. | ||
| b. Betrayal by her sister. | ||
| c. Betrayal by her community. | ||
| d. Betrayal by a family member. |
| a. The importance of men to the African American family. | ||
| b. The negative consequences of feminism on the African American family. | ||
| c. The importance of African religious influence in America. | ||
| d. The importance of African American craftsmanship. |
| a. Its character's movement from slavery to freedom. | ||
| b. Its emphasis on Christian ideals. | ||
| c. The novel's sensationalist scenes of violence. | ||
| d. Its didactic (teaching) tone of voice. |
| a. Supplying them with narcotic eggs. | ||
| b. Letting them choose their own mates. | ||
| c. Freeing the males after they are hosts. | ||
| d. Paying them very well. |
| a. Her own memories of slavery. | ||
| b. Stories her grandmother told her. | ||
| c. The television series Roots. | ||
| d. Slave narratives. |
| a. Discussion of race relations in the North and South. | ||
| b. Condemnation of the plantation myth. | ||
| c. Examination of the psychological damage of slavery. | ||
| d. Insistence on desegregation. |
| a. Urge African Americans to fight their oppressors. | ||
| b. Encourage societies strive for equality for all. | ||
| c. Extol the virtues of living in the free North. | ||
| d. Argue that slavery was not so bad for everyone. |
| a. A Modernist poet | ||
| b. A performance poet | ||
| c. A classical poet | ||
| d. A traditional poet |
| a. The extermination of Native Americans. | ||
| b. That there is a Black America and a White America. | ||
| c. Black on black violence. | ||
| d. The fact that America still has a frontier mentality. |
| a. Mystery. | ||
| b. Science Fiction. | ||
| c. Horror. | ||
| d. Tragedy. |
| a. She is proud of her heritage. | ||
| b. She doesn't want Maggie to have it. | ||
| c. She wants to display it for her friends to see. | ||
| d. She loves the beauty of it. |
| a. Protest poetry | ||
| b. Romantic poetry | ||
| c. Lyric poetry | ||
| d. Jazz poetry |