“Awriter’sjobistotellthetruth,”saidHemingwayin1942.Nootherwriterofourtimehadsofiercelyasserted,sopugnaciouslydefendedorsoconsistentlyexemplifiedthewriter’sobligationtospeaktruly.Hisstandardoftruth-tellingremained,moreover,sohighandsorigorousthathewasordinarilyunwillingtoadmitsecondaryevidence,whetherliteraryevidenceorevidencepickedupfromothersourcesthanhisownexperience.“IonlyknowwhatIhaveseen,”wasastatementwhichcameoftentohislipsandpen.Whathehadpersonallydone,orwhatheknewunforgettablybyhavinggonethroughoneversionofit,waswhathewasinterestedintellingabout.Thisisnottosaythatherefusedtoinventfreely.Buthealwaysmadeitasacrosanctpointtoinventintermsofwhatheactuallyknewfromhavingbeenthere. Theprimaryintentofhiswriting,fromfirsttolast,wastoseizeandprojectforthereaderwhatheoftencalled“thewayitwas.”Thisisacharacteristicallysimplephraseforaconceptofextraordinarycomplexity,andHemingway’sconceptionofitsmeaningsubtlychangedseveraltimesinthecourseofhiscareer-alwaysinthedirectionofgreatercomplexity.Atthecoreoftheconcept,however,onecaninvariablydiscerntheoperationofthreeaestheticinstruments;thesenseofplacethesenseoffactandthesenseofscene. Thefirstofthese,obviouslyastrongpassionwithHemingway,isthesenseofplace.“Unlessyouhavegeography,background,”heoncetoldGeorgeAnteil,“Youhavenothing.”Youhave,thatistosay,adramaticvacuum.Fewwritershavebeenmoreplace-conscious.Fewhavesocarefullychartedoutthegeographicalgroundworkoftheirnovelswhilemanagingtokeepbackgroundsoconspicuouslyunobtrusive.Few,accordingly,havebeenabletorecordmoreeconomicallyandgraphicallythewayitiswhenyouwalkthroughthestreetsofParisinsearchofbreakfastatcornercafé…Orwhen,ataroundsixO’sclockofaSpanishdawn,youwatchthebullsrunningfromthecorralsatthePuertaRochapeathroughthestreetsofPamplonatowardsthebullring. “WhenIwokeitwasthesoundoftherocketexplodingthatannouncedthereleaseofthebullsfromthecorralsattheedgeoftown.Downbelowthenarrowstreetwasempty.Allthebalconieswerecrowdedwithpeople.Suddenlyacrowdcamedownthestreet.Theywereallrunning,packedclosetogether.Theypassedalongandupthestreettowardthebullringandbehindthemcamemoremenrunningfaster,andthensomestragglerswhowerereallyrunning.Behindthemwasalittlebarespace,andthenthebulls,galloping,tossingtheirheadsupanddown.Itallwentoutofsightaroundthecorner.Onemanfell,rolledtothegutter,andlayquiet.Butthebullswentrightonanddidnotnoticehim.Theywereallrunningtogether.” Thislandscapeisasmorning-freshasadesigninIndiainkoncleanwhitepaper.Firstisthebarewhitestreet,seenfromabove,quietandempty.Thenoneseesthefirstpackedclotofrunners.Behindthesearethethinnerranksofthosewhomovefasterbecausetheyareclosertobulls.Thenthealmostcomicstragglers,whoare“reallyrunning.”brilliantlybehindtheseshinesthe“littlebarespace,”adesperatemarginforerror.Thentheclotofrunningbulls-closingthedesign,exceptofcourseforthemanintheguttermakinghimself,likethedesigner’sinitials,asinconspicuousaspossible. OnemightinferfromthepassagethatHemingwaypreferredwhichoneofthefollowingsourcesforhisnovelsandshortstories?
A.Stories that he had heard from friends or chance acquaintances
B.Stories that he had read about in newspapers or other secondary sources
C.Stories that came to him in periods of meditation or in dream
D.Stories that he had lived rather than read about
E.Hemingway’s obsession for geographic details progressively overshadowed the dramatic element of his stories
正确答案是D