“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. Fromtheauthor’scommentsandtheexampleofthebulls(paragraph4),whatwasthemostlikelyreasonforwhichHemingwaytookcaretoincludedetailsofplace?
A.He felt that geography in some way illuminated other, more important events.
B.He thought readers generally did not have enough imagination to visualize the scenes for themselves.
C.He thought that landscapes were more important than characters to convey “the way it was.”
D.He felt that without background information the readers would be unable to follow the story.
正确答案是D