SAT Section One : Critical Reading - SAT-Critical-Reading

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SAT SAT-Critical-Reading Exam Syllabus Topics:

SAT Section One : Critical Reading Sample Questions:

Question 1

(1) On my nineteenth birthday, I began my trip to Mali, West Africa.
(2) Some 24 hours later I arrived in Bamako, the capital of Mali.
(3) The sun had set and the night was starless.
(4) One of the officials from the literacy program I was working was there to meet me.
(5) After the melee in the baggage claim, we proceeded to his car.
(6) Actually, it was a truck.
(7) I was soon to learn that most people in Mali that had automobiles actually had trucks or SUVs.
(8) Apparently, there not just a convenience but a necessity when you live on the edge of the Sahara.
(9) I threw my bags into the bed of the truck, and hopped in to the back of the cab.
(10) Riding to my welcome dinner, I stared out the windows of the truck and took in the city.
(11) It was truly a foreign land to me, and I knew that I was an alien there.
(12) "What am I doing here?" I thought.
(13) It is hard to believe but seven months later I returned to the same airport along the same road that I
had traveled on that first night in Bamako, and my perspective on the things that I saw had completely
changed.
(14) The landscape that had once seemed so desolate and lifeless now was the homeland of people that I
had come to love.
(15) When I looked back at the capital, Bamako, fast receding on the horizon, I did not see a city
foreboding and wild in its foreignness.
(16) I saw the city which held so many dear friends.
(17) I saw tea drinking sessions going late into the night.
(18) I saw the hospitality and open- heartedness of the people of Mali.
(19) The second time, everything looked completely different, and I knew that it was I who had changed
and not it.
Sentence 13 (reproduced below) would best be revised to which of the following choices? It is hard to
believe but seven months later I returned to the same airport along the same road that I had traveled on
that first night in Bamako, and my perspective on the things that I saw had completely changed.

A. It is hard to believe but seven months later I returned to the same airport along the same road that I
Had traveled on that first night in Bamako, and my perspective completely changed on the things I saw.
B. It is hard to believe, but seven months later, when I returned to the same airport along the same road
that I had traveled on that first night in Bamako, my perspective on the things I saw had completely
changed.
C. It is hard to believe, but seven months later I returned to the same airport along the same road that I
had traveled on that first night in Bamako: my perspective on the things I saw had completely changed.
D. As it is now.
E. It is hard to believe, but seven months later I returned to the same airport along the same road that I
had traveled on that first night in Bamako, and my perspective on the things that I saw having completely
changed.

Question 2

But the Dust-Bin was going down then, and your father took but little, excepting from a liquid point of view.
Your mother's object in those visits was of a house-keeping character, and you was set on to whistle your
father out. Sometimes he came out, but generally not. Come or not come, however, all that part of his
existence which was unconnected with open Waitering was kept a close secret, and was acknowledged
by your mother to be a close secret, and you and your mother flitted about the court, close secrets both of
you, and would scarcely have confessed under torture that you know your father, or that your father had
any name than Dick (which wasn't his name, though he was never known by any other), or that he had
kith or kin or chick or child.
Perhaps the attraction of this mystery, combined with your father's having a damp compartment, to
himself, behind a leaky cistern, at the Dust Bin, a sort of a cellar compartment, with a sink in it, and a smell,
and a plate-rack, and a bottle-rack, and three windows that didn't match each other or anything else, and
no daylight, caused your young mind to feel convinced that you must grow up to be a Waiter too; but you
did feel convinced of it, and so did all your brothers, down to your sister. Every one of you felt convinced
that you was born to the Waitering.
At this stage of your career, what was your feelings one day when your father came home to your mother
in open broad daylight, of itself an act of Madness on the part of a Waiter, and took to his bed (leastwise,
your mother and family's bed), with the statement that his eyes were devilled kidneys. Physicians being in
vain, your father expired, after repeating at intervals for a day and a night, when gleams of reason and old
business fitfully illuminated his being, "Two and two is five. And three is sixpence." Interred in the
parochial department of the neighbouring churchyard, and accompanied to the grave by as many Waiters
of long standing as could spare the morning time from their soiled glasses (namely, one), your bereaved
form was attired in a white neckankecher [sic], and you was took on from motives of benevolence at The
George and Gridiron, theatrical and supper. Here, supporting nature on what you found in the
plates(which was as it happened, and but too often thoughtlessly, immersed in mustard), and on what you
found in the glasses (which rarely went beyond driblets and lemon), by night you dropped asleep standing,
till you was cuffed awake, and by day was set to polishing every individual article in the coffee-room. Your
couch being sawdust; your counterpane being ashes of cigars. Here, frequently hiding a heavy heart
under the smart tie of your white neck ankecher (or correctly speaking lower down and more to the left),
you picked up the rudiments of knowledge from an extra, by the name of Bishops, and by calling
plate-washer, and gradually elevating your mind with chalk on the back of the corner-box partition, until
such time as you used the inkstand when it was out of hand, attained to manhood, and to be the Waiter
that you find yourself.
I could wish here to offer a few respectful words on behalf of the calling so long the calling of myself and
family, and the public interest in which is but too often very limited. We are not generally understood. No,
we are not. Allowance enough is not made for us. For, say that we ever show a little drooping listlessness
of spirits, or what might be termed indifference or apathy. Put it to yourself what would your own state of
mind be, if you was one of an enormous family every member of which except you was always greedy,
and in a hurry. Put it to yourself that you was regularly replete with animal food at the slack hours of one in
the day and again at nine p.m., and that the repleter [sic] you was, the more voracious all your
fellow-creatures came in. Put it to yourself that it was your business, when your digestion was well on, to
take a personal interest and sympathy in a hundred gentlemen fresh and fresh (say, for the sake of
argument, only a hundred), whose imaginations was given up to grease and fat and gravy and melted
butter, and abandoned to questioning you about cuts of this, and dishes of that, each of 'em going on as if
him and you and the bill of fare was alone in the world.
Why does the language "Two and two is five. And three is sixpence" 3rd paragraph illuminate rather than
confuse the character of the father on his deathbed?

A. It is reasonable that a father would be concerned about his family's finances following his death.
B. It was his practice the whole of his daily vocation.
C. It is normal for a dying person to speak of money or fortune upon their deathbed.
D. It indicates that he wanted his wife and son to be sure to get the money from the compartment.
E. It was the amount being communicated that should be paid for his burial.

Question 3

Here my friend, about whose madness I now saw, or fancied that I saw, certain indications of method,
removed the peg which marked the spot where the beetle fell, to a spot about three inches to the
westward of its former position. Taking, now, the tape measure from the nearest point of the trunk to the
peg, as before, and continuing the extension in a straight line to the distance of fifty feet, a spot was
indicated, removed, by several yards, from the point at which we had been digging.
Around the new position a circle, somewhat larger than in the former instance, was now described, and
we again set to work with the spades. I was dreadfully weary, but, scarcely understanding what had
occasioned the change in my thoughts, I felt no longer any great aversion from the labor imposed. I had
become most unaccountably interested--nay, even excited. Perhaps there was something, amid all the
extravagant demeanor of Legrand-some air of forethought, or of deliberation, which impressed me. I dug
eagerly, and now and then caught myself actually looking, with something that very much resembled
expectation, for the fancied treasure, the vision of which had demented my unfortunate companion. At a
period when such vagaries of thought most fully possessed me, and when we had been at work perhaps
an hour and a half, we were again interrupted by the violent howlings of the dog. His uneasiness, in the
first instance, had been, evidently, but the result of playfulness or caprice, but he now assumed a bitter
and serious tone. Upon Jupiter's again attempting to muzzle him, he made furious resistance, and,
leaping into the hole, tore up the mould frantically with his claws. In a few seconds he had uncovered a
mass of human bones, forming two complete skeletons, intermingled with several buttons of metal, and
what appeared to be the dust of decayed woolen. One or two strokes of a spade upturned the blade of a
large Spanish knife, and, as we dug farther, three or four loose pieces of gold and silver coin came to
light.
At sight of these the joy of Jupiter could scarcely be restrained, but the countenance of his master wore an
air of extreme disappointment he urged us, however, to continue our exertions, and the words were hardly
uttered when I stumbled and fell forward, having caught the toe of my boot in a large ring of iron that lay
half buried in the loose earth.
We now worked in earnest, and never did I pass ten minutes of more intense excitement. During his
interval we had fairly unearthed an oblong chest of wood, which, from its perfect preservation and
wonderful hardness, had plainly been subjected to some mineralizing process--perhaps that of the
Bi-chloride of Mercury. This box was three feet and a half long, three feet broad, and two and a half feet
deep. It was firmly secured by bands of wrought iron, riveted, and forming a kind of open trelliswork over
the whole. On each side of the chest, near the top, were three rings of iron--six in all--by means of which a
firm hold could be obtained by six persons. Our utmost united endeavors served only to disturb the coffer
very slightly in its bed. We at once saw the impossibility of removing so great a weight. Luckily, the sole
fastenings of the lid consisted of two sliding bolts. These we drew back trembling and panting with anxiety.
In an instant, a treasure of incalculable value lay gleaming before us. As the rays of the lanterns fell within
the pit, there flashed upwards a glow and a glare, from a confused heap of gold and of jewels, that
absolutely dazzled our eyes.
I shall not pretend to describe the feelings with which I gazed. Amazement was, of course, predominant.
Legrand appeared exhausted with excitement, and spoke very few words. Jupiter's countenance wore, for
some minutes, as deadly a pallor as it is possible, in nature of things, for any negro's visage to assume.
He seemed stupefied thunder stricken. Presently he fell upon his knees in the pit, and, burying his naked
arms up to the elbows in gold, let them there remain, as if enjoying the luxury of a bath.
It became necessary, at last, that I should arouse both master and valet to the expediency of removing the
treasure. It was growing late, and it behooved us to make exertion, that we might get every thing housed
before daylight. It was difficult to say what should be done, and much time was spent in deliberation--so
confused were the ideas of all. We, finally, lightened the box by removing two thirds of its contents, when
we were enabled, with some trouble, to raise it from the hole. The articles taken out were deposited
among the brambles, and the dog left to guard them, with strict orders from Jupiter neither, upon any
pretence, to stir from the spot, nor to open his mouth until our return.
Considering that an alternative meaning other than jumbled was used for the term "confused" (4th
paragraph) select the best rationale for the phenomenon of the treasure's confusion as related in (4th
paragraph).

A. The gold and jewels were in a state of disarray.
B. The dog having just uncovered the remains of the treasure's last owners was confusion.
C. The treasure was shocked to see people after so long.
D. The treasure didn't think anyone would be able to open the box.
E. The lamps casting a shadowy light would have caused distorted images.

Question 4

This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century.
Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-
ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is
infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony
on mainland China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944--just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera.
He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the
militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group
of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting
black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It
was a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be
more accurate to say that the novel simply marked a turning point in his career, when Abe turned away
from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to
furusato and the emperor after all, but rather began a somewhat more realistic exploration of his
continuing obsession with homelessness and alienation. Not completely a stranger to his earlier
commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual
of Japan's rapidly urbanizing, growth driven, increasingly corporate society.
The author of the passage is most likely a

A. avant-garde artist.
B. novelist.
C. film critic.
D. literary critic.
E. translator.

Question 5

In conclusion, it seized first the corpse of the daughter, and thrust it up the chimney, as it was found; then
that of the old lady, which it immediately hurled through the window headlong. As the ape approached the
casement with its mutilated burden, the sailor shrank aghast to the rod, and, rather gliding than
clambering down it, hurried at once home--dreading the consequences of the butchery, and gladly
abandoning, in his terror, all solicitude about the fate of the Ourang-Outang. The words heard by the party
upon the staircase were the Frenchman's exclamations of horror and affright, commingled with the
fiendish jabberings of the brute.
I have scarcely anything to add. The Ourang-Outang must have escaped from the chamber, by the rod,
just before the break of the door. It must have closed the window as it passed through it. It was
subsequently caught by the owner himself, who obtained for it a very large sum at the Jardin des Plantes.
Le Don was instantly released, upon our narration of the circumstances (with some comments from Dupin)
at the bureau of the Prefect of Police. This functionary, however well disposed to my friend, could not
altogether conceal his chagrin at the turn which affairs had taken, and was fain to indulge in a sarcasm or
two, about the propriety of every person minding his own business.
Which selection best rephrases "I have scarcely anything to add" starting of 2nd paragraph?

A. I don't know anything else to add.
B. I'm concerned I can't add much more.
C. I'm afraid of what I have left to tell.
D. I've told you everything I know.
E. I only have a little bit more to tell.

Solutions: