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Directions: Kindly read the passage carefully and answer the questions given beside.In 1973, Maxine Hong Kingston and her husband, Earll, took a vacation to Lanai, a small Hawaiian island about eighty miles southeast of Oahu, where they lived. There was little to do. The Kingstons had moved to Oahu after getting burned out on life in Berkeley, where they met as college students, in the early sixties. They got caught up in the era’s celebration of free expression and consciousness-seeking excess, and the movements for civil rights and peace. But by 1967 they had taken one too many friends to the hospital after bad acid trips. Some people left for communes, never to return. Every peace demonstration seemed to end in a riot in the period surrounding the Vietnam War. Earll studied acting at the University of Hawai, and Maxine taught high school, writing in her spare time. Once, she saw Frederick Exley, whose debut novel, ‘A Fan’s Notes’, had been a finalist for the National Book Awards in 1969. Maxine would see him at the bar each morning, though they never spoke. This is a place where writers come, she thought. This is where people find inspiration. She went back to her room and continued writing down stories and memories. ‘The Woman Warrior: Memories of a Girlhood among Ghosts,’ the resulting book, was published three years later, when Kingston was thirty-five. In the seventies, publishers had begun responding to America’s social realities by offering challenging, textured depictions of what it meant to be part of a minority. ‘The Woman Warrior,’ which was marketed as a memoir based on Kingston’s upbringing, seemed to adhere to typical preconceptions—the cascading effects of patriarchal traditions, the stern and unaffectionate immigrant parents, the children caught between duty and dreaming. But, unlike most ethnic coming-of-age tales of the time, it seeded doubt about its own authenticity. The book is complex and captivating, a constant toggling between the mundane grit of the family’s laundry business and epic, surreal dreamscapes. By the end, you don’t know which, if any, of these stories are true, or whether they constitute a reliable depiction of Chinese-American life. ‘The Woman Warrior’ changed American culture. For those who understood where Kingston was coming from, it was encouragement that they could tell stories, too. For those who didn’t, ‘The Woman Warrior’ became the definitive telling of the Asian immigrant experience, at a time when there weren’t many to choose from. Younger Asian-American writers would later complain of receiving “a generic Maxine Hong Kingston rejection letter” from publishers who regarded ‘The Woman Warrior’ as monolithic. ‘The Woman Warrior’ won the 1976 National Book Critics Circle Award for nonfiction, and in the eighties and nineties Kingston was one of the most frequently taught living authors at American colleges and universities. Kingston and Earll used the proceeds from the novel to put down a deposit on a house in the Manoa Valley, a lush, quiet neighbourhood just east of downtown Honolulu. They lived there until 1984, when they returned to California.Q. Why did the author mention that Maxim’s book seeded doubt about its own authenticity?a)As it explained the stern and unaffectionate immigrant parents and the children caught between duty and dreamingb)As it was written and inspired by a writer who used to visit bar.c)Because of the cascading effects of patriarchal traditionsd)As the concept of the book kept switching between the reality of the family’s laundry business and mystery of dreamsCorrect answer is option 'D'. Can you explain this answer? for CLAT 2025 is part of CLAT preparation. The Question and answers have been prepared according to the CLAT exam syllabus. Information about Directions: Kindly read the passage carefully and answer the questions given beside.In 1973, Maxine Hong Kingston and her husband, Earll, took a vacation to Lanai, a small Hawaiian island about eighty miles southeast of Oahu, where they lived. There was little to do. The Kingstons had moved to Oahu after getting burned out on life in Berkeley, where they met as college students, in the early sixties. They got caught up in the era’s celebration of free expression and consciousness-seeking excess, and the movements for civil rights and peace. But by 1967 they had taken one too many friends to the hospital after bad acid trips. Some people left for communes, never to return. Every peace demonstration seemed to end in a riot in the period surrounding the Vietnam War. Earll studied acting at the University of Hawai, and Maxine taught high school, writing in her spare time. Once, she saw Frederick Exley, whose debut novel, ‘A Fan’s Notes’, had been a finalist for the National Book Awards in 1969. Maxine would see him at the bar each morning, though they never spoke. This is a place where writers come, she thought. This is where people find inspiration. She went back to her room and continued writing down stories and memories. ‘The Woman Warrior: Memories of a Girlhood among Ghosts,’ the resulting book, was published three years later, when Kingston was thirty-five. In the seventies, publishers had begun responding to America’s social realities by offering challenging, textured depictions of what it meant to be part of a minority. ‘The Woman Warrior,’ which was marketed as a memoir based on Kingston’s upbringing, seemed to adhere to typical preconceptions—the cascading effects of patriarchal traditions, the stern and unaffectionate immigrant parents, the children caught between duty and dreaming. But, unlike most ethnic coming-of-age tales of the time, it seeded doubt about its own authenticity. The book is complex and captivating, a constant toggling between the mundane grit of the family’s laundry business and epic, surreal dreamscapes. By the end, you don’t know which, if any, of these stories are true, or whether they constitute a reliable depiction of Chinese-American life. ‘The Woman Warrior’ changed American culture. For those who understood where Kingston was coming from, it was encouragement that they could tell stories, too. For those who didn’t, ‘The Woman Warrior’ became the definitive telling of the Asian immigrant experience, at a time when there weren’t many to choose from. Younger Asian-American writers would later complain of receiving “a generic Maxine Hong Kingston rejection letter” from publishers who regarded ‘The Woman Warrior’ as monolithic. ‘The Woman Warrior’ won the 1976 National Book Critics Circle Award for nonfiction, and in the eighties and nineties Kingston was one of the most frequently taught living authors at American colleges and universities. Kingston and Earll used the proceeds from the novel to put down a deposit on a house in the Manoa Valley, a lush, quiet neighbourhood just east of downtown Honolulu. They lived there until 1984, when they returned to California.Q. Why did the author mention that Maxim’s book seeded doubt about its own authenticity?a)As it explained the stern and unaffectionate immigrant parents and the children caught between duty and dreamingb)As it was written and inspired by a writer who used to visit bar.c)Because of the cascading effects of patriarchal traditionsd)As the concept of the book kept switching between the reality of the family’s laundry business and mystery of dreamsCorrect answer is option 'D'. Can you explain this answer? covers all topics & solutions for CLAT 2025 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Directions: Kindly read the passage carefully and answer the questions given beside.In 1973, Maxine Hong Kingston and her husband, Earll, took a vacation to Lanai, a small Hawaiian island about eighty miles southeast of Oahu, where they lived. There was little to do. The Kingstons had moved to Oahu after getting burned out on life in Berkeley, where they met as college students, in the early sixties. They got caught up in the era’s celebration of free expression and consciousness-seeking excess, and the movements for civil rights and peace. But by 1967 they had taken one too many friends to the hospital after bad acid trips. Some people left for communes, never to return. Every peace demonstration seemed to end in a riot in the period surrounding the Vietnam War. Earll studied acting at the University of Hawai, and Maxine taught high school, writing in her spare time. Once, she saw Frederick Exley, whose debut novel, ‘A Fan’s Notes’, had been a finalist for the National Book Awards in 1969. Maxine would see him at the bar each morning, though they never spoke. This is a place where writers come, she thought. This is where people find inspiration. She went back to her room and continued writing down stories and memories. ‘The Woman Warrior: Memories of a Girlhood among Ghosts,’ the resulting book, was published three years later, when Kingston was thirty-five. In the seventies, publishers had begun responding to America’s social realities by offering challenging, textured depictions of what it meant to be part of a minority. ‘The Woman Warrior,’ which was marketed as a memoir based on Kingston’s upbringing, seemed to adhere to typical preconceptions—the cascading effects of patriarchal traditions, the stern and unaffectionate immigrant parents, the children caught between duty and dreaming. But, unlike most ethnic coming-of-age tales of the time, it seeded doubt about its own authenticity. The book is complex and captivating, a constant toggling between the mundane grit of the family’s laundry business and epic, surreal dreamscapes. By the end, you don’t know which, if any, of these stories are true, or whether they constitute a reliable depiction of Chinese-American life. ‘The Woman Warrior’ changed American culture. For those who understood where Kingston was coming from, it was encouragement that they could tell stories, too. For those who didn’t, ‘The Woman Warrior’ became the definitive telling of the Asian immigrant experience, at a time when there weren’t many to choose from. Younger Asian-American writers would later complain of receiving “a generic Maxine Hong Kingston rejection letter” from publishers who regarded ‘The Woman Warrior’ as monolithic. ‘The Woman Warrior’ won the 1976 National Book Critics Circle Award for nonfiction, and in the eighties and nineties Kingston was one of the most frequently taught living authors at American colleges and universities. Kingston and Earll used the proceeds from the novel to put down a deposit on a house in the Manoa Valley, a lush, quiet neighbourhood just east of downtown Honolulu. They lived there until 1984, when they returned to California.Q. Why did the author mention that Maxim’s book seeded doubt about its own authenticity?a)As it explained the stern and unaffectionate immigrant parents and the children caught between duty and dreamingb)As it was written and inspired by a writer who used to visit bar.c)Because of the cascading effects of patriarchal traditionsd)As the concept of the book kept switching between the reality of the family’s laundry business and mystery of dreamsCorrect answer is option 'D'. Can you explain this answer?.

Solutions for Directions: Kindly read the passage carefully and answer the questions given beside.In 1973, Maxine Hong Kingston and her husband, Earll, took a vacation to Lanai, a small Hawaiian island about eighty miles southeast of Oahu, where they lived. There was little to do. The Kingstons had moved to Oahu after getting burned out on life in Berkeley, where they met as college students, in the early sixties. They got caught up in the era’s celebration of free expression and consciousness-seeking excess, and the movements for civil rights and peace. But by 1967 they had taken one too many friends to the hospital after bad acid trips. Some people left for communes, never to return. Every peace demonstration seemed to end in a riot in the period surrounding the Vietnam War. Earll studied acting at the University of Hawai, and Maxine taught high school, writing in her spare time. Once, she saw Frederick Exley, whose debut novel, ‘A Fan’s Notes’, had been a finalist for the National Book Awards in 1969. Maxine would see him at the bar each morning, though they never spoke. This is a place where writers come, she thought. This is where people find inspiration. She went back to her room and continued writing down stories and memories. ‘The Woman Warrior: Memories of a Girlhood among Ghosts,’ the resulting book, was published three years later, when Kingston was thirty-five. In the seventies, publishers had begun responding to America’s social realities by offering challenging, textured depictions of what it meant to be part of a minority. ‘The Woman Warrior,’ which was marketed as a memoir based on Kingston’s upbringing, seemed to adhere to typical preconceptions—the cascading effects of patriarchal traditions, the stern and unaffectionate immigrant parents, the children caught between duty and dreaming. But, unlike most ethnic coming-of-age tales of the time, it seeded doubt about its own authenticity. The book is complex and captivating, a constant toggling between the mundane grit of the family’s laundry business and epic, surreal dreamscapes. By the end, you don’t know which, if any, of these stories are true, or whether they constitute a reliable depiction of Chinese-American life. ‘The Woman Warrior’ changed American culture. For those who understood where Kingston was coming from, it was encouragement that they could tell stories, too. For those who didn’t, ‘The Woman Warrior’ became the definitive telling of the Asian immigrant experience, at a time when there weren’t many to choose from. Younger Asian-American writers would later complain of receiving “a generic Maxine Hong Kingston rejection letter” from publishers who regarded ‘The Woman Warrior’ as monolithic. ‘The Woman Warrior’ won the 1976 National Book Critics Circle Award for nonfiction, and in the eighties and nineties Kingston was one of the most frequently taught living authors at American colleges and universities. Kingston and Earll used the proceeds from the novel to put down a deposit on a house in the Manoa Valley, a lush, quiet neighbourhood just east of downtown Honolulu. They lived there until 1984, when they returned to California.Q. Why did the author mention that Maxim’s book seeded doubt about its own authenticity?a)As it explained the stern and unaffectionate immigrant parents and the children caught between duty and dreamingb)As it was written and inspired by a writer who used to visit bar.c)Because of the cascading effects of patriarchal traditionsd)As the concept of the book kept switching between the reality of the family’s laundry business and mystery of dreamsCorrect answer is option 'D'. Can you explain this answer? in English & in Hindi are available as part of our courses for CLAT. Download more important topics, notes, lectures and mock test series for CLAT Exam by signing up for free.

Here you can find the meaning of Directions: Kindly read the passage carefully and answer the questions given beside.In 1973, Maxine Hong Kingston and her husband, Earll, took a vacation to Lanai, a small Hawaiian island about eighty miles southeast of Oahu, where they lived. There was little to do. The Kingstons had moved to Oahu after getting burned out on life in Berkeley, where they met as college students, in the early sixties. They got caught up in the era’s celebration of free expression and consciousness-seeking excess, and the movements for civil rights and peace. But by 1967 they had taken one too many friends to the hospital after bad acid trips. Some people left for communes, never to return. Every peace demonstration seemed to end in a riot in the period surrounding the Vietnam War. Earll studied acting at the University of Hawai, and Maxine taught high school, writing in her spare time. Once, she saw Frederick Exley, whose debut novel, ‘A Fan’s Notes’, had been a finalist for the National Book Awards in 1969. Maxine would see him at the bar each morning, though they never spoke. This is a place where writers come, she thought. This is where people find inspiration. She went back to her room and continued writing down stories and memories. ‘The Woman Warrior: Memories of a Girlhood among Ghosts,’ the resulting book, was published three years later, when Kingston was thirty-five. In the seventies, publishers had begun responding to America’s social realities by offering challenging, textured depictions of what it meant to be part of a minority. ‘The Woman Warrior,’ which was marketed as a memoir based on Kingston’s upbringing, seemed to adhere to typical preconceptions—the cascading effects of patriarchal traditions, the stern and unaffectionate immigrant parents, the children caught between duty and dreaming. But, unlike most ethnic coming-of-age tales of the time, it seeded doubt about its own authenticity. The book is complex and captivating, a constant toggling between the mundane grit of the family’s laundry business and epic, surreal dreamscapes. By the end, you don’t know which, if any, of these stories are true, or whether they constitute a reliable depiction of Chinese-American life. ‘The Woman Warrior’ changed American culture. For those who understood where Kingston was coming from, it was encouragement that they could tell stories, too. For those who didn’t, ‘The Woman Warrior’ became the definitive telling of the Asian immigrant experience, at a time when there weren’t many to choose from. Younger Asian-American writers would later complain of receiving “a generic Maxine Hong Kingston rejection letter” from publishers who regarded ‘The Woman Warrior’ as monolithic. ‘The Woman Warrior’ won the 1976 National Book Critics Circle Award for nonfiction, and in the eighties and nineties Kingston was one of the most frequently taught living authors at American colleges and universities. Kingston and Earll used the proceeds from the novel to put down a deposit on a house in the Manoa Valley, a lush, quiet neighbourhood just east of downtown Honolulu. They lived there until 1984, when they returned to California.Q. Why did the author mention that Maxim’s book seeded doubt about its own authenticity?a)As it explained the stern and unaffectionate immigrant parents and the children caught between duty and dreamingb)As it was written and inspired by a writer who used to visit bar.c)Because of the cascading effects of patriarchal traditionsd)As the concept of the book kept switching between the reality of the family’s laundry business and mystery of dreamsCorrect answer is option 'D'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Directions: Kindly read the passage carefully and answer the questions given beside.In 1973, Maxine Hong Kingston and her husband, Earll, took a vacation to Lanai, a small Hawaiian island about eighty miles southeast of Oahu, where they lived. There was little to do. The Kingstons had moved to Oahu after getting burned out on life in Berkeley, where they met as college students, in the early sixties. They got caught up in the era’s celebration of free expression and consciousness-seeking excess, and the movements for civil rights and peace. But by 1967 they had taken one too many friends to the hospital after bad acid trips. Some people left for communes, never to return. Every peace demonstration seemed to end in a riot in the period surrounding the Vietnam War. Earll studied acting at the University of Hawai, and Maxine taught high school, writing in her spare time. Once, she saw Frederick Exley, whose debut novel, ‘A Fan’s Notes’, had been a finalist for the National Book Awards in 1969. Maxine would see him at the bar each morning, though they never spoke. This is a place where writers come, she thought. This is where people find inspiration. She went back to her room and continued writing down stories and memories. ‘The Woman Warrior: Memories of a Girlhood among Ghosts,’ the resulting book, was published three years later, when Kingston was thirty-five. In the seventies, publishers had begun responding to America’s social realities by offering challenging, textured depictions of what it meant to be part of a minority. ‘The Woman Warrior,’ which was marketed as a memoir based on Kingston’s upbringing, seemed to adhere to typical preconceptions—the cascading effects of patriarchal traditions, the stern and unaffectionate immigrant parents, the children caught between duty and dreaming. But, unlike most ethnic coming-of-age tales of the time, it seeded doubt about its own authenticity. The book is complex and captivating, a constant toggling between the mundane grit of the family’s laundry business and epic, surreal dreamscapes. By the end, you don’t know which, if any, of these stories are true, or whether they constitute a reliable depiction of Chinese-American life. ‘The Woman Warrior’ changed American culture. For those who understood where Kingston was coming from, it was encouragement that they could tell stories, too. For those who didn’t, ‘The Woman Warrior’ became the definitive telling of the Asian immigrant experience, at a time when there weren’t many to choose from. Younger Asian-American writers would later complain of receiving “a generic Maxine Hong Kingston rejection letter” from publishers who regarded ‘The Woman Warrior’ as monolithic. ‘The Woman Warrior’ won the 1976 National Book Critics Circle Award for nonfiction, and in the eighties and nineties Kingston was one of the most frequently taught living authors at American colleges and universities. Kingston and Earll used the proceeds from the novel to put down a deposit on a house in the Manoa Valley, a lush, quiet neighbourhood just east of downtown Honolulu. They lived there until 1984, when they returned to California.Q. Why did the author mention that Maxim’s book seeded doubt about its own authenticity?a)As it explained the stern and unaffectionate immigrant parents and the children caught between duty and dreamingb)As it was written and inspired by a writer who used to visit bar.c)Because of the cascading effects of patriarchal traditionsd)As the concept of the book kept switching between the reality of the family’s laundry business and mystery of dreamsCorrect answer is option 'D'. Can you explain this answer?, a detailed solution for Directions: Kindly read the passage carefully and answer the questions given beside.In 1973, Maxine Hong Kingston and her husband, Earll, took a vacation to Lanai, a small Hawaiian island about eighty miles southeast of Oahu, where they lived. There was little to do. The Kingstons had moved to Oahu after getting burned out on life in Berkeley, where they met as college students, in the early sixties. They got caught up in the era’s celebration of free expression and consciousness-seeking excess, and the movements for civil rights and peace. But by 1967 they had taken one too many friends to the hospital after bad acid trips. Some people left for communes, never to return. Every peace demonstration seemed to end in a riot in the period surrounding the Vietnam War. Earll studied acting at the University of Hawai, and Maxine taught high school, writing in her spare time. Once, she saw Frederick Exley, whose debut novel, ‘A Fan’s Notes’, had been a finalist for the National Book Awards in 1969. Maxine would see him at the bar each morning, though they never spoke. This is a place where writers come, she thought. This is where people find inspiration. She went back to her room and continued writing down stories and memories. ‘The Woman Warrior: Memories of a Girlhood among Ghosts,’ the resulting book, was published three years later, when Kingston was thirty-five. In the seventies, publishers had begun responding to America’s social realities by offering challenging, textured depictions of what it meant to be part of a minority. ‘The Woman Warrior,’ which was marketed as a memoir based on Kingston’s upbringing, seemed to adhere to typical preconceptions—the cascading effects of patriarchal traditions, the stern and unaffectionate immigrant parents, the children caught between duty and dreaming. But, unlike most ethnic coming-of-age tales of the time, it seeded doubt about its own authenticity. The book is complex and captivating, a constant toggling between the mundane grit of the family’s laundry business and epic, surreal dreamscapes. By the end, you don’t know which, if any, of these stories are true, or whether they constitute a reliable depiction of Chinese-American life. ‘The Woman Warrior’ changed American culture. For those who understood where Kingston was coming from, it was encouragement that they could tell stories, too. For those who didn’t, ‘The Woman Warrior’ became the definitive telling of the Asian immigrant experience, at a time when there weren’t many to choose from. Younger Asian-American writers would later complain of receiving “a generic Maxine Hong Kingston rejection letter” from publishers who regarded ‘The Woman Warrior’ as monolithic. ‘The Woman Warrior’ won the 1976 National Book Critics Circle Award for nonfiction, and in the eighties and nineties Kingston was one of the most frequently taught living authors at American colleges and universities. Kingston and Earll used the proceeds from the novel to put down a deposit on a house in the Manoa Valley, a lush, quiet neighbourhood just east of downtown Honolulu. They lived there until 1984, when they returned to California.Q. Why did the author mention that Maxim’s book seeded doubt about its own authenticity?a)As it explained the stern and unaffectionate immigrant parents and the children caught between duty and dreamingb)As it was written and inspired by a writer who used to visit bar.c)Because of the cascading effects of patriarchal traditionsd)As the concept of the book kept switching between the reality of the family’s laundry business and mystery of dreamsCorrect answer is option 'D'. Can you explain this answer? has been provided alongside types of Directions: Kindly read the passage carefully and answer the questions given beside.In 1973, Maxine Hong Kingston and her husband, Earll, took a vacation to Lanai, a small Hawaiian island about eighty miles southeast of Oahu, where they lived. There was little to do. The Kingstons had moved to Oahu after getting burned out on life in Berkeley, where they met as college students, in the early sixties. They got caught up in the era’s celebration of free expression and consciousness-seeking excess, and the movements for civil rights and peace. But by 1967 they had taken one too many friends to the hospital after bad acid trips. Some people left for communes, never to return. Every peace demonstration seemed to end in a riot in the period surrounding the Vietnam War. Earll studied acting at the University of Hawai, and Maxine taught high school, writing in her spare time. Once, she saw Frederick Exley, whose debut novel, ‘A Fan’s Notes’, had been a finalist for the National Book Awards in 1969. Maxine would see him at the bar each morning, though they never spoke. This is a place where writers come, she thought. This is where people find inspiration. She went back to her room and continued writing down stories and memories. ‘The Woman Warrior: Memories of a Girlhood among Ghosts,’ the resulting book, was published three years later, when Kingston was thirty-five. In the seventies, publishers had begun responding to America’s social realities by offering challenging, textured depictions of what it meant to be part of a minority. ‘The Woman Warrior,’ which was marketed as a memoir based on Kingston’s upbringing, seemed to adhere to typical preconceptions—the cascading effects of patriarchal traditions, the stern and unaffectionate immigrant parents, the children caught between duty and dreaming. But, unlike most ethnic coming-of-age tales of the time, it seeded doubt about its own authenticity. The book is complex and captivating, a constant toggling between the mundane grit of the family’s laundry business and epic, surreal dreamscapes. By the end, you don’t know which, if any, of these stories are true, or whether they constitute a reliable depiction of Chinese-American life. ‘The Woman Warrior’ changed American culture. For those who understood where Kingston was coming from, it was encouragement that they could tell stories, too. For those who didn’t, ‘The Woman Warrior’ became the definitive telling of the Asian immigrant experience, at a time when there weren’t many to choose from. Younger Asian-American writers would later complain of receiving “a generic Maxine Hong Kingston rejection letter” from publishers who regarded ‘The Woman Warrior’ as monolithic. ‘The Woman Warrior’ won the 1976 National Book Critics Circle Award for nonfiction, and in the eighties and nineties Kingston was one of the most frequently taught living authors at American colleges and universities. Kingston and Earll used the proceeds from the novel to put down a deposit on a house in the Manoa Valley, a lush, quiet neighbourhood just east of downtown Honolulu. They lived there until 1984, when they returned to California.Q. Why did the author mention that Maxim’s book seeded doubt about its own authenticity?a)As it explained the stern and unaffectionate immigrant parents and the children caught between duty and dreamingb)As it was written and inspired by a writer who used to visit bar.c)Because of the cascading effects of patriarchal traditionsd)As the concept of the book kept switching between the reality of the family’s laundry business and mystery of dreamsCorrect answer is option 'D'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Directions: Kindly read the passage carefully and answer the questions given beside.In 1973, Maxine Hong Kingston and her husband, Earll, took a vacation to Lanai, a small Hawaiian island about eighty miles southeast of Oahu, where they lived. There was little to do. The Kingstons had moved to Oahu after getting burned out on life in Berkeley, where they met as college students, in the early sixties. They got caught up in the era’s celebration of free expression and consciousness-seeking excess, and the movements for civil rights and peace. But by 1967 they had taken one too many friends to the hospital after bad acid trips. Some people left for communes, never to return. Every peace demonstration seemed to end in a riot in the period surrounding the Vietnam War. Earll studied acting at the University of Hawai, and Maxine taught high school, writing in her spare time. Once, she saw Frederick Exley, whose debut novel, ‘A Fan’s Notes’, had been a finalist for the National Book Awards in 1969. Maxine would see him at the bar each morning, though they never spoke. This is a place where writers come, she thought. This is where people find inspiration. She went back to her room and continued writing down stories and memories. ‘The Woman Warrior: Memories of a Girlhood among Ghosts,’ the resulting book, was published three years later, when Kingston was thirty-five. In the seventies, publishers had begun responding to America’s social realities by offering challenging, textured depictions of what it meant to be part of a minority. ‘The Woman Warrior,’ which was marketed as a memoir based on Kingston’s upbringing, seemed to adhere to typical preconceptions—the cascading effects of patriarchal traditions, the stern and unaffectionate immigrant parents, the children caught between duty and dreaming. But, unlike most ethnic coming-of-age tales of the time, it seeded doubt about its own authenticity. The book is complex and captivating, a constant toggling between the mundane grit of the family’s laundry business and epic, surreal dreamscapes. By the end, you don’t know which, if any, of these stories are true, or whether they constitute a reliable depiction of Chinese-American life. ‘The Woman Warrior’ changed American culture. For those who understood where Kingston was coming from, it was encouragement that they could tell stories, too. For those who didn’t, ‘The Woman Warrior’ became the definitive telling of the Asian immigrant experience, at a time when there weren’t many to choose from. Younger Asian-American writers would later complain of receiving “a generic Maxine Hong Kingston rejection letter” from publishers who regarded ‘The Woman Warrior’ as monolithic. ‘The Woman Warrior’ won the 1976 National Book Critics Circle Award for nonfiction, and in the eighties and nineties Kingston was one of the most frequently taught living authors at American colleges and universities. Kingston and Earll used the proceeds from the novel to put down a deposit on a house in the Manoa Valley, a lush, quiet neighbourhood just east of downtown Honolulu. They lived there until 1984, when they returned to California.Q. Why did the author mention that Maxim’s book seeded doubt about its own authenticity?a)As it explained the stern and unaffectionate immigrant parents and the children caught between duty and dreamingb)As it was written and inspired by a writer who used to visit bar.c)Because of the cascading effects of patriarchal traditionsd)As the concept of the book kept switching between the reality of the family’s laundry business and mystery of dreamsCorrect answer is option 'D'. Can you explain this answer? tests, examples and also practice CLAT tests.