Asian American poetry from Hawaii, the Pacific island state of the United States, is generally characterizable in one of two ways: either as portraying a model multicultural paradise, or as exemplifying familiar Asian American literary themes such as generational conflict. In this light, the recent work of Wing Tek Lum in Expounding the Doubtful Points is striking for its demand to be understood on its own terms. Lum offers no romanticized notions of multicultural life in Hawaii, and while he does explore themes of family, identity, history, and literary tradition, he does not do so at the expense of attempting to discover and retain a local sensibility. For Lum such a sensibility is informed by the fact that Hawaii’s population, unlike that of the continental U.S., has historically consisted predominantly of people of Asian and Pacific island descent, making the experience of its Asian Americans somewhat different than that of mainland Asian Americans.

In one poem, Lum meditates on the ways in which a traditional Chinese lunar celebration he is attending at a local beach both connects him to and separates him from the past. In the company of new Chinese immigrants, the speaker realizes that while ties to the homeland are comforting and necessary, it is equally important to have “a sense of new family” in this new land of Hawaii, and hence a new identity—one that is sensitive to its new environment. The role of immigrants in this poem is significant in that, through their presence, Lum is able to refer both to the traditional culture of his ancestral homeland as well as to the flux within Hawaiian society that has been integral to its heterogeneity. Even in a laudatory poem to famous Chinese poet Li Po (701–762 A.D.), which partly serves to place Lum’s work within a distinguished literary tradition, Lum refuses to offer a stereotypical nostalgia for the past, instead pointing out the often elitist tendencies inherent in the work of some traditionally acclaimed Chinese poets.

Lum closes his volume with a poem that further points to the complex relationships between heritage and local culture in determining one’s identity. Pulling together images and figures as vastly disparate as a famous Chinese American literary character and an old woman selling bread, Lum avoids an excessively romantic vision of U.S. culture, while simultaneously acknowledging the dream of this culture held by many newly arrived immigrants. The central image of a communal pot where each person chooses what she or he wishes to eat but shares with others the “sweet soup / spooned out at the end of the meal” is a hopeful one; however, it also appears to caution that the strong cultural emphasis in the U.S. on individual drive and success that makes retaining a sense of homeland tradition difficult should be identified and responded to in ways that allow for a healthy new sense of identity to be formed.

1. Which one of the following most accurately expresses the main point of the passage?

Asian American poetry from Hawaii, the Pacific island state of the United States, is generally characterizable in one of two ways: either as portraying a model multicultural paradise, or as exemplifying familiar Asian American literary themes such as generational conflict. In this light, the recent work of Wing Tek Lum in Expounding the Doubtful Points is striking for its demand to be understood on its own terms. Lum offers no romanticized notions of multicultural life in Hawaii, and while he does explore themes of family, identity, history, and literary tradition, he does not do so at the expense of attempting to discover and retain a local sensibility. For Lum such a sensibility is informed by the fact that Hawaii’s population, unlike that of the continental U.S., has historically consisted predominantly of people of Asian and Pacific island descent, making the experience of its Asian Americans somewhat different than that of mainland Asian Americans.

In one poem, Lum meditates on the ways in which a traditional Chinese lunar celebration he is attending at a local beach both connects him to and separates him from the past. In the company of new Chinese immigrants, the speaker realizes that while ties to the homeland are comforting and necessary, it is equally important to have “a sense of new family” in this new land of Hawaii, and hence a new identity—one that is sensitive to its new environment. The role of immigrants in this poem is significant in that, through their presence, Lum is able to refer both to the traditional culture of his ancestral homeland as well as to the flux within Hawaiian society that has been integral to its heterogeneity. Even in a laudatory poem to famous Chinese poet Li Po (701–762 A.D.), which partly serves to place Lum’s work within a distinguished literary tradition, Lum refuses to offer a stereotypical nostalgia for the past, instead pointing out the often elitist tendencies inherent in the work of some traditionally acclaimed Chinese poets.

Lum closes his volume with a poem that further points to the complex relationships between heritage and local culture in determining one’s identity. Pulling together images and figures as vastly disparate as a famous Chinese American literary character and an old woman selling bread, Lum avoids an excessively romantic vision of U.S. culture, while simultaneously acknowledging the dream of this culture held by many newly arrived immigrants. The central image of a communal pot where each person chooses what she or he wishes to eat but shares with others the “sweet soup / spooned out at the end of the meal” is a hopeful one; however, it also appears to caution that the strong cultural emphasis in the U.S. on individual drive and success that makes retaining a sense of homeland tradition difficult should be identified and responded to in ways that allow for a healthy new sense of identity to be formed.

2. Given the information in the passage, which one of the following is Lum most likely to believe?

Asian American poetry from Hawaii, the Pacific island state of the United States, is generally characterizable in one of two ways: either as portraying a model multicultural paradise, or as exemplifying familiar Asian American literary themes such as generational conflict. In this light, the recent work of Wing Tek Lum in Expounding the Doubtful Points is striking for its demand to be understood on its own terms. Lum offers no romanticized notions of multicultural life in Hawaii, and while he does explore themes of family, identity, history, and literary tradition, he does not do so at the expense of attempting to discover and retain a local sensibility. For Lum such a sensibility is informed by the fact that Hawaii’s population, unlike that of the continental U.S., has historically consisted predominantly of people of Asian and Pacific island descent, making the experience of its Asian Americans somewhat different than that of mainland Asian Americans.

In one poem, Lum meditates on the ways in which a traditional Chinese lunar celebration he is attending at a local beach both connects him to and separates him from the past. In the company of new Chinese immigrants, the speaker realizes that while ties to the homeland are comforting and necessary, it is equally important to have “a sense of new family” in this new land of Hawaii, and hence a new identity—one that is sensitive to its new environment. The role of immigrants in this poem is significant in that, through their presence, Lum is able to refer both to the traditional culture of his ancestral homeland as well as (33) to the flux within Hawaiian society that has been integral to its heterogeneity. Even in a laudatory poem to famous Chinese poet Li Po (701–762 A.D.), which partly serves to place Lum’s work within a distinguished literary tradition, Lum refuses to offer a stereotypical nostalgia for the past, instead pointing out the often elitist tendencies inherent in the work of some traditionally acclaimed Chinese poets.

Lum closes his volume with a poem that further points to the complex relationships between heritage and local culture in determining one’s identity. Pulling together images and figures as vastly disparate as a famous Chinese American literary character and an old woman selling bread, Lum avoids an excessively romantic vision of U.S. culture, while simultaneously acknowledging the dream of this culture held by many newly arrived immigrants. The central image of a communal pot where each person chooses what she or he wishes to eat but shares with others the “sweet soup / spooned out at the end of the meal” is a hopeful one; however, it also appears to caution that the strong cultural emphasis in the U.S. on individual drive and success that makes retaining a sense of homeland tradition difficult should be identified and responded to in ways that allow for a healthy new sense of identity to be formed.

3. The author of the passage uses the phrase “the flux within Hawaiian society” (line 33) primarily in order to

Asian American poetry from Hawaii, the Pacific island state of the United States, is generally characterizable in one of two ways: either as portraying a model multicultural paradise, or as exemplifying familiar Asian American literary themes such as generational conflict. In this light, the recent work of Wing Tek Lum in Expounding the Doubtful Points is striking for its demand to be understood on its own terms. Lum offers no romanticized notions of multicultural life in Hawaii, and while he does explore themes of family, identity, history, and literary tradition, he does not do so at the expense of attempting to discover and retain a local sensibility. For Lum such a sensibility is informed by the fact that Hawaii’s population, unlike that of the continental U.S., has historically consisted predominantly of people of Asian and Pacific island descent, making the experience of its Asian Americans somewhat different than that of mainland Asian Americans.

In one poem, Lum meditates on the ways in which a traditional Chinese lunar celebration he is attending at a local beach both connects him to and separates him from the past. In the company of new Chinese immigrants, the speaker realizes that while ties to the homeland are comforting and necessary, it is equally important to have “a sense of new family” in this new land of Hawaii, and hence a new identity—one that is sensitive to its new environment. The role of immigrants in this poem is significant in that, through their presence, Lum is able to refer both to the traditional culture of his ancestral homeland as well as to the flux within Hawaiian society that has been integral to its heterogeneity. Even in a laudatory poem to famous Chinese poet Li Po (701–762 A.D.), which partly serves to place Lum’s work within a distinguished literary tradition, Lum refuses to offer a stereotypical nostalgia for the past, instead pointing out the often elitist tendencies inherent in the work of some traditionally acclaimed Chinese poets.

Lum closes his volume with a poem that further points to the complex relationships between heritage and local culture in determining one’s identity. Pulling together images and figures as vastly disparate as a famous Chinese American literary character and an old woman selling bread, Lum avoids an excessively romantic vision of U.S. culture, while simultaneously acknowledging the dream of this culture held by many newly arrived immigrants. The central image of a communal pot where each person chooses what she or he wishes to eat but shares with others the “sweet soup / spooned out at the end of the meal” is a hopeful one; however, it also appears to caution that the strong cultural emphasis in the U.S. on individual drive and success that makes retaining a sense of homeland tradition difficult should be identified and responded to in ways that allow for a healthy new sense of identity to be formed.

4. According to the passage, some Asian American literature from Hawaii has been characterized as which one of the following?

Asian American poetry from Hawaii, the Pacific island state of the United States, is generally characterizable in one of two ways: either as portraying a model multicultural paradise, or as exemplifying familiar Asian American literary themes such as generational conflict. (7) In this light, the recent work of Wing Tek Lum in Expounding the Doubtful Points is striking for its demand to be understood on its own terms. (8) Lum offers no romanticized notions of multicultural life in Hawaii, and while he does explore themes of family, identity, history, and literary tradition, he does not do so at the expense of attempting to discover and retain a local sensibility. For Lum such a sensibility is informed by the fact that Hawaii’s population, unlike that of the continental U.S., has historically consisted predominantly of people of Asian and Pacific island descent, making the experience of its Asian Americans somewhat different than that of mainland Asian Americans.

In one poem, Lum meditates on the ways in which a traditional Chinese lunar celebration he is attending at a local beach both connects him to and separates him from the past. In the company of new Chinese immigrants, the speaker realizes that while ties to the homeland are comforting and necessary, it is equally important to have “a sense of new family” in this new land of Hawaii, and hence a new identity—one that is sensitive to its new environment. The role of immigrants in this poem is significant in that, through their presence, Lum is able to refer both to the traditional culture of his ancestral homeland as well as to the flux within Hawaiian society that has been integral to its heterogeneity. Even in a laudatory poem to famous Chinese poet Li Po (701–762 A.D.), which partly serves to place Lum’s work within a distinguished literary tradition, Lum refuses to offer a stereotypical nostalgia for the past, instead pointing out the often elitist tendencies inherent in the work of some traditionally acclaimed Chinese poets.

Lum closes his volume with a poem that further points to the complex relationships between heritage and local culture in determining one’s identity. Pulling together images and figures as vastly disparate as a famous Chinese American literary character and an old woman selling bread, Lum avoids an excessively romantic vision of U.S. culture, while simultaneously acknowledging the dream of this culture held by many newly arrived immigrants. The central image of a communal pot where each person chooses what she or he wishes to eat but shares with others the “sweet soup / spooned out at the end of the meal” is a hopeful one; however, it also appears to caution that the strong cultural emphasis in the U.S. on individual drive and success that makes retaining a sense of homeland tradition difficult should be identified and responded to in ways that allow for a healthy new sense of identity to be formed.

5. The author of the passage describes Expounding the Doubtful Points as “striking” (lines 7–8) primarily in order to

Asian American poetry from Hawaii, the Pacific island state of the United States, is generally characterizable in one of two ways: either as portraying a model multicultural paradise, or as exemplifying familiar Asian American literary themes such as generational conflict. In this light, the recent work of Wing Tek Lum in Expounding the Doubtful Points is striking for its demand to be understood on its own terms. Lum offers no romanticized notions of multicultural life in Hawaii, and while he does explore themes of family, identity, history, and literary tradition, he does not do so at the expense of attempting to discover and retain a local sensibility. For Lum such a sensibility is informed by the fact that Hawaii’s population, unlike that of the continental U.S., has historically consisted predominantly of people of Asian and Pacific island descent, making the experience of its Asian Americans somewhat different than that of mainland Asian Americans.

In one poem, Lum meditates on the ways in which a traditional Chinese lunar celebration he is attending at a local beach both connects him to and separates him from the past. In the company of new Chinese immigrants, the speaker realizes that while ties to the homeland are comforting and necessary, it is equally important to have “a sense of new family” in this new land of Hawaii, and hence a new identity—one that is sensitive to its new environment. The role of immigrants in this poem is significant in that, through their presence, Lum is able to refer both to the traditional culture of his ancestral homeland as well as to the flux within Hawaiian society that has been integral to its heterogeneity. Even in a laudatory poem to famous Chinese poet Li Po (701–762 A.D.), which partly serves to place Lum’s work within a distinguished literary tradition, Lum refuses to offer a stereotypical nostalgia for the past, instead pointing out the often elitist tendencies inherent in the work of some traditionally acclaimed Chinese poets.

Lum closes his volume with a poem that further points to the complex relationships between heritage and local culture in determining one’s identity. Pulling together images and figures as vastly disparate as a famous Chinese American literary character and an old woman selling bread, Lum avoids an excessively romantic vision of U.S. culture, while simultaneously acknowledging the dream of this culture held by many newly arrived immigrants. The central image of a communal pot where each person chooses what she or he wishes to eat but shares with others the “sweet soup / spooned out at the end of the meal” is a hopeful one; however, it also appears to caution that the strong cultural emphasis in the U.S. on individual drive and success that makes retaining a sense of homeland tradition difficult should be identified and responded to in ways that allow for a healthy new sense of identity to be formed.

6. With which one of the following statements regarding Lum’s poetry would the author of the passage be most likely to agree?