Roger Rosenblatt's book Black Fiction, in attempting to apply literary rather than sociopolitical criteria to its subject，successfully alters the approach taken by most previous studies. As Rosenblatt notes,criticism of Black writing has often served as a pretext for expounding on Black history.Addison Gayle's recent work, for example, judges the value of Black fiction by overtly political standards，rating each work according to the notions of Black identity which itpropounds.
Although fiction assuredly springs from political circumstances，its authors react to those circumstances in ways other than ideological, and talking about novels and stories primarily as instruments of ideology circumvents much of the fictional enterprise.Rosenblatt's literary analysis discloses affinities and connections among works of Black fiction which solely political studies have overlooked or ignored.
Writing acceptable criticism of Black fiction, however, presupposes giving satisfactory answers to a number of questions. First of all, is there a sufficient reason,other than the facial identity of the authors, to group together works by Black authors?Second，how does Black fiction make itself distinct from other modern fiction with which it is largely contemporaneous? Rosenblatt shows that Black fiction constitutes a distinct body of writing that has an identifiable，coherent literary tradition. Looking at novels written by Black over the last eighty years，he discovers recurring concerns and designs independent of chronology. These structures are thematic, and they spring， not surprisingly, from the central fact that the Black characters in these novels exist in a predominantly white culture,whether they try to conform to that culture or rebel against it.
Black Fiction does leave some aesthetic questions open.Rosenblatt's thematic analysis permits considerable objectivity; he even explicitly states that it is not his intention to judge the merit of the various works?Yet his reluctance seems misplaced, especially since an attempt to appraise might have led to interesting results. For instance, some of the novels appear to be structurally diffuse. Is this a defect, or are the authors working out of, or trying to forge, a different kind of aesthetic?In addition，the style of some Black novels，like Jean Toomey's Cane，verges on expressionism or surrcalism; does this technique provide a counterpoint to the prevalent theme that portrays the fate against which Black heroes are pitted, a theme usually conveyed by more naturalistic modes of expression?
In spitc of such omissions，what Rosenblatt does include in his discussion makes for an astute and worthwhile study. Black Fiction surveys a wide variety of novels, bringing to our attention in the process some fascinating and little-known works like James Weldon Johnson's Autobiography of an Ex-Colored Man. Its argument is tightly constructed,and its forthright,lucid style exemplifies levelheaded and penetrating criticism.
The author's discussion of Black Fiction can be best described as——
社会工作者小张为了鼓励居民参与社区活动，对居民参与态度和参与能力进行了调查，提出下列观点，其中错误的是（ ）。
在为老年人做预估时，应考虑（ ）。
社会工作者在为老年人提供服务时可以采用小组工作的方法，但是下列情形中不宜采用此种方法的是（ ）。
（ ）是老年人最显著的特点。
谢慧在为社区孤寡老人提供服务时，总是把他们当成自己的父母来照顾。面对这些无儿无女的老人，她总会潸然泪下。显然，在她心里这些孤寡老人也是自己的亲人。谢慧的这种现象属于（ ）。
独居老人张伯伯不慎摔倒，造成骨折。出院后社会工作者为他联系社区医院协助其康复训练。同时，还联系社区服务机构为张伯伯提供居家和送餐服务。上述社会工作服务属于（ ）。
老年人有老年人的意愿需要表达，有老年人的利益需要维护，有老年人的作用需要发挥，这是指老年人的（ ）需要。
老年社区工作的基本原则包括（ ）。
在社区参与的（ ）形式中，虽然居民被邀请参加了决策过程，但社区建设或改造的最初设计者通常会设定讨论议题的范围，限定其他参与者的决策权。
以下有关老年人特点的表述中，不正确的有（ ）。
