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1

Growingup in the 1950’s, I was somewhat awed and at times frightened by our extended family’s emphasis on picture taking. Every wall and corner ofmy grandparents’ (and most everybody else’s) home was lined with 5 photographs.When I was young, I never linked this obsession with self-representation to ourhistory as a subjugated people.
For a long time cameras remained mysterious and off limits to all of us but my father. As the only one in the 10 family who had access to the equipment, who could learn how to make the process work, my father exerted control over our images . In charge of capturing our family history with the camera, he called and took the shots. We were constantly being lined up for picture taking, and it was 15 years before our household could experience this as an enjoyable activity, before any of the rest of us could be behind the camera. Until then, picture taking was serious business. I hated it.I hated posing. I hated cameras. I hated the images that cameras produced, Iwanted to leave no 20 trace. I wanted there to be no walls in my life that would, like gigantic maps, chart my journey. I wanted to stand outside history.
That wast wenty years ago. Now that I am passionately involved with thinking critically about Black people and 25 representation, I canconfess that those walls of photographs empowered me, and that I feel their absence in my life. Right now I long forthose walls, those curatorial s’ spaces in the home that express our will tomake and display images.
30 My mother’s mother was a keeper of walls.Throughout; my childhood, visits to her house werelike trips to a gallery or museum-experiences we did not have because of racial segregation We would stand before the walls of images and learn the importance of. the arrangement, why a certain 35 photograph was placed here and not there. The walls were fundamentally different fromphoto albums. Rather than shutting images away, where they could be seen only upon request, the walls were a public announcement of the primacy of the image , the joy of image making. To enter 40 Black homes in my childhood was to enter aworld that valued the visual, that asserted our collective will to participate in a curatorial process.
Drawing from the past, from those walls of imagesI grew up with, I gather snapshots and lay them out to see 45 what narrativesthe images tell, what they say without words. I search these images to see ifthere are imprints waiting to be seen, recognized , and read Together, a Blackmale friend and I lay out the snapshots of his boyhood to see when he began tolose a certain openness, to discern at 50 what age he began to shut down, toclose himself away. Through these images, my friend hopes to find a way back tothe self he once was. We are awed by what our snapshots reveal, what they enable us to remember.
The word remember {re-member) evokes the coming 55 together of severed parts, fragments becoming a Whole. Photography has been, and is, central to that aspect of racial empowerment that calls us back to thepast and offers us a way to reclaim and renew life-affirming bonds. Usingimages, we connect ourselves to a recuperative, redemptive 60 memory thatenables us to construct identities, images of ourselves.

  1. The author uses the. words "recuperative" and "redemptive" in line 59 to suggest that a memory can (A) protect us from.the damaging effects of history and time (B) play tricks on us by making the past seem better than it was . (C) exaggerate the feelings we had in childhood (D) prevent people from repeating the mistakes of the past (E) heat people by helping them determine who they are .

the answer is E why is it not any of the other answers.

24… The author uses “construct” in line 60 to make which . point about a person’s sense of identity?
(A) People begin building their identities at a remarkably early age.
(B) Individuals create their identities partly from awareness of their heritage.
© Family members work together to perpetuate a single sense of identity. .
D) Young adults work bard to balance childhood and adult moral values.
E) Photographers help their subjects determine appropriate social roles.

The answer is B why is it not the other answers

Ignore some of the numbers, those were just the line numbering that were also copied when i copied it from the pdf.

THANKS

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I’m going to assume you mean “heal,” not “heat,” in 23E. To recuperate means to heal or recover, so that covers the first bit. Then you go back to the sentence: “that enables us to construct identities.” Sounds to me like “determining who they are.”

  1. Let's do process of elimination. A) Mm, maybe. It does talk about building identities. Let's keep it in play for now. B) Perhaps. We'll consider it. C) We didn't say anything about this identity being the same for every member of the family, so I'll throw this one out. D) Not really mentioned in the passage. E) Definitely not mentioned in the passage.

So between A and B, which does this passage talk about MORE? The narrator says that she hated the pictures when she was young, and she says that using pictures as memories is how you construct a sense of identity, so was she building her identity when she was young? I’d say no, because she wasn’t using the pictures.

Furthermore, there’s a whole big bit about heritage: “now that I am passionately involved with thinking critically about Black people and representation, I can confess that those walls of photographs empowered me, and that I feel their absence in my life. Right now I long for those walls, those curatorial spaces in the home that express our will to make and display images.”

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Thank you! your explanations were great