š Whatās Inside This CAT RC Practice Post?
š Authentic CAT Reading Comprehension Passage: Practice with a real RC passage from a previous CAT exam.
ā
Detailed Questions with Step-by-Step Solutions: Each question is explained thoroughly for better understanding.
š In-Depth Passage Analysis: Gain insights through line-by-line and paragraph-wise analysis, supplemented with a quick summary table for efficient revision.
š Vocabulary Enhancement: Get a separate post explaining all tough words from the passage.
RC Passage
Direction for the questions 5 to 8: The passage below is accompanied by a set of four questions. Choose the best answer to each question.
For early postcolonial literature, the world of the novel was often the nation. Postcolonial novels were usually [concerned with] national questions. Sometimes the whole story of the novel was taken as an allegory of the nation, whether India or Tanzania. This was important for supporting anti-colonial nationalism, but could also be limiting ā land-focused and inward-looking. My new book āWriting Ocean Worldsā explores another kind of world of the novel: not the village or nation, but the Indian Ocean world. The book describes a set of novels in which the Indian Ocean is at the centre of the story. It focuses on the novelists Amitav Ghosh, Abdulrazak Gurnah, Lindsey Collen and Joseph Conrad [who have] centred the Indian Ocean world in the majority of their novels. . . . Their work reveals a world that is outward-looking ā full of movement, border-crossing and south-south interconnection. They are all very different ā from colonially inclined (Conrad) to radically anti-capitalist (Collen), but together draw on and shape a wider sense of Indian Ocean space through themes, images, metaphors and language. This has the effect of remapping the world in the readerās mind, as centred in the interconnected global south. . . .
The Indian Ocean world is a term used to describe the very long-lasting connections among the coasts of East Africa, the Arab coasts, and South and East Asia. These connections were made possible by the geography of the Indian Ocean. For much of history, travel by sea was much easier than by land, which meant that port cities very far apart were often more easily connected to each other than to much closer inland cities.
Historical and archaeological evidence suggests that what we now call globalisation first appeared in the Indian Ocean. This is the interconnected oceanic world referenced and produced by the novels in my book. . . .
For their part Ghosh, Gurnah, Collen and even Conrad reference a different set of histories and geographies than the ones most commonly found in fiction in English. Those [commonly found ones] are mostly centred in Europe or the US, assume a background of Christianity and whiteness, and mention places like Paris and New York. The novels in [my] book highlight instead a largely Islamic space, feature characters of colour and centralise the ports of Malindi, Mombasa, Aden, Java and Bombay. . . . It is a densely imagined, richly sensory image of a southern cosmopolitan culture which provides for an enlarged sense of place in the world.
This remapping is particularly powerful for the representation of Africa. In the fiction, sailors and travellers are not all European. . . . African, as well as Indian and Arab characters, are traders, nakhodas (dhow ship captains), runaways, villains, missionaries and activists. This does not mean that Indian Ocean Africa is romanticised. Migration is often a matter of force; travel is portrayed as abandonment rather than adventure, freedoms are kept from women and slavery is rife. What it does mean is that the African part of the Indian Ocean world plays an active role in its long, rich history and therefore in that of the wider world.
RC Line-wise Explanation
Paragraph 1
Original: For early postcolonial literature, the world of the novel was often the nation.
Explanation: Early postcolonial novels typically focused on their own countries as the main setting or subject matter.
Original: Postcolonial novels were usually [concerned with] national questions.
Explanation: These novels dealt with issues and themes related to national identity and politics.
Original: Sometimes the whole story of the novel was taken as an allegory of the nation, whether India or Tanzania.
Explanation: The entire plot often symbolized or represented the state and condition of a country, like India or Tanzania.
Original: This was important for supporting anti-colonial nationalism, but could also be limiting ā land-focused and inward-looking.
Explanation: While this approach helped promote national pride and resistance to colonialism, it sometimes made the stories narrow and overly focused on internal issues.
Paragraph 2
Original: My new book 'Writing Ocean Worlds' explores another kind of world of the novel: not the village or nation, but the Indian Ocean world.
Explanation: The authorās new book looks at novels that are centered not on local or national settings, but on the broader Indian Ocean region.
Original: The book describes a set of novels in which the Indian Ocean is at the centre of the story.
Explanation: These novels make the Indian Ocean a central element in their narratives.
Original: It focuses on the novelists Amitav Ghosh, Abdulrazak Gurnah, Lindsey Collen and Joseph Conrad [who have] centred the Indian Ocean world in the majority of their novels.
Explanation: The book analyzes the works of these four authors, who often use the Indian Ocean as a key setting or theme in their writings.
Original: Their work reveals a world that is outward-looking ā full of movement, border-crossing and south-south interconnection.
Explanation: These novels show a dynamic, globally connected world involving countries of the global south, marked by travel and cross-cultural exchanges.
Original: They are all very different ā from colonially inclined (Conrad) to radically anti-capitalist (Collen), but together draw on and shape a wider sense of Indian Ocean space through themes, images, metaphors and language.
Explanation: Despite differing ideologies, these authors all contribute to a shared literary portrayal of the Indian Ocean using rich storytelling tools.
Original: This has the effect of remapping the world in the readerās mind, as centred in the interconnected global south.
Explanation: These works encourage readers to rethink world geography with the global south and the Indian Ocean at the center, instead of the traditional Western focus.
Paragraph 3
Original: The Indian Ocean world is a term used to describe the very long-lasting connections among the coasts of East Africa, the Arab coasts, and South and East Asia.
Explanation: The "Indian Ocean world" refers to historical ties linking areas like East Africa, the Arabian Peninsula, and parts of Asia.
Original: These connections were made possible by the geography of the Indian Ocean.
Explanation: The physical features of the Indian Ocean made these links feasible.
Original: For much of history, travel by sea was much easier than by land, which meant that port cities very far apart were often more easily connected to each other than to much closer inland cities.
Explanation: Because sea travel was easier, distant port cities had stronger ties with each other than with nearby cities located inland.
Paragraph 4
Original: Historical and archaeological evidence suggests that what we now call globalisation first appeared in the Indian Ocean.
Explanation: Records show that global trade and interaction may have started in the Indian Ocean region.
Original: This is the interconnected oceanic world referenced and produced by the novels in my book.
Explanation: The novels discussed in the book depict and build upon this early globalized Indian Ocean world.
Paragraph 5
Original: For their part Ghosh, Gurnah, Collen and even Conrad reference a different set of histories and geographies than the ones most commonly found in fiction in English.
Explanation: These authors focus on historical and geographic settings that differ from typical English literature.
Original: Those [commonly found ones] are mostly centred in Europe or the US, assume a background of Christianity and whiteness, and mention places like Paris and New York.
Explanation: Traditional English novels often emphasize Western, white, Christian contexts and major cities like Paris or New York.
Original: The novels in [my] book highlight instead a largely Islamic space, feature characters of colour and centralise the ports of Malindi, Mombasa, Aden, Java and Bombay.
Explanation: The novels discussed showcase Muslim-majority regions, include non-white characters, and focus on lesser-known port cities.
Original: It is a densely imagined, richly sensory image of a southern cosmopolitan culture which provides for an enlarged sense of place in the world.
Explanation: These stories create a vivid, multicultural picture of life in the global south, expanding how we perceive the worldās cultural map.
Paragraph 6
Original: This remapping is particularly powerful for the representation of Africa.
Explanation: This new way of looking at geography is especially impactful when it comes to portraying Africa.
Original: In the fiction, sailors and travellers are not all European. . . .
Explanation: Unlike traditional stories, not all explorers are European.
Original: African, as well as Indian and Arab characters, are traders, nakhodas (dhow ship captains), runaways, villains, missionaries and activists.
Explanation: Characters from Africa, India, and the Arab world are portrayed in diverse and active roles, not just as background figures.
Original: This does not mean that Indian Ocean Africa is romanticised.
Explanation: The portrayal doesnāt sugarcoat African history or realities.
Original: Migration is often a matter of force; travel is portrayed as abandonment rather than adventure, freedoms are kept from women and slavery is rife.
Explanation: These stories show the harsh truths of forced migration, lack of freedom, and widespread slavery.
Original: What it does mean is that the African part of the Indian Ocean world plays an active role in its long, rich history and therefore in that of the wider world.
Explanation: Still, Africa is shown as a central, active player in shaping global history through its Indian Ocean connections.
RC Paragraph Explanation
Paragraph 1 Summary
Early postcolonial literature often focused on the nation as the main subject, addressing themes of national identity and anti-colonialism. While this supported nationalism, it sometimes led to limited, inward-looking storytelling.
Paragraph 2 Summary
The authorās book, Writing Ocean Worlds, explores novels that center on the Indian Ocean rather than the nation. Authors like Ghosh and Gurnah depict a dynamic, outward-looking world that challenges conventional geographical narratives.
Paragraph 3 Summary
The term "Indian Ocean world" refers to the longstanding sea-based connections among East Africa, the Arab world, and Asia, made possible due to easier sea travel compared to land travel.
Paragraph 4 Summary
The Indian Ocean region may have been the origin of globalization. The novels featured in the book reflect and reconstruct this early interconnected world.
Paragraph 5 Summary
Unlike most English fiction which centers Western cities and culture, these novels focus on Islamic regions, non-white characters, and southern port cities, offering a richer, alternative global view.
Paragraph 6 Summary
This reframing is particularly meaningful for Africa, portraying its people in diverse and influential roles. Although the hardships are not ignored, Africaās importance in the Indian Oceanās history is emphasized.
RC Quick Table Summary
| Paragraph Number | Main Idea |
|---|---|
| Paragraph 1 | Early postcolonial novels focused on national identity and anti-colonial themes. |
| Paragraph 2 | Some novelists use the Indian Ocean as a dynamic setting that connects the global south. |
| Paragraph 3 | The Indian Ocean enabled historic intercontinental connections due to easier sea travel. |
| Paragraph 4 | Globalization may have begun in the Indian Ocean, as reflected in the discussed novels. |
| Paragraph 5 | These novels challenge Western norms, showcasing non-Western cities and characters of colour. |
| Paragraph 6 | Africa is portrayed as a vital, though complex, part of the Indian Oceanās interconnected past. |
RC Questions
Ques 5. All of the following claims contribute to the āremappingā discussed by the passage, EXCEPT:
Ques 6. All of the following statements, if true, would weaken the passageās claim about the relationship between mainstream English-language fiction and Indian Ocean novels EXCEPT:
Ques 7. Which one of the following statements is not true about migration in the Indian Ocean world?
Ques 8. On the basis of the nature of the relationship between the items in each pair below, choose the odd pair out:
