单选题 {{B}}Passage 3{{/B}}
Forget what Virginia Woolf said about what a writer needs--a room of one's own. The writer she has in mind wasn't at work on a novel in cyberspaee, one with multiple hypertexts, animated graphics and downloads of trance, charming music. For that you also need graphic interfaces, Real Player and maybe even a computer laboratory at Brown University. That was where Mark Amerika--his legally adopted name; don't ask him about his birth name--composed much of his novel Gramatron. But Grammatron isn't just a story. It's an online narrative (gramatron. com) that uses the capabilities of cyberspace to tie the conventional story line into complicated knots. In the four years it took to produce-it was completed in 1997-each new advance in computer software became another potential story device. "I became sort of dependent on the industry," jokes Amerika, who is also the author of two novels printed on paper. "That's unusual for a writer, because if you just write on paper the 'technology' is pretty stable."
Nothing about Gramatron is stable. At its center, if there is one, is Abe Golam, the inventor of nanograph a quasi mystical computer code that some unmystical corporations are itching to acquire. For much of the story, Abe wanders through Prague-23, a virtual "city" in cyberspace where visitors indulge in fantasy encounters and virtual sex, which can get fairly graphic. The reader wanders too, because most of Gramatron's 1,000-plus text screens contain several passages in hypertext. To reach the next screen just double-click. But each of those hypertexts is a trapdoor that can plunge you down a different pathway of the story. Choose one and you drop into a corporate-strategy memo. Choose another and there's a XXX-rated sexual rant. The st0ry you read is in some sense file story you make.
Amerika teaches digital art at the University of Colorado, where his students develop works that straddle the lines between art, film and literature. "I tell them not to get caught up in mere plot," he says. Some avant-garde writers--Julio Cortazar, Italo Calvino-have also experimented with novels that wander out of their author's control. "But what makes the Net so exciting," says Amerika, "is that you can add sound, randomly generated links, 3-D modeling, animation." That room of one's own is turning into a fun house.
单选题 The passage is mainly to tell ______.
【正确答案】 B
【答案解析】[解析] 综观全文，主要介绍了Amefika在计算机网络里写作，举例介绍了他所创作的小说《Gramatron》的特点。据此可知B项“Mark Amerika是怎样创作《Gramatron》的”为正确答案。
单选题 Why does the author ask the reader to forget what Virginia Woolf said about the necessities of a writer?
【正确答案】 D
【答案解析】[解析] 从文中可知，Virginia Woolf所说的作家不是那种写计算机网络小说的作家。后者的创作需要的条件要多得多而不仅仅是一个房间。因此D项“‘自己的房间’远远不能满足一个在计算机网络中创作的作家的需要”是正确答案。
单选题 As an on-line narrative, Gramatron is anything but stable because it ______.
【正确答案】 A
【答案解析】[解析] 从文中可知，《Gramatron》的1，000多个文本界面含有超文本的好多文章。要进入下一个界面，只需双击，但每一个超文本都是一个陷阱门，它把你带到故事发展的另一条路上去。因此A项“提供故事发展的各种潜在可能”是正确答案。
单选题 By saying that he became sort of dependent on the industry, Mark Amerika meant that ______.
【正确答案】 C
【答案解析】[解析] 从文中可知，在成书的4年里，电脑软件的每一进步都成为一个可能的故事线索。(因此)Mark Amerika说：“我有点依赖电脑业……”。因此C项是正确答案。
单选题 As the passage shows, Gramatron makes it possible for readers to ______.
【正确答案】 B
【答案解析】[解析] 从文中可知，网络的令人兴奋之处是，读者可以增加声音、随机连接、三维模型和动画。据此可知B项是正确答案。
单选题 Amerika told his students not to ______.
【正确答案】 A
【答案解析】[解析] 本题可根据最后一段中Amerika的话“I tell them not to get caught up in mere plot(我告诉他们不要只是陷入情节)”，从中可知A项是正确答案。