Artificial hearts have long been the stuff of science fiction. In "Robocop", snazzy cardiac devices are made by Yamaha and Jensen, and in "Star Trek", Jean-Luc Picard, captain of the Enterprise, has one implanted in the year 2328. In the present day, however, their history has been more chequered. The first serious attempt to build one happened in the 1980s, when Jarvik-7, made by Robert Jarvik, a surgeon at the University of Utah, captured the world’s attention. But Jarvik-7 was a complicated affair that needed to be connected’ via tubes to machines outside the body. The patient could not go home, nor even turn around in bed. Various other designs have been tried since, but all were seen as temporary expedients intended to tide a patient over until the real thing became available from a human donor.
That may be about to change. This week, America’s Food and Drug Administration gave its approval to a new type of artificial heart made
A. the latter does not need connecting tubes outside the body of a patient
B. the former needs tubes or wires coming out Of patients
C. the latter allows patients to go home and even turn around in bed
D. the former sets patients free due to the fact that there are no tubes or wires coming out of the patients
The making of classifications by literary historians can be a somewhat risky enterprise. When Black poets are discussed separately as a group, for instance, the extent to which their work reflects the development of poetry in general should not be forgotten, or a distortion of literary history may result. This caution is particularly relevant in an assessment of the differences between Black poets at the turn of the century (1900 ～1909) and those of the generation of the 1920’s. These differences include the bolder and more forthright speech of the later generation and its technical inventiveness. It should be remembered, though, that comparable differences also existed for similar generations of White poets.
When poets of the 1910’s and 1920’s are considered together, however, the distinctions that literary historians might make between "conservative" and "experimental" would be of little significance in a discussion of Black poets,
A. seek a consensus on new techniques of poetry
B. write exclusively about and for Blacks
C. withdraw their support from a repressive society
D. turn away from social questions to recollect the tranquility of nature
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