Passage
Evelyn stood at the edge of the terrace, her eyes tracing the concrete ribbons of the plaza she had drafted twenty years prior. In her original blueprints, the sunken amphitheater was conceived as a solemn monument to civic order, a place where people would sit in neat, quiet rows to contemplate the surrounding geometry. Instead, a group of local teenagers had brought portable speakers, using the smooth stone ledges as launchpads for skateboards. A vendor had set up a colorful pushcart selling shaved ice right on the landing where Evelyn had imagined a clean, uninterrupted line of vision.
She felt a brief, familiar pang of defensive pride. Had they no respect for the sightlines? For the deliberate tension between the raw concrete and the weeping willows? Yet as she watched a toddler wobble across the plaza, chased by an older sister whose laughter echoed off the walls, Evelyn’s grip on her umbrella relaxed. The design was no longer hers; it had been claimed, worn down, and made human. The concrete was stained with soda and scuffed by rubber soles, but the space was alive in a way her sterile drawings had never been. She took a seat on one of the benches—positioned, ironically, facing away from her prized focal point—and simply watched.
Which of the following best describes the narrator's point of view in the passage?
- An outside observer who focuses on Evelyn's inner thoughts and her changing feelings about her architectural design.Answer
- BThe author of the passage, who is expressing a personal critique of modern urban architecture and public behavior.
- CA first-person character who accompanies Evelyn to the park and recounts their shared memories of the drafting process.
- DAn objective narrator who reports the physical details of the park without revealing any character's internal feelings.