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American and British critics who wrote enthusiastic reviews of west African writer Amos Tutuola's 1952 book The Palm-Wine Drinkard typically dwelt less on his rhetorical skills and more on the text as an exemplar of naïve art. While these metropolitan critics were enchanted by the book, the initial literary reception in west Africa was by contrast highly critical. Concerned to avoid stereotyping,critics there objected to what they saw as very poor writing and expressed dismay at the uncritical promotion of the book. Many protested against what they saw as a metropolitan celebration of exoticism. For example, Adeagbo Akinjogbin attributed the novel's success in the West to ignorance and a desire to believe "all sorts of fantastic tales about Africa."

The passage suggests that the metropolitan critics who praised Tutuola's book would most likely agree with which of the following claims about literature?

AWorks that lack apparent sophistication might nevertheless have artistic value.
BPoor writing is never acceptable in a literary work, even one presented as naïve art.
COne can only fully appreciate a work of literature that is produced within a culture that one understands thoroughly.
DNonliterary agendas often hamper the production of great literature.
EThe value of a given literary work is mostly determined by the rhetorical skills of the author.

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