Which excerpt represents the call-and-response format derived from jazz music? a) deferred by langston hughes (excerpt) maybe now i can have that white enamel stove i dreamed about when we first fell in love eighteen years ago. but you know, rooming and everything then kids, cold-water flat and all that. but now my daughter’s married and my boy's most grown-- quit school to work-- and where we're moving there ain't no stove-- maybe i can buy that white enamel stove! b) island by langston hughes (excerpt) black and white, gold and brown-- chocolate-custard pie of a town. dream within a dream, our dream deferred. good morning, daddy! ain't you heard? c) harlem by langston huges (excerpt) does it dry up like a raisin in the sun? or fester like a sore—

B) Island

by Langston Hughes (excerpt)

Black and white,

Gold and brown--

Chocolate-custard

Pie of a town.  

Dream within a dream,

Our dream deferred.  

Good morning, daddy!

Ain't you heard?

Explanation:

In the sonnet "Islan"d by Langston Hughes, we can see the call-and-response format derived from Jazz music.  

The call and react occur between the speaker and his child. He is discussing his fantasy when his kid welcomes him, to which he answers consequently with a disheartening answer.

the purpose of the heading in the passage is to identify who is telling the story.

this excerpt is part of the book sugar changed the world (2010) written by marc aronson and marina budhos. as the book has been written by two people, the heading "marc" indicates that this specific excerpt is being narrated by aronson. in the fragment, marc describes his grandfather's story after hearing it from his cousin. however, there are other excerpts where budhos is the one that tells the story of her family.

aronson and budhos, who are husband and wife in real life, decided to write sugar changed the world when they found out how sugar, which had an important role in slavery and economy, changed their ancestors' lives.