请阅读Passage 1，完成小题。
Passage 1
With her magical first novel, Garcia joins a growing chorus of talented Latinowriters whose voices are suddenly reaching a far wider, more diverseaudience. Unlike Latin American writers such as Colombia′s Gabriel GarciaMarquee of Peru′s Mario Vargas Llosa--whose translated works becamepopular here in the 1970s--these authors are writing in English and drawingtheir themes from two cultures. Their stories, from \"Dreaming in Cuban\"to Julia Alvarez′s \"How the Garcia Girls Lost Their Accent\"and Victor Villasenor′s  \"Rain of Gold\", offer insight intothe mixture of economic opportunity and discrimination that Latinosencounter in the United States.
\"Garcia Girls\" for example, is the story of four sisters weatheringtheir transition from wealthy Dominicans to ragtag immigrants, \"Wedidn′ t feel we had the beat the United States had to offer,\"one of thegirls says,  \"We had only second-hand stuff, rental houses in one redneckCatholic neighborhood after another, clothes at Round Robin, a black andwhite TV afflicted with wavy lines.\" Alvarez, a Middlebury Collegeprofessor Who emigrated from Santo Domingo when she was 10, says being animmigrant has given her a special vantage point:  \"We travel on thatborder between two worlds and we can see both points of view.\"
With few exceptions, such as Chicano writer Rudolfo Anaya, manyHispanic-Americans have been writing in virtual obscurity for years,nurtured only by small presses like Houston′s Arte Publico or theBilingual Press in Tempe, Ariz. Only with the recent success of SandraCisneros′s \"Woman Hollering Creek\" and Oscar Hijuelos′sprize-winning novel,  \"The Mambo Kings Play Songs ofLove,\" have mainstream publishers begun opening door to other Latinos.Julie Grau,Cisneros′s editor at Turtle Bay, says,  \"Editors may nowbe looking more carefully at a book that before they would have deemed tooexotic for the general readership.\"
But if Villasenor′s experience is any indication, some editors are still wary.In 1989, Putnam gave Villasenor a $75,000 advance for the hardcover rightsto \"Rain of Gold,\" the compelling saga of his family′smigration from Mexico to California. But the editors, says Villasenor, wantedmajor changes: \"They were going to destroy the book. It′ snonfiction; they wanted to publish it as a novel.
And they wanted to change the title to ′Rio Grande,′ which sounded like someold John Wayne movie.\" After a year of strained relations, he mortgagedhis house, borrowed his mother′s life savings and bought back the rightsto the book that had taken 10 years to write.
In frustration, Villasenor turned to Arte Publico. In the eight months sinceits release, \"Rain of Gold\" has done extremely well,considering its limited distribution; 20,000 copies have been sold.
\"If we were a mainstream publisher, this book would have been on The NewYork Times best-seller list for weeks,\" says Arte Pulico′ s NicolasKanelos. The author may still have a shot: he has sold the paperbackrights to Dell. And he was just named a keynote speaker (with Molly Ivins andNorman Schwarzkop0 for the American Booksellers Association convention inMay. Long before they gained this sort of attention, however, Villasenor,Cisneros and other Latino writers were quietly building devotedfollowings. Crossing the country, they read in local bookstores, librariesand schools. Their stories, they found, appeal not only to Latinos--whoidentify with them, but to a surprising number of Anglos, who find in thema refreshingly different perspective on American life.
Still, there are unusual pressures on these writers. Cisneros vividly recallsthe angst she went through in writing the final short stories for\"Woman Hollering\": \"I was traumatized that it was going tobe one of the first Chicano books  ′out there.′ I felt I had thisresponsibility to my community to represent us in all ourdiversity.\"
Which of the following is true of Garcia as a Latino writer according to thepassage?

A.She offered insight into the confrontations between two cultures.

B.She emigrated from Santo Domingo when she was 10 years old.

C.She became popular for her translated works in America in the 1970s.

D.She described her transition from wealthy Dominicans to ragtag immigrants.