Question: What war did Argentina fight with another power that was mentioned?

Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate H982 FKL, which some took as a reference to the British victory over Argentina in the 1982 Falklands War. Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. In May 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. He denied uttering an offensive word but acknowledged “that it sounds like I did.” He has also been accused of racist comments aimed at Indians, Mexicans and Asians.

Answer: Falklands War

<hl> Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate H982 FKL, which some took as a reference to the British victory over Argentina in the 1982 Falklands War . <hl> Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. In May 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. He denied uttering an offensive word but acknowledged “that it sounds like I did.” He has also been accused of racist comments aimed at Indians, Mexicans and Asians.

Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate H982 FKL, which some took as a reference to the British victory over Argentina in the 1982 <hl> Falklands War <hl>. Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. In May 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. He denied uttering an offensive word but acknowledged “that it sounds like I did.” He has also been accused of racist comments aimed at Indians, Mexicans and Asians.

Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate H982 FKL, which some took as a reference to the British victory over Argentina in the 1982 <hl> Falklands War <hl> .


Question: What was the offensive license plate number in question?

Answer: H982 FKL

<hl> Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate H982 FKL , which some took as a reference to the British victory over Argentina in the 1982 Falklands War. <hl> Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. In May 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. He denied uttering an offensive word but acknowledged “that it sounds like I did.” He has also been accused of racist comments aimed at Indians, Mexicans and Asians.

Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate <hl> H982 FKL <hl>, which some took as a reference to the British victory over Argentina in the 1982 Falklands War. Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. In May 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. He denied uttering an offensive word but acknowledged “that it sounds like I did.” He has also been accused of racist comments aimed at Indians, Mexicans and Asians.

Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate <hl> H982 FKL <hl> , which some took as a reference to the British victory over Argentina in the 1982 Falklands War.


Question: In what month of 2014 did Clarkson make another controversial remark?

Answer: May

Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate H982 FKL, which some took as a reference to the British victory over Argentina in the 1982 Falklands War. Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. <hl> In May 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. <hl> He denied uttering an offensive word but acknowledged “that it sounds like I did.” He has also been accused of racist comments aimed at Indians, Mexicans and Asians.

Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate H982 FKL, which some took as a reference to the British victory over Argentina in the 1982 Falklands War. Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. In <hl> May <hl> 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. He denied uttering an offensive word but acknowledged “that it sounds like I did.” He has also been accused of racist comments aimed at Indians, Mexicans and Asians.


Question: Clarkson has been accused of demeaning Indians, Asians, and what other specific group?

Answer: Mexicans

Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate H982 FKL, which some took as a reference to the British victory over Argentina in the 1982 Falklands War. Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. In May 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. He denied uttering an offensive word but acknowledged “that it sounds like I did.” <hl> He has also been accused of racist comments aimed at Indians, Mexicans and Asians. <hl>

Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate H982 FKL, which some took as a reference to the British victory over Argentina in the 1982 Falklands War. Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. In May 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. He denied uttering an offensive word but acknowledged “that it sounds like I did.” He has also been accused of racist comments aimed at Indians, <hl> Mexicans <hl> and Asians.


Question: What kind of car was Clarkson driving in Argentina?

Answer: Porsche

<hl> Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a Porsche sports car with the license plate H982 FKL, which some took as a reference to the British victory over Argentina in the 1982 Falklands War. <hl> Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. In May 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. He denied uttering an offensive word but acknowledged “that it sounds like I did.” He has also been accused of racist comments aimed at Indians, Mexicans and Asians.

Last year, the crew fled Argentina after being attacked by local residents during the filming of an episode in which Mr. Clarkson drove a <hl> Porsche <hl> sports car with the license plate H982 FKL, which some took as a reference to the British victory over Argentina in the 1982 Falklands War. Mr. Clarkson and his team insisted — with a wink — that they had no idea what the license plate meant. But most observers saw it as a typical Clarkson ploy to seem both naughty and patriotic. In May 2014, in film not intended for broadcast, Mr. Clarkson seemed to use a racist term while reciting the “eeny, meeny, miney, moe” rhyme. He denied uttering an offensive word but acknowledged “that it sounds like I did.” He has also been accused of racist comments aimed at Indians, Mexicans and Asians.


Question: How many people watch "Top Gear" worldwide?

After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including Prime Minister David Cameron. “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about 350 million viewers in 170 countries. It has been called the world’s most popular fact-based program, and it earns millions for the BBC and for Mr. Clarkson himself. Overseas sales are worth an estimated $74 million a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC.

Answer: 350 million

After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including Prime Minister David Cameron. <hl> “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about 350 million viewers in 170 countries. <hl> It has been called the world’s most popular fact-based program, and it earns millions for the BBC and for Mr. Clarkson himself. Overseas sales are worth an estimated $74 million a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC.

After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including Prime Minister David Cameron. “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about <hl> 350 million <hl> viewers in 170 countries. It has been called the world’s most popular fact-based program, and it earns millions for the BBC and for Mr. Clarkson himself. Overseas sales are worth an estimated $74 million a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC.


Question: In how many countries is "Top Gear" shown?

Answer: 170

After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including Prime Minister David Cameron. <hl> “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about 350 million viewers in 170 countries. <hl> It has been called the world’s most popular fact-based program, and it earns millions for the BBC and for Mr. Clarkson himself. Overseas sales are worth an estimated $74 million a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC.

After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including Prime Minister David Cameron. “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about 350 million viewers in <hl> 170 <hl> countries. It has been called the world’s most popular fact-based program, and it earns millions for the BBC and for Mr. Clarkson himself. Overseas sales are worth an estimated $74 million a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC.


Question: What position does David Cameron hold?

Answer: Prime Minister

<hl> After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including Prime Minister David Cameron. <hl> “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about 350 million viewers in 170 countries. It has been called the world’s most popular fact-based program, and it earns millions for the BBC and for Mr. Clarkson himself. Overseas sales are worth an estimated $74 million a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC.

After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including <hl> Prime Minister <hl> David Cameron. “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about 350 million viewers in 170 countries. It has been called the world’s most popular fact-based program, and it earns millions for the BBC and for Mr. Clarkson himself. Overseas sales are worth an estimated $74 million a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC.


Question: How much does the BBC earn per year because of overseas sales of "Top Gear"?

Answer: $74 million

After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including Prime Minister David Cameron. “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about 350 million viewers in 170 countries. It has been called the world’s most popular fact-based program, and it earns millions for the BBC and for Mr. Clarkson himself. <hl> Overseas sales are worth an estimated $74 million a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC. <hl>

After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including Prime Minister David Cameron. “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about 350 million viewers in 170 countries. It has been called the world’s most popular fact-based program, and it earns millions for the BBC and for Mr. Clarkson himself. Overseas sales are worth an estimated <hl> $74 million <hl> a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC.


Question: "Top Gear" is supposedly the world's most popular program of what sort?

Answer: fact-based

After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including Prime Minister David Cameron. “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about 350 million viewers in 170 countries. <hl> It has been called the world’s most popular fact-based program, and it earns millions for the BBC and for Mr. Clarkson himself. <hl> Overseas sales are worth an estimated $74 million a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC.

After Mr. Clarkson’s suspension, more than a million people signed an online petition seeking his reinstatement, and he received remarkable statements of support from prominent friends, including Prime Minister David Cameron. “Top Gear,” which began as a straight show about cars, has in its current incarnation become popular worldwide, watched by about 350 million viewers in 170 countries. It has been called the world’s most popular <hl> fact-based <hl> program, and it earns millions for the BBC and for Mr. Clarkson himself. Overseas sales are worth an estimated $74 million a year for the corporation’s commercial arm, BBC Worldwide, according to the BBC.


Question: What year did the baseball players strike?

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. Yet The Daily Mail has calculated that the average player salary in M.L.S. ranks 22nd among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. No wonder M.L.S. players want more. The question is: How far will they go to get it? The 1994 baseball players’ strike came at the expense of the World Series. The N.H.L. has locked out its players three times, once for a full season.

Answer: 1994

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. Yet The Daily Mail has calculated that the average player salary in M.L.S. ranks 22nd among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. No wonder M.L.S. players want more. The question is: How far will they go to get it? <hl> The 1994 baseball players’ strike came at the expense of the World Series. <hl> The N.H.L. has locked out its players three times, once for a full season.

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. Yet The Daily Mail has calculated that the average player salary in M.L.S. ranks 22nd among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. No wonder M.L.S. players want more. The question is: How far will they go to get it? The <hl> 1994 <hl> baseball players’ strike came at the expense of the World Series. The N.H.L. has locked out its players three times, once for a full season.


Question: What did the Daily Mail calculate?

Answer: the average player salary

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. <hl> Yet The Daily Mail has calculated that the average player salary in M.L.S. ranks 22nd among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. <hl> No wonder M.L.S. players want more. The question is: How far will they go to get it? The 1994 baseball players’ strike came at the expense of the World Series. The N.H.L. has locked out its players three times, once for a full season.

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. Yet The Daily Mail has calculated that <hl> the average player salary <hl> in M.L.S. ranks 22nd among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. No wonder M.L.S. players want more. The question is: How far will they go to get it? The 1994 baseball players’ strike came at the expense of the World Series. The N.H.L. has locked out its players three times, once for a full season.


Question: How many times has the N.H.L. blocked out its players?

Answer: three

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. Yet The Daily Mail has calculated that the average player salary in M.L.S. ranks 22nd among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. No wonder M.L.S. players want more. The question is: How far will they go to get it? The 1994 baseball players’ strike came at the expense of the World Series. <hl> The N.H.L. has locked out its players three times, once for a full season. <hl>

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. Yet The Daily Mail has calculated that the average player salary in M.L.S. ranks 22nd among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. No wonder M.L.S. players want more. The question is: How far will they go to get it? The 1994 baseball players’ strike came at the expense of the World Series. The N.H.L. has locked out its players <hl> three <hl> times, once for a full season.


Question: What sport blocked its players out for a whole season?

Answer: N.H.L.

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. Yet The Daily Mail has calculated that the average player salary in M.L.S. ranks 22nd among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. No wonder M.L.S. players want more. The question is: How far will they go to get it? The 1994 baseball players’ strike came at the expense of the World Series. <hl> The N.H.L. has locked out its players three times, once for a full season. <hl>

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. Yet The Daily Mail has calculated that the average player salary in M.L.S. ranks 22nd among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. No wonder M.L.S. players want more. The question is: How far will they go to get it? The 1994 baseball players’ strike came at the expense of the World Series. The <hl> N.H.L. <hl> has locked out its players three times, once for a full season.


Question: Where does the average salary of a soccer player rank?

Answer: 22nd

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. <hl> Yet The Daily Mail has calculated that the average player salary in M.L.S. ranks 22nd among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. <hl> No wonder M.L.S. players want more. The question is: How far will they go to get it? The 1994 baseball players’ strike came at the expense of the World Series. The N.H.L. has locked out its players three times, once for a full season.

By pointing to freedom abroad, M.L.S. demonstrates that restraining salaries in a sports landscape where free agency is rampant will naturally lead those without it to push hard for it. Yet The Daily Mail has calculated that the average player salary in M.L.S. ranks <hl> 22nd <hl> among the world’s soccer leagues, a fraction of the average in top competitions like England’s Premier League and Germany’s Bundesliga. No wonder M.L.S. players want more. The question is: How far will they go to get it? The 1994 baseball players’ strike came at the expense of the World Series. The N.H.L. has locked out its players three times, once for a full season.


Question: Who was Hillary Rodham Clinton's adviser?

WASHINGTON —  Hillary Rodham Clinton’s longtime adviser Sidney Blumenthal testified before a congressional committee on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the 2012 attacks in Benghazi, Libya, Mr. Blumenthal identified the official as Tyler Drumheller, according to a person with knowledge of his testimony.

Answer: Sidney Blumenthal

<hl> WASHINGTON — Hillary Rodham Clinton’s longtime adviser Sidney Blumenthal testified before a congressional committee on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. <hl> During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the 2012 attacks in Benghazi, Libya, Mr. Blumenthal identified the official as Tyler Drumheller, according to a person with knowledge of his testimony.

WASHINGTON — Hillary Rodham Clinton’s longtime adviser <hl> Sidney Blumenthal <hl> testified before a congressional committee on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the 2012 attacks in Benghazi, Libya, Mr. Blumenthal identified the official as Tyler Drumheller, according to a person with knowledge of his testimony.


Question: Why was Sidney Blumenthal testifying?

Answer: 2012 attacks in Benghazi, Libya

WASHINGTON — Hillary Rodham Clinton’s longtime adviser Sidney Blumenthal testified before a congressional committee on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. <hl> During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the 2012 attacks in Benghazi, Libya , Mr. Blumenthal identified the official as Tyler Drumheller, according to a person with knowledge of his testimony. <hl>

WASHINGTON — Hillary Rodham Clinton’s longtime adviser Sidney Blumenthal testified before a congressional committee on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the <hl> 2012 attacks in Benghazi, Libya <hl>, Mr. Blumenthal identified the official as Tyler Drumheller, according to a person with knowledge of his testimony.

During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the <hl> 2012 attacks in Benghazi, Libya <hl> , Mr. Blumenthal identified the official as Tyler Drumheller, according to a person with knowledge of his testimony.


Question: Who did Sidney Blumenthal identify as the CIA official sending Hillary Rodham Clinton dozens of memos?

Answer: Tyler Drumheller

WASHINGTON — Hillary Rodham Clinton’s longtime adviser Sidney Blumenthal testified before a congressional committee on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. <hl> During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the 2012 attacks in Benghazi, Libya, Mr. Blumenthal identified the official as Tyler Drumheller , according to a person with knowledge of his testimony. <hl>

WASHINGTON — Hillary Rodham Clinton’s longtime adviser Sidney Blumenthal testified before a congressional committee on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the 2012 attacks in Benghazi, Libya, Mr. Blumenthal identified the official as <hl> Tyler Drumheller <hl>, according to a person with knowledge of his testimony.

During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the 2012 attacks in Benghazi, Libya, Mr. Blumenthal identified the official as <hl> Tyler Drumheller <hl> , according to a person with knowledge of his testimony.


Question: Where was Sidney Blumenthal testifying?

Answer: before a congressional committee

<hl> WASHINGTON — Hillary Rodham Clinton’s longtime adviser Sidney Blumenthal testified before a congressional committee on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. <hl> During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the 2012 attacks in Benghazi, Libya, Mr. Blumenthal identified the official as Tyler Drumheller, according to a person with knowledge of his testimony.

WASHINGTON — Hillary Rodham Clinton’s longtime adviser Sidney Blumenthal testified <hl> before a congressional committee <hl> on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the 2012 attacks in Benghazi, Libya, Mr. Blumenthal identified the official as Tyler Drumheller, according to a person with knowledge of his testimony.


Question: Was Sidney Blumenthal's testimony public?

Answer: behind closed doors

WASHINGTON — Hillary Rodham Clinton’s longtime adviser Sidney Blumenthal testified before a congressional committee on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. <hl> During a seven-and-a-half-hour deposition behind closed doors before the House committee investigating the 2012 attacks in Benghazi, Libya, Mr. Blumenthal identified the official as Tyler Drumheller, according to a person with knowledge of his testimony. <hl>

WASHINGTON — Hillary Rodham Clinton’s longtime adviser Sidney Blumenthal testified before a congressional committee on Tuesday that dozens of memos he sent her when she was secretary of state were written by a longtime high-ranking C.I.A. official. During a seven-and-a-half-hour deposition <hl> behind closed doors <hl> before the House committee investigating the 2012 attacks in Benghazi, Libya, Mr. Blumenthal identified the official as Tyler Drumheller, according to a person with knowledge of his testimony.


Question: Where is the button for the doorbell located?

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. Visitors announce themselves by pressing a red nipple within the raised areola. Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. With her brood safely strapped in, she drives a black BMW 735i, very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. Both “Immediate Family” and “At Twelve,” her portraits of local girls on the cusp of puberty, are dedicated to him. While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term City Councilman; recently, he got a law degree. His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; finches in cages and flying free; the skeletons of lizards and cats. An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”

Answer: within the raised areola

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. <hl> Visitors announce themselves by pressing a red nipple within the raised areola . <hl> Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. With her brood safely strapped in, she drives a black BMW 735i, very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. Both “Immediate Family” and “At Twelve,” her portraits of local girls on the cusp of puberty, are dedicated to him. While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term City Councilman; recently, he got a law degree. His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; finches in cages and flying free; the skeletons of lizards and cats. An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. Visitors announce themselves by pressing a red nipple <hl> within the raised areola <hl>. Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. With her brood safely strapped in, she drives a black BMW 735i, very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. Both “Immediate Family” and “At Twelve,” her portraits of local girls on the cusp of puberty, are dedicated to him. While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term City Councilman; recently, he got a law degree. His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; finches in cages and flying free; the skeletons of lizards and cats. An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”

Visitors announce themselves by pressing a red nipple <hl> within the raised areola <hl> .


Question: What car does Sally Mann drive?

Answer: BMW 735i

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. Visitors announce themselves by pressing a red nipple within the raised areola. Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. <hl> With her brood safely strapped in, she drives a black BMW 735i , very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. <hl> Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. Both “Immediate Family” and “At Twelve,” her portraits of local girls on the cusp of puberty, are dedicated to him. While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term City Councilman; recently, he got a law degree. His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; finches in cages and flying free; the skeletons of lizards and cats. An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. Visitors announce themselves by pressing a red nipple within the raised areola. Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. With her brood safely strapped in, she drives a black <hl> BMW 735i <hl>, very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. Both “Immediate Family” and “At Twelve,” her portraits of local girls on the cusp of puberty, are dedicated to him. While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term City Councilman; recently, he got a law degree. His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; finches in cages and flying free; the skeletons of lizards and cats. An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”

With her brood safely strapped in, she drives a black <hl> BMW 735i <hl> , very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks.


Question: What are the names of Sally's portraits of local girls?

Answer: “Immediate Family” and “At Twelve,”

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. Visitors announce themselves by pressing a red nipple within the raised areola. Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. With her brood safely strapped in, she drives a black BMW 735i, very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. <hl> Both “Immediate Family” and “At Twelve,” her portraits of local girls on the cusp of puberty, are dedicated to him. <hl> While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term City Councilman; recently, he got a law degree. His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; finches in cages and flying free; the skeletons of lizards and cats. An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. Visitors announce themselves by pressing a red nipple within the raised areola. Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. With her brood safely strapped in, she drives a black BMW 735i, very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. Both <hl> “Immediate Family” and “At Twelve,” <hl> her portraits of local girls on the cusp of puberty, are dedicated to him. While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term City Councilman; recently, he got a law degree. His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; finches in cages and flying free; the skeletons of lizards and cats. An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”


Question: What type of birds does Sally keep?

Answer: finches

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. Visitors announce themselves by pressing a red nipple within the raised areola. Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. With her brood safely strapped in, she drives a black BMW 735i, very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. Both “Immediate Family” and “At Twelve,” her portraits of local girls on the cusp of puberty, are dedicated to him. While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term City Councilman; recently, he got a law degree. His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. <hl> The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; finches in cages and flying free; the skeletons of lizards and cats. <hl> An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. Visitors announce themselves by pressing a red nipple within the raised areola. Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. With her brood safely strapped in, she drives a black BMW 735i, very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. Both “Immediate Family” and “At Twelve,” her portraits of local girls on the cusp of puberty, are dedicated to him. While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term City Councilman; recently, he got a law degree. His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; <hl> finches <hl> in cages and flying free; the skeletons of lizards and cats. An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”


Question: What political office did Larry  Mann hold?

Answer: City Councilman

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. Visitors announce themselves by pressing a red nipple within the raised areola. Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. With her brood safely strapped in, she drives a black BMW 735i, very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. Both “Immediate Family” and “At Twelve,” her portraits of local girls on the cusp of puberty, are dedicated to him. <hl> While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term City Councilman ; recently, he got a law degree. <hl> His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; finches in cages and flying free; the skeletons of lizards and cats. An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”

The doorbell at the Mann home in Lexington, Va., is a small, black, wrought-iron breast. Visitors announce themselves by pressing a red nipple within the raised areola. Like the red-metal dragons that line the driveway or the 20-by-24-inch blowups of the children in the foyer or the photograph on the living room wall of Sally Mann’s father, dead in his bathrobe, the doorbell seems designed to give a start to the uninitiated and to put some comic distance between the occupants and their neighbors. The same attitude of defiance is there in the cover portrait of “Immediate Family.” Bare-chested with arms crossed or akimbo, the three little Manns level their gaze at the world. Children and house both project the sensibilities of Sally Mann herself. A 41-year-old dark-haired beauty whose turned-up nose accentuates a natural hauteur, she is a cool mom. With her brood safely strapped in, she drives a black BMW 735i, very fast, and favors a subdued, asexual preppy look — turtle-necks and T-shirts, cut-off shorts, dirty Reeboks. Lexington is a genteel town, site of Stonewall Jackson’s house, Washington and Lee University and the Virginia Military Institute. Born and raised here, married to the same man for 22 years, Mann is secure enough in her surroundings to take liberties with the mores of a place only 50 miles from the headquarters of the Rev. Jerry Falwell and his Moral Majority. “I think the South depends on its eccentrics,” she says one summer afternoon on the back porch as Jessie and Virginia weave in and out of the house. (Emmett is away at camp.) “It loves them, and it rewards them in lots of ways. This community allows itself to be scandalized by me and by my work, but they love it. What else would they do if it wasn’t for me? I take being iconoclastic sort of seriously. It’s my role here.” Ex-”dirt hippies” who still grow much of their own food and until a decade and a half ago barely made enough money to pay taxes, Sally and Larry Mann are a tight couple. Both “Immediate Family” and “At Twelve,” her portraits of local girls on the cusp of puberty, are dedicated to him. While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term <hl> City Councilman <hl>; recently, he got a law degree. His office in town is 10 minutes away, and he walks home nearly every day for lunch. Their house has an airy mood of understated comfort, its three levels overlooking a wisteria arbor and a well-tended vegetable garden in a yard that slopes down to a creek. Rope swings and hammocks hang from ash-leaved maples. The decor includes photographs by Diane Arbus and Emmet Gowin, both important figures for Mann; walls of books; marble torsos of nude women; finches in cages and flying free; the skeletons of lizards and cats. An expansion completed this year provides each child his or her own room; Sally and Larry reside in a connecting wing, which also houses her new darkroom and offices. To meet the demand for her work, she can now afford to hire an assistant. The slow, wet air of southern Virginia in July and August, when even the trees perspire, serves as a backdrop for Mann’s idylls of leisure. “Even though I take pictures of my children, they’re still about here,” she says. “It exerts a hold on me that I can’t define.”

While she has pursued her photography career with singleminded purpose, he has been a blacksmith and a two-term <hl> City Councilman <hl> ; recently, he got a law degree.


Question: What type of art does Sally look to for her imagery?

Like an essayist collecting quotations, Mann ransacks the history of photography for her imagery. “I’m a shameless borrower,” she says. The influence of Norman Sieff, her photography teacher at Bennington and best known for his sepia-tinted album cover for the Band, can still be felt. At Hollins, she reprinted the glass plates of Michael Miley, Robert E. Lee’s main portrait photographer, and further immersed herself in the technology of the 19th century. A feeling of nostalgia as well as hidden danger has marked Mann’s work for years.

Answer: photography

<hl> Like an essayist collecting quotations, Mann ransacks the history of photography for her imagery. <hl> “I’m a shameless borrower,” she says. The influence of Norman Sieff, her photography teacher at Bennington and best known for his sepia-tinted album cover for the Band, can still be felt. At Hollins, she reprinted the glass plates of Michael Miley, Robert E. Lee’s main portrait photographer, and further immersed herself in the technology of the 19th century. A feeling of nostalgia as well as hidden danger has marked Mann’s work for years.

Like an essayist collecting quotations, Mann ransacks the history of <hl> photography <hl> for her imagery. “I’m a shameless borrower,” she says. The influence of Norman Sieff, her photography teacher at Bennington and best known for his sepia-tinted album cover for the Band, can still be felt. At Hollins, she reprinted the glass plates of Michael Miley, Robert E. Lee’s main portrait photographer, and further immersed herself in the technology of the 19th century. A feeling of nostalgia as well as hidden danger has marked Mann’s work for years.


Question: What photography teacher influenced Sally Mann?

Answer: Norman Sieff

Like an essayist collecting quotations, Mann ransacks the history of photography for her imagery. “I’m a shameless borrower,” she says. <hl> The influence of Norman Sieff , her photography teacher at Bennington and best known for his sepia-tinted album cover for the Band, can still be felt. <hl> At Hollins, she reprinted the glass plates of Michael Miley, Robert E. Lee’s main portrait photographer, and further immersed herself in the technology of the 19th century. A feeling of nostalgia as well as hidden danger has marked Mann’s work for years.

Like an essayist collecting quotations, Mann ransacks the history of photography for her imagery. “I’m a shameless borrower,” she says. The influence of <hl> Norman Sieff <hl>, her photography teacher at Bennington and best known for his sepia-tinted album cover for the Band, can still be felt. At Hollins, she reprinted the glass plates of Michael Miley, Robert E. Lee’s main portrait photographer, and further immersed herself in the technology of the 19th century. A feeling of nostalgia as well as hidden danger has marked Mann’s work for years.

The influence of <hl> Norman Sieff <hl> , her photography teacher at Bennington and best known for his sepia-tinted album cover for the Band, can still be felt.


Question: Who was Robert E. Lee's personal photographer?

Answer: Michael Miley

Like an essayist collecting quotations, Mann ransacks the history of photography for her imagery. “I’m a shameless borrower,” she says. The influence of Norman Sieff, her photography teacher at Bennington and best known for his sepia-tinted album cover for the Band, can still be felt. <hl> At Hollins, she reprinted the glass plates of Michael Miley , Robert E. Lee’s main portrait photographer, and further immersed herself in the technology of the 19th century. <hl> A feeling of nostalgia as well as hidden danger has marked Mann’s work for years.

Like an essayist collecting quotations, Mann ransacks the history of photography for her imagery. “I’m a shameless borrower,” she says. The influence of Norman Sieff, her photography teacher at Bennington and best known for his sepia-tinted album cover for the Band, can still be felt. At Hollins, she reprinted the glass plates of <hl> Michael Miley <hl>, Robert E. Lee’s main portrait photographer, and further immersed herself in the technology of the 19th century. A feeling of nostalgia as well as hidden danger has marked Mann’s work for years.

At Hollins, she reprinted the glass plates of <hl> Michael Miley <hl> , Robert E. Lee’s main portrait photographer, and further immersed herself in the technology of the 19th century.


Question: What century's technology did Sally immerse herself in?

Answer: 19th

Like an essayist collecting quotations, Mann ransacks the history of photography for her imagery. “I’m a shameless borrower,” she says. The influence of Norman Sieff, her photography teacher at Bennington and best known for his sepia-tinted album cover for the Band, can still be felt. <hl> At Hollins, she reprinted the glass plates of Michael Miley, Robert E. Lee’s main portrait photographer, and further immersed herself in the technology of the 19th century. <hl> A feeling of nostalgia as well as hidden danger has marked Mann’s work for years.

Like an essayist collecting quotations, Mann ransacks the history of photography for her imagery. “I’m a shameless borrower,” she says. The influence of Norman Sieff, her photography teacher at Bennington and best known for his sepia-tinted album cover for the Band, can still be felt. At Hollins, she reprinted the glass plates of Michael Miley, Robert E. Lee’s main portrait photographer, and further immersed herself in the technology of the <hl> 19th <hl> century. A feeling of nostalgia as well as hidden danger has marked Mann’s work for years.


Question: When was Emmett struck by a car?

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble a burn victim’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The imagery of death fascinates her. A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” In 1987, Emmett was struck by a car and thrown 50 feet. Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have hanged herself by a rope from a tree.

Answer: 1987

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble a burn victim’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The imagery of death fascinates her. A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” <hl> In 1987 , Emmett was struck by a car and thrown 50 feet. <hl> Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have hanged herself by a rope from a tree.

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble a burn victim’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The imagery of death fascinates her. A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” In <hl> 1987 <hl>, Emmett was struck by a car and thrown 50 feet. Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have hanged herself by a rope from a tree.

In <hl> 1987 <hl> , Emmett was struck by a car and thrown 50 feet.


Question: How far was Emmett thrown when struck by a car?

Answer: 50 feet

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble a burn victim’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The imagery of death fascinates her. A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” <hl> In 1987, Emmett was struck by a car and thrown 50 feet . <hl> Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have hanged herself by a rope from a tree.

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble a burn victim’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The imagery of death fascinates her. A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” In 1987, Emmett was struck by a car and thrown <hl> 50 feet <hl>. Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have hanged herself by a rope from a tree.

In 1987, Emmett was struck by a car and thrown <hl> 50 feet <hl> .


Question: In "Immediate Family," what does Virginia appear to have done?

Answer: hanged herself

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble a burn victim’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The imagery of death fascinates her. A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” In 1987, Emmett was struck by a car and thrown 50 feet. Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. <hl> Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have hanged herself by a rope from a tree. <hl>

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble a burn victim’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The imagery of death fascinates her. A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” In 1987, Emmett was struck by a car and thrown 50 feet. Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have <hl> hanged herself <hl> by a rope from a tree.


Question: Whose legs does "Flour Paste" make Jessie's look like?

Answer: a burn victim

<hl> In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble a burn victim ’s — Mann punches the buttons of her viewers. <hl> Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The imagery of death fascinates her. A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” In 1987, Emmett was struck by a car and thrown 50 feet. Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have hanged herself by a rope from a tree.

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble <hl> a burn victim <hl>’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The imagery of death fascinates her. A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” In 1987, Emmett was struck by a car and thrown 50 feet. Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have hanged herself by a rope from a tree.

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble <hl> a burn victim <hl> ’s — Mann punches the buttons of her viewers.


Question: What imagery fascinates Sally?

Answer: death

The imagery of death fascinates her.

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble a burn victim’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. <hl> The imagery of death fascinates her. <hl> A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” In 1987, Emmett was struck by a car and thrown 50 feet. Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have hanged herself by a rope from a tree.

In her pictures of her own family — like “Damaged Child,” with its implication of battering, and “Flour Paste,” in which Jessie’s legs resemble a burn victim’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.” Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The imagery of <hl> death <hl> fascinates her. A picture of Virginia with a black eye moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” In 1987, Emmett was struck by a car and thrown 50 feet. Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a nude Virginia seeming to have hanged herself by a rope from a tree.


Question: How big is the farm that Sally and her siblings own?

“It may be a maternal refusal to face facts,” says Mann plaintively when challeged about her fine distinctions. “I only wish that people looked at the pictures the way I do.” As Mann and I sit on the steps of the cabin at the 400-acre farm she owns with her brothers, Jessie and Virginia are splashing in the Maury River below, having stripped as soon we arrived. Most of the photographs in the family series were taken here, deep in the woods, miles from electricity. A flood has recently wrecked the place. With the wind billowing the curtains from the paneless windows behind us, Mann watches her children and talks about her fears for them and for the pictures. “Their lives have been so fulfilling,” she says sadly. “Adults have treated them with respect. They have no idea what’s out there in the world. I know what to be afraid of. They don’t. “When I went to that Federal prosecutor, she said: ‘Do you know what you really have to watch for? Someone who sees these pictures and moves to Lexington and ingratiates himself into your family life. They’ll come after Jessie and Virginia because they seem so pliable, so broken in.’

Answer: 400-acre

“It may be a maternal refusal to face facts,” says Mann plaintively when challeged about her fine distinctions. “I only wish that people looked at the pictures the way I do.” As Mann <hl> and I sit on the steps of the cabin at the 400-acre farm she owns with her brothers, Jessie and Virginia are splashing in the Maury River below, having stripped as soon we arrived. <hl> Most of the photographs in the family series were taken here, deep in the woods, miles from electricity. A flood has recently wrecked the place. With the wind billowing the curtains from the paneless windows behind us, Mann watches her children and talks about her fears for them and for the pictures. “Their lives have been so fulfilling,” she says sadly. “Adults have treated them with respect. They have no idea what’s out there in the world. I know what to be afraid of. They don’t. “When I went to that Federal prosecutor, she said: ‘Do you know what you really have to watch for? Someone who sees these pictures and moves to Lexington and ingratiates himself into your family life. They’ll come after Jessie and Virginia because they seem so pliable, so broken in.’

“It may be a maternal refusal to face facts,” says Mann plaintively when challeged about her fine distinctions. “I only wish that people looked at the pictures the way I do.” As Mann and I sit on the steps of the cabin at the <hl> 400-acre <hl> farm she owns with her brothers, Jessie and Virginia are splashing in the Maury River below, having stripped as soon we arrived. Most of the photographs in the family series were taken here, deep in the woods, miles from electricity. A flood has recently wrecked the place. With the wind billowing the curtains from the paneless windows behind us, Mann watches her children and talks about her fears for them and for the pictures. “Their lives have been so fulfilling,” she says sadly. “Adults have treated them with respect. They have no idea what’s out there in the world. I know what to be afraid of. They don’t. “When I went to that Federal prosecutor, she said: ‘Do you know what you really have to watch for? Someone who sees these pictures and moves to Lexington and ingratiates himself into your family life. They’ll come after Jessie and Virginia because they seem so pliable, so broken in.’


Question: What body of water do Jessie and Virginia play in?

Answer: Maury River

“It may be a maternal refusal to face facts,” says Mann plaintively when challeged about her fine distinctions. “I only wish that people looked at the pictures the way I do.” As Mann <hl> and I sit on the steps of the cabin at the 400-acre farm she owns with her brothers, Jessie and Virginia are splashing in the Maury River below, having stripped as soon we arrived. <hl> Most of the photographs in the family series were taken here, deep in the woods, miles from electricity. A flood has recently wrecked the place. With the wind billowing the curtains from the paneless windows behind us, Mann watches her children and talks about her fears for them and for the pictures. “Their lives have been so fulfilling,” she says sadly. “Adults have treated them with respect. They have no idea what’s out there in the world. I know what to be afraid of. They don’t. “When I went to that Federal prosecutor, she said: ‘Do you know what you really have to watch for? Someone who sees these pictures and moves to Lexington and ingratiates himself into your family life. They’ll come after Jessie and Virginia because they seem so pliable, so broken in.’

“It may be a maternal refusal to face facts,” says Mann plaintively when challeged about her fine distinctions. “I only wish that people looked at the pictures the way I do.” As Mann and I sit on the steps of the cabin at the 400-acre farm she owns with her brothers, Jessie and Virginia are splashing in the <hl> Maury River <hl> below, having stripped as soon we arrived. Most of the photographs in the family series were taken here, deep in the woods, miles from electricity. A flood has recently wrecked the place. With the wind billowing the curtains from the paneless windows behind us, Mann watches her children and talks about her fears for them and for the pictures. “Their lives have been so fulfilling,” she says sadly. “Adults have treated them with respect. They have no idea what’s out there in the world. I know what to be afraid of. They don’t. “When I went to that Federal prosecutor, she said: ‘Do you know what you really have to watch for? Someone who sees these pictures and moves to Lexington and ingratiates himself into your family life. They’ll come after Jessie and Virginia because they seem so pliable, so broken in.’


Question: What recently caused damage to the property?

Answer: flood

A flood has recently wrecked the place.

“It may be a maternal refusal to face facts,” says Mann plaintively when challeged about her fine distinctions. “I only wish that people looked at the pictures the way I do.” As Mann and I sit on the steps of the cabin at the 400-acre farm she owns with her brothers, Jessie and Virginia are splashing in the Maury River below, having stripped as soon we arrived. Most of the photographs in the family series were taken here, deep in the woods, miles from electricity. <hl> A flood has recently wrecked the place. <hl> With the wind billowing the curtains from the paneless windows behind us, Mann watches her children and talks about her fears for them and for the pictures. “Their lives have been so fulfilling,” she says sadly. “Adults have treated them with respect. They have no idea what’s out there in the world. I know what to be afraid of. They don’t. “When I went to that Federal prosecutor, she said: ‘Do you know what you really have to watch for? Someone who sees these pictures and moves to Lexington and ingratiates himself into your family life. They’ll come after Jessie and Virginia because they seem so pliable, so broken in.’

“It may be a maternal refusal to face facts,” says Mann plaintively when challeged about her fine distinctions. “I only wish that people looked at the pictures the way I do.” As Mann and I sit on the steps of the cabin at the 400-acre farm she owns with her brothers, Jessie and Virginia are splashing in the Maury River below, having stripped as soon we arrived. Most of the photographs in the family series were taken here, deep in the woods, miles from electricity. A <hl> flood <hl> has recently wrecked the place. With the wind billowing the curtains from the paneless windows behind us, Mann watches her children and talks about her fears for them and for the pictures. “Their lives have been so fulfilling,” she says sadly. “Adults have treated them with respect. They have no idea what’s out there in the world. I know what to be afraid of. They don’t. “When I went to that Federal prosecutor, she said: ‘Do you know what you really have to watch for? Someone who sees these pictures and moves to Lexington and ingratiates himself into your family life. They’ll come after Jessie and Virginia because they seem so pliable, so broken in.’


Question: How does Sally think adults have treated her children?

Answer: with respect

“It may be a maternal refusal to face facts,” says Mann plaintively when challeged about her fine distinctions. “I only wish that people looked at the pictures the way I do.” As Mann and I sit on the steps of the cabin at the 400-acre farm she owns with her brothers, Jessie and Virginia are splashing in the Maury River below, having stripped as soon we arrived. Most of the photographs in the family series were taken here, deep in the woods, miles from electricity. A flood has recently wrecked the place. With the wind billowing the curtains from the paneless windows behind us, Mann watches her children and talks about her fears for them and for the pictures. “Their lives have been so fulfilling,” she says sadly. <hl> “Adults have treated them with respect . <hl> They have no idea what’s out there in the world. I know what to be afraid of. They don’t. “When I went to that Federal prosecutor, she said: ‘Do you know what you really have to watch for? Someone who sees these pictures and moves to Lexington and ingratiates himself into your family life. They’ll come after Jessie and Virginia because they seem so pliable, so broken in.’

“It may be a maternal refusal to face facts,” says Mann plaintively when challeged about her fine distinctions. “I only wish that people looked at the pictures the way I do.” As Mann and I sit on the steps of the cabin at the 400-acre farm she owns with her brothers, Jessie and Virginia are splashing in the Maury River below, having stripped as soon we arrived. Most of the photographs in the family series were taken here, deep in the woods, miles from electricity. A flood has recently wrecked the place. With the wind billowing the curtains from the paneless windows behind us, Mann watches her children and talks about her fears for them and for the pictures. “Their lives have been so fulfilling,” she says sadly. “Adults have treated them <hl> with respect <hl>. They have no idea what’s out there in the world. I know what to be afraid of. They don’t. “When I went to that Federal prosecutor, she said: ‘Do you know what you really have to watch for? Someone who sees these pictures and moves to Lexington and ingratiates himself into your family life. They’ll come after Jessie and Virginia because they seem so pliable, so broken in.’

“Adults have treated them <hl> with respect <hl> .