Problem: OPTIONS:
- She is carefree and jubilant
- She is rich and spoiled
- She is hateful
- not enough information
Q: That day, my mother picked me up from school, wearing the yellow sundress and shawl I remembered from our trip with Father the year before. She looked just like she did most days back then--a glamour queen, a movie star ("Just like Lena Horne," my friend Chloe had once said, "only darker--oh, sorry, Leah!"), but today her beauty somehow had a harder, more defiant edge to it. I could smell the expensive Dior perfume as soon as I opened the door, which surprised me, because my mom was usually fastidious about not getting perfume on her clothes. She was wearing her bug glasses--huge dark things with lenses that bulged out like fly eyes and reflected my face like a fun-house mirror. She had tied a yellow silk scarf around her hair and was taking deep pulls on a cigarette held between two immaculately manicured fingers. Only I knew about the nicotine stains she carefully covered with her special order "forest sable" cream each morning. Tiffany, a stupid but vicious senator's daughter who I had the misfortune of sharing a classroom with, suddenly dashed from inside the school, her face flushed. "Hello, Mrs. Wilson," she called. Before my mother could respond, she giggled and ran back to three of her friends waiting beyond the door. I could hear them laughing, but I was glad I couldn't understand their words. They were all fascinated with my mother--the black housekeeper who dressed like Katharine Hepburn and drove a Cadillac, whose daughter's "light toffee" skin indicated that she might just like her coffee with a lot of cream. Sometimes I hated those girls. "Get in the car, Leah," my mother said. Her already husky voice was pitched low, as though she'd been crying. That made me nervous. Why was she here? "Ma, Chloe was going to show me her dad's new camera. Can't I go home on the bus?" My mom pulled on the cigarette until it burned the filter, and then ground it into the car ashtray--already filled with forty or so butts. She always emptied out the ashtray each evening. Question: What is probably true about Tiffany? === The answer to the above question is
Answer: She is rich and spoiled

Problem:OPTIONS:
- His wife
- his girlfriend
- not enough information
- His sister

In his lifetime, Ray had done a number of things for which he was not proud, things he'd like to see just as well stuffed down a dark hole. Everybody had things of which they were ashamed. Everybody has committed their share of sins that they wish they could take back. But this wasn't one of them, and he resented the implication that it was -- the implication that someone would dare to judge him for something they did not fully understand. It was a good thing, a right thing, like the time he had given emergency CPR to the woman already ten minutes dead and gone, the woman whose mouth tasted of chocolate death and scrambled eggs, just to spare her horrified children the sense of helplessness while waiting for the ambulance to arrive. That had been a noble thing like this one was. Should have been. Perhaps it was always less difficult to have things fail here, with the living, than it was with the dead. The dead had no opinions, no agendas. They weren't sensitive. The dead did what you fucking told them to do and didn't complain. Right? The living simply did not understand that there were rules. They didn't want to understand something so banal. Someone who didn't take the time to understand the rules had no right to pass judgment on him. Not that it ever stopped them. "I hear that you are unhappy," he said into the phone, then had to pull the receiver away from his ear so the woman on the other end could scream at him some more. Conflict de-escalation technique number one was invariably affirmation. Make it clear that you are aware of the individual's feelings and frustrations, that you are at least listening to their side, whether or not you personally may eventually have the authority to validate or alleviate those feelings. People liked to be listened to. The illusion of having a voice was almost as good as actually having one. Isn't that why people still bothered to go to the polls on election day and vote? And it worked on most people. This woman was not one of them. Question: Who is Ray talking to? === The answer to the above question is
****
A: not enough information

input: OPTIONS:
- not enough information
- probably a few weeks
- probably a few months
- Probably over a year Now, answer this question: Bryan C. Keene and Alexandra Kaczenski of the Getty Museum's Manuscripts Department have spent the last few years preparing for an exhibition and publication titled Sacred Landscapes: Nature in Renaissance Manuscripts that aims to examine representations of "green spaces" such as gardens, vistas, and their relation to the divine. In particular, Bryan and Alexandra focus on the ways in which artists during the European Middle Ages and Renaissance embedded the pages of illuminated manuscripts with depictions of the natural world so that nature could guide prayer, chant, and meditation. For Bryan, this project represents a continuation of his interest in sacred gardens that began with his graduate work on the garden imagery that influenced Botticelli's Agony in the Garden painting. In 2013 he curated the exhibition and authored the accompanying book Gardens of the Renaissance. For Alexandra, interest in this subject stems from her scholarly focus on Flemish manuscripts and their relation to Flemish landscape paintings. She brought to the project a complementary interest in issues of environmental and landscape destruction, which also were themes of the exhibition and publication. Though floral and nature studies of the Renaissance and Early Modern periods have been extensively investigatedthe scientific notebooks of Leonardo da Vinci, for example, are well documentedthis exhibition turns its focus on landscape and the divine. Curatorial research has shed new light on subjects such as the seemingly "scattered" floral arrangements represented within the pages of these books and their relationship to humoral theory and religion. Bryan adds, "The tension that we find in these borders is, on the one hand, intricately rendered leaf and petal structures of plants or flowers, and on the other, hidden whimsical elements, all of which combine to create a rich tapestry of meaning, both symbolic and scientific. Alex and I will continue to explore the potential meaning within this botanical and arboreal chaos." Sacred... Question: How long did it take Bryan to write his book Gardens of the Renaissance? === The answer to the above question is
A:
output:
Probably over a year