Problem:OPTIONS:
- Buys herself the MG-TD car
- Buys Aage the MG-TD car
- not enough information
- Does not bid on the car auction for him

Aage Llievang tried explaining to his mother, but she shook her head. "Now, Aage. Really. Your own car? A car? What would the other co-op members think?" "Mom, this is a classic! 1952 MG-TD. It's even--" "British Racing green... yes, Aage. I know. Your father knows. Your grandmother knows. We all know about the car." "But Mom, look." He waved his Handy at her. The MG glowed on its small screen. "There's one up for auction on carsforsale.com and I'm too young to bid. You've got to help me." "Aage!" She put her hands on her hips and shook her head. "Your age is not the problem. You can't even afford it." "I'd pay you back." How could he explain his fascination with the Vehicular Age to her? The seductive sheen, the rumble, the combustive power of automobiles called to him like a siren at sea. He coveted the sense of possibility inherent in the turn of a key. And the MG-TD held a place high in his list of hope. British Racing Green, wood dashboard and a four-stroke engine. He had only seen one MG-TD, when he'd gone on holiday with his folks to the U.K. They had been walking down the street in downtown London. Most of the traffic had been pedestrian or cyclist. The occasional fuel-cell car glided by like a ghostly leftover from the Vehicular Age. Double-decker biodiesel buses roared past regularly, trailing the odor of fish and chips after them. And then it came down the street toward them. A car that purred as its rounded lines soaked up the sun with a green so deep it was almost black. It pulled into the valet parking of a grand hotel and two people got out. Aage barely noticed them. He stared inside the car, where chrome and brass gleamed against a burled wood dashboard. The doors of the car shut with the heavy thunk of real metal. A valet pulled the car out of the parking circle and Aage never saw it again. According to the above context, answer the following question. At the end of the story, Aage's mom most likely:
****
A: Does not bid on the car auction for him

Problem:OPTIONS:
- He can't handle other people's success
- He is a doctor
- He finds Luna nice
- not enough information

The drive up to Rick's place in the hills always made me sick. Just after he bought the house with his ill gotten gains from his band's over-hyped, over-marketed, and over-bought sophomore Disc, he drove me out to see it in his beautiful but nauseating '70 Datsun 240 Z. All the smog combined with the pinball effects of winding up the hill at teeth-numbing speeds had me puking for an hour after we got there. I took the last turn at the top of the hill and watched the rising sun crest over the black blocks of the city, her angel wings soiled and cheapened with the soot of 12 million get-away drivers. Rick's house came into view out of the fog, its large glass panes sparkling like the last clean surface of an oversized ashtray. I parked between a blue hatchback and Rick's favorite toy: a 350 horsepower Impreza he had smuggled here from Japan. All his more expensive rides were in the garage, collecting dust and gaining vintage resale value. I rang the bell. I waited and watched a couple of squirrels fight over a small treasure in the bushes. The door opened. "Dingo." "Hey, Luna." Her job as Rick's assistant was to take care of his place while he was out being a rock star. She made sure all his bills were paid, his animals were fed, and that the subsequent fallout from any parties she might have in his absence didn't leave any lasting damage. She was pretty by most standards, gorgeous by others. Short with a tight schoolgirl body and raven hair that teased her avian shoulders. But by whatever standard, her beauty was like a rare and exotic bird she kept caged behind the bars of her perfect teeth. As soon as she opened her mouth it flew away. According to the above context, answer the following question. What is probably true about the narrator?
****
A: He can't handle other people's success

Problem:OPTIONS:
- He's inspired by her passion and interest in landscape destruction
- not enough information
- He is impressed by her authoring the book Gardens of the Renaissance
- He complements her work with Giovanni Bellini

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... According to the above context, answer the following question. How does Bryan probably feel about working with Alexandra?
****
A:
He's inspired by her passion and interest in landscape destruction