I have known, and admired, Julia Busuttil Nishimura, for many years now and always felt connected through our love of Italian food, Tuscany (Julia lived in Florence and in Orbetello, just 10 minutes away from where we lived in Porto Ercole while I was writing Acquacotta) and Japan. So I have been eagerly awaiting her debut cookbook, Ostro: The Pleasure that Comes From Slowing Down and Cooking with Simple Ingredients, and it is a beauty it is full of food I want to make and eat. It's also a joy to look at, as it is presented so beautifully with photographs of Julia (and often her darling little boy Haruki) at home and tables full with food that look Caravaggesque. I have already made her everyday banana loaf, several times, after years of searching for my ideal everyday cake, it is now my go-to banana loaf. I tested her ricciarelli (soft almond cookies from Siena) and pork braised in milk (a classic Italian dish that I have always loved) when she was writing the book and I have long-known her absolutely wonderful, incredibly moist lemon olive oil cake (which is also divine with blood oranges). I absolutely love her homemade approach to everything, including all the wonderful handmade pasta like trofie and orecchiette (look at those beautiful dishes below), but also things like classic tiramisu homemade savoiardi, homemade mascarpone (yes and yes, I absolutely believe that for the freshest, most delicious mascarpone, it needs to be homemade especially if you live outside of Italy). Yes, these are all things you can also buy in a packet, but Julia's point is, it is a pleasure to make these things by hand, and the ingredients are so simple water, flour, cream, eggs, you probably have them all in your house already. She is a woman after my own heart. Her book inspires you to give it a go. Question: What is the author of the articles background in food? === The answer to the above question is
OPTIONS:
- Enthusiast
- Food Critic
- not enough information
- Chef
not enough information

Let's rewind to January 2013 for a moment. It's a sunny and warm day in Los Angelesa bit of a weather shock to me after 11 years of Seattle's cold and rain. I've been officially on the job in the web department for all of 12 hours. I'm sitting in a conference room at a big wooden table, surrounded by my new coworkers and team members in the Getty's web group. A big monitor is displaying the prototype of the newly designed and almost-built Getty Iris. We're discussing The Iris logo you see at the top of this page, its multiple iterations, and, quite frankly, the pain involved in trying to get it to look right. Wait-wait-wait, let's pause for a moment. My name is Will Lanni. I'm a Web production specialist at the Getty, which is a complex way of saying I'm a developer and designer, which is a nice way of saying that I'm basically a "web monkey." Before I started at the Getty, I worked as a partner in a small web design and development firm for several years. I had some experience working for the GettyI built the Pacific Standard Time at the Getty site, the Pacific Standard Time Festival site, as well as the interactive Getty Impact map. And, at the time of my hiring, I was not only working on the new design and build of The Iris, due to go live in only a month, but also the soon-to-be-launched website for Pacific Standard Time Presents: Modern Architecture in L.A. So I wasn't exactly new to projects at the Getty, even though I was a brand-spanking-new full-time employee. OK. Now that you know who I am, let's get back to that moment. The Iris logo, and the hair-pulling it was causing for all of uswhich is a pretty good representation of the steps that Web projects go through as we move from idea, to execution, to setback, to solution. Question: Why was Will Lanni called a "web monkey?" === The answer to the above question is
OPTIONS:
- he was a web developer
- he was a spider zoologist
- not enough information
- he was a spider scientist

Answer: he was a web developer

William White sat across from me, fidgeting nervously with an empty packet of artificial sweetener while his coffee went cold, ignored on the table in front of him. He rolled the torn yellow paper up like a tight little spliff, then unrolled it, smoothed it out flat, and then rolled it again. I was midway through my third cup of coffee with no intention of stopping soon. I was tired and edgy, irritated at William for dragging me out at this time of night, and getting even more irritated at his refusal to get to the point. 'Did you know Philip K. Dick had a twin sister?' I stared at him blankly. 'Her name was Jane. She died shortly after their birth. They were six weeks premature,' he continued, his eyes drifting off to the window to his right. I wasn't sure if he was looking at something through it or staring at his own reflection in it. 'Dick never got over Jane's death; her ghost haunted him throughout his life, and the idea of a phantom twin pops up throughout his work. Some have even speculated that Dick's inability to make peace with the loss of his sister contributed to his drug abuse, and by extension also his death at the relatively young age of 53.' He unrolled the sweetener packet, laid it on the table, placed both index fingers together in its center, and then spread them outward, smoothing the paper flat. I reached out and slammed my own hand on top of the packet, preventing him from fiddling with it anymore. 'Sorry,' he said sheepishly. I let out a sigh. 'Not that this isn't fascinating, but did you seriously call me out to Denny's at 3 am for this?' Question: What the narrator thinking about the meeting with William? === The answer to the above question is
OPTIONS:
- He feels happy for him.
- not enough information
- He is not mad at him but does not want to talk.
- He thinks he has something important to tell him.
He thinks he has something important to tell him.