(Q).
My dearest Lily, Forgive me. I would be with you now, rather than closeted in my study, but I do not wish you or our children to witness my demise. I love you. I tell you now, so that you will know that my last thought was of you. I have placed my affairs in order -- do not fear, my love, you will be well provided for -- all that is required of my remaining time is to explain the events which have led to my death. Though the scene will seem so similar to my elder brother's death, I would not wish you to think I had taken my own life in the manner in which Edmund took his. When Dr V came to see me some weeks ago, he brought with him the bottle of strychnine that now sits empty upon my desk. He was in high spirits, because his latest alchemical experiment had been a success, and brought the strychnine in order to demonstrate the efficacy of his elixir. In truth, his very presence could be considered proof, since he had been dead earlier that morning, but, as I had not witnessed his revival, he wished me to see the results first hand. At his request, I summoned the chambermaid, while he prepared a syringe of strychnine. I thought he would ask her to procure a hen or some such thing for use in his demonstration however, when she arrived, Dr V-- plunged the syringe into her arm with no warning. I leapt from my chair, but before I could do more than cross the room, the strychnine took effect with results that horrified me. Even though I had complete confidence in Dr V's elixir, I could not restrain a cry of dismay as the chambermaid's head tilted back in a sudden convulsion. Her lips tightened, giving her the appearance of laughter and she dropped to her knees, clawing at her throat. Her back arched, pitching her over so that she lay with only her head and heels touching the carpet. The author took the elixir A. after writing the letter B. before writing the letter C. while he wrote the letter D. not enough information
(A).
B

(Q).
The collaborative process between me and Claire Bridge has been good so far. Upon finding out her email address we had a brief email exchange culminating in me sending her a list of potential questions for the interview. Claire quite liked a lot of the questions, but overall there were too many, so we proceeded to reduce the number of questions to six main questions. These questions would then form the basis of the artist portrait, with an attempt to limit answers to no more than a minute, so little had to be cut for the final edit. The six questions we arrived at are as follows: How would you define creativity? What does it mean to you to be an artist? Do you feel a painting or piece of art can house an energy/a feeling from the original artist? Do you feel that your own works house this energy? Change and transformation are recurrent themes in your work. What are you exploring and why do these fascinate you? And recently we saw a change in your medium too, incorporating video works and photography. You seem to draw on many influences in your work, from quantum physics, astrophysics, to environmental ecology, psychology, philosophy and metaphysics. With titles like "Dark Matter", "Touching Infinity", "We are made of Stars", "Rising tides" and "A drop in the ocean" or "Alchemy". Can you tell us something more about the convergence of these ideas and influences? What continues to motivate and inspire you as an artist? We both felt these questions addressed the initial topic of exploring creativity, explored why Claire became an artist, gives insight into Claire's work and practise and looks toward the future of Claire's practice. After refining the questions, we proceeded to organise a day to film, which will be on the 16th September. Hopefully if all goes well we will both have an artist portrait that lives up to our expectations. What does the author think most likely believe that the question and answer session will achieve? A. it will be act as filler for the film B. not enough information C. it will paint a successful, well round view of the artist D. it is not important for the overall success of the film
(A).
C

(Q).
I do not fully understand exactly what you are asking so I will restate what I believe you are asking and then I will answer it. What was the best excuse that a student ever gave for having failed to do something? I would have to say that I was most entertained by a student's response to "Why are you late for school?" The student said, "I awoke in time this morning but there was a mouse sitting on the edge of my bed. I looked at him and he looked back. The mouse said to me, 'Go back to sleep' and what could I do? He had a gun." The following has worked a few times too when students refuse to talk. That is, I know that one of the assembled students was the culprit for some activity. When they will not talk, I interview them one at a time while the others are kept away from each other. Then when they are assembled before me again, I say, "Thank you gentlemen. I know who did it so you others are free to return to class." All but one arises and leaves. This works more times than not. For years I have given assignments via email and I have collected assignments via email. Nothing has ever gotten lost this way and things are timestamped. I do not have to make photocopies and even students who are not present the day that the assignment is announced in class, get the assignment in a timely manner. One young lady told me, "I turned it in but you must have lost it." "Okay," I said, "Open your sent folder and show me that you sent it." She replied by saying, "I delete my sent folder to keep from clogging up my email." I told her that I understood and that she could show me an empty sent folder to prove that she was telling the truth. She said, "I lied." How students were asked to submit their assignments? A. not enough information B. letter C. email D. in person
(A).
C