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Dark meat in the can--brown, oily, and flecked with mucus--gave off a repellent, fishy smell, and the taste of it rose in his throat, putrid and bitter, like something from a dead man's stomach. George Jordan sat on the kitchen floor and vomited, then pushed himself away from the shining pool, which looked very much like what remained in the can. He thought, No, this won't do: I have wires in my head, and they make me eat cat food. The snake likes cat food He needed help but know there was little point in calling the Air Force. He'd tried them, and there was no way they were going to admit responsibility for the monster in his head. What George called the snake, the Air Force called Effective Human Interface Technology and didn't want to hear about any postdischarge problems with it. They had their own problems with congressional committees investigating "the conduct of the war in Thailand." He lay for a while with his cheek on the cold linoleum, got up and rinsed his mouth in the sink, then stuck his head under the faucet and ran cold water over it, thinking, Call the goddamned multicomp, then call SenTrax and say, "Is it true you can do something about this incubus that wants to take possession of my soul?" And if they ask you, "What's your problem?" you say "cat food," and maybe they'll say, "Hell, it just wants to take possession of your lunch" A chair covered in brown corduroy stood in the middle of the barren living room, a white telephone on the floor beside it, a television flat against the opposite waIl--that was the whole thing, what might have been home, if it weren't for the snake. He picked up the phone, called up the directory on its screen, and keyed TELECOM SENTRAX. Who does George live with? Pick the correct answer from the following options: A. He lives alone B. not enough information C. in a barrack with soldiers D. with his parents
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A

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As I mentioned in my previous post on Sacre-Coeur, one of the other places I didn't get a chance to see when I was in Paris last summer was the catacombs so I wanted to be sure to fit in a visit this time around. Long Queue vs Online Tickets You can either wait in line to get in or buy tickets online for specific time slots to bypass the line. Wait times can be anywhere from 30 minutes to 3+ hours and in the summer time, it's common to wait for hours. I definitely recommend buying a ticket online. Keep in mind that they have a limited number of tickets for each time slot, so don't wait too long to buy or you may be stuck in that loooooong line. We got quite a few less-then-friendly looks from those in the line when we bypassed the entire queue and went right in. C'est la vie (insert Gallic shrug here). For some inexplicable reason, the site says you must print your tickets if you buy them online. Given that most visitors to the catacombs are tourists with limited or no access to a printer, this seems particularly silly, but what can you do? Luckily, we were in a hotel with a small business center so we printed our tickets there. Online tickets cost quite a bit more (27 compared to 12 for adults and 10 for those age 26 or under). Totally worth it if that works with your budget. Online tickets also come with an audio guide. If you buy tickets at the door, the guide is an extra 5. It's a nice cool 14C (57F) down there, a lovely break from the hot summer weather above. It is damp in places and the ground can be slippery so watch your step as you walk. The writer believes that: Pick the correct answer from the following options: A. not enough information B. The line isn't too long C. you should save money by waiting in line D. Online tickets are worth skipping the line
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D

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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... What is the most probable reason Bryan and Alexandra decided to work together? Pick the correct answer from the following options: A. not enough information B. They authored the book Gardens of the Renaissance C. They have similar interests in the European Middle Ages and Renaissance D. They created the exhibition Landscapes of Faith together prior
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C