Q: Read the following context and answer the question. Context: One spring it stopped raining in early March and didn't start again. There was one very well-off bunny in the village who had a large burrow and lots of food saved up. He wasn't worried about the drought at all. The other bunnies, though, looked at the purple-red nettles withering in the fields and the mayweed that hadn't even flowered and wondered if they were going to have enough food to get them through the next winter. The very well-off bunny was named Albertus, but everybody called him Big Al--at least they called him that when they were sure he couldn't hear them. Big Al was in fact a very large bunny with long, white, silky fur. He had lots of land that his parents had left to him, and he never let any of the other bunnies gather food there. The story was that Big Al had sat on the one bunny who tried to make off with some of his carrots until the small bunny begged for mercy. After Big Al let him up, the small bunny moved to another village. One morning a dozen or more bunnies sat around the village square, licking the dew off the dried and wrinkled clover to quench their thirsts, and talking about the drought. There was still a bit of a cool breeze from Possum Creek, a mile or so away. Sophie Bunny, who was large and sleek, with a black circle around one eye, was there with her husband Lenny and their youngest, Ralph, who still lived at home with them. "I don't mind telling you," Lenny said, "I'm getting a little scared by all this." Lenny was a small, tan bunny with buck teeth and big cheeks like a chipmunk. "No need to be afraid," said the short, overweight Reverend Billy Bunny, the village's spiritual leader. "The Easter Bunny will provide." He sat, as he usually did, by the thick green hawthorn bush in the middle of the square--although the bush was neither as thick nor as green as it had once been. Question: Lenny is probably: Answer:

A: not enough information


Q: Read the following context and answer the question. Context: When a friend tells you she has wild roses blooming everywhere, it’s not hard to imagine where the conversation headed to next… to turning them into rose petal jam, of course. My friend Simona Quirini and her family run the beautiful Canto del Maggio, a B&B, restaurant and garden, about one hour’s drive from Florence. We arrived to catch Simona with a wooden crate in her hands, already half full of blush pink flower heads, small and as fragrant as honey. It wasn’t just roses that were bursting out of their bushes with colour and fragrance. In fact, every time I go to Canto del Maggio, I notice how lush the property is with fruit, flowers and plants, and every season there are bounties to be collected. The first time I was there I noticed the myrtle bushes and heirloom fruit trees — little tiny, red pears and apples. The garden was full of summer produce and I stole green-skinned figs harbouring raspberry-red flesh off the trees. The next time I went, we picked ripe olives off the trees around the pool and took them down to the local frantoio, olive oil mill, to press the bright green oil out of them. I also came home with buckets of corbezzoli, or Irish strawberries, to make jam. This spring, I noticed the hedge rows of flowering wild strawberries and this last visit we picked the berries off them for an afternoon snack. With the help of my daughter (who was slightly more interested in playing with Simona’s new puppy), we filled a crateful of roses and picked the petals delicately off and into bowls. We were using the rose petal jam recipe and the technique I learned between two wonderful sources — Pellegrino Artusi’s 1891 cookbook (this pastry recipe below is also inspired by it) and the Armenian monks on Venice’s Isola di San Lazzaro Island where I worked for two autumns. The secret, other than having beautiful, small and fragrant roses to begin with, is in massaging the petals with a bit of the sugar and the lemon juice until almost a pulp to release the essential oils. Question: What is the name of the B&B? Answer:

A: Canto del Maggio


Q: Read the following context and answer the question. Context: Larisa Grollemond is conducting a comparative study of illuminations in the Mirror of History (Speculum historiale, Miroir historial) as a graduate intern in the Manuscripts Department of the Getty Museum. The massive text, compiled in the 1200s by friar Vincent of Beauvais and translated into French in the 14th century by Jean de Vignay, attempts to compile all of world history from creation to the present into a single source. “If our twenty-first-century way of understanding everything is to put it on the Internet,” she says, “the medieval way of understanding was to create big encyclopedic texts that try to encompass all of human history and biblical history in an organized way.” Larisa, who recently completed her PhD at the University of Pennsylvania with a focus on 15th-century French manuscript culture, is focusing on the Getty volumes’ unique program of illuminations. The French translation of the Miroir historial exists in some 40 known copies, and while the text remains mostly unchanged from copy to copy, the illuminations vary dramatically, both in how scenes are depicted and in which episodes artists choose to depict. Larisa has decided to focus on the evolution of depictions of India and its inhabitants across these various copies, because the Getty copy, which dates to 1475, contains images that are different from earlier illuminated versions. While other copies don’t dedicate more than one or two illustrations to India, the Getty copy has several that draw upon the medieval tradition of the “monstrous peoples” as well as knowledge of geography, materials, and customs newly gained through trade. This work ties into broader scholarly efforts to shed light on globalization in the Middle Ages. “Scholars of medieval art have generally thought of Western Europe as the center and non-European places as the periphery. There has now been a revision of that view,” says Larisa. “These manuscripts provide an interesting glimpse into how late-medieval Europeans made sense of their world, including... Question: How does Larisa feel about 15-century French manuscript culture? Answer:

A:
She's interested and passionate about it