PASSAGE - 1

The way we dress is a fundamental expression of identity: Garments function as

indicators of aesthetic tastes, cultural values and social status. For Anne Sykes, an
Englishwoman who documented her wardrobe nearly 200 years ago, her clothes are
her legacy. “The Dress Diary” paints a vivid portrait of 19th-century life through the lens
of this personal sartorial history. Its entries are not composed of words, but rather,
pieces of fabric — over 2,000 textile fragments in a bound album, which, after a stint in
a Camden market stall and decades in storage, came into the possession of the fashion
historian Kate Strasdin. Instantly, she knew she had found something extraordinary.
The keeping of collections of one kind or another was a popular hobby in the Victorian
era, but Strasdin suggests that the reason this particular dress diary had gone
overlooked (and perhaps why more like it don’t survive) is “the double ignominy of
being about largely female experiences and about dress” — concerns that have been
historically devalued. Unlike the few other known textile scrapbooks — all of which
focus on a sole owner — this one includes contributions from over 100 subjects: friends,
members of the household, acquaintances met while living abroad. Over the course of
six years, Strasdin embarked on a detailed investigation to unlock the mysteries of this
diary and its keeper — whom she identifies as one Mrs. Anne Sykes, the wife of a
prosperous merchant. The inaugural entry commemorates Sykes’s wedding day in 1838
with a neat rectangle of white-checked muslin and a piece of bobbin lace. Each that
follows is carefully annotated, labeled with names, places and events; facsimiles of these
diary pages are reproduced in a full-color insert. Like an intrepid detective, Strasdin
follows each thread and reconstructs Anne Sykes’s life — lifting her subject out of
obscurity, while situating her story within a broader historical narrative.
Strasdin illuminates an era in fashion — the 1830s to the 1870s — characterized by
dramatic change, the scraps of fabric witnesses to “the industrial maelstrom of the 19th
century with all its noise, color and innovation.” The scrapbook chronicles influential
developments like the invention of the sewing machine, the introduction of the cage
crinoline and the rise of the department store. Using a combination of highly illustrative
prose and reproductions of fashion plates, the author details the evolution of
fashionable silhouettes and helps us to envision how the small bits of fabric might have
looked as complete garments. Still, it is the additional sociocultural context surrounding
Victorian-era dress practices that brings these women’s wardrobes, and world, to life. A
selection of printed cottons from Sykes’s own wardrobe attests to the source of her
family’s prosperity. As the daughter of a prominent Lancashire millowner, Anne enjoyed
a comfortable upbringing — which Strasdin mindfully contextualizes within the global
cotton trade.
Source: A Scrapbook Offers a Material Glimpse of Another World by Raissa
Bretaña, The New York Times, 2023.

Q.1) What according to the author is essential about the experience of being a fashion
historian?

(a) The ability to document fashion trends over the years.

(b)The skill to reconstruct the lives of individuals through their clothing.
(c) The knack for collecting textile fragments.
(d) The talent for identifying the cultural values behind garments.
Explanation: Option (b) is correct because the passage states that Kate Strasdin, a
fashion historian, embarked on a detailed investigation to unlock the mysteries of Anne
Sykes's diary and her life. She followed each thread and reconstructed Anne Sykes's life,
lifting her subject out of obscurity. This shows that the essential experience of being a
fashion historian, according to the author, is the skill to reconstruct the lives of
individuals through their clothing. Option (a) is incorrect because the passage states
that the diary was not just about documenting fashion trends but was a vivid portrait of
19th-century life through the lens of personal sartorial history. Option (c) is incorrect
because the passage states that the diary had over 2,000 textile fragments, but it does
not imply that collecting these fragments is essential to being a fashion historian. Option
(d) is incorrect because the passage does not focus on the talent for identifying the
cultural values behind garments as an essential experience for a fashion historian.
Hence, (b) is correct

Q.2) Which of the following categories best describes this piece of writing?

(a) Biographical account

(b) Fashion critique
(c) Historical analysis
(d) Sociocultural commentary

Explanation: Option (c) is correct because the passage primarily focuses on illuminating
an era in fashion from the 1830s to the 1870s. It discusses the historical context,
including the industrial changes of the 19th century and their impact on fashion. The
author also delves into the life of Anne Sykes and the broader historical narrative,
making it a historical analysis. Option (a) is incorrect because although the passage does
discuss Anne Sykes's life, it is not solely focused on her biography but rather uses her
life to discuss broader historical trends in fashion. Option (b) is incorrect because the
passage is not critiquing fashion but rather analyzing its historical context and
evolution. Option (d) is incorrect because while there are elements of sociocultural
commentary, such as the devaluation of female experiences and dress, the primary
focus is on historical analysis. Hence, (c) is correct.

Q.3) "The Dress Diary paints a vivid portrait of 19th-century life" — in elaboration of
this sentence, which of these options follows?

(a) The Dress Diary is a collection of textile fragments that offer a glimpse into the
fashion trends of the 19th century.
(b) The Dress Diary serves as a historical document that captures the essence
of life in the 19th century through clothing.
(c) The Dress Diary is a fashion catalogue that lists the popular garments of the 19th
century.
(d) The Dress Diary is an academic paper that critiques the fashion choices of the
19th century.

Explanation: Option (b) is correct because the passage states that "The Dress Diary
paints a vivid portrait of 19th-century life through the lens of this personal sartorial
history." It is not merely a collection of textile fragments or a fashion catalogue; it serves
as a historical document capturing the essence of life in that era through clothing.
Option (a) is incorrect because the passage states that the Dress Diary is more than just
a collection of textile fragments; it paints a vivid portrait of 19th-century life, making it a
historical document rather than just a glimpse into fashion trends. Option (c) is
incorrect because the Dress Diary is not described as a fashion catalogue. It is a personal
sartorial history that offers insights into life in the 19th century. Option (d) is incorrect
because the Dress Diary is not an academic paper critiquing fashion choices; it is a
historical document that captures the essence of life in the 19th century. Hence, (b) is
correct.

Q.4) What was the assumption about the Dress Diary that led to it being overlooked?

(a) It was considered too feminine.

(b) It was seen as a mere fashion catalogue.
(c) It was thought to be an academic paper.
(d)It was deemed trivial due to its focus on female experiences and dress.

Explanation: Option (d) is correct because the passage states that the reason the Dress
Diary had gone overlooked is "the double ignominy of being about largely female
experiences and about dress" — concerns that have been historically devalued. This
implies that it was deemed trivial due to its focus on female experiences and dress.
Option (a) is incorrect because although the diary is about largely female experiences,
the passage specifically states that it was overlooked due to the "double ignominy" of
being about female experiences and dress, not just because it was considered too
feminine. Option (b) is incorrect because the passage does not indicate that the Dress
Diary was seen as a mere fashion catalogue, but rather that it was overlooked due to its
focus on female experiences and dress. Option (c) is incorrect because there is no
mention in the passage that the Dress Diary was thought to be an academic paper,
leading to it being overlooked. Hence, (d) is correct.

Q.5) “The scrapbook chronicles influential developments like the invention of the
sewing machine, the introduction of the cage crinoline and the rise of the department
store.” This sentence implies that:

(a) The scrapbook is a mere collection of fabric pieces.

(b)The scrapbook serves as a historical record of significant changes in the
fashion industry.
(c) The scrapbook focuses solely on Anne Sykes's personal life.
(d) The scrapbook is a critique of 19th-century fashion trends.

Explanation: Option (b) is correct because the passage states that the scrapbook
"chronicles influential developments like the invention of the sewing machine, the
introduction of the cage crinoline and the rise of the department store." This indicates
that the scrapbook serves as a historical record of significant changes in the fashion
industry. Option (a) is incorrect because the passage states that the scrapbook does
more than just collect fabric pieces; it chronicles influential developments in fashion,
making it a historical record. Option (c) is incorrect because although the scrapbook
does include aspects of Anne Sykes's life, it also chronicles broader developments in the
fashion industry, making it more than just a focus on her personal life. Option (d) is
incorrect because the passage does not indicate that the scrapbook is a critique of
historical record of significant changes in the fashion industry. Hence, (b) is correct
PASSAGE - 2
Jenny Erpenbeck’s Kairos is one of the bleakest and most beautiful novels I have ever
read. On one level, it is a love story, or rather a story about the loss of love. It begins
with a woman, Katharina, hearing about the death of her former lover. Boxes of his
papers are delivered to her apartment, and when she finally sits down to open them the
past rises before her like a pack of playing cards thrown into the air. The book then
moves back to their first meeting, tracing step by step the contours of a relationship that
is not only intellectually and emotionally complicated in itself, but whose difficulties are
compounded through its relationship to the collapse of East Germany. Katharina and
Hans meet in East Berlin in 1986, and they live out the disintegration of all their hopes
and dreams, personally and politically, throughout the course of the novel. Although
Kairos is focused on a romantic relationship, it is not really romantic; disillusion seems
baked in from the start. When the couple meet, Katharina is 19 years old, with her life
ahead of her. Hans is married with a son, an apparently successful writer and
broadcaster, and 34 years her senior. The two are clearly convinced that they have
found a great love, but from the very beginning Hans seems more like a teacher than a
lover to Katharina. As time goes on he becomes violent, punishes her severely for a brief
betrayal and tries to re-educate her into submission.
The dark nature of their relationship finds expression in Erpenbeck’s characteristically
unyielding style. The novel is written in the present tense, a technique that can be
flattening when used by lesser writers. In an elegant translation by Michael Hofmann,
here it creates a claustrophobic intensity. Erpenbeck’s ability to make you enter so
completely into the obsessive nature of the lovers’ experience is disconcerting, and as
Hans becomes more and more cruel, it is increasingly uncomfortable. As Katharina is
ground down by him, the reader suffers along with her, page by page, longing for her
freedom. Anyone who has read Erpenbeck’s previous work will know that she is not
committed only to personal stories. She grew up in East Germany, and her novels are
always the stories of Germany, its politics and history, as much as they are about their
protagonists’ private lives. In Go, Went, Gone, published in English in 2017, she
dramatised the experiences of refugees newly arrived in Germany alongside the tale of a
retired professor whose own sense of home had been rocked by the fall of the Berlin
Wall. In The End of Days, published in English in 2014, she gave her protagonist a
number of different lives, buffeted by political cross-currents towards different deaths.
Source: Kairos by Jenny Erpenbeck review – a monumental breakup, The
Guardian.

Q.1) Which of the following categories best describes this piece of writing?

(a) A psychological thriller exploring a couple's dynamics

(b) An exposé on the political history of East Germany
(c) A review of a romantic but not romantic novel
(d) A self-help guide on troubled relationships

Explanation: Option (c) is correct because the passage states that "Jenny Erpenbeck’s
Kairos is one of the bleakest and most beautiful novels I have ever read" and "Although
Kairos is focused on a romantic relationship, it is not really romantic." The passage is
essentially a review of a book that explores a relationship that is romantic but not really
romantic due to its complex emotional and intellectual aspects. Option (a) is incorrect
because the passage is a review, not a psychological thriller. Option (b) is incorrect
because the passage discusses a novel that involves the collapse of East Germany but is
not primarily an exposé on East German history. Option (d) is incorrect because the
passage is not providing advice or guidelines on how to navigate troubled relationships;
it's reviewing a novel that portrays such a relationship. Hence, (c) is correct.

Q.2) What use was the present tense to the author in the novel "Kairos"?

(a) To add a sense of urgency to the events

(b)To create a claustrophobic intensity
(c) To depict historical events accurately
(d) To make the novel easier to read

Explanation: Option (b) is correct because the passage states that "The novel is written
in the present tense, a technique that...here it creates a claustrophobic intensity." The
author used present tense to create a very specific and intense emotional atmosphere.
Option (a) is incorrect because the passage doesn't mention that the present tense was
used to add a sense of urgency. Option (c) is incorrect because the passage does not
suggest that present tense was employed to portray historical events with accuracy.
Option (d) is incorrect because the passage specifically notes that the use of the present
tense can be "flattening when used by lesser writers," but does not mention it making
the novel easier to read. Hence, (b) is correct.

Q.3) Which of the following words from the passage means 'resistant to change or
persuasion'?

(a) Disillusion
(b)Unyielding
(c) Claustrophobic
(d) Disintegration

Explanation: Option (b) is correct because the word "unyielding" directly implies a
resistance to change or persuasion. The passage states, "The dark nature of their
relationship finds expression in Erpenbeck’s characteristically unyielding style," which
suggests that the style is resistant to change. Option (a) is incorrect because
"disillusion" suggests a loss of belief or idealism but doesn't imply resistance to change
or persuasion. Option (c) is incorrect because "claustrophobic" refers to a feeling of
restriction or discomfort, not a resistance to change or persuasion. Option (d) is
incorrect because "disintegration" refers to the process of coming apart or being
destroyed, not being resistant to change or persuasion. Hence, (b) is correct.

Q.4) Which of the following can be inferred about the author’s views on the relationship
between Katharina and Hans?

(a) The author believes it is a fairy-tale love story.

(b) The author feels the relationship is overly romanticized.
(c) The author suggests the relationship is intellectually and emotionally
complicated.
(d) The author implies that the relationship is primarily political.
Explanation: Option (c) is correct because the passage states that the book traces "the
contours of a relationship that is not only intellectually and emotionally complicated in
itself, but whose difficulties are compounded through its relationship to the collapse of
East Germany." This clearly infers that the author views the relationship as both
intellectually and emotionally intricate. Option (a) is incorrect because the author
describes the novel as "bleakest" and states "disillusion seems baked in from the start,"
which is far from a fairy-tale portrayal. Option (b) is incorrect because the author
specifically states the novel "is not really romantic," which is the opposite of overly
romanticized. Option (d) is incorrect because, although the relationship exists in a
political context, the passage does not imply that the relationship is primarily political.
Hence, (c) is correct.

Q.5) “When the couple meet, Katharina is 19 years old, with her life ahead of her. Hans
is married with a son, an apparently successful writer and broadcaster, and 34 years her
senior.” In elaboration of this sentence, which of these options follows?

(a) Katharina and Hans are of the same age and social standing.
(b) Katharina has more life experience than Hans.
(c) Katharina is young and at the outset of her life, while Hans is much older
and already established.
(d) Hans is unsuccessful and younger than Katharina.

Explanation: Option (c) is correct because the passage states that "When the couple
meet, Katharina is 19 years old, with her life ahead of her. Hans is married with a son, an
apparently successful writer and broadcaster, and 34 years her senior." This clearly
indicates that Katharina is at the beginning of her adult life, while Hans is much older
and has established himself professionally. Option (a) is incorrect because the passage
indicates a significant age difference and a difference in life circumstances between the
two. Option (b) is incorrect because the passage clearly outlines that Hans is 34 years
Katharina's senior, implying that he has more life experience. Option (d) is incorrect
because the passage mentions Hans as "an apparently successful writer and
broadcaster," and also states he is much older than Katharina. Hence, (c) is correct.
PASSAGE - 3
Dorothy Tse’s “Owlish” is set in the fictional Nevers, a stand-in for Hong Kong, a city of
shadows whose slick, “shimmering, mirrored facades” hide layers of sinister
underworld. The book is at once a darkly fantastical parable about totalitarianism, a
portrait of a place in metamorphosis and a wild romp about Professor Q, a “hack teacher
in a debased, cultureless little city” who cheats on his wife, Maria — a perfect, bloodless
government official — in an all-consuming affair with a full-size music-box doll. Tse, a
winner of the Hong Kong Book Prize for her short stories, has said that she studied
journalism but rebelled against a writing style with “too many assumptions about
reality.” This novel explores, as one character puts it, the city’s “subconscious, or maybe
its dream.” It is the literary equivalent of a house of mirrors, refracting and distorting
shards of Hong Kong’s recent past, especially the suppression of the 2019 protests. In
“Owlish,” Tse’s second book to be translated into English, after the story collection
“Snow and Shadow,” she depicts a city sliding into authoritarianism aided by the
political apathy of the population. “No such thing as beautiful or unbeautiful here,” an
elderly stranger warns Professor Q early on. “You see what you want to see.” The
protagonist is so busy frolicking naked with his ballerina doll that he doesn’t realize his
students have stopped attending class, the police are raiding their dormitories and
election candidates are being disqualified without reason.
Meanwhile, Maria serves as the bland, bureaucratizing face of state power, willfully blind
in her “self-contained, self-satisfied little world.” She says nothing about her colleagues’
disappearance even though her “department had transformed into a foreign land
overnight.” When she receives secret plans for transforming the city, she deletes the
email. Her only emotion is “relief,” and longing for “a button to delete the map from her
own memory.” The name Nevers is a nod to the French internment camp where the
Jewish writer Walter Benjamin was detained during World War II. China is “Ksana,” the
Buddhist term for “the smallest possible moment,” Tse writes in an afterword, “between
dreaming and waking,” where “the past suddenly opens wide to the present.” By
definition, such an instant cannot last. Predictably, Professor Q’s dreamy affair is
overtaken by a nightmare reality. He is co-opted by the authorities, who magnanimously
offer him the “chance to destroy those dreams of yours, along with any incriminating
evidence of them.” His love nest is transformed into an interrogation center for
protesters, as “people dream of the sound of flesh torn from bone.” His love doll washes
up on a riverbank, blood oozing from her mannequin body. The future is embodied in
one recurring motif, a small boy trapped behind the bars of iron security doors, utterly
mute.
Source: ‘Owlish’ Is a Darkly Fantastical Parable About Totalitarianism by Louisa
Lim, The New York Times, 2023.

Q.1) "The future is embodied in one recurring motif, a small boy trapped behind the
bars of iron security doors, utterly mute." Which of the following is the most convincing
conclusion from this statement?

(a) The recurring motif of the small boy suggests a future filled with freedom and
possibilities.
(b) The small boy trapped behind the bars symbolizes the bleak future
awaiting the citizens, characterized by silence and imprisonment.
(c) The small boy is actually happy to be behind the bars as it gives him a sense of
security.
 (d) The recurring motif represents the city's nostalgia for its past freedoms.

Explanation: Option (b) is correct because the small boy being "trapped" and "utterly
mute" is a powerful image that symbolizes a constrained, silent future for the citizens of
Nevers. Option (a) is incorrect because the passage describes the future as embodied in
a small boy who is "trapped" and "mute," suggesting anything but freedom and
possibilities. Option (c) is incorrect because the passage states the boy is "trapped" and
"utterly mute," which does not imply happiness or a sense of security. Option (d) is
incorrect because the passage specifies that the motif is about the "future," not about
nostalgia for the past. Hence, (b) is correct.

Q.2) "In “Owlish,” Tse’s second book to be translated into English, after the story
collection “Snow and Shadow,” she depicts a city sliding into authoritarianism aided by
the political apathy of the population." Which of the following can be inferred about the
author's views on political apathy?

(a) Tse believes political apathy is necessary for the stability of a city.
(b) Tse views political apathy as a positive force that can bring about constructive
change.
(c) Tse sees political apathy as a contributing factor to the city's slide into
authoritarianism.
(d) Tse thinks that political apathy is a natural outcome of a well-functioning
democracy.

Explanation: Option (c) is correct because the passage specifically states that the city's
descent into authoritarianism is "aided by the political apathy of the population,"
implying Tse sees it as a harmful force. Option (a) is incorrect because the passage states
that the city is "sliding into authoritarianism aided by the political apathy," which
suggests that the author does not believe apathy leads to stability. Option (b) is incorrect
because, in the context of a city sliding into authoritarianism, the author likely does not
view apathy as a positive force. Option (d) is incorrect because the passage depicts a city
sliding into authoritarianism due to political apathy, which is not indicative of a well-
functioning democracy. Hence, (c) is correct.

Q.3) "When she receives secret plans for transforming the city, she deletes the email.
Her only emotion is 'relief,' and longing for 'a button to delete the map from her own
memory.'" What use was the secret plan to Maria?

(a) Maria found the secret plans helpful for advancing her career.
(b) Maria felt empowered by the secret plans and used them to make significant
changes.
(c) Maria was indifferent to the secret plans and deleted the email.
(d) Maria used the secret plans as evidence against the government.

Explanation: Option (c) is correct because Maria deletes the email and her only emotion
is "relief," indicating she was indifferent to the secret plans. Option (a) is incorrect
because the passage states that Maria deletes the email containing the secret plans and
feels "relief," suggesting no interest in using them for career advancement. Option (b) is
incorrect because Maria's only emotion is "relief," and she deletes the email, which does
not imply that she felt empowered or made significant changes based on the plans.
Option (d) is incorrect because the passage states that Maria deletes the email, which
implies she didn't use the plans as evidence against the government. Hence, (c) is
correct.

Q.4) "The name Nevers is a nod to the French internment camp where the Jewish writer
Walter Benjamin was detained during World War II." Which of the following categories
best describes this piece of writing?

(a) Romantic comedy

(b) Historical fiction
(c) Political allegory
(d) Science fiction

Explanation: Option (c) is correct because the story uses symbols and allegorical
elements, like the name "Nevers" as a nod to a historical internment camp, to discuss
political themes like authoritarianism and apathy. Option (a) is incorrect because the
passage outlines dark and serious themes such as totalitarianism and political apathy,
not elements typical of a romantic comedy. Option (b) is incorrect because while the
piece references historical elements, it is set in a fictional city and deals with
contemporary issues, making it not purely historical fiction. Option (d) is incorrect
because the passage does not mention any elements typical of science fiction such as
futuristic technology or alternate realities. Hence, (c) is correct.

Q.5) "It is the literary equivalent of a house of mirrors, refracting and distorting shards
of Hong Kong’s recent past, especially the suppression of the 2019 protests." Which of
the following literary modes is most appropriate for describing "Owlish"?

(a) Satire
(b) Memoir
(c) Magical realism
(d) Tragedy

Explanation: Option (c) is correct because the book is described as a "darkly fantastical
parable," containing elements that distort reality, much like what is found in the genre of
magical realism. Option (a) is incorrect because while the book may have critical
elements, it is not primarily aiming to ridicule or mock societal shortcomings, a
hallmark of satire. Option (b) is incorrect because the passage states that "Owlish" is a
fictional work, not an autobiographical account, which would be the case for a memoir.
Option (d) is incorrect because although the book has dark and serious elements, it is
not focused solely on human suffering or downfall, which are characteristic elements of
tragedy. Hence, (c) is correct.
PASSAGE - 4
Although the rePertoire was limited, he was a prodigious storyteller. A natural
entertainer, some said. “Do you believe in ghosts?” my father often started. The family
was all together, a grandchild on his lap, everyone around the Formica table, content
after the plentiful meal my mother had prepared. Each time we shook our heads, glad to
hear the story again. “Neither do I,” he’d start, “but one time I had an experience . . .” As a
young man, Raymundo, “Mundo,” hit Route 66 to Mexico with a few pals. It was the early
sixties. They were an inseparable five who had grown up together on DeKoven Street. In
their twenties, the guys put a band together. Mundo was The Heartbreakers’ drummer.
He said he learned to pound out a beat at the suitcase factory where he worked for a
while. The leader, the band’s singer and self-appointed manager, was a cool guy named
Chuck. They played mostly mambos—huge fans of Pérez Prado—but Chuck’s vocals also
lent themselves to sensual ballads. “He thinks he’s Sinatra,” the crooner’s younger
brother and the band’s bass player, Franky, used to crack. Sibling rivalry between the
brothers was constant, but as the other guys saw it, regardless, either would have laid
his life down for the other. It was Chuck’s idea that The Heartbreakers try their luck in
Mexico. He had a contact at RCA Records who said he might get them in the studio in
Mexico City, or at least that’s what they told everybody. It was never clear whether The
Heartbreakers got to record, but what was a fact was that they stayed in Mexico for six
months. The band rented a villa in Cuernavaca just outside the capital, and the word got
back that they were living the high life.
The colonial city of Cuernavaca was once home to Maximiliano, emperor of Mexico
crowned by Napoleon, and to Carlota, the wife who went mad. Just outside Mexico City
with year-round temperate weather, it was a popular getaway. In the early 1960s,
Hollywood stars like Elizabeth Taylor and Eddie Fisher made Acapulco their playground,
but private folks with means preferred charming Cuernavaca. Some had second homes,
families went on weekends, and couples rendezvoused. Landlocked, the city had
swimming pools throughout. The villa my father and friends leased had one. Family in
Chicago resided in rented flats. The idea of a private pool was grandiose. The
Heartbreakers also had a full-time housekeeper, a girl from a village by the name of
María. They were guys used to doting mothers and traditional wives picking up after
them, doing laundry and cooking, so a full-time housekeeper—while also in the realm of
grandiose back home—made sense there.
Source: CUERNAVACA by Ana Castillo, Literary Hub Excerpts.

Q.1) What according to the author is essential about the experience of being a
Heartbreaker?

(a) The experience taught them the true essence of mambos and ballads.
(b)The experience gave them an escape from their daily routines and allowed
them to live a grandiose lifestyle.
(c) The experience was instrumental in strengthening the bond between Chuck and
Franky.
(d) The experience was about self-discovery and musical exploration in a new land.

Explanation: Option (b) is correct because the passage states that The Heartbreakers
rented a villa in Cuernavaca, had a private pool, and even had a full-time housekeeper.
This indicates that they were living a grandiose lifestyle compared to their families in
Chicago, who lived in rented flats and were accustomed to traditional familial roles. The
experience was significantly different and more opulent than their lives back home.
Option (a) is incorrect because the passage doesn't explicitly state that the experience
taught them the essence of mambos and ballads. It merely says they played these genres.
Option (c) is incorrect because, although the sibling rivalry between Chuck and Franky
is mentioned, the passage does not state that the experience strengthened their bond. It
remains constant throughout the story. Option (d) is incorrect because the passage does
not delve into the theme of self-discovery or musical exploration in a new land. The
focus is more on the lifestyle they enjoyed. Hence, (b) is correct.

Q.2) “He thinks he’s Sinatra.” Which of the following is the most convincing conclusion
from this statement?

(a) Chuck had a vocal range similar to Sinatra's.

(b)Chuck had an overinflated sense of his own singing abilities.
(c) Franky admired Chuck's singing style.
(d) Chuck was a better singer than Franky.

Explanation: Option (b) is correct because the statement "He thinks he's Sinatra" is
made by Franky, Chuck's younger brother, to highlight what seems to be an exaggerated
sense of Chuck's own singing abilities. It implies that Chuck considers himself as good as
Sinatra, a well-known and highly respected singer, which might indicate an overinflated
ego. Option (a) is incorrect because the passage doesn't state that Chuck had a vocal
range similar to Sinatra's. The statement is more about Chuck's attitude rather than his
technical singing abilities. Option (c) is incorrect because the statement is more of a
sarcastic comment coming from Franky about Chuck's attitude towards his own singing,
rather than an expression of admiration. Option (d) is incorrect because while Franky's
comment may suggest a level of sibling rivalry, it doesn't provide enough information to
conclude that Chuck was a better singer than Franky. Hence, (b) is correct.

Q.3) Which of the following literary modes is most appropriate for describing this piece
of writing?

(a) Autobiography
(b) Historical fiction
(c) Narrative non-fiction
(d) Slice-of-life short story

Explanation: Option (c) is correct because the passage seems to describe real events and
characters in a narrative form. It talks about the author's father, Raymundo, or "Mundo,"
and his experience in the band The Heartbreakers during the early sixties. While it does
not indicate that it is strictly a factual account, the style and context suggest it falls
under the category of narrative non-fiction. Option (a) is incorrect because although the
story involves real-life elements and is focused around the author's father, it doesn't
present itself as a comprehensive life story or memoir. Option (b) is incorrect because
the passage doesn't introduce fictional elements or characters in a historical setting.
Everything mentioned could very well have happened. Option (d) is incorrect because
the term "slice-of-life" generally refers to a storytelling technique that presents a
seemingly arbitrary sample of a character's life. This passage, however, provides a more
focused narrative, outlining a specific journey and experience. Hence, (c) is correct.
Q.4) What use was María to the Heartbreakers?

(a) María was the band's manager.

(b)María was their full-time housekeeper.
(c) María was the group's backup singer.
(d) María was a contact at RCA Records.

Explanation: Option (b) is correct because the passage explicitly states that María was a
full-time housekeeper for The Heartbreakers while they were in Cuernavaca. She took
care of their domestic needs, which allowed them to live a grandiose lifestyle. Option (a)
is incorrect because the passage states that the band's self-appointed manager was
Chuck, not María. Option (c) is incorrect because there is no mention of María being
involved in the musical aspects of the band. Her role was entirely domestic. Option (d) is
incorrect because the contact at RCA Records was mentioned in relation to Chuck's
plans, not as being María. Hence, (b) is correct.

Q.5) What does the word 'grandiose' as used in the passage mean?

(a) Traditional and old-fashioned

(b)Impressive and ambitious in appearance or style
(c) Simple and unassuming
(d) Mysterious and intriguing

Explanation: Option (b) is correct because in the context of the passage, 'grandiose' is
used to describe the lifestyle The Heartbreakers were living in Mexico, which included
renting a villa with a private pool and having a full-time housekeeper. This indicates that
their lifestyle was impressive and far more ambitious than their families back in Chicago
who lived in rented flats. Option (a) is incorrect because 'grandiose' is used in a context
that indicates an impressive, luxurious lifestyle, which is not synonymous with being
traditional or old-fashioned. Option (c) is incorrect because the word 'grandiose' implies
something that is designed to impress, which contradicts the notion of being 'simple and
unassuming.' Option (d) is incorrect because the term 'grandiose' in this context doesn't
imply anything about being mysterious or intriguing; it simply refers to the ambitious
and impressive lifestyle. Hence, (b) is correct.
PASSAGE - 5
My mother could change the color of her skin. From what I’m told, it was a gift she
inherited from her mother, who inherited it from her mother before her, passed down
from blood to blood along with diseases, artistic hysteria, and a predilection for loving
the wrong men. My great-grandmother was an Aniyunwiya witch and used to change
color before sneaking into settlements to gather supplies and conduct trade. I was told
that she could assume the form of the most respectable white governess and handle
herself in a way that made others believe the color change was more than just skin-deep
with mannerisms, words, posture, and a general air of entitlement that lodged deep
within her bones and held them hostage like a duplicitous marionette. That all changed
the day she met my great-grandfather outside the general store in Osceola County. It’s
named for the slaughtered chief whose pronunciation its white residents butchered long
after his death. My great-grandfather was tall, brawny, with large shoulders like
coconuts and thick, long legs roped in muscle. He wore only a pair of filthy trousers and
sat in the dirt next to a pile of horse manure, bound to a horse cart by a slipknot looped
around his bruised neck and shackles around his wrists. As he waited for his master to
return, he met eyes with the woman he would eventually marry in a fire ceremony
beneath the North Star. My great-grandmother had been the color of fresh milk, but
quickly blushed into her natural rust-colored state when she saw his copper-colored
eyes. He watched this transformation, all while holding her gaze, and when she stood
before him with soft red skin and sharp cheekbones, he just smiled up at her and said,
“Well, would you look at that.”
My mother also told me the tale of when my grandmother, who had long suspected my
grandfather of indiscretions, turned into a deep crimson red the night an unknown light-
skinned woman showed up on their front lawn. The woman held a bottle of cheap
whiskey in her hand and shouted at the Florida midnight air, demanding that my
grandmother release my grandfather. She said that they were in love, and nothing would
come between them—not even my grandmother’s twenty children. My grandmother
emerged from the front door, the screen door swinging shut behind her on its rusted
hinges. She walked down the broken porch steps, gripping a shotgun in her weathered
hands, as red as new blood. A single shot rang out into the sky, cutting the silence into
roaring shards, and then she pointed the gun at the woman on the grass. “If you ever
come back to my house or see my husband again, I’ll kill you,” she said. The woman
stared at my grandmother for some long moments, then dropped her half-full bottle of
whiskey on the starved grass and walked away, disappearing into the night.
Source: NOTES ON HER COLOR by Jennifer Neal, Literary Hub Excerpts.

Q.1) What does the word 'predilection' as used in the passage, mean?

(a) a predisposition toward suffering

(b)a strong liking or preference
(c) a form of artistic skill
(d) an inherited gift

Explanation: Option (b) is correct because the passage states, "a predilection for loving
the wrong men," implying a strong liking or preference for a specific type of person, in
this case, "the wrong men." Option (a) is incorrect because the passage doesn't suggest
that 'predilection' is a predisposition toward suffering. Option (c) is incorrect because
'predilection' in the passage is not described as a form of artistic skill but rather as a
strong preference. Option (d) is incorrect because the passage specifies that the ability
to change skin color is the inherited gift, not the 'predilection.' Hence, (b) is correct.

Q.2) Select the option that can be the most suitable introductory line to this text.

(a) The story of an ordinary family's struggles and secrets.

(b)A magical tale about women who could manipulate their appearance.
(c) Chronicles of everyday life in Osceola County.
(d) A historical analysis of Osceola County's formation.

Explanation: Option (b) is correct because the passage revolves around women in a
family who have inherited the ability to change the color of their skin, making it a tale
focused on magical capabilities related to appearance. Option (a) is incorrect because,
although the family might have struggles and secrets, the focus of the text is on the
unique ability to change skin color, which is not ordinary. Option (c) is incorrect
because, while Osceola County is mentioned, the primary focus is not on the chronicles
of everyday life in that location. Option (d) is incorrect because the passage does not
provide a historical analysis of Osceola County's formation but rather tells the story of a
family with magical abilities. Hence, (b) is correct.

Q.3) Which of the following is a metaphor?

(a) "large shoulders like coconuts"

(b) "quickly blushed into her natural rust-colored state"
(c) "a general air of entitlement that lodged deep within her bones"
(d) "bound to a horse cart by a slipknot"

Explanation: Option (a) is correct because it employs the word "like" to make a direct
comparison between the large shoulders and coconuts, which is a simile, not a
metaphor. Option (b) is incorrect because it is more of a descriptive phrase rather than a
metaphor. It literally describes the change in color. Option (c) is incorrect, but it comes
close to being metaphorical. The phrase "lodged deep within her bones" could be
considered metaphorical in another context; however, in this case, it serves to elaborate
on how the "general air of entitlement" affects her rather than stand as a metaphor.
Option (d) is incorrect because it is a literal description of being bound to a horse cart.
Hence, (a) is correct.

Q.4) Select the idiomatic expression that appears in the passage.

(a) "handle herself in a way"

(b) "held them hostage like a duplicitous marionette"
(c) "as red as new blood"
(d) "roaring shards"

Explanation: Option (c) is correct because "as red as new blood" is an idiomatic
expression used to vividly describe the deep shade of red that the grandmother turns
into. Option (a) is incorrect because "handle herself in a way" is not an idiomatic
expression; it is a straightforward description of behavior. Option (b) is incorrect
because "held them hostage like a duplicitous marionette" is more of a simile than an
idiomatic expression. Option (d) is incorrect because "roaring shards" is not an
established idiomatic expression, even though it serves as a creative way to describe the
shattering silence. Hence, (c) is correct.

Q.5) What was the assumption about the great-grandmother when she changed her
color?

(a) She was trying to deceive others for malicious purposes.

(b)She was able to adopt mannerisms and behavior that made the change
believable.
(c) She was doing it only for artistic purposes.
(d) She changed color only to attract her future husband.

Explanation: Option (b) is correct because the passage states that the great-
grandmother could "assume the form of the most respectable white governess and
handle herself in a way that made others believe the color change was more than just
skin-deep with mannerisms, words, posture, and a general air of entitlement." Option
(a) is incorrect because the passage does not suggest that she was deceiving others for
malicious purposes; rather, she was sneaking into settlements to gather supplies and
conduct trade. Option (c) is incorrect because the passage does not indicate that the
great-grandmother changed color for artistic purposes. Option (d) is incorrect because
although she did meet her future husband in a changed state, the passage suggests that
she had been doing it long before to gather supplies and trade, not to attract a partner.
Hence, (b) is correct.