Read the excerpt from Trifles, by Susan Glaspell. COUNTY ATTORNEY. No—it's not cheerful. I shouldn't say she had the homemaking instinct.
MRS. HALE. Well, I don't know as Wright had, either.
COUNTY ATTORNEY. You mean that they didn't get on very well?
MRS. HALE. No, I don't mean anything. But I don't think a place'd be any cheerfuller for John Wright's being
in it
Which feminist theme is most supported by the excerpt?
o Women artists face difficult paths when pursuing careers.
Women need to feel they are determining their own fate.
o Women often suffer silently within male-dominated societies.
O Women are often expected to challenge the roles set by society.

the answer would be yes because the basket is full.

the answers are:

1. dolores driscoll - b. first person minor

dolores is a minor character who happens to be driving the bus at the time of the accident. she narrates picking up each of the children and her last memory is the children being thrown around the bus.

2. billy ansel - a. first person major

billy loses his twins in the accident. he tells his own story, how he witnessed the accident and how he tried to the rescuers. he is a major character, as he is at the center of the story.

3. mitchell stephens - c. first person observer

mitchell enters the story after the accident. he is a lawyer who learns about the accident based on other characters observations. though he tells the story from a first person perspective, he is just an observer.

as for matcthing the message or lesson posted with the person who said them:

1."obviously, you can't control everything, but you are obliged to take care of the few things you can. i'm an optimist basically who acts like a pessimist. on principle. just in case." - dolores driscoll

2. "i could no longer believe even in life. . for me now the only reality was death." - billy ansel

word count 168

serve the people! ,” smoothly translated by julia lovell, offers an initial sample of yan lianke’s writing to an english-speaking audience. a bluntly drawn, mildly erotic fable, it teases mao zedong by poking fun at a true believer who obeys the chairman’s precepts too literally. to a western sensibility, the broad strokes of yan lianke’s humor would seem to pose little risk of inciting rebellion, whether of the flesh or of the body politic. but then, part of the book’s attraction is that it doesn’t have a western sensibility. it lets the reader see — or rather, intuit — what jokes chinese officials don’t consider funny, and how very little it takes for a writer to be branded an incendiary in 21st-century china, more than three decades after the death of mao, a decade after the death of deng xiaoping and seven years since china entered the world trade organization, a move that would seem to signal a willingness (however wary) to mingle with the rest of the world.