How is a writer's expertise linked to his or her perspective? A. A writer's perspective is broader than his or her knowledge of the topic.
B. A writer's perspective is not influenced by how much he or she knows.
C. A writer's perspective is much narrower than his or her level of expertise.
D. A writer's perspective is based on his or her knowledge of the topic.

What does this dialogue reveal about louise? she follows some of the spiritual ideas of the pueblo people. she is a devout follower of the catholic church. she often turns to father paul for support and guidance. she wants teofilo to receive his last rites from father paul.

Read the excerpt from part 3 of the call of the wild. but it was in giving the law and making his mates live up to it, that buck excelled. dave and sol-leks did not mind the change in leadership. it was none of their business. their business was to toil, and toil mightily, in the traces. so long as that were not interfered with, they did not care what happened. billee, the good-natured, could lead for all they cared, so long as he kept order. the rest of the team, however, had grown unruly during the last days of spitz, and their surprise was great now that buck proceeded to lick them into shape. what theme is most supported by the ideas in this excerpt? good leaders are strong and intelligent. loyalty can be a very powerful force. only the strong survive in the wilderness. we are all ruled by our natural instincts.

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.