Question- And-Answer Service

April 2018Questionand-AnswerServiceUse this with your QAS Student Guideand personalized QAS Report.What's inside:– Test questions– The Essay prompt administered on your test dayNOT FOR REPRODUCTION OR RESALE.

Question-and-Answer ServiceABOUT THE COLLEGE BOARDThe College Board is a mission-driven not-for-profit organization thatconnects students to college success and opportunity. Founded in 1900,the College Board was created to expand access to higher education.Today, the membership association is made up of over 6,000 of theworld’s leading educational institutions and is dedicated to promotingexcellence and equity in education. Each year, the College Board helpsmore than seven million students prepare for a successful transition tocollege through programs and services in college readiness and collegesuccess—including the SAT and the Advanced Placement Program .The organization also serves the education community through researchand advocacy on behalf of students, educators, and schools. For furtherinformation, visit collegeboard.org.SAT CUSTOMER SERVICEYou can reach us from 8 a.m. to 9 p.m. ET (9 a.m. to 7 p.m. after theJune test through August 19).Phone: 866-756-7346International: 1-212-713-7789Email: sat@info.collegeboard.orgMail: College Board SAT Program, P.O. Box 025505, Miami, FL 33102TABLE OF CONTENTS1 Introduction2 Reading Test18 Writing and Language Test33 Math Test – No Calculator41 Math Test – Calculator56 Essay 2018 The College Board. College Board, Advanced Placement Program, SAT, and the acorn logo are registered trademarks of the College Board.Visit College Board on the web: collegeboard.org.April QAS 4/10/18ii

Question-and-Answer ServiceIntroductionCongratulations on taking the SAT ! This booklet contains the SATyou took in April 2018. There are also two Essay prompts here; if you tookthe SAT with Essay, you responded to one of these. This booklet containsevery question that was scored.As part of the Question-and-Answer Service (QAS) you also have received:1.2.A customized report that lists the following details about each question: answer you gave best or correct answer question type difficulty levelA QAS Student Guide that explains your scores and how tointerpret them.The test begins on the next page.April QAS 4/10/181

11Question-and-Answer Service Student GuideReading Test65 M I NU TES, 5 2 QUESTIONSTurn to Section 1 of your answer sheet to answer the questions in this section.Each passage or pair of passages below is followed by a number of questions. After readingeach passage or pair, choose the best answer to each question based on what is stated orimplied in the passage or passages and in any accompanying graphics (such as a table orgraph).This passage is adapted from Nikolai Gogol, “The MysteriousPortrait.” Originally published in 1835.Line510152025Young Tchartkoff was an artist of talent, whichpromised great things: his work gave evidence ofobservation, thought, and a strong inclination toapproach nearer to nature.“Look here, my friend,” his professor said to himmore than once, “you have talent; it will be a shame ifyou waste it: but you are impatient; you have but tobe attracted by anything, to fall in love with it, youbecome engrossed with it, and all else goes fornothing, and you won’t even look at it. See to it thatyou do not become a fashionable artist. At presentyour colouring begins to assert itself too loudly; andyour drawing is at times quite weak; you are alreadystriving after the fashionable style, because it strikesthe eye at once. Have a care! society already begins tohave its attraction for you: I have seen you with ashiny hat, a foppish neckerchief. . . . It is seductive topaint fashionable little pictures and portraits formoney; but talent is ruined, not developed, by thatmeans. Be patient; think out every piece of work,discard your foppishness; let others amass money,your own will not fail you.”The professor was partly right. Our artistsometimes wanted to enjoy himself, to play the fop,in short, to give vent to his youthful impulses insome way or other; but he could control himselfwithal. At times he would forget everything, when hehad once taken his brush in his hand, and could not.Questions 1-10 are based on the followingpassage.30354045505560tear himself from it except as from a delightfuldream. His taste perceptibly developed. He did not asyet understand all the depths of Raphael, but he wasattracted by Guido’s broad and rapid handling, hepaused before Titian’s portraits, he delighted in theFlemish masters. The dark veil enshrouding theancient pictures had not yet wholly passed away frombefore them; but he already saw something in them,though in private he did not agree with the professorthat the secrets of the old masters are irremediablylost to us. It seemed to him that the nineteenthcentury had improved upon them considerably, thatthe delineation of nature was more clear, more vivid,more close. It sometimes vexed him when he sawhow a strange artist, French or German, sometimesnot even a painter by profession, but only a skilfuldauber, produced, by the celerity of his brush and thevividness of his colouring, a universal commotion,and amassed in a twinkling a funded capital. This didnot occur to him when fully occupied with his ownwork, for then he forgot food and drink and all theworld. But when dire want arrived, when he had nomoney wherewith to buy brushes and colours, whenhis implacable landlord came ten times a day todemand the rent for his rooms, then did the luck ofthe wealthy artists recur to his hungry imagination;then did the thought which so often traversesRussian minds, to give up altogether, and go downhill, utterly to the bad, traverse his. And now he wasalmost in this frame of mind.“Yes, it is all very well, to be patient, be patient!”he exclaimed, with vexation; “but there is an end topatience at last. Be patient! but what money have I toApril QAS 4/10/18Unauthorized copying or reuse of any part of this page is illegal.2CO NTI N U E

170751The passage is primarily focused on theA) influence of a professor on one of his students.B) struggles of a young artist conflicted about hisvalues.C) descent of a character into hopelessness andmadness.D) personal life of a young painter in relation tohis art.2The first paragraph serves mainly to establish theA) ironic outlook of the narrator.B) central conflict depicted in the passage.C) main character’s defining artistic traits.D) relationship between two characters.65buy a dinner with to-morrow? No one will lend meany. If I did bring myself to sell all my pictures andsketches, they would not give me twenty kopeks forthe whole of them. They are useful; I feel that not oneof them has been undertaken in vain; I have learnedsomething from each one. Yes, but of what use is it?Studies, sketches, all will be studies, trial-sketches tothe end. And who will buy, not even knowing me byname? Who wants drawings from the antique, or thelife class, or my unfinished love of a Psyche, or theinterior of my room, or the portrait of Nikita, thoughit is better, to tell the truth, than the portraits by anyof the fashionable artists? Why do I worry, and toillike a learner over the alphabet, when I might shineas brightly as the rest, and have money, too, likethem?”1Question-and-Answer Service Student Guide3The passage suggests that Tchartkoff’s professorbelieves that great art should beA) technically accomplished and not garish.B) pleasing to the eye but not overly popular.C) original in approach and spontaneous inexecution.D) representative of the artist’s morals and beliefs.4Which choice provides the best evidence for theanswer to the previous question?A) Lines 5-10 (“Look . . . at it”)B) Lines 11-15 (“At present . . . once”)C) Lines 15-17 (“Have . . . neckerchief”)D) Lines 23-27 (“The professor . . . withal”)5As used in lines 11, 14, and 18, the word“fashionable” most nearly meansA) stylish.B) trendy.C) modern.D) conventional.6According to the passage, one point of disagreementbetween Tchartkoff and his professor concernswhetherA) making money from selling paintings destroysartistic integrity.B) fashionable artists are capable of making enoughmoney from their art to support themselves.C) nineteenth-century painters had been able toexpand on the insights of the old masters.D) nonprofessional painters are capable ofproducing serious artworks.April QAS 4/10/18Unauthorized copying or reuse of any part of this page is illegal.3CO NTI N U E

11Question-and-Answer Service Student GuideAs used in line 50, “want” most nearly meansA) need.B) absence.C) ambition.D) greed.8The passage suggests that to some extent, Tchartkofffinds maintaining his high artistic standards to be aA) means of attaining short-lived fame as opposedto a lasting reputation.B) goal less important for his professor than it is forhimself.C) necessary pathway to a goal he now seeks toaccomplish.D) laborious undertaking that does not providesuitable compensation.9Which choice provides the best evidence for theanswer to the previous question?A) Lines 59-61 (“Yes . . . last”)B) Lines 63-65 (“If I . . . them”)C) Lines 69-70 (“And who . . . name”)D) Lines 74-77 (“Why . . . them”)10The last paragraph primarily serves toA) suggest contradictions in Tchartkoff’s argument.B) expose the hypocrisy of Tchartkoff’s mind-set.C) catalog Tchartkoff’s frustrations with hissituation.D) examine the subject matter of Tchartkoff’spaintings.7Questions 11-20 are based on the followingpassage and supplementary material.This passage is adapted from Tara Thean, “Remember That?No You Don’t. Study Shows False Memories Afflict Us All.” 2013 by Time, Inc.Line510152025303540The phenomenon of false memories is commonto everybody—the party you’re certain you attendedin high school, say, when you were actually homewith the flu, but so many people have told you aboutit over the years that it’s made its way into your ownmemory cache. False memories can sometimes be amere curiosity, but other times they have realimplications. Innocent people have gone to jail whenwell-intentioned eyewitnesses testify to events thatactually unfolded an entirely different way.What’s long been a puzzle to memory scientists iswhether some people may be more susceptible tofalse memories than others—and, by extension,whether some people with exceptionally goodmemories may be immune to them. A new study inthe Proceedings of the National Academy of Sciencesanswers both questions with a decisive no. Falsememories afflict everyone—even people with the bestmemories of all.To conduct the study, a team led by psychologistLawrence Patihis of the University of California,Irvine, recruited a sample group of people all ofapproximately the same age and divided them intotwo subgroups: those with ordinary memory andthose with what is known as highly superiorautobiographical memory (HSAM). You’ve metpeople like that before, and they can be downrighteerie. They’re the ones who can tell you the exactdate on which particular events happened—whetherin their own lives or in the news—as well as allmanner of minute additional details surrounding theevent that most people would forget the second theyhappened.The scientists showed participants word lists, thenremoved the lists and tested the subjects on wordsthat had and hadn’t been included. Each list invokeda so-called critical lure—a word commonlyassociated with the words on the list, but that did notactually appear on the list. The word sleep, forexample, might be falsely remembered as appearingon a list that included the words pillow, duvet andnap. All of the participants in both groups fell for thelures, with at least eight such errors per person—though some tallied as many as 20. Both groups alsoApril QAS 4/10/18Unauthorized copying or reuse of any part of this page is illegal.4CO NTI N U E