contradicted by the final sentence of paragraph 2. (G), (H), and (J) are not substantiated in the passage: We’re not told that
there were “previous searches” of the Rift (G), that tube worms even exist on dry land (H), or what water temperature is
necessary to sustain life (J).
B
The phrase “primary producers” crops up at the end of paragraph 2. Lines 31–33 describe chemosynthetic bacteria as
primary producers because they “[transform] chemicals into compounds that can serve as nourishment for more complex
forms of life.” So the bacteria’s role is basically to provide food for other animals, choice (B). (D) is wrong because the
bacteria is described as “transforming chemicals into compounds”—so the bacteria isn’t the simple chemical in this process.
(C) is the opposite of how the bacteria in line 30 are described. (A) isn’t justified at all by the passage. (B) doesn’t relate to
the bacteria described in the cited lines.
37.
F
Photosynthetic organisms such as plants and algae convert the sun’s energy into energy for other animals in their food chain
(lines 1–6). Chemosynthetic bacteria do the same sort of thing in converting the earth’s energy into energy for the deep-sea
animals that consume them (lines 27–30). So the answer here is (F)—both types of organisms perform similar functions in
different food chains. (G) only applies to chemosynthetic organisms, as far as we know. (H) only applies to their
photosynthetic cousins. (J) is not indicated anywhere in the passage. And (K) is not necessarily true—we’re not told that
chemosynthetic organisms will thrive everywhere that photosynthetic organisms don’t.
38.
C
Passage IV is a humanities passage about the great American dancer Martha Graham. Paragraph 1 gives us some background
on Graham’s approach—we’re told she wanted to break away from the conventions of classical ballet and create new dance
forms for the postwar period. Paragraph 2 describes her characteristic style—stark and severe to some, “uncompromisingly
ugly” to others. Paragraph 3 explains why Graham was misunderstood by the critics. Paragraph 4 details her late work.
The passage covers most of Graham’s career and goes into some detail on her revolutionary style and reputation with the
critics. So it’s about her role and purpose as an innovator—choice (C). Choices (A) and (B) are too broad. (D) describes
paragraph 3 only, and (E) describes paragraph 2 only.
39.
H
Paragraph 1 puts Graham’s approach in context—we’re told that she wanted to create “new dance forms and movements that
would reflect the changed atmosphere of the postwar period.” (H) fits the bill here. (F) and (G) touch on minor elements of
Graham’s style. Choices (J) and (K) exaggerate Graham’s reaction against classical ballet; Graham was fed up with classical
ballet, so she decided to invent a new dance form that she felt was more appropriate for the period. But she didn’t set out to
destroy the ballet tradition (J) or just parody it (K).
40.
D
Lines 13–15 provide the answer: Graham used “the natural breath pulse as the basis for movement,” instead of ballet’s
“formalized classical motions.” So we can infer that ballet’s motions were not based on this natural breath pulse, and (D) is
41.
