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Read the following excerpt from the article "Vision, Voice and the Power of Creation: An Author Speaks Out," by T. A. Barron, and answer the question that follows:

Another way to tap the power of imagination is through place. My own background as a writer is rooted in nature, having grown up reading Henry David Thoreau, Rachel Carson, and John Muir long before I ever dipped into Madeleine L'Engle, Lloyd Alexander, Ursula Le Guin, E. B. White, or J. R.R. Tolkien. My early writings were really nature journals; at nine, I wrote a complete biography-of a tree. (It was a once-majestic chestnut tree not far from my home.) So it should come as no surprise that I view place as much more than just a setting for a story. It is, in truth, another form of character, no less alive and complex, mysterious and contradictory, than the richest character in human form.

What does this paragraph imply about the way the author would treat the setting in his work?

Group of answer choices

The author does not think the setting or place of a story is important.

The author thinks the setting or place is the most important part of a story.

The author does not think the other parts of a story are important.

The author thinks the setting can influence the story as much as characters can.

Select the correct answer. read this excerpt from leo tolstoy's the death of ivan ilyich: her attitude towards him and his diseases is still the same. just as the doctor had adopted a certain relation to his patient which he could not abandon, so had she formed one towards him—that he was not doing something he ought to do and was himself to blame, and that she reproached him lovingly for this—and she could not now change that attitude. "you see he doesn't listen to me and doesn't take his medicine at the proper time. and above all he lies in a position that is no doubt bad for him—with his legs up." she described how he made gerasim hold his legs up. the doctor smiled with a contemptuous affability that said: "what's to be done? these sick people do have foolish fancies of that kind, but we must forgive them. . " they all rose, said good-night, and went away. when they had gone it seemed to ivan ilyich that he felt better; the falsity had gone with them. but the pain remained—that same pain and that same fear that made everything monotonously alike, nothing harder and nothing easier. everything was worse. again minute followed minute and hour followed hour. everything remained the same and there was no cessation. and the inevitable end of it all became more and more terrible. based on the excerpt, how is praskovya fedorovna a character foil to ivan ilyich? a. she is kind and takes care of ivan, which is why he feels guilty about how he treated her for most of their married life. b. she is vindictive toward ivan while pretending to be worried about him, thus reminding him of how his family has never forgiven him. c. she plays the part of the worried wife without any real feeling, symbolizing the false propriety ivan upheld but now hates. d. she is young, healthy, and beautiful—everything ivan can never be again and wishes he could return to. reset next