text:
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_Darren Upson, VP of Small Business Europe, Soldo advises on the benefits and cost savings with a virtual CFO joining the team_

Any business, no matter its size, should prioritise its finances. Neglecting them can make it harder to make decisions and cause serious problems further down the line. But managing a business’ finances is a job in itself and can be hard for those without prior experience or knowledge to manage it.

Enter the CFO – an essential part of many large enterprises who keep the financial side of the business running. They allocate budgets, keep on top of incomings and outgoings and generally make sure that the business is making good financial decisions. The only snag? They’re expensive, especially for small businesses.

This is where virtual CFOs come in handy. They’re outsourced, often remote, part-time CFOs who work with several businesses, helping them manage their money and imparting their knowledge. They’re a useful resource for companies that can’t afford the overhead of a full-time CFO but need their strategic knowledge and advice. They’ve become popular over the last few years, especially with organisations like The FD Centre helping businesses hire a part time Financial Director or CFO.

It’s better to get a virtual CFO before you need one, as long term financial mismanagement can cause further problems down the line. Here are some signs that your small business could benefit from the assistance of a virtual CFO.

COMPANY SPENDING SOMETIMES SPIKES

It can be hard to implement the right expenses policy for a small business. You don’t want to make it too rigid, but equally, you don’t want staff spending on anything and everything that they want. You need to enable and trust them to make necessary purchases to do their jobs, while making sure that they spend within the guidelines.

A virtual CFO can help you manage your expenses policy. They can recommend technology that helps you control your spending by settling limits on debits cards and create an expense management guideline for you to use. Businesses need to concentrate on money coming into the business, but also money going out (i.e. spending), and a virtual CFO will help to make sure you strike the right balance to stay cashflow-healthy.

YOUR BUDGET, GOALS AND FORECASTING AREN’T ADDING UP

In order to gain the trust of potential investors, startups need a thorough financial plan with a detailed budget, goals and forecasting. This is much more granular than the bigger picture business plan that CEOs tend to manage. The expertise of a virtual CFO can help ensure money is allocated to the most business-critical areas. Sales, marketing and product development are the departments that typically scale fastest in a startup, and are necessary for continued innovation, increased customer acquisition and, ultimately, turning a profit. They therefore must be given the right budget to fuel their activities – and the necessary means to spend it.

Determining how money should and shouldn’t be spent is a significant part of a business plan and as such, needs someone dedicated to it. For companies that aren’t in a position to hire a full-time CFO, a virtual CFO can provide the analysis that investors need.

YOU’RE STRUGGLING TO MAKE BUSINESS DECISIONS

Making decisions for your business is partly down to intuition and experience. But without financial data, you’ll be missing out on crucial insights that could help you to close that deal or avoid that activity that doesn’t align with your overall strategy.

Start making informed, data-driven decisions with a virtual CFO. They’ll give you expert insight into your financial health and will help you make more informed decisions that support long-term goals.

YOUR PROCESSES HAVEN’T CHANGED

Having additional clients, employees and suppliers will change the way you need to manage your finances, as they will naturally become more complex. If your processes haven’t changed, they’re likely to be out of date, they probably won’t scale, and simple tasks will be much more difficult.

Simply employing a bookkeeper might not help, either. Additional processes need to be managed accordingly, and this is where a virtual CFO comes in handy. They can advise on the right technology that you can implement to make these processes easier and will suggest ways to scale your efforts and resources.

All companies, no matter their size, need to prioritise their finances. Working with a CFO will help you understand your current financial position and give you a better idea of your growth trajectory. They’ll also point out issues that needed to be taken care of before you take the next step towards growing your company. If you can’t afford a full-time CFO, a virtual CFO could be the perfect solution for your business.

question: What does the article say about the benefits a virtual CFO brings?

answer: The critical role of a virtual CFO is the ability to organize finances for small businesses that can't afford a full-time CFO. They become very useful when the spending suddenly increases, or the budgetary constraints aren't satisfied. CFOs can help in decision-making and process optimization as well.

question: What does the article say about administrative overhead?


split: train

text:
This morning, the Patriots are talking dropped passes. Aaron Hernandez had one, Deion Branch had one, but most visibly, Wes Welker was hit in the hands on a long pass that would have extended the Patriots drive with four minutes left. It wasn’t the best throw, but it was catchable, and after the game Tom Brady put it was gently as he could: “missed opportunities.” [jump]

  Gray asked what he was thinking for all those minutes under the towel, staring at that locker room floor.

  “I think it was just the missed opportunities,” Brady said.

  Soon he was ushered into a hallway, off to where the podium waited. He went through a side exit, not the main one where his wife, Gisele Bundchen, the Brazilian supermodel, had been waiting.

  She heard he’d gotten past her and began sprinting – in black boots with three-inch heels – after him. He was 30 yards ahead of her.

  “Tommy,” she shouted. “Tommy! Tommy!”

  He didn’t hear her. She finally plowed through the crowd, the lingerie model throwing elbows until she stopped him in mid-stride and offered a big hug, a kiss and a look into Brady’s still-red eyes. Cameras flashed all around them.

On her way out of Lucas Oil Stadium, Gisele Bundchen was heckled loudly by Giants fans. This is the cost of doing business when you date an athlete. But her ire was reserved for New England’s receiving corps. Waiting for an elevator, Gisele voiced her frustrations, punctuated with a swig from her water(?) bottle. Video from The Insider:

  “You’ve to catch the ball when you’re supposed to catch the ball. My husband cannot fucking throw the ball and catch the ball at the same time. I can’t believe they dropped the ball so many times.”

question: Who said “You’ve to catch the ball when you’re supposed to catch the ball. My husband cannot fucking throw the ball and catch the ball at the same time. I can’t believe they dropped the ball so many times?"

answer: Gisele Bundchen, Tom Brady's wife.

question: Why was Gisele mad at the New England receivers?

answer: Because they dropped so many balls making her husband's efforts futile.

question: Who dropped a pass in the game?

answer: Aaron Hernandez, Deion Branch, and Wes Walker.

question: How did Tom Brady characterize the dropped balls?

answer: Missed opportunities.

question: Write a ~4 sentence summary.

answer: Patriots were talking about dropped passes after a big game. Aaron Hernandez, Deion Branch, and Wes Walker all dropped passes, Walker's being most notable. Tom Brady characterized them gently as "missed opportunities." The harsh critique even extended to Brady's wife Gisele Bundchen who was adamant "My husband cannot fucking throw the ball and catch the ball at the same time."


text:
In shogi, BISHOP EXCHANGE (角換わり or 角換り _kakugawari_) is a Double Static Rook opening in which each player's bishop is captured relatively early so that they keep their bishops in hand. Throughout the game, each player has a bishop drop threat that can exploit any weakness in form that their opponent inadvertently creates.

Overview

The Bishop Exchange opening is a Double Static Rook opening. Black starts with activating both their bishop (P-76) and rook (P-26) while White quickly puts pressure on Black with rook pawn pushes (...P-84, ...P-85). White's aim is to exchange their rook pawn off the board on the eighth file as soon as possible. This has a number of benefits: it gives White a pawn in hand that can be used to drop later in the game, and it frees up the rook so that it can move to any rank above Black's camp (see: Sabaki). However, in this opening, in response, Black wishes to prevent White's early rook pawn exchange by defending the 86 square with the bishop via B-77 (and, later after the bishop exchange with the left silver via S-77).

Generally speaking, there is usually this tension of whether to allow rook pawn exchanges and/or bishop exchanges in the major Double Static Rook openings. In contrast to Double Wing Attack and Side Pawn Capture openings, but like the Double Fortress opening, the Bishop Exchange opening prevents each player from trading off each other's rook pawn. Both players move their left silver to the 77 and 33 squares (Black and White, respectively) in order to accomplish this goal in both Bishop Exchange and Fortress openings. (And, Fortress contrasts with Bishop Exchange by preventing an early bishop exchange as well.)

Because the bishops are off the board, each player is restricted in their development compared to other openings since they must not allow any holes where their opponent can drop a bishop.

Certain positions of Bishop Exchange – particularly, the Reclining Silver variations with identical forms for each player – have had a tendency to be drawish in which White wishes for _sennichite_ and Black is unwilling to break the balance of the position.

Castles

Bishop Exchange openings typically use a variant of the Fortress castle known as the _Helmet Fortress_ castle (or just _Helmet_ castle). This castle has the characteristic Fortress form with a silver on 77 and gold on 78. However, unlike the standard Fortress, the Helmet castle keeps the right gold on the 58 square and the sixth file pawn is not necessarily pushed to 66 to make way for the right gold to move to 67. One reason for this difference is that the middlegame fight often starts before this development could be finished. In some situations, when the right offensive knight has jumped to 37 square (or 73 square for White), the gold may need to move from 58 to the 67 square in order to protect the head of the knight (the 36 square) from the opponent's pawn drops.

Another difference is the position of the king initially on the 68 square. Since the bishop is off the board, the king is not restricted in rightward movement to the 69 square like the usual development in the Fortress opening. After the king moves to 68, it may be possible to move the king into the castle to the 88 square via 79. However, again, it often happens that the middlegame will start before the king can make it to 88. Because of this, the king often remains on 68 or on the intermediate 79 square. In some variations, moving to 88 is even not recommended.

The ninth file edge pawn is typically pushed (P-96/...P-14) in this castle since both bishops are in hand and could otherwise be dropped on the ninth or first files. (The standard Fortress often does not have the edge pawn pushed.) However, faster attacking strategies (Climbing Silver, Rushing Silver) may start the offense before the edge pawns are pushed.

Another variation of the castle formation is to have the right gold on the 48 square (62 square for White) where it can defend more area on the right side of the board from the opponent's bishop drop. In the case of a Right King formation in which the king moves rightward away from the Helmet castle, the gold on 48 will be closer to the king, which can rest on the 38 square. This G48/G62 is a form that Lifetime Meijin Yoshio Kimura (now deceased) had experimented with in the first half of the last century and is now experiencing a revival in popularity becoming the most common form found in current (2016–2019) professional shogi.[1]

As for White's Hemlet development, White will often wait for Black to push their rook pawn to the 25 square before moving their castle silver to the 33 square (so that it defends the 24 square preventing a second file pawn exchange). Depending on the game, this may occur fairly late in the opening. Before Black's pawn push, White's silver will usually remain on the 42 square until that time.

Of course, this Helmet castle may be developed into a regular (Gold) Fortress castle if the opponent aims for an attack on the sixth file (or fourth file for White). White may often choose this castle development if they are playing defensively.

In Double Reclining Silver games, White's castle has often been a variant of the Dented Fortress castle (へこみ矢倉 _hekomi yagura_) with the king directly under the left gold (on 31) and the right gold adjacent to the left gold (on 42) with the pawn above it pushed to allow for development into a Gold Fortress.

More recently in 2018, the emphasis on White's king safety has been relaxed, and the king is placed the 52 square or the 42 square instead of moving to 31 or 22.[2] (Note that if the king is on 42, then this implies that White will position their silver on 22 if Black has not already pushed their rook pawn to 25, which differs from the book lines that use the silver on 42.) The adjacent diagram shows an example of such a position from 2019 – a Double Reclining Silver, P25 R29 G48 Identical Formation variation. At the time of this example, there were over 40 games with this same position in the Japan Shogi Association game record database. White (Toyoshima) moved their king from 42 to 52 opting for losing tempo (since he could have played K-52 from the start position) and waiting for a counterattack over deviating from his ideal configuration, in which White is broadly defending against bishop drops.[3]

Attacking formations

There are a number of attacking strategies used with Bishop Exchange. The three main strategies are classified by the configuration of the right offensive silver: Reclining Silver, Climbing Silver, Rushing Silver.

The most popular strategy among professional players is the Reclining Silver variation where the right silver is advanced to the 56 square (54 square for White) via 47.[4] Typically, the right knight is also advanced to the 37 square for the attack. The rook pawn may be advanced to the 25 square although it is also possible that it is left on the 26 square so that the knight can jump to 25. In some cases, moving the silver to 56 very early can be problematic.[5]

The traditional form of Reclining Silver uses a Helmet castle with the right gold on the 58 square. This position allows a possible attack on the fourth file by having the rook shift to the 48 square. A more recent Reclining Silver position is the P-25 · G-48 · R-29 variation. This positions the right gold on 48 instead of 58 and the rook moves down to the 29 square (if left on 28 then the gold and rook are susceptible to an opponent's fork by dropping their bishop to the 39 square).

Due to its involvement of several pieces, Reclining Silver is the most deliberate out of the three silver strategies and it is balanced with both offensive and defensive characteristics. In comparison, the other two silver strategies have a stronger attacking character. Several entire books have been written on solely Reclining Silver Bishop Exchange variations.

The Climbing Silver variation places the silver on the second file on 26 (or 84 for White) usually aiming for an attack on the first file followed by the second file but also sometimes aiming for an attack on the third file instead. Castle development in this strategy can often be very minimal even with leaving the king in its start position before attacking. This the quickest attack out of the three silver strategies. The player may also start their attack before pushing edge pawns.

The Rushing Silver variation places the silver on the 46 square (or White's 64 square) after moving through the 37 square, which has been cleared with a P-36 pawn push. The aim is to attack starting on the third file moving diagonally to the second file. An issue with the P-36 configuration is that once the offensive silver has moved for its attack, the rook on 28 becomes susceptible to the opponent's bishop attacks through the 37 square.

A fourth and less common strategy is the defensive Right King. This strategy flouts the general shogi maxim that the king and rook should be far apart by having the king next to the rook. Here, the rook is used as a defense piece protecting the bottom rank. The left silver may be used for offense. Right King is more commonly played by White but uncommon for Black in the regular Bishop Exchange opening. However, in the Tempo Loss Bishop Exchange opening, it is more frequently played by Black than in regular Bishop Exchange and thought to be effective there.

Either player may choose any combination of these strategies. However, there are recommended strategies for each player in some positions.

Admonishment against fifth file pawn pushes

In the shogi of the early part of the twentieth century, fifth file pawn pushes – P-56 and ...P-54 – were very common. They were found in Fortress openings as well as many Double Wing Attack (see: §Old Double Wing) and Snowroof games. However, eventually, shogi theory found them problematic in Bishop Exchange openings due to the forking capabilities of the bishops in hand. (They also dropped out of favor in Double Wing Attack openings as well.)

History

The Bishop Exchange, Reclining Silver variation was a popular opening up until the 1950s. However, it became prone to draws due _sennichite_ and lost its popularity. After this, Climbing Silver and Rushing Silver variations became popular in the 1960s and 1970s.

Main book line: White's bishop trade with ☖...P-85

The main book line for Bishop Exchange starts with 1.P-76 P-84 2.P-26 P-85 3.B-77 P-34 4.S-88 G-32 5.G-78 Bx77+ 6.Sx77 S-42 7.S-38.

1.P-76. Black chooses the flexible option of activating their bishop. However, Black can start with 1.P-26 as well.

1...P-84. White pushes their rook pawn showing their intent to play Static Rook and gives both players the possibility of a Bishop Exchange opening.

Moreover, 1...P-84 is required for a Bishop Exchange opening. Note that if White had opened their bishop diagonal (1...P-34) instead of 1...P-84, then a regular Bishop Exchange opening would no longer be possible. The Bishop Exchange opening has Black's bishop positioned on 77 which is subsequently replaced by their left silver on the same 77 square after the bishops are exchanged. If White's bishop diagonal is open (via 1...P-34) before the Black's bishop has moved to 77, then Black will not be able to position their silver on 77 in recapturing White's bishop for the following reasons. Firstly, moving the bishop to 77 first before the moving the silver (that is, 1.P-76 P-34 2.B-77) will most likely result in White immediately capturing the bishop with 2...Bx77+ forcing Black to recapture with 3.Nx77 which will eliminate Bishop Exchange as a possible opening and lead to completely different set of lines (namely, Black's variation of the Bishop-33 opening). Alternately, if Black attempts to use the left gold to defend the bishop with 1.P-76 P-34 2.P-26 P-84 3.G-78 in hopes of positioning the silver on 68 and the bishop on 77 later, White can simply push their rook pawn with 3...P-85 and if Black plays 4.B-77 (to defend the 86 square) White can thereafter capture with bishop with 4...Bx77+ again leading to Black to recapture with 5.Gx77 (or 5.Nx77) instead of the required silver recapture, which also disallows a Bishop Exchange opening. Finally, moving their silver to 78 or 68 (that is, 1.P-76 P-34 2.S-68??) is clearly a blunder as this will leave Black's bishop undefended to be captured for free with 2...Bx88+. The only way a Bishop Exchange opening can occur is for Black to delay pushing their rook pawn and instead prioritize developing their left gold and silver with this sequence: 1.P-76 P-34 2.G-78 P-84 3.S-68 after which a bishop exchange with 3...Bx88+ 4.Gx88. However, this sequence is very rare among professional players since it requires Black to lose tempo when moving the gold on 88 back to 78 effectively reversing Black to now play as White, which is undesirable given the slight statistical winning advantage for Black.[6] Thus, White's 1...P-34 after Black's 1.P-76 essentially rejects a Bishop Exchange possibility and will lead to other Double Static Rook, Static Rook vs Ranging Rook, or Double Ranging Rook games. For instance, 1...P-34 2.P-26 P-84 3.P-25 P-85 can lead to Side Pawn Capture.

Note that this comment about a Bishop Exchange opening being prevented by having both players' bishop diagonals open is true for the regular Bishop Exchange opening discussed here, which requires White's bishop diagonal to remain closed initially. The Japanese term 角換わり _kakugawari_ without modification refers to this class of openings. However, the 1.P-76 P-34 sequence still allows for a possibility of a Tempo Loss Bishop Exchange opening, in which White exchanges bishops with ...Bx88+ before Black moves the bishop to the 77 square. But, this formally distinct opening is not referred to simply with 角換わり _kakugawari_ but rather 一手損角換わり _ittezon kakugawari._ Although there are similarities between Bishop Exchange openings and Tempo Loss Bishop Exchange openings, the Tempo Loss Bishop Exchange is treated separately in its respective article.

2.P-26. Black mirrors White in activating their rook with a pawn push. The game can now be seen as a Double Static Rook game and is strongly indicative that a Bishop Exchange opening will occur (to the point that some explanations merely say that this will lead Bishop Exchange without mentioning transpositions).

Note that 1.P-76 P-84 2.P-26 freely transposes to 1.P-26 P-84 2.P-76.

Although 2.P-26 is most typical for Bishop Exchange, other moves are possible. For instance, 2.G-78 can develop into Bishop Exchange via 2.G-78 G-32 3.P-26 P-85 4.B-77 P-34 5.S-88 or 2.G-78 P-85 3.B-77 P-34 4.S-88. One reason for playing 2.G-78 first is that it is a measure to discourage White's Climbing Silver. If Black plays the more common 2.P-26, then White can aim to skip playing a future ...G-32 in order to speed up their Climbing Silver development and without Black's G-78 White's attack will be more threatening. However, playing 2.G-78 so early also gives White a possible Feint Ranging Rook option if White wants to try to take advantage of the gold on 78 preventing Black's usual Boat castle development against Ranging Rook strategies.[7]

Yet another possible second move for Black is 2.S-68 (or 2.S-78). While more typical of a Fortress opening, this is also compatible with Bishop Exchange since 2...P-34 can be followed by 3.B-77 so that the silver on 68 can still recapture an exchanged bishop on 77. Nonetheless, this 1.P-76 P-84 2.S-68 P-34 3.B-77 sequence is quite uncommon since Black usually moves their bishop to 77 this early only when White plays the forcing ...P-85 rook pawn push. Moreover, if Black plays 2.S-68 and still wants to play Bishop Exchange, in this situation White is now free to delay the rook pawn push which allows for the possibility of White's ...N-85 knight jump later in the game, which is not possible in a usual Bishop Exchange opening with White's ...P-85 (and, consequently, this knight jump option gives White some formal similarities with the Tempo Loss Bishop Exchange opening). Thus, in order to prevent these other complications, the Bishop Exchange book line for Black is 2.P-26 while 2.S-68 is the book line leading to Fortress.

Additionally, Black is not required to play Bishop Exchange at this point since there are many other possibilities such as playing the aforementioned 2.S-68 for a Fortress opening or 2.P-56 for a Central Rook opening, among others.

2...P-85. After the third move by Black, White has a choice between advancing their rook pawn further (2...P-85) or defending the head of their bishop with a gold (2...G-32) from Black's possible second file pawn attack (which is P-25 aiming for P-24 Px24 Rx24). Among current (2018) professional players, the choice between the two moves is about equal.

The 2...P-85 rook pawn option shown here is more suggestive of a Bishop Exchange opening since White is threatening to exchange eighth file pawns before Black exchanges pawns on the second file which, if allowed by Black, may lead to White gaining the initiative. So, White is forcing Black to decide now on whether to stop the pawn exchange.

White's other option for their second move is 2...G-32. This defensive move is more flexible than 2...P-85 since 2...G-32 does not put pressure on Black to immediately decide on whether to prevent or allow the eighth file pawn exchange leaving the opening still fairly ambiguous. For instance, Black still has time to respond with 3.S-68 (or 3.S-78) for a Fortress opening (meeting 3...P-85 with 4.S-77). And, Black's 3.G-78 response would also still allow for Bishop Exchange (2...G-32 3.G-78 P-85 4.B-77 P-34 5.S-88) and Side Pawn Capture or Double Wing Attack (2...G-32 3.G-78 P-34 4.P-25 P-85 5.P-24 or 2...G-32 3.G-78 P-85 4.P-25 P-86 or 2...G-32 3.P-25 P-85 4.P-24 Px24 5.Rx24 P*23 6.R-26 P-86) openings. More recent authors – such as 長岡 (2015), 小林 (2017), 佐藤 (2017), 塚田 (2018) – have treated 2...G-32 as the main line. At any rate, 2...G-32 easily transposes to the main line shown here.

Note that White can still reject Bishop Exchange by opening their bishop diagonal with 2...P-34 instead of 2...P-85, in which case the opening is likely to become Side Pawn Capture or, possibly, Double Wing Attack (with open bishop diagonals), especially if Black follows 2...P-34 with 3.P-25.

Classic (☗3.P-25) vs modern (☗3.B-77)

After 1.P-76 P-84 2.P-26 P-85, Black has two main options for Bishop Exchange: a rook pawn push 3.P-25 and the immediate bishop defense of the eighth file 3.B-77.

3.P-25. The older option found in Classic Bishop Exchange games was to advance Black's rook pawn in response to White's 2...P-85 since White's bishop head (that is, the 23 square) is unprotected. (See §Classic Bishop Exchange below.) However, doing so now is a little more suggestive of a Side Pawn Capture opening (or even Double Wing Attack) in professional play since modern Bishop Exchange openings generally delay another second file pawn push for later in the game.

Nonetheless, although currently not as popular, some professional players have played these positions 2015–2019 aiming for the new P-25 G-48 R-29 Reclining Silver formation.[8]

Another feature of 3.P-25 is that it prevents White from playing Snowroof after declining the Bishop Exchange lines, which has become more popular after 2016. (See: §White's Bishop Exchange Declined.)

3.B-77. This move started to become more popular among professional players in the 1980s and 1990s and is now the main book line. (See: §Delayed rook pawn below.) It immediately prevents White's ...P-86 attack that aims to trade off White's eighth file rook pawn. Moving the bishop while keeping the rook pawn on the 26 square allows for the future possibility of Black jumping their knight to the 25 square (from the 37 square).

Black, of course, is also free to deviate from Bishop Exchange entirely and choose Side Pawn Capture or Double Wing Attack by allowing White to trade off the eighth file pawns, in which case Black will play 3.P-25 followed by 4.G-78.

Delayed rook pawn (☗3.B-77)

3.B-77. In modern Bishop Exchange openings, Black moves their bishop to the 77 square in order to prevent White from exchanging pawns on the eighth file instead of 3.P-25. This delay of advancing their rook pawn in favor of an immediate defense of the eighth file is known as 飛車先保留 (_hisha saki ryūgata_) in Japanese. Additionally, the delay may become an omission (that is, P-25 is never played) in some variations.

Waiting to push the rook pawn again is more flexible in that allows Black to position their right knight on the 25 square later in the opening (often with a Reclining Silver attack), which is not possible if the rook pawn is already positioned on that square. An example of a N-25 position is shown in the adjacent diagram. Thus, 2.P-25 narrows the opening possibilities for Black.

Additionally, since 2.P-25 is required in the Climbing Silver and Rushing Silver attacks, it may give White a slight hint that Black is considering these strategies, which might not be desirable so early in the opening. Delaying the rook pawn in favor of making other developments, Black's Reclining Silver formation is able to respond to White's Climbing Silver, Rushing Silver, and Reclining Silver attacks more effectively whereas Black's Reclining Silver may have trouble against White's Climbing Silver (which is a fast attack) when Black spends one tempo for the 2.P-25 variation.

Finally, keeping a pawn on 26 prevents White from dropping a bishop to that square, which could be a possible counterattack should Black's rook leave the second file.

Of course, Black can play P-25 anytime later in the game if desired (which may end up making the delayed rook push merely a transposition of some lines with the early 3.P-25).

One consequence of playing 2.B-77 is that without Black's pressuring P-25 White can decline Bishop Exchange and choose a Snowroof opening.

If Black does not defend the eighth file with the bishop now, then White will likely obtain a pawn in hand. For instance, 3.G-78 is followed by 3...P-86 4.Px86 Rx86 5.P-25 G-32 6.P-24 Px24 7.Rx24 P*23 8.R-26 – a Double Wing Attack opening.

3...P-34. White opens their bishop diagonal attacking Black's bishop on 77, which is in a vulnerable position since Black's bishop diagonal is also open.

This is a forcing move since Black must respond now with their left silver if Black wants to prevent a pawn exchange on the eighth file.

Another common move by professionals is for White to delay this forcing move and play 3...G-32 first instead of an immediate 3...P-34. Both White and Black will often move their left golds at some point anyway (although it is also possible that either player will not move their golds forgoing king safety for a quicker attack). Thus, 3...G-32 is usually met with Black's 4.G-78 (although Black could also play an early 4.P-25 or an anticipatory 4.S-88), which may be followed by 4...P-34. This 3...G-32 4.G-78 P-34 transposition sequence is treated as the book line in some Bishop Exchange books (also including the 2...G-32 3.G-78 P-85 4.B-77 P-34 transposition).

4.S-88. Black moves their left silver to defend the bishop. This has been the usual Bishop Exchange move. If the bishop is captured, then the silver can recapture on 77 and still keep White from exchanging pawns on the eighth file as the silver maintains defense of the 86 square.

Before moving the left silver, Black's bishop positioned on 77 is only defended by their left knight. If, for instance, Black were to play 4.P-25 instead, White can now capture the bishop with 4...Bx77+, then Black's knight would be forced to recapture with 5.Nx77. This would leave the eighth file unprotected and allow White to exchange their rook pawn as well (with 5...P-86 6.Px86 Rx86). Therefore, defending the bishop with the silver is important for the defense of the eighth file (as preventing rook pawn exchanges is one of the main points of this opening).

Although Black exchanging the bishops with 4.Bx22+ to get a bishop in hand might seem like a possibility, this would lose tempo causing Black to essentially change to be playing as White. Since the normal development is to allow White to make the exchange, the tempo loss from 4.Bx22+ is unnecessary.

Although 4.S-88 is the usual move for the left silver, Black has two other choices: 4.S-78 and 4.S-68. When Black chooses 4.S-88 to defend the bishop, this move makes an additional choice of a Fortress opening (which has been a very popular strategy for decades) should White choose to decline the bishop exchange. In this case, Black can develop a Fortress castle by adjusting their configuration although it does prevent a Snowroof castle development. In contrast, 4.S-68 prevents a Fortress development but allows Snowroof. And, 4.S-78 allows for both Fortress and Snowroof castles as well a third Left Mino castle development. If Black aims for a Fortress castle, then 4.S-78 is often not chosen as placing the silver on the seventh file prevents G-78 for a few moves. Of course, if White does make the bishop exchange, then all of 4.S-88/4.S-68/4.S-78 are merely transpositional variants. There is a recent trend to choose 4.S-68 over 4.S-88 since the silver in this position can easily be developed faster if White declines Bishop Exchange and develops a Snowroof position.[9]

Note that Black is not required to play Bishop Exchange at this point. Black also has the choice of closing their bishop diagonal again with 4.P-66 which would prevent White from exchanging the bishops. (However, it is more common to reach this position via other move orders such as 1.P-76 P-34 2.P-26 P-84 3.P-66 P-85 4.B-77.) After this, Black could develop their position into Fortress or into Snowroof.

4...G-32. Although it is possible for White to make a bishop exchange now with 4...Bx77+, usually both players make defensive left gold developments first starting the formation of the Helmet Fortress castle. (_Cf._ the early 3.P-25 variation where White's ...G-32 is forced and occurs before ...P-34.)

Nonetheless, it is not out of place for White to also make the exchange now with 4...Bx77+, which will then eventually transpose to the main line.

A third option is for White to decline the Bishop Exchange opening by closing their bishop diagonal again with 4...P-44. (See: §White's Bishop Exchange Declined below.) Note that if Black follows with the early 5.P-25 after 4...G-32, then White will no longer be able to decline Bishop Exchange to play Snowroof or Yagura.

5.G-78. Black commonly mirrors White strengthening their defense as well.

Although 5.P-25 is also possible, it would change the variation to the early 3.P-25 line, which had been disfavored for reasons previously stated. (That is, this sequences transposes to 1.P-76 P-84 2.P-26 P-85 3.P-25 G-32 4.B-77 P-34 5.S-88.)

5...BX77+. White makes the bishop trade. This is main point of this opening. It allows both players to gain a bishop in hand early in the game while preventing each player's rook pawn exchange.

Unlike the early 3.P-25 rook pawn push variation, the bishop exchange here is not forced (as there is no immediate threat of Black's rook pawn exchange). However, this is usually the time when White makes the exchange.

There is also a 5...S-42 possibility which usually simply becomes a transposition of the main line. (See: §Black's bishop trade with ☖B22 ☖G32 ☖S42.)

Note that White is recommended to make the bishop exchange (or play 5...S-42) now. The issue that playing another development move like 5...S-62 removes the rook's defense of the gold on 32. Once the rook stops defending the gold, Black can quickly move to the early P-25 lines (5...S-62 6.P-25 Bx77+ 7.Sx77 P-24) where Black is able to trade off their rook pawn but White is not able to do so. (See: §to be written...].)

6.SX77. Black recaptures with the silver maintaining defense of the 86 square (preventing White's pawn exchange). This is the quintessential position of the Bishop Exchange opening.

Although Black has the possibility of recapturing White's 5...Bx77+ with 6.Gx77, professional thought is that having the left gold on the 77 square is a bad shape. With the gold on 77 and the silver still on 88, Black would have no easy way to castle the king. Additionally, a gold on 77 is vulnerable to a future knight fork on ...N-65 forking the 77 and 57 squares and the gold fleeing to 66 to escape the fork would lose much of its defensive features in such a high position and be unable to retreat (unlike a silver on 66 which could retreat/recapture on both 77 and 57).

An important point of this opening is that White has not lost tempo making the exchange. Although the player that initiates a piece exchange in shogi usually has to lose one tempo in order to do so (see: Piece exchange & tempo loss), in this case White's ...P-85 pawn push has forced Black to spend a tempo to defend the eighth file with B-77. Therefore, reaching this position with bishops in hand with White's P85 and Black's S77 has not cost Black or White any tempo compared with the start position. This position can be compared with a similar position reached by 1.P-76 P-84 2.P-26 P-34 3.G-78 Bx88+ 4.Sx88 5.P-85 S-77 G-32. The two positions are identical except that in the book line it is White to play while with the second sequence it is Black to play since White has lost tempo. In this second sequence, White exchanged the bishops on the 88 square before Black moved the 77 square, which caused White to lose tempo but without Black using a tempo for B-77.

6...S-42. This move contributes to White's castle development and importantly prepares for ...S-33 to defend the 24 square (preventing the pawn exchange) should Black push P-25. When the silver remains on 42, the king will be castled with ...K-41 and possibly further to ...K-31.

6...S-22 is another possibility. Although S-22 is the required move in the early 3.P-25 variation (so as not to block the rook's defense of the gold on 32), that is not true here since Black's pawn is still on the 26 square (so 7.P-25 is simply met with 7...S-33). Therefore, White has either option.

6...S-42 allows the silver defends more toward the center of White's camp compared with the peripheral ...S-22, which may be favorable when Black does not play P-25. However, 6...S-22 has been played with increasing frequency recently since it protects White's diagonal from Black's future B*55 drop and, thus, allows for White to play P-74 earlier perhaps aiming for a quick Rushing Silver development or even Climbing Silver. (Otherwise, B*55 forks White's rook and left lance when ...S-42 and ...P-74.) When using ...S-22, the king will be placed on the 42 square to protect the center of White's camp in lieu of the silver.[10][11] The ...S-22 ...K-42 formation has been reevaluated as a good defense when Black's knight jumps early in the opening as is the case in some current developments.[12] (See: §Black's early ☗N-45.)

7.S-38.

7...S-72 or 7...S-62.

White's Bishop Exchange Declined (☖...P-44)

Before making the bishop trade, White has a narrow window during which they can depart from the opening by closing their bishop diagonal with ...P-44 after it has been opened. After they do so, their position can be developed into a Fortress, Snowroof, or Left Mino strategy. Black's position will likely be some form of Fortress since Black's silver is on the 88 square; however, some professional players have also played other unnamed Static Rook positions as Black.

One reason for playing this move is that White may prefer to play Fortress but wishes to play an irregular form of it compared with the standard Fortress lines. Another reason could be that White wishes to avoid the large body of theory associated with Bishop Exchange (or Fortress, which also has a large amount of theory behind it) and so chooses a Snowroof or Left Mino form.

Another note about these positions concerns Black's left silver. 4.S-88 is the most common move in Bishop Exchange. However, as mentioned above, moving the silver to the 88 square will restrict Black to a Fortress position since the silver cannot be moved to 78 for Left Mino or to 67 for Snowroof. (If Black wishes to keep other options open, then either 4.S-78 or 4.S-68 would have needed to be used instead. 4.S-68 is used for Snowroof while 4.S-78 is the most flexible being compatible with Fortress, Snowroof, and Left Mino.)

6.P-25. Once White has declined Bishop Exchange, Black is likely to press forward with a rook pawn aiming to exchange off their second file pawn.

If instead Black chooses another development such as 6.S-48, then White can construct their Fortress castle in the usual fashion with 6...S-42 meeting 7.P-25 with 7...S-33. Since this situation is undesirable, 6.P-25 is played to force White to use the same irregular Fortress construction as Black.

6...B-33. Here White can prevent Black's rook pawn exchange by defending the 24 square with their bishop.

Although 6...G-33 would also prevent the pawn exchange, the gold on 33 is thought to be a bad configuration. (_Cf._ the comment on the similar G77 form on move 6.Sx77 above.)

White's Fortress

Snowroof

Here White has closed their bishop diagonal (...P-44) and prevented the second file pawn exchange with 6...B-33.

If White is aiming for Fortress, 6...B-33 is very likely. But, if Snowroof is the aim, White can also play Snowroof lines that do not stop the pawn exchange, in which case White will play 6...S-42 instead. Then, the pawn exchange 7.P-24 Px24 8.Rx24 is met with 8...S-43, in which the silver protects the pawns on the 34 and 44 squares. However, Yasuhiro Masuda suggests that these are difficult lines and recommends 6...B-33 in spite of the fact that computer shogi engines often play 6...S-42.[13]

7.S-48. Black develops their right offensive silver.

7...S-42. White develops their left silver up to the fourth file for the castle.

8.K-69. Black starts to castle their king leftward. Since their castle will be a Fortress castle (as their silver is on 88), the king cannot move to the 68 square because this would block the bishop from moving to 68, which is necessary to make way for the silver to move 77 while maintaining defense of the 86 square (to prevent White's rook pawn exchange).

8...S-43. With this White completes the basic shape of the Snowroof castle.

After this Black will need to arrange their pieces to construct the Fortress castle and decide upon an attacking strategy. A common idea is to push the fifth file pawn and aim to exchange off the bishops with their bishop moved back to 68. Another is to push the fourth file pawn for a Reclining Silver formation. Since Fortress requires many moves to construct, Black needs to wary that White may attack first. White can develop their pieces naturally and has various attacking options available to them (e.g. using a traditional Snowroof formation with the right silver on 53 possibly paired with a Right Fourth File Rook attack or a Silver Horns structure with the silver on 63 that could shift to Reclining Silver).

Classic Bishop Exchange (☗3.P-25)

3.P-25. In Classic Bishop Exchange openings, the natural move after White's P-85 was to likewise advance Black's rook pawn.

This is a forcing move since White must defend their bishop head from this threat (usually by ...G-32). Therefore, Black is not required to immediately protect their eighth file with B-77 making this 3.P-25 possible.

The rook pawn push was considered the correct move at one time due to its forcing nature and it naturally helping develop Black's rook faster. Earlier Bishop Exchange games often used Black's Climbing Silver and Rushing Silver attacks where P-25 will need to be played. However, the rook pawn push at this early juncture began to become disfavored by many professional shogi players since it slows down development of other pieces and eliminates a possible knight jump to the 85 square, which might be used in the Reclining Silver variations, which have become more popular than compared with Bishop Exchange games played before the 1980s.

With the pawn advanced to the middle rank, Black can quickly attack on the second file with P-24 aiming to exchange off the rook pawn. However, the timing of doing so becomes important as there some traps by White if Black attempts to trade off the pawn too early.

With recent revival of Snowroof strategies starting around 2017, 3.P-25 is a new measure by Black to prevent White from playing Snowroof, which is often developed from an initial 3.B-77 Bishop Exchange position when White declines the bishop trade with ...P-44.[14] Thus, 3.P-25 has started to become more common in professional shogi. When Black's rook pawn is already on 25, after 3...G-32 White does not have time to prevent Black's rook pawn exchange with ...B-33 and close the bishop diagonal ...P-44. If White tries to play Snowroof here, then they will be in a situation where Black can trade off their rook pawn but White cannot. Additionally, White does not have time to move their silver to 43 to prevent Black from taking White's side pawn on 44. For example, after 3.P-25 G32 4.B-77 P-34 5.S-88, if 5...P-44 then 6.P-24 Px24 7.Rx24 S-42 8.Rx34; if 5...B-33, then 6.Bx33+; and if 5...S-42, then the game will still be Bishop Exchange with the ☖B22 ☖G32 ☖S42 line.

3...G-32. Since White's bishop diagonal is closed, White must protect their bishop head (the 23 square) from Black's second file pawn attack by moving their gold to the third file.

If White fails to protect 23 and attempts a pawn exchange on the eighth file with 3...P-86 4.Px86 Rx86, then Black would be able to directly attack White's bishop by dropping the pawn in hand with 5.P-24 Px24 6.P*23!. (_Cf._ the similar case: Double Wing Attack § Blunder: White's failure to defend bishop.)

Of course, White also has another possibility to protect the bishop: 3...P-34 gives the bishop a flight path in the case of Black's P*23 pawn drop. However, the opening could no longer be Bishop Exchange since White now cannot prevent Black's rook pawn exchange with White's silver and instead would transition to Side Pawn Capture or Double Wing Attack (with 3...P-34 4.G-78 G-32).

Transpositions

The Bishop Exchange position can be reached by several different move orders.

Other variations

There are also other variations that use different opening move sequences:

-   Tempo Loss Bishop Exchange
-   Wrong Diagonal Bishop

Other variations:

-   Tomioka Bishop Exchange (富岡流 _tomioka-ryuu_)

Black's early ☗N-45 jump

An early knight attack by Black before developing the usual Reclining, Rushing, or Climbing Silver offense but after seeing White's early Reclining Silver formation.

The attack aims to (i) attack White's silver on 33 forcing it to retreat to 22 or 42 allowing Black to trade off the rook pawn on the second file and (ii) subsequently attack White's undefended rook with a B*71 bishop drop which simultaneously defends the 53 square which is already under attack by Black's knight on 45.

An important point of Black's attack depends on the 53 square being defended by White's single gold on 52 and White's king was castled to 41 since White had played ...S-42 previously.

If White moves their right silver to 62 and keeps it there instead of moving it 72, it defends 53 as well as preventing Black's B*71 drop. Additionally, White could use a ...S-22 form allowing the king to castle to 42 where it also defends 53. (See the discussion of move 6...S-42 in §Delayed rook pawn above.)

Black's bishop trade with ☖B22 ☖G32 ☖S42

A less common variation has White move their left silver from the 31 square (where was defending the bishop on 22) to the 42 square instead of making a bishop trade themselves. This positioning leaves the bishop only defended by the gold on 32.

If Black does not respond to this configuration now, White can reject a Bishop Exchange opening with their next move by moving the silver up to 33 where it forms the initial construction of a Fortress castle leading to White's likely Fortress opening where an early bishop trade is no longer possible. Since Black's structure is basically a Bishop Exchange form, transposing to a Fortress position can be awkward. Thus, Black usually initiates the bishop trade at this point. Although this trade losses tempo, White usually must move their gold from 22 back to 32 for proper defense and must, therefore, lose a tempo with this move as well resulting in no overall gain in tempo for White.

Black's bishop trade with ☗P-25

Although Bishop Exchange openings are typically characterized by White advancing their rook pawn to the middle rank with P-85, which is the move that triggers Black's B-77 defense in the first place, there is a sort of reverse Bishop Exchange opening where Black advances their rook pawn up the second file to the 25 square, which similarly triggers White to move their bishop to 33. In this case, it is Black (instead of White) that initiates the bishop trade.

[1] http://live.shogi.or.jp/ryuou/kifu/31/ryuou201812200101.kif

[2] http://live.shogi.or.jp/ryuou/kifu/31/ryuou201812200101.kif

[3] http://live.shogi.or.jp/ryuou/kifu/32/ryuou201907230101.kif

[4] Akira Nishio's blog: http://kingcrimsondiscipline.blogspot.com/2014/08/the-5th-game-of-oui-title-match.html

[5] http://live.shogi.or.jp/kisei/kifu/88/kisei201706170101.kif

[6] http://kyokumen.jp/positions/115564

[7] http://live.shogi.or.jp/ouza/kifu/65/ouza201709190101.kif

[8] http://kyokumen.jp/positions/126994

[9] http://live.shogi.or.jp/kiou/kifu/43/kiou201803110101.kif

[10] http://live.shogi.or.jp/kisei/kifu/88/kisei201706170101.kif

[11] http://live.shogi.or.jp/kiou/kifu/43/kiou201803110101.kif

[12] http://live.shogi.or.jp/oui/kifu/58/oui201705220302.kif

[13] ザ・雁木 (2017: Ep. 2)

[14] http://live.shogi.or.jp/kisei/kifu/89/kisei201807100101.kif

title: Bishop Exchange

question: What is Bishop Exchange?

answer: Bishop Exchange is chess opening in which each player's bishop is captured relatively early so that they keep their bishops in hand.

question: What are the benefits of this move?

answer: The benefit is that it gives White a pawn in hand that can be used to drop later in the game, and it frees up the rook so that it can move to any rank above Black's camp.

question: How does this move compare to other openings?

answer: This opening restricts players' development because they must ensure there aren't any hole where their opponent can drop a bishop.

question: What are the three main attacking strategies used with this opening?

answer: The three main strategies are classified by the configuration of the right offensive silver: Reclining Silver, Climbing Silver, Rushing Silver.

question: Write a ~1 sentence summary.

answer: Bishop Exchange is chess opening in which each player's bishop is captured relatively early so that they keep their bishops in hand.


text:
_JUNCUS ACUTUS_, the SPINY RUSH, SHARP RUSH or SHARP-POINTED RUSH, is a flowering plant in the monocot family Juncaceae.

It grows in salt marshes[1] and on dunes[2] and is reliable for reducing erosion rates.[3] In some countries like Australia it is considered to be an invasive weed[4] and the spines harmful to young children.[5]

Synonyms

-   _Juncus acutus_ ssp. _leopoldii_ (Parl.) Snog. -- Leopold's rush[6]
-   _Juncus acutus_ L. var. _sphaerocarpus_ Engelm[7]
-   _Juncus acutus_ L. subsp. _acutus_
-   _Juncus spinosus_ Forssk[8]
-   _Juncus acutus_ ssp. _leopoldii_ also known as _Leopold's rush_ is a native of Arizona, California, Georgia and Nevada.[9][10]
-   _Juncus acutus_ L. var. _conglobatus_ Trautv
-   _Juncus acutus_ L. var. _decompositus_ Guss
-   _Juncus acutus_ L. var. _longibracteatus_ Buchenau[11]

Description

_Juncus acutus_ is a brown and green[12] “tussocky”[13] perennial that can be to [14] tall in all kinds of soils,[15] in areas which go from extremes in flood and dry like dunes[16] or that just stay wet like lowland grassland and grassy woodland, riparian vegetation, freshwater wetland, and saline and subsaline wetlands.[17]

Stems and leaves: Pith filled stems and leaves arise from the base at different angles giving the plant a globe shape. The leaves form a basal sheath around the flower stem leaves and end with a stiff sharp point.[18]
Flowers: The flower stems are  to  in diameter and  to  long and are similar to the leaves. They emerge from the base at all angles and each have 1 - 6 flowers. Each flower has 6 stamens and  to  long bracts that terminate in a stiff and sharp point.[19] The flowers are hermaphrodite and are pollinated by the wind.[20]
Fruits and reproduction: Fruits are oval 3-celled brown capsules  to . The  to  long brown seeds have a tail at each end.[21]
Roots: Short[22] and robust rhizomes.[23]

[_Juncus acutus_]

Distribution

Found principally in low-lying damp, low fertility areas[24] like sandy sea shores and dune slacks and coastal flats,[25] occasionally in salt marshes[26] and disturbed saline areas, mine dumps, lowland grassland and grassy woodland, riparian vegetation, freshwater wetland, and saline and subsaline wetlands[27]

    PALEARCTIC:

        NORTHERN AFRICA: Algeria, Egypt, Morocco
        WESTERN ASIA: Iran, Iraq, Israel, Jordan, Lebanon, Turkey
        CAUCASUS: Armenia, Azerbaijan, Georgia
        NORTHERN EUROPE: British Isles
        SOUTHEASTERN EUROPE: Albania, Crete, Greece, Italy, Kosovo, Montenegro, Sardinia, Serbia, Sicily, Malta
        SOUTHWESTERN EUROPE: Azores, Balearic Islands, Corsica, France, Portugal, Spain

    NEARCTIC:

        NORTHERN AMERICA: Baja California[28]

Community species

    In Brazil, _J. acutus_ has been observed on the Santa Catarina coast living in communities with:
    -   _Ipomoea pes-caprae_
    -   _Hydrocotyle bonariensis_
    -   _Senecio crassiflorus_[29]

    In a natural shallow depression in the Murray River floodplain in South Australia:
    -   _Muehlenbeckia florulenta_
    -   _Atriplex semibaccata_
    -   _Halosarcia pergranulata_ ssp. _pergranulata_
    -   _Mimulus repens_
    -   _Ludwigia peploides_ ssp. _montevidensis_
    -   _Phragmites australis_
    -   _Paspalum vaginatum_

Chemistry

The dimeric phenanthrenoid 8,8'-bidehydrojuncusol and the monomeric juncusol[30] and dehydrojuncusol can be isolated from _J. acutus_.[31]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14]

[15]

[16]

[17]

[18]

[19]

[20]

[21]

[22]

[23]

[24]

[25]

[26]

[27]

[28]

[29]

[30]

[31]

title: Juncus acutus

question: What are all the synonyms of Juncus Acutus?

answer: Leopold's rush, Engelm, Acutus, Forssk, Trautv, Guss and Buchenau. This is due to the fact it is found in Algeria, Egypt, Morocco, Iran, Iraq, Israel, Jordan, Lebanon, Turkey, Armenia, Azerbaijan, Georgia, the British isles, Albania, Crete, Italy, Greece, Kosovo, Montenegro, Sardinia, Serbia, Sicily, Malta, the Azores, the Balearic Islands, Corsica, France, Portugal, Spain and in Baja California.

question: What is Juncus Acutus?

answer: Juncus Acutus, the Spiny Rush, is a flowering plant. It is in the family Juncaceae. It grows in salt marshes and is reliable for reducing erosion rates. The spines are harmful to young children.


text: And so he sat alone. The soft glow of his fireplace embers  reflecting in eyes. They did not focus,  for his gaze had turned inward.  For the first time in countless years he looked upon his own self unblinded, unbound by his own lies. He felt fear. Fear of the unknown, fear of what was to come. He saw beauty behind the rot. Like a once great city, abandoned to the wilds but yearning for rebirth. He had often questioned his existence, and it's purpose.  He had lied, manipulated and alienated everyone who cared about him. Not out of spite, but out of compulsion. It was the path of least resistance.  He did what he could to use as little effort as possible. He often wondered why he made such choices, or forced other to make such choices for him. Was he ill? Was his braim wrong? Why did he know his flaws, yet not know how to change them?  It seemed logical that once the problem was understood the solution would present itself. For years he sat in that old armchair, gazing into the flames. He, with all the knowledge he could acrew,  could never find a solution until now. So once again he asked himself, as he had done so many times before, "Do I have a soul?" And he spoke, to no one but himself, "Yes."

title: Less of a short story, more like the back of a book blurb.

question: Who is the narrator?

answer: That information can't be found

question: Where does the story take place?

answer: In front of a fireplace, probably in the main character's house

question: Why does the main character question whether he has a soul?

answer: He feels that he has flaws, but doesn't know how to change them

question: Who is the main character?

answer: That information can't be found

question: Write a ~4 sentence summary.

answer: The main character sits alone in front of a fireplace. He has lied and manipulated people who cared about him. He feels he has flaws, but doesn't know how to change them. He wonders if he has a soul, but states that he does.


text:
And the sky filled with the air of remorse, longing to be covered by the arms of the sun. Perhaps, one must enter from above, into the realm of possibilities. Where a single boom brings about the creation of the Earth, where an inventory of items can manifest themselves spontaneously with only a spark. But what is this I hear? Something that I believe to sound like language, filled with the illusion of structure and coherence. But I do not understand it. Deprived of sleep, I wade through the ocean of a desert, the sand filling my lungs with that of dread and decay.

*My heart aches, my mouth hungers, my eyes weep, my mind in ruins.
 I continue to wade through the thick gaze of the desert, like a child looking for his lost mother.
Again, I hear a voice.*

The last of my water is that of days. Yet the sun gives life to this world, its heat radiating from the skin of the Earth. Its life my demise, as it slowly boils me alive. As I feel the destruction of my body in this world, my mind searches for another place to call home.

*It cries in agony, my mind. As I search, this desert of lost time.
The grains of sand billowing away into that of circles and stars, of people’s faces that I yet to see.
Again, I hear a voice.*

It begins to dawn on me, that my life is slowly fading away. Like my footprints in the sand. I do not remember how my body found its way here, but now here is where I wander. Finding myself lost to what is mine, as the voices slowly begin to eat my mind. Where is there to look for the shade of a tree? When the only shade is that of the stars? It begins to get louder, and louder. I begin to grasp at the sound, my arms stretched towards the heavens, covering my body with its warmth. What are they saying, what should I know?

*My heart begins to pound against my chest, as it cries for attention.  But my body has forsaken me.
My heart, before full of warmth and life, now a reminder of a world I do not wish to wander.
Again, I hear a voice.*

What can you tell me? What is there to know? The voices, they search for me as I wander. As the sun leaves me, I now say my hello to that the moon. Its light bringing a way to search for home. The warmth soon begins to leave the grains underneath my feet. My body sighs in relief, my tears finally returning to my eyes. Now, as I gaze. I see that I am not alone, the sky a blanket in which I can huddle. The voices return now, as the gaze of the desert is unveiled.  The clap of thunder, unleashed, across the fabric of the sky, as the stallions of time come to me in my mind. My body goes to doze, and I begin to slowly drift into the heavens.

*Your heart aches, as your mind is lost. Lost in the skies for where you now look.
But I come to you here, as a messenger of the Gods in which you cry for.
If you wish to understand, all you have to do is spread the message of their words.*

The voices did not return. My body now a vessel to tell the Word of the Gods. I lay upon the foundation of their laws, surrounded by their divinity – their words turned to symbols, symbols that I do not control.

title: I’ll Come Running, In the Ocean of Time

question: What is the likely gender of the narrator?

answer: It is not certain if the narrator is male or female.

question: What imagery is present in the story and describe its presence and relevance.

answer: The narrator uses visual, auditory, and tactile imagery to paint a vivid picture of their struggles with surviving and hoping to be found as being lost in the desert slowly kills them. Imagery is essential for this type of narrative because it helps the reader empathize with the narrator and fully understand their experience like they are there with them.

question: What is the mood of the story?

answer: The story is depressing, as the narrator describes their weariness of being lost in the desert, slowly dying, and without hope of being found.


text:
I'm not sure this is the appropriate subreddit for this. Please enjoy.

A man walks into an ice cream shoppe. He approaches the ice cream server behind the counter.

CUSTOMER- Can I have a vanilla ice cream please?

ICE CREAM MAN- Sure thing.(Scoops ice cream into cone)  Here you go.(Hands to customer)

CUSTOMER- This isn't Vanilla.

ICE CREAM MAN- Why of course it is.

CUSTOMER- No, this doesn't even look like ice cream.

ICE CREAM MAN- Well, wait a minute. Let me see that. (Takes cone from customer) Oh dang, you know something? This is vomit.

CUSTOMER- What?

ICE CREAM MAN- My vomit to be precise.

CUSTOMER- Why did you give me your vomit?

ICE CREAM MAN- I must have been keeping it in the vanilla ice cream container.

CUSTOMER- I have a couple questions.

ICE CREAM MAN- Ask away.

CUSTOMER- Why do you keep your vomit in the vanilla container?

ICE CREAM MAN- It's the closest one to me.

CUSTOMER- Why do you keep your vomit contained at all?

ICE CREAM MAN- Well I normally don't but I've been sick lately and instead of running to the bathroom every 20 minutes I just vomit in this container.

CUSTOMER- You can't honestly think that's acceptable.

ICE CREAM MAN- I do though.

CUSTOMER- I'm going to have to talk to your manager about this.

ICE CREAM MAN- I'm the manager.

CUSTOMER- Well then I'm going to have to ask you not to do that anymore.

ICE CREAM MAN- Do what?

CUSTOMER- Throw up in the ice cream.

ICE CREAM MAN- But there's no ice cream left in this container.

CUSTOMER- So you're out of vanilla?

ICE CREAM MAN- I'm afraid so.

CUSTOMER- Shoot...um...do you have strawberry?

ICE CREAM MAN- Coming right up.(looks in container) Oh you know what? This is diarrhea.

CUSTOMER- Do you have anything that didn't come out of your body?

ICE CREAM MAN- Let's see... I have mint chocolate chip.

CUSTOMER- I don't like mint.

ICE CREAM MAN- Well that's all the ice cream I have left.

CUSTOMER- But there are 16 containers here.

ICE CREAM MAN- Yup.

CUSTOMER- And they're all full to the brim.

ICE CREAM MAN- Yup.

CUSTOMER- ...I guess I'll have the vomit.

ICE CREAM MAN- Excellent choice sir. Here you go. (Hands cone to customer)

CUSTOMER- Thank you. Feel better.

ICE CREAM MAN- I'll try. Have a nice afternoon.

The man walks out with his ice cream cone, never to be seen again.

title: A Dialogue

question: What is unique about this ice cream shop?

answer: The ice cream man stores his bodily fluids in the ice cream containers.

question: What are the customer's questions for the ice cream man?

answer: The customer asks why the ice cream man keeps his vomit in the vanilla container and why it's contained at all.

question: What is the relationship between the ice cream man and the customer?

answer: There is no relationship between them, but their interactions seem tense due to the ice cream man's inappropriateness.

question: How does the story end?

answer: The customer chooses to eat the ice cream man's vomit. He walks out of the store and is never seen again.

question: Write a ~3 sentence summary.

answer: A man goes into an ice cream shop and is confused when he learns the ice cream man stores various bodily fluids in the ice cream containers. After a long back and forth, the customer decides to just order the ice cream man's vomit. The customer leaves the store and is never seen again.


text:
WILLIAM HARTWELL SNYDER, JR. (30 August 1929 – 12 March 2008) was an American playwright and a longtime faculty member of the theatre department at the University of Tennessee at Martin. He is best known for his play _The Days and Nights of BeeBee Fenstermaker_.

Biography

Snyder attended Yale University's School of Drama where he earned a master of fine arts degree in playwrighting.[1] While there the school mounted a production of his play _A True And Special Friend_ in 1956 with a cast including Jonathan Frid.[2]

In 1962 Snyder's play _The Days and Nights of BeeBee Fenstermaker_ premiered Off-Broadway at the Sheridan Square Playhouse with Rose Gregorio in the title role and Robert Duvall as Bob Smith.[3] Received with critical praise, the play ran for a total of 304 performances.[4] The work was later adapted by Snyder into two television films, one in English for British ATV drama with Patricia Neal as BeeBee and one in German for German television with Loni von Friedl in the title role.[5] Also in 1962, Snyder produced Garson Kanin's play _A Gift of Time_ for its debut on Broadway at the Ethel Barrymore Theatre where it ran for 94 performances.[6] The cast notably included Olivia de Havilland, Henry Fonda, and Joseph Campanella; the latter of which garnered a Tony Award nomination for his performance in the play.[7]

In 1964 Snyder joined the faculty at the University of Tennessee at Martin. He taught a variety of theatre subjects including acting, playwrighting, and directing during his thirty two years at the University. For most of his tenure at the University he was director of the UT Martin Vanguard Theatre; notably directing somewhere between 150-200 productions at the University during his career. In 1990 he was awarded the highest honor bestowed on faculty members by the University, the University of Tennessee National Alumni Association Distinguished Professor award. After his retirement in 1996 he moved to Oregon. He died twelve years later at the age of 78 due to complications from Alzheimer's Disease.[8]

[1]

[2] Belknap Playbill and Program Collection

[3]

[4]

[5]

[6]

[7]

[8]

title: William Snyder (playwright)

question: What year did William Snyder die?

answer: 2008.

question: Where was he from?

answer: The United States.

question: Where did he teach?

answer: The University of Tennessee at Martin.

question: Where did he earn a master of fine arts degree?

answer: Yale University.

question: Write a ~5 sentence summary.

answer: William Hartwell Snyder is an American playwright and longtime faculty member at the University of Tennessee at Martin. He attended Yale University's School of Drama where he earned  a masters of fine arts in playwriting. He wrote two plays in the 1950s-which were mounted and performed throughout the 60s-and produced a few other plays. In 964 Snyder joined the faculty at the University of Tennessee at Martin. He died in 1978.


text:
The 1992 SAN JOSE STATE SPARTANS FOOTBALL TEAM represented San Jose State University during the 1992 NCAA Division I-A football season as a member of the Big West Conference. The team was led by head coach Ron Turner, in his only year as head coach at San Jose State. They played home games at Spartan Stadium in San Jose, California. The Spartans finished the 1992 season with a record of seven wins and four losses (7–4, 4–2 Big West).

Schedule

[1] [2]

Team players in the NFL

No San Jose State Spartans were selected in the 1993 NFL Draft.[3]

Notes

[1]

[2]

[3]

question: Who led the 1992 San Jose State Spartans football team?

answer: The team was led by head coach Ron Turner.

question: Who did the San Jose State Spartans football team represent?

answer: They represented San Jose State University

question: What was the Spartans football team a member of?

answer: Of the Big West Conference

question: Where did the Spartans football team play their home games?

answer: At the Spartan Stadium in San Jose, California.

question: Write a ~1 sentence summary.

answer: The 1992 San Jose State Spartans football team was led by head coach Ron Turner and finished the season with a record of seven wins and four loses.


text:
I am feeling a depression I know many are going through. I am still young but I want to show the world what I can do, right now. But I cannot. So many lost opportunities. I am completely crushed by school and still don't know the name of the job I soon want.
So many resolutions were created, goals written down, dreams dreamt... but none are done. I fear they will never be done. I may be young, but life moves too quickly for me to catch up. I've had a permit for a month and a half now, and I've practiced driving twice. I've written outlines for the book series I want to make, but I can't find the time to write it. I want to be a You tuber, making skits and commentating games to make people laugh.
I am so close to success, yet a million miles away.
So many of us feel this way... so many of us will fail, unless we change our mood and be filled with joy!
But how?!
I look at the clock, its 10:00pm, late for a school night, I wake at 4am every morning.

It feels selfish to complain.
But I do it anyways, silently, by thought, or text.

A terrible day it was for me....
.... I guess I'll try again tomorrow.

title: Stupid Depression

question: Who is the narrator?

answer: Unsure, they seem to be a student.

question: What are some reasons why the narrator feels depressed?

answer: The narrator feels as though they have missed out on many opportunities and are not achieving their full potential. They also are feeling overwhelmed by school.

question: What time does the narrator wake up every morning?

answer: The narrator wakes up at 4AM in the morning.

question: How old is the narrator?

answer: Unclear, they are of the age to be a student.

question: Write a ~2 sentence summary.

answer: The narrator feels depressed. They feel as though they are not achieving their full potential and are missing out on their dreams.


text:
The DEAD WRITERS THEATRE COLLECTIVE is a Chicago-based theatre company. The company performs shows written by or about dead writers with the tagline “Classic Theatre Resurrected.” The company is a non-profit theatre organization.

History

The Dead Writers Theatre Collective was founded in 2011 by Jim Schneider and Bob Douglas. Schneider acts as the current artistic director and Douglas as the managing director. The company focuses on putting on historically accurate shows that use classic and traditional theater techniques.[1]

On February 23, 2017, The Dead Writers Theatre Collection closed down after controversy with Schneider making comments on social media feeds of local performers. Further stories emerged of misconduct in the theatre's past.[2]

Productions

The Dead Writers Theatre Collective has put on shows written by notable authors from the Western Canon. These include authors such as Oscar Wilde, Noel Coward, and Jane Austen.[3] Their productions focus on the author's unique voice and the time period in which they wrote their plays.

The company performs in various theater venues around Chicago such as Stage 773 [4] and the Greenhouse Theater.[5] Their production history is as follows:

2016

-   The Importance of Being Earnest
-   Oh, Coward!

2015

-   The Learned Ladies
-   The Judas Kiss (play)

2014

-   The Game of Love and Chance
-   The House of Mirth
-   Emma (novel)

2013

-   Lady Windermere's Fan
-   Tea with Edie and Fitz

2012

-   Loos Ends
-   The Vortex

Awards and recognition

The Dead Writers Theatre Collective is recognized by the Jeff Awards for non-equity regional theater. Their 2016 production of Oh, Coward! was a Jeff Recommended Show.[6]

[1]

[2]

[3] Production History

[4] Stage 773 Venue History

[5] Greenhouse Venue History

[6]

title: Dead Writers Theatre Collective

question: Where was the Dead Writers Theatre Collective based?

answer: It was Chicago-based.

question: What type of show did they usually perform?

answer: They performed shows written or about dead writers.

question: When was the company started?

answer: 2011

question: What kind of comment was Schneider making on the feeds of the local performers?

answer: Information not found.

question: Name some authors which plays the company performed.

answer: Oscar Wilde, Noel Coward, and Jane Austen.

question: Write a ~2 sentence summary.

answer: The article is about the Dead Writers Theatre Collective, a Chicago-based theater company that performs shows written by or about dead writers. It was started in 2011 but closed its curtains on Feb 23, 2017, due to its founder's misbehavior.


text:
[]

Meadows Square Shopping Center and MMG Equity Partners’ Gabriel Navarro (Credit: MMG Equity Partners)

Pinecrest-based MMG Equity Partners just paid $17 million for a shopping center in the Boynton Beach, according to a press release.

Meadows Square Shopping Center, a 94,7000-square-foot retail strip at 4701 North Congress Avenue, traded for nearly $180 per square foot. Records show the buyer financed the deal with an $11.4 million loan, which according to MMG, stems from a life insurance company. HFF arranged the financing.

G&I VIII Meadows Square, an affiliate of New York-based investment manager DRA Advisors, is the seller.

The 9.5-acre site, anchored by Presidente Supermarket and Dollar Tree, is 97 percent leased, according to the release. The shopping center was built in 1986 and last sold for $10.75 million in 2014.

CBRE’s Casey Rosen represented the seller, according to the release.

MMG concentrates on the long-term ownership, development, and acquisition of commercial properties, according to its website. The privately-owned real estate investment firm has a portfolio of 2 million square feet across the United States and Canada, with a majority in South Florida.

In March, MMG paid $38.58 million for a shopping center in the Kendall neighborhood of Miami.

In February, DRA Advisors was involved in one of the largest commercial sales in Broward County this year. The firm sold two shopping centers in Pembroke Pines for about $163 million to an Oak Brook, Illinois-based REIT. – _Amanda Rabines_

question: How much did the shopping center cost?

answer: 17 million dollars.

question: How large is Meadows Square shopping center?

answer: 94,700 square-foot

question: Who is the seller?

answer: G&I VIII Meadows Square

question: What dies MMG do?

answer: Concentrates on the long-term ownership, development, and acquisition of commercial properties.

question: Write a ~1 sentence summary.

answer: The text reports on MMG Equity Partners buying a shopping center in Miami.


text:
The 1954 CANADA CUP took place August 20–22 at the Laval-sur-le-Lac Golf Club in Laval, Quebec, Canada. It was the second Canada Cup event, which became the World Cup in 1967. The tournament was a 72-hole stroke play team event with 25 teams. Each team consisted of two players from a country. The combined score of each team determined the team results.[1]18 holes were played on the first two days with 36 holes played on the final day. The Australian team of Kel Nagle and Peter Thomson won by four strokes over the Argentine team of Antonio Cerdá and Roberto De Vicenzo.[2] Canadian Stan Leonard had the lowest individual score with 275, two strokes ahead of Peter Thomson.[3]

Teams

  Country       Players
  ------------- ---------------------------------------
                Antonio Cerdá and Roberto De Vicenzo
                Kel Nagle and Peter Thomson
                Arthur Devulder and Flory Van Donck
                Mário Gonzalez and Ricardo Rossi
                Jules Huot and Stan Leonard
                Emilio Palacios and Luis Salas
                Pablo Molina and Raúl Posse
                Naaman Aly and Cherif El-Sayed Cherif
                Peter Alliss and Harry Weetman
                Jean Garaïalde and François Saubaber
                Harry Bradshaw and Fred Daly
                Aldo Casera and Ugo Grappasonni
                Michio Ishii and Torakichi Nakamura
                AI Escalante and Augustin Martinez
                Joop Rühl and Piet Witte
                Eddie Fennell and Ernie Southerden
                Larry Montes and Celestino Tugot
  Scandinavia   Carl Paulsen and Arne Werkell
                Eric Brown and Tom Haliburton
                Bobby Locke and Bert Thomas
                Carlos Celles and Sebastián Miguel
                Robert Lanz and Otto Schoepfer
                Jimmy Demaret and Sam Snead
                Harry Gould and Dai Rees
                Georg Bessner and Friedel Schmaderer

The Scandinavian team consisted of a Dane, Carl Paulsen, and a Swede, Arne Werkell.

Source[4]

Scores

  #     Country               Score                 To par
  ----- --------------------- --------------------- --------
  1                           137-144-140-135=556   −20
  2                           142-139-138-141=560   −16
  3                           144-140-139-142=565   −11
  4                           141-143-143-143=570   −6
  5                           144-140-138-149=571   −5
  6                           147-140-143-143=573   −3
  7                           143-143-144-144=574   −2
  8                           144-144-141-146=575   −1
  T9                          150-146-143-139=578   +2
        145-146-146-141=578
  T11                         143-148-139-149=579   +3
        147-149-146-137=579
  13                          144-144-148-150=586   +10
  14                          152-144-149-146=591   +15
  15                          152-151-150-140=593   +17
  16                          149-153-150-143=595   +19
  T17                         148-149-150-151=598   +22
        151-151-150-146=598
  T19                         150-148-147-156=601   +25
        152-153-151-145=601
  21    Scandinavia           148-151-158-152=609   +33
  T22                         157-147-155-151=610   +34
        152-155-157-146=610
  24                          150-156-160-160=626   +50
  WD                          149-WD

Source[5][6][7][8]

The leading individual scores were 275 by Stan Leonard and 277 by Peter Thomson.[9]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

title: 1954 Canada Cup

question: What is the article about?

answer: The article is about the 1954 Canada Cup.

question: What sport is the article about?

answer: The article is about golf.

question: How many players were at the 1954 Canada Cup?

answer: There were 50 players (25 teams each consisting of two players).

question: Which country team placed first?

answer: The Australian team.

question: Write a ~3 sentence summary.

answer: The article is about 1954 Canada Cup golf tournament. There were 50 players, 25 country teams each consisting of two players. The Australian team placed first.


text:
ACE HOTEL DOWNTOWN LOS ANGELES, originally built as the CALIFORNIA PETROLEUM CORPORATION BUILDING and later known as the TEXACO BUILDING, is a , 13-story highrise hotel and theater building located at 937 South Broadway in downtown Los Angeles, California. It was the tallest building in the city for one year after its completion in 1927, and was the tallest privately owned structure in Los Angeles until 1956. Its style is Spanish Gothic, patterned after Segovia Cathedral in Segovia, Spain.

The building contains the historic UNITED ARTISTS THEATRE, the flagship theater built for the United Artists motion picture studio. The theater was later used as a church by pastors Gene Scott and his widow Melissa Scott under the name “University Cathedral”. In October 2011, Scott's Wescott Christian Center Inc. sold the building to Greenfield Partners, a real estate investment company located in Westport, Connecticut, for $11 million.[1] It was converted to a hotel, and opened in 2014. The hotel is part of the Ace Hotels chain.

United Artists Theatre period

[Street facade on Broadway.] The theatre was designed by the architect C. Howard Crane of the firm Walker & Eisen for the United Artists film studio formed by D. W. Griffith, Charlie Chaplin, Douglas Fairbanks and Mary Pickford.[2] The theater, a classic movie palace, was one of many constructed by United Artists and served as a major premier house. The theater occupies three floors of the 13-story building and has a 2,214-seat auditorium.[3] Like many movie theaters, the seat rows sink in toward the front of the orchestra section, so ticket holders there must look up at the stage.[4]

University Cathedral period

[Cinema-theatre-church marquee and entrance.] The building was first leased by televangelist Gene Scott in 1989, to be used as the location from which to broadcast the live Sunday services of his ministry. Scott held his first Sunday service there in 1990 and continued to hold Sunday services there until his death in 2005. A designated historic monument in itself, the building was for many years topped by the historic “Jesus Saves” neon signs (originally from the Church of the Open Door). They were located in the rear lower roof, one facing the west and one north, until September 10, 2011, when one sign was removed by crane. The building was claimed to house the largest collection of Bibles in private hands. After leasing for thirteen years, Gene Scott purchased the building in 2002. Following Scott's death, services continued to be held at the Los Angeles University Cathedral by Melissa Scott, the widow of Gene Scott, with services broadcast over TV, shortwave radio, and the Internet.

Ace Hotel conversion

The building has been completely restored and renovated to serve as a luxury boutique hotel called ACE HOTEL DOWNTOWN LOS ANGELES. It features 182 rooms, a pool, a restaurant and three bars, as well as the restored theatre.[5] It opened on January 16, 2014. In December 2014, Greenfield Partners put the building up for sale, seeking about $100 million as the sale price.[6] In May 2015, Chesapeake Lodging Trust bought the building for $103 million.[7]

The theater was restored as well and re-opened on February 14, 2014, with concerts by the British rock band Spiritualized.[8] L.A. Dance Project, a dance company founded by choreographer Benjamin Millepied, will also take residence in the Theatre at Ace Hotel.[9] Red Hot Chili Peppers performed a fundraiser at the Ace Hotel on February 5, 2016 in support of presidential candidate Bernie Sanders.[10]

Broadway Theater Historic District

The building is a historic district contributing property in the Broadway Theater District on the National Register of Historic Places. It is also a Los Angeles Historic-Cultural Monument.[11]

[1]

[2]

[3]

[4] Lewis Segal (February 21, 2014), Review: L.A. Dance Project's launch at Ace Hotel beautifully in sync _Los Angeles Times_.

[5]

[6]

[7]

[8] Mike Boehm (January 14, 2014), Millepied's L.A. Dance Project finds home: 1927 downtown theater _Los Angeles Times_.

[9]

[10]

[11]

title: Ace Hotel Los Angeles

question: What does the text say about the United Artists Theatre?

answer: The United Artists Theatre is contained within the Ace Hotel. It was the flagship theater built for the United Artists motion picture studio. It was designed by C. Howard Crane and served as a major movie premier house. It occupies three floors of the 13-story building, and has a 2,214-seat auditorium. It was later used as a church by pastors Gene Scott and his widow Melissa Scott under the name "University Cathedral." The theater was restored and re-opened in 2014.

question: What does the text say about the building in the 2010s?

answer: The building was completely restored and renovated to serve as a luxury boutique hotel called the Ace Hotel Downtown Los Angeles, part of the Ace Hotels chain, in 2014. The new hotel features 182 rooms, a pool, a restaurant, and three bars, as well as the restored theater. It was sold by Greenfield Partners to the Chesapeake Lodging Trust in 2015 for $103 million. The theater has featured performances by Spiritualized and a fundraiser performance by the Red Hot Chili Peppers.

question: What does the text say about the land that the building is on before it was constructed?


text:
Amelia leaned up against the taxi and stared as the sheriff and repossession team emptied her home and memories onto the front lawn. Her father was fighting back tears, as he pleaded and begged the officer for another chance or more time; the alcohol on his breath disgusted the sheriff, but even he didn’t lack the empathy to arrest a man who had already been so thoroughly embarrassed in front of his family. Amelia’s mother stood with her back to the whole ordeal, chain-smoking cigarettes and massaging her temples with the free hand.

The next thing her father slurred was what set Amelia off.

“[…]if you’re gonna’ jusht throw us on the st-street like a bunch of bums, at least… at least look at my fuckin’ daughter in-in the eyes.” He pointed at her from across the lawn, but the sheriff only glanced at her and back to the belligerent man who was sending spit in every direction.

Meanwhile, Amelia’s jaw was dropping at the nerve it took to use her as a prop, regardless of her father’s shaky history. She felt like storming towards the useless man and screaming every infuriated thought that entered her head, but it was no use; he’d already spent on alcohol what he hadn’t on gambling, and she had already spent every emotion she ever felt.

So, she stood there, as hollow her house was. As a repo man carried out the stuffed dog that had sat in the corner of her room since she could walk, she looked back at her mother and felt the urge to ask for a cigarette.

title: Repo (268 words)

question: Why is the repossession team emptying Amelia's home?

answer: Her father spent all his money on gambling and alcohol.

question: Who does Amelia live with?

answer: Her mother and her father.

question: Why is the sheriff disgusted?

answer: Because he smells alcohol on Amelia's father's breath.

question: Describe the significance of the stuffed dog.

answer: Amelia has had the stuffed dug ever since she was old enough to walk.

question: Write a ~2 sentence summary.

answer: Amelia watches as the repo men take away all of her family's belongings after their father gambled away all their money. The sheriff oversees the repossession, disgusted by the smell of alcohol on Amelia's father's breath.


text:
You may not be of much help when it comes to sharpening your son's calculus skills. But during my 35-plus years of clinical practice it's become clear to me that parents can play a huge role in helping their children to develop a critical life skill: the ability to take notice of their thoughts, to step back and view the bigger picture, and to decide how to act based on that more realistic perspective.

Taking heed of an alarmist or pessimistic inner voice is a universal experience. It has survival value; it often protects people from danger. And it's often true that a worrying thought can act as a motivating force – to study, for example.

Still, the insecurities that adolescents feel as they undergo the multiple transitions necessary in growing up make them especially vulnerable to believing the worst. This tendency can lead to chronic anxiety, depression and anger, and can interfere with relationships and success in school.

Helping children grasp the importance of thinking more realistically may help protect them later when they make the huge transition to college. A 2016 survey by the American College Health Association of undergraduates at over 50 colleges and universities found that about 38 percent had felt so depressed at some time during the previous year that it was tough to function. Some 60 percent had experienced an episode of debilitating anxiety.

The power of thoughts to affect feelings and behavior is a foundational principle of cognitive behavioral therapy, which is the form of therapy that I practice. CBT teaches people how to recognize faulty negative self-talk, to notice how it makes them feel and act, and to challenge it. Parents can practice this skill themselves, and act as models as they guide their kids to question a thought by looking at the evidence for and against it.

If your child often seems withdrawn, sad or angry, you may be able to identify a problematic thinking pattern by listening closely. Here are four key styles of negative self-talk to listen for:

CATASTROPHIZING. One common thought habit is the tendency to jump to the worst-case scenario ("What if I fail the test? I'm never going to get into college!") Scanning constantly for disaster ahead acts as a huge contributor to anxiety. And catastrophizing often leads teens to avoid people or become reluctant to try new things.

ZOOMING IN ON THE NEGATIVE. Ruminating on a disappointment without taking into account the many positive and neutral aspects of one's experience is often associated with sadness and depression. A missed soccer goal might overshadow everything else that happens one day – the lunch with friends, the good grade on a test, the hilarious TV show – and consume your high-schooler for days.

IT'S NOT FAIR! Interpreting every letdown as a grave injustice – the "it's not fair!" habit – often underlies teens' anger and can harm friendships and family relationships.

I CAN'T! Reacting habitually to difficult situations or to new opportunities with "I can't," rather than "I can try," leads to helplessness. Changing the thought to "I can try!" encourages problem-solving and a willingness to be proactive, to take positive action — both keys to being successful and resilient.

For parents, the idea is not to squelch the negative thought. Research has found that attempted "thought stopping" can actually make the idea stickier. Rather, you want your child to face the thought, thoroughly examine it and replace it with a more realistic and helpful perspective.

Questions that you might pose to carefully weigh the evidence include: "You had a group of friends at your old school and at camp – realistically, what are the chances you can't make friends now? What actions can you take to reach out? What would you say to somebody else who worries about this?"

A helpful replacement thought might be: "It probably will take a few weeks to get to know people, but I've made friends before and there are things I can try. I can sign up for the photography or robotics club and meet people that way."

More realistic and balanced thinking leads to positive action, which, in turn, tends to bolster confidence, enhance self-esteem and result in greater happiness.

_Mary K. Alvord, Ph.D., is a psychologist and director of Alvord, Baker & Associates, LLC, in Rockville, Md. She is the co-author of_ Conquer Negative Thinking for Teens: A Workbook to Break the Nine Thought Habits That Are Holding You Back_, as well as the audio recording_ Relaxation and Self-Regulation Techniques for Children and Teens_._

Copyright 2017 NPR. To see more, visit http://www.npr.org/.[]

question: What is the main through-line of this article?

answer: The article is about how kids tend to reflect on negativity. The author recounts some of the main ways they do this, as well as offering solutions to the problem. The through-line is that kids need help to get through these bad habits that inevitably form in adolescence.

question: Why are young people more inclined to see the world through a lens of negativity?

answer: The article indicates that young people are more inclined to see things in terms of extremes. The author gives names to these behaviours such as 'catastrophizing' and 'I can't'. The trouble being that even if these things aren't actually big deals, the young person will see it through that lens, leading to higher rates of anxiety.

question: Why are kids in the 21st century more susceptible to this way of thinking?

question: Are the solutions offered by the article simple?

answer: The solutions are simple in theory. Changing the view points of kids in order for them to see things more realistically does make sense. In practice it might be more difficult as it would also require the parent to change how they approach the situation too.


text:
_TIRATHABA UNICOLORELLA_ is a species of moth of the family Pyralidae.[1][2] It was described by George Hampson in 1896. It is found in Bhutan and India (Assam).[3][4][5]

The wingspan is about 34 mm. Adults are uniform pale olive green, the forewings with a few scattered black scales and small raised specks of black scales at the middle and end of the cell, as well as an indistinct minutely dentate curved postmedial line. The hindwings are slightly paler.[6]

[1]

[2]

[3]

[4]

[5] “_Tirathaba_ Walker, 1864” at Markku Savela's _Lepidoptera and Some Other Life Forms_. Retrieved June 12, 2017.

[6] _The Fauna of British India (Moths)_ 4 : 5

title: Tirathaba unicolorella

question: What type of species is Tirathaba unicolorella?

answer: A species of moth

question: Describe the physical appearance of Tirathaba unicolorella.

answer: It has a wingspan of about 34 mm. Adults are a pale olive green. The forewings have a few scattered black scales and small raised specks of black scales at the middle and end of the cell. The hindwings are slightly paler.

question: Where can Tirathaba unicolorella be found?

answer: Bhutan and India

question: When was Tirathaba unicolorella first described?

answer: 1896

question: Write a ~2 sentence summary.

answer: Tirathaba unicolorella is a species of moth belonging to the family Pyralidae. It can be found in Bhutan and India.


text:
Butcher's got three eyes.

I know this because I was playing in the sausages kept all coiled up like a great big snake in one of those rolling recycling bins that look like a giant robot foot all turned upside-down.

I was pretending it was a swimming pool and balanced myself on the side on all fours like one of those cartoons where that stupid cat in the funnies doesn't wanna take a bath and he keeps getting pushed in so he puts out all his legs and presses up so he doesn't touch the water. I was doin it like that and pretending I was one of those Olympic swimmers cept I was in my undies and not a speedo and it was a buncha sausage not water.
Anyway I was crouching over it like that and I dipped my toe into the great big thing of sausage and Butcher's choppin up a pig on this cold slab in the middle of the room and not even looking at me when I hear "Wutcha doin back there Tony? I got one big evil eye in the back of my head ya know" and it spooked me so hard that I fell in. There's sausage everywhere I look. I was drownin in this meat and Butcher don't even lend a hand. Just took that great big knife and kept slappin the back of that pig's neck with it. So I start feelin my way out of the strings and climb up out of the pool into the "Industrial Cooling and Freezing Apparatus" as Butcher likes to call it (cause Butcher's so damn proud of getting this big-ass freezer) and haul my ass out on to the floor and at this point I'm dyin of hypothermia. My clothes are still upstairs in the apartment and to get up there I gotta get past Butcher so I gotta make a distraction.

Butcher's smackin away at that pig's neck so I run back and look at the conveyor line with all them pigs hangin on hooks like an undiscovered species of fish that you just caught twenty of. I figure I can grab onto this pig and ride it right past Butcher to the stairway so I take a running start and leap onto this pig's big blubbery body and dig my fingernails into his creepy dead skin to hang on. With my left leg I smack the button behind me and vroom off goes the conveyer line into the front of the store and that's when Butcher turned around to see all those pigs flyin through the air stinkin up the place like a piggy morgue. I'm hangin on tight to this mad pig in my skivvies feeling like I'm gonna die and then I hear a fat "rrrrrippp!" comin from my pig and it falls off the hook near the staircase.

I'm trapped under this giant pig and Butcher looks maaaad. The conveyor line stopped and Butcher sees my fallen pig and my stupid face out under it and grabs me by the ear and hoists me up. I can feel the skin at the bottom of my ear starting to separate from my head like the pig from the hook and it's so soft but so close to my ear that I can hear it echo in my head. "Rrrrrripp!" I start screaming and crying and Butcher puts me down and slaps me across the face.

"You just cost me a pig boy!" She says in her big tough voice and throws her Butcher knife in the pig on the floor next to me. It sinks in deep into the flesh with a little trickle of juices.

"Sorry Butcher." I say, rubbing my ear. "I was just horsing around."

"As long as I'm the person that carried you, you will call my Mother in my shop!"

"Okay Ma."

She smacks me again.

My face lands in the face of the pig, its dead eyes looking back it me, tongue lolling out the side. The snout on my cheek feels unreal. Like when I touched my father's nose at his funeral in the backyard. My grubby little hand felt down his forehead and to his nose, all rubbery and cold before Butcher said that I need to "Get the fuck back in the house before you make a scene." So I sat in my room while Butcher dug a hole for him in his best suit to cover up the gun holes in his chest.

"MOTHER." Says Butcher looking me in the eye. "Say it with me."

"Muh-ther." We both say, me mumbling with her shouting.

Butcher goes back to choppin her meat up and I stumble upstairs clutchin my ear to see if there's anything besides pork chops to eat.

There ain't.

title: Butcher

question: What are the 'strings'?

answer: Sausage strings

question: Who does Butcher not lend a hand to?

answer: Tony (the narrator)

question: Why is the narrator there in the first place?

answer: He's just horsing around

question: Why doesn't the narrator want the Butcher to see them?

answer: He doesn't want to get in trouble

question: Write a ~3 sentence summary.

answer: As Butcher chops a pig, Tony messes around with the frozen dead pigs. When he tries to sneak past her by hanging onto a pig on the conveyer, it rips and he falls. Butcher is angry that he cost her a pig.