text:
"Coffee".

"What?"

"Coffee."

"Yeah. So where do you want to go?"

"I dunno, Kaka?"

"Sure, like, why not?"

"Let's go."

"Wait."

"What?"

"Look, about last night."

"Forget about it."

"I... yeah."

"What?"

"Nothing."

"Come on, spit it out."

"No I just, wanted to say... that it was good."

"Yeah."

"So now what?"

"Coffee."

"No I mean now what, I mean what are we?"

"I don't know."

"No I mean, are we together now?"

"I don't know."

"You want to be... together."

"I don't know."

"Well say something!"

"I think I love you."

"What?"

"Yeah."

"Well, I... this is... I mean... Well..."

"I said I love you."

"I know what you said."

"So...?"

"So what...?"

"Maybe I made a mistake saying it."

"NO! No... I'm sorry. I just don't want to ruin our friendship."

"I'm sorry then. I'll go."

"No wait, don't go. I don't want you to go. I want to be with you. I want to spend this morning with you and you alone. I want us to be, together."

"So do I."

"Okay then."

"What?"

"Coffee?"

"Yeah."

title: Coffee.

question: What happened last night?

answer: It is implied that the two characters had sex.

question: Explain the conflict in the story.

answer: One of the characters says that they love the other but the other is scared of ruining their friendship.

question: How many characters are present in the story?

answer: Two

question: What is Kaka?

answer: It is implied to be a coffee shop.


split: train

text:
It’s like your head is a conference room where all the decisions about your life are made. At the front, there’s this guy in a business suit. He has graphs and charts and PowerPoint presentations, and he’s droning on to
  a group of Japanese businessmen. But they aren’t actually businessmen, and they only resemble the Japanese in
   that they don’t speak his language. They’re more like destructive monkeys, and they aren’t listening to the
business suit. They’re running around and wreaking havoc. They destroy everything. They pull the blinds open and
    shut. They pull strings. And suddenly, you’re doing what the monkeys say. The man in the suit is giving a
presentation and presenting evidence proving that you shouldn’t do it, that you should just leave it, that what
you’re about to do is a bad idea and just leaving it would be good. But the monkeys are in control, and he watches from your pupils with overworked eyes, knowing the grave consequences of your actions.
    Then you’re at the low and you already ignored the suit man once. When you hear a voice that sounds less like
 screeching, you listen. This voice tells you just one flick of silver, just bleed a little. You deserve this,
    remember? You messed up and now you should be punished. He sounds so reasonable, even though it’s suspicious. Your suit man would never tell you this. But you like the way this voice thinks so you listen harder.
         You stupid bitch, you stupid bitch. The suit man swoops in to stop you with the blade frozen on your skin
 and you go to bed, tears in your eyes.
    	The man in the suit watches sadly. He can’t do much to help you. He knows you’re slipping away. The
     monkeys are still running wild and his dark doppelganger still urges you towards blades and pills. He looks so
    weak and tired, so do you. And you’re so very sad, when the doppelganger suggests suicide, you can’t help but
     wonder.
    	The man in the suit springs to action at the front of the room, with a presentation of the joy in your
   mechanized dreams, the future and possibilities. The doppelganger just whispers, “You won’t be sad anymore.
Not     sad, not sad, not sad,” and he’s so compelling. You listen and the suit man keeps talking but he won’t raise
 his    voice. He does still have a little strength, and he cries weakly for help without actually asking. He wants to
 be     saved so you do too.
    	In the car you get the call, and you know exactly who it is before he tells you. You know what your mom’s
     silence means. She’s upset and you don’t want to worry her, but you don’t want to talk. Your brother stays
quiet     then gets mean, but you don’t want to talk to him, so you shut him up. Your mom wants to take your car
but you     won’t let her. If you can’t drive your car, you’re really screwed up. You need to be normal to be ok.

 You’ve thought you were ok a thousand times, but you never are. You don’t know if you ever can be. You’re
    not even sure if you want to be anymore. Ok seems like some far away dream. You don’t remember it and
you don’t know what it looks like. So you wait and see, and maybe someday you’ll understand it again.

title: The Man in the Suit

question: Who is the man in the suit?

answer: The man in the suit is a metaphorical being inside the protagonist's head. He represents the voice of reason or the conscience, urging the protagonist not to do what they are about to do.

question: What is the central conflict in the story?

answer: The protagonist is contemplating suicide, and there is an internal battle going on inside his head as he struggles with this decision.

question: Who are the monkeys?

answer: The monkeys are chaotic, destructive forces within the protagonist's mind

question: Summarize the actions taken by the doppelganger.

answer: The doppelganger encourages the protagonist the seek solace in blades and pills. He tries to get the protagonist to commit suicide.

question: What decision does the protagonist make at the end of the story?

answer: He decides to continue living and to wait and see if he will ever feel normal again.

question: Write a ~4 sentence summary.

answer: The protagonist grapples with an urge to commit suicide. This conflict manifests in his mind as a struggle between a man in a suit, who wants to save the protagonist, and a group of monkeys, who represent a destructive force. The man in the suit's doppelganger manifests and urges the protagonist to kill himself. The man in the suit manages to convince the protagonist to continue living and wait to see if one day he will feel normal again.


text:
The world is made of edges, you said and I, thinking of razors and cliffs and the black terminator rushing towards us past the resolute meridians of our days, looked up at you, and you smiled and said no.

 You drew a map on a white napkin and told me how there are always more feet than will go into a mile, more inches than will make a foot, about every edge. Achilles was in it and some slow thing, a turtle perhaps, or a snail.
 But these were only masks for numbers, and I grew tired of Achilles and his logarithms, and we went to the beach.

 The dew was on the rocks and the tide was out and there were soft things quaking in the horrible light. There is so much death at the edges, I said.

 Everything lives at the edges. You frowned at me like a stormcloud. You spoke of ecotones and cusps and crises. I saw your fingers rubbing chalkdust, shedding the imagined detritus of a hundred dusty lectures.

 I listened while the sun sneaked through your curls and warmed my arms like your hands on a cold morning. I rubbed my board with the pale bitter wax that smells like violins and tobacco and burns if you get it in your eyes.

 Then I painted you with coconut oil and lemon where we hid behind the big red parasol, and your breasts rose and fell like the pears on the windrow by the seawall, your fingers espaliered a small blossom.

 I left you there on the green striped towel with your books and sunglasses, your tea and the basket of boiled eggs and sandwiches and the last of the fig newtons. And I went to the ocean.

 (I dreamt out there, did I tell you?)

 The place where the sea and the earth and the air touch, I touched too, making a moist track, and we were like sisters meeting or like four old lovers, sleeping side by side in a tent with the moon watching, or like both of those things loving each other and jealous at the same time.

 I have heard of the surf marching forward, of the waves battering the earth and retreating, sending forays against the sand and being hurled back.
 This is a man thing, I thought.

 We who have lain at the point where the dry becomes the wet know that these are kisses and caresses, and the thrusts and tumblings have no martial intent. All living things are born from this meeting, into the bright air. We gasp, we burn, we die and return, whether to earth or sea.

 (Your thoughts were not lost out there, you see?)

 I hold them in my head when I let the dreams take me, and we do not disagree.

 The thing about edges, I liked. Everything that really lives, lives at the edge of something, you said, and I saw a bead rolling between two widening wires, always about to fall, and somehow never doing it. Always moving forward, and rising and declining imperceptibly, as the world carries it onward.

 Benoit, you said, and ecotone. I liked the words, but you never told me what they mean, unless I was listening to the gulls or the surf or the soft murmur of your pulse beneath my hand.

The wind shook your blue hat, and I got you a green lounge from the old man who made the umbrellas for the wind to break and drag across the foreshore like tattered dreamthings.

 Like the birds of wakening, that watched us from the long rusted rails above the seawall and there was a tall girl at the bar who said that the sun was in your hair and I hated her for seeing it and for seeing you smile, and loved her for knowing the same things that I knew.

The heartbeat of the world you called it, the surf you meant, and the tall girl brought us crab legs and you talked a while about the things that come out of the sea.

 The hermit crabs and the robbers, the tiny sidling fingernail crabs that run away from motion like a child who fears strangers, straggling behind the skirts of the seawrack peeping bashfully out.

 And the great ghost crabs; the grey and shining grandmothers twitching their long braches like blind man’s sticks through the pebbles toward the tidepools, with the moon in their eyes.

 They love the sun, but the moon is their mistress - you told me this, and asked me:

 "Have I told you that the sea is made of blood? It's true; but the blood is stronger now that it was when we left."

 I knew you did not mean ourselves, but some lost frightened fossil, living again for a moment in the tide behind your eyes.

 We swam then, and you moved back and forth through the break like an otter, and then the boarders came down the long stair and waited till we came out before charging like whooping soldiers into that great onslaught that neither marked them nor wavered.

 Under the rusting nod of the lotus pod spigot you turned and turned and lost the scent of our mother the ocean, and smelled like you and the sun and the cocoa butter sunscreen I had bought from the old man with the red hat.

 Blind, you said, but he saw you, as the earth and the ocean and the sky see you now. As the fire saw you then, lapping lights across your sand dusted hip, limning out our vagrant silhouettes upon the moist earth.

 (I thought I held you that night in the tent, but it was not you, was it?)

 Beneath their lids your eyes were watching the pale circles of the gulls, reaching with their wings for the earth as the sky drew them back in the direction of the invisible stars.

 The next day I rode to the top of the break and found a wave waiting; a terrible thing as green and clear and bubbled as the bottom of an antique bottle.

 And I was up and I was in it and the board was a tongue in the mouth of the ocean, and I was for a while that thing which you were always:

 Caught between the air and the sky, driving forward into time, unmoving, until the ocean cast me out and dropped me at your feet, and we showered and you combed out my hair and we had breakfast.

 (These are the things I remember, in this dim place beneath the trees, where the ocean has not been these million lifetimes.)

 (Still), within your eyes, i think I am there, that I will always live there, on the edge between memory and dream, with the bright birds and the grey skies, turning, rising like the wave, and hanging in that place within your mind, where standing still we rise, and rising, turn, and fall, and are falling, now. Forever.

title: Creatures of the Swash Zone

question: What gender is the person the story is addressed to?

answer: Female

question: What is meant by "we die and return, whether to earth or sea"?

answer: This means that when humans die, they decompose and become a part of the earth again.

question: What emotion is depicted in the line "I hated her for seeing it and for seeing you smile"?

answer: Jealousy

question: Explain what is meant by the line "(Still), within your eyes, i think I am there, that I will always live there".

answer: The line means that when the narrator looks into the other characters eyes, they feel as if they are reliving their memories of the past, of their time by the ocean.


text:
_GELD ODER LEBEN!_ (“Your Money or Your Life!”) is an album by the Austrian band Erste Allgemeine Verunsicherung.

Released in Germany in 1985 on catalogue number EMI Columbia 1333631 on the vinyl format and then reissued in 1986 EMI Columbia 1333631, also on vinyl but with a different cover.

In 1986, the album was also reissued on CD in Germany, on catalogue number EMI Columbia 7462302.

This album was released three times on cassette tape in The Netherlands, two of them in 1985, one on catalogue number EMI Columbia 1333634 and the other on catalogue number EMI Columbia 33394-8. In 1987, _Geld oder Leben!_ was certified three times platinum in Austria.[1]

The third issue was in 1991 on catalogue number EMI Columbia 1333634, with a different cover. In 1991, the album was also reissued on CD in The Netherlands, on catalogue number EMI Austria 7462302.

The tracks which feature “Johnny” at the start of the title are short humorous skits, in which the punchline usually changes the perspective of the previous part from a stereotypical Mafia-style criminal situation into something much more common and everydayish due to words with multiple meanings - e.g. in “Feuer”, Johnny asks his boss whether he has fire (for a cigarette), and his boss responds with opening gunfire, and in “Bullen”, Johnny warns his boss about “the bulls are coming” (German slang, similar to “the cops are coming”), to which the boss responds “let them in”, followed by the noise of a bull stampede.

Track listing

Ba-Ba-Bankrobbery

The band attempted to become better known on the international market by releasing their first – and only – English language single “Ba-Ba-Bankrobbery” in 1986 (apart from a translation of the song Ding Dong). This English-language version of “Ba-Ba-Banküberfall”, which was originally released in 1985 on a single but only in Germany appears on the “Geld oder Leben” album. “Ba-Ba-Bankrobbery” was released as a single in the UK, Germany, Spain and Canada on both 7" and 12" formats. The single was also released in Japan on 7" only.

The 12" version (or maxi) appears on the “Kann denn Schwachsinn Sünde sein?” (Can imbecility be a sin?) album, although the 7" English version does not seem to appear on any albums.

The song was basically a rap about how a man with no money can survive and comes up with the idea of robbing a bank as he can't think of any other way. This track was not very melodic, which did not seem to do it any favours. The “English-German” version is just the English version in a German accent. It is not a bilingual version as the title may suggest. The “British-British” version is the same but with a British accent, this appeared as an extended form on the 12" releases along with the standard length “English-German” version and the German-language version itself. As if this was not confusing enough, the 7" labelled the A side as “Ba-Ba-Bankrobbery (English Version??)”.

The Guinness Hit Singles book printed this title exactly how it printed on the label which made it look as though the authors were not sure of what they were printing. This was in the 7th edition, however more recent copies appeared to have dropped the question marks.

The song did not do very well. For instance in the UK, it was in the top 75 for just 4 weeks, peaking at number 68. The standard UK 7" featured the German accent version on the A side and the German-language version on the B side. It may have seemed a better idea to have recorded a few more English language tracks and released them as well in order to gain more international favour like the German band Dschinghis Khan did. The band did not record any further English-language versions of their songs, but used English in some of their regular songs.

Despite the band's failed attempt to gain international fame, they still remain quite popular in Germany and Austria.

Personnel

Erste Allgemeine Verunsicherung

-   Klaus Eberhartinger: lead vocals
-   Thomas Spitzer: guitars, vocals, lead vocals on “Helden”
-   Nino Holm: keyboards, bass, backing vocals
-   Eik Breit: bass, backing vocals
-   Anders Stenmo: drums
-   Mario Bottazzi: backing vocals
-   Günther Schönberger: backing vocals

Additional personnel

-   Marion Müller: backing vocals

Certifications

[1]

title: Geld oder Leben!

question: What does the text say about Geld order Leben?

answer: Geld order Leben is an album by the Austrian band Erste Allgemeine Verunsicherung. The song title translates to "Your Money or Your Life!"

question: What does the text say about music production?

question: What does the text say about the personnel involved in the production process?

answer: The lead vocals involved are Klaus Eberhartinger and Thomas Spitzer (who is also in charge of guitars and vocals). While the rest were involved in backing vocals. Nino Holm was in charge on keyboards, Eik Breit on bass, and Anders Stenmo on drums.

question: What does the text say about the German music industry?


text:
Lena Dunham was just kidding when she said she would leave the country if Donald Trump became president.

[Lena Dunham And Abby Wambach Attend Women For Hillary Events]

_(Photo: Scott Eisen/Getty Images)_

Just days after the Republican nominee defeated Hillary Clinton in the election, the actress addressed her followers who were telling her to pack her bags.

“For those demanding I move to Canada based on something I said when this man seemed like a steak salesman with a long shot at the presidency: stay busy reveling in your new regime,” Dunham wrote on Instagram Friday.

“I will go many places in my lifetime, surrounded by kindreds on a mission to spread justice and light. I can’t wait for all of this, and for the change to come, as we use what we’ve been given to protect those who can’t protect themselves. What are you living for?”

question: Where is this article published?

answer: Likely in a broadsheet news site, based on the language used.

question: Who is the target audience?

answer: Probably individuals interested in celebrity news (given the subject matter)

question: When was this article published?

answer: Likely late 2016 / early 2017, shortly after the election of Donald Trump (and the election would need to be relatively recent for this to be of interest)

question: What is the stance taken by the author?

answer: Unclear - much of the article quotes Lena Dunham.

question: Write a ~1 sentence summary.

answer: Actress Lena Dunham wrote on Instagram that she would stay in the US after Donald Trump was elected president, even though she said previously she would move.


text:
CAMBESES DO RIO, DONÕES E MOURILHE is a civil parish in the municipality of Montalegre, northern Portugal. It was formed in 2013 by the merger of the former parishes Cambeses do Rio, Donões and Mourilhe.[1] The population in 2011 was 309,[2] in an area of 45.30 km².[3]

[1]

[2] Instituto Nacional de Estatística (INE), Census 2011 results according to the 2013 administrative division of Portugal

[3]

title: Cambeses do Rio, Donões e Mourilhe

question: When was Cambeses do Rio, Donões e Mourilhe formed?

answer: It was formed in 2013.

question: Why were the parishes merged?

answer: Not answered.

question: How large is Cambeses do Rio, Donões e Mourilhe?

answer: It covers an area of 45.30 km².

question: What is the population of Cambeses do Rio, Donões e Mourilhe?

answer: As of 2011, the population was 309.

question: Write a ~1 sentence summary.

answer: Cambeses do Rio, Donões e Mourilhe is a civil parish in the municipality of Montalegre, northern Portugal.


text:
_A HEAVENLY VINTAGE_, also called _THE VINTNER'S LUCK_,[1] is a 2009 internationally co-produced romantic drama film co-written and directed by Niki Caro. It is loosely based on the novel _The Vintner's Luck_ by Elizabeth Knox. The film had its international premiere at the Toronto International Film Festival on 12 September 2009.

The film stars Jérémie Renier, Vera Farmiga, Gaspard Ulliel, and Keisha Castle-Hughes. The film marked the second time Caro worked with Castle-Hughes, a New Zealand actress and Academy Award nominee.[2]

Plot

The film is the story of Sobran Jodeau (Jérémie Renier), an ambitious young peasant winemaker, and the three loves of his life – his beautiful wife Celeste (Keisha Castle-Hughes), the proudly intellectual baroness Aurora de Valday (Vera Farmiga), and Xas (Gaspard Ulliel), an angel who strikes up an unlikely but enduring friendship that borders on eroticism with him.

Under Xas' guidance, Sobran is forced to fathom the nature of love and belief and in the process grapples with the sensual, the sacred and the profane – in pursuit of the perfect vintage.[3]

Cast

-   Jérémie Renier as Sobran Jodeau
-   Vera Farmiga as Aurora de Valday
-   Gaspard Ulliel as Xas, The Vintner's Luck
-   Keisha Castle-Hughes as Celeste
-   Vania Vilers as Jodeau Senior
-   Eric Godon as Father Lesy
-   Patrice Valota as Comte de Vully
-   Jean-Louis Sbille as Henri
-   Lizzie Brocheré as Sabine

Production

The film was directed by Niki Caro and co-written by Caro and Joan Scheckel. The film is based on the novel _The Vintner's Luck_ by Elizabeth Knox. Knox was disappointed at the direction the film took as she felt Caro “took out what the book was actually about”, referring to the romantic homosexual relationship between Sobran and Xas, which was a core aspect of the novel and was very noticeably toned down in the film version, though it still hints at it. Knox said that she “laid in bed and cried for days” after being shocked and upset by how much it departed from her story.[4]

The film was shot in Auckland, New Zealand, Belgium, and France – including in the medieval castle of Berzé.[5]

Release

The film premiered at the Toronto International Film Festival on 12 September 2009. It was later released in New Zealand on 12 November 2009, Australia on 14 January 2010, and Japan on 23 October 2010. In the United States, the film opened at the Sedona Film Festival on 23 February 2011. It was released to French cinemas on 25 January 2012. The film was released on DVD in the UK on 20 September 2010, in Germany on 16 March 2012, and in the United States on 17 April 2012.[6]

Reception

Critical response

The film has received polarized responses since the Toronto Film Festival. Positive reviews included Paul Fischer of _Dark Horizons_ who said: “A film about humanity and spirituality, Caro directs this film with an exquisite sense of detail. Gorgeous in all facets of visual detail, _The Vintner's Luck_ is also a fascinating romantic melodrama, and at its core, comprises a cast that is spot on”;[7] and Kate Rodger of 3 News who said, “For me, _The Vintner's Luck_ was a gorgeous collection of imagery, sound and movement, with moments of intoxicating beauty.”[8] Other reviewers criticised the film. Peter Brunette of _The Hollywood Reporter_ wrote, “It's difficult to believe that the same director who made the simple and affecting _Whale Rider_ in 2002 is responsible for _The Vintner's Luck_, an overblown work of amazing silliness.”[9] Justin Chang for _Variety_ wrote, “Caro never finds the emotional pulse of the story” in an adaptation he described as “drearily literal-minded”. However, he praised the “lyrical widescreen cinematography.”[10]

Accolades

  Year                                 Award                                       Recipient(s)   Category                              Result
  ------------------------------------ ------------------------------------------- -------------- ------------------------------------- --------
  2010                                 New Zealand Film & TV Awards                Vera Farmiga   Best Lead Actress in a Feature Film
  Grant Major                          Best Production Design in a Feature Film
  Beatrix Pasztor                      Best Costume Design in a Feature Film
  Denis Lenoir                         Best Cinematography
  Keisha Castle-Hughes                 Best Supporting Actress in a Feature Film
  2011                                 Houston International Film Festival         Niki Caro      Gold Remi Best Directing
  _A Heavenly Vintage_                 Special Jury Award – Best Foreign Film
  Sedona International Film Festival   Best Period Film

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

title: A Heavenly Vintage

question: What does the text say about the organization of the Toronto International Film Festival?

question: Summarize the critical response to the film.

answer: The film received polarized responses at the Toronto Film Festival. Positive reviews included that of Dark Horizons that said the story is a fascinating melodrama at its core with a spot on cast. Kate Rodgers praised the film's imagery, calling it gorgeous and intoxicating. The Hollywood Reporter was surprised that the simple and affecting Whale Rider director is the same person that directed this silliness. Variety felt that Caro missed the emotional pulse of the story but praised the widescreen cinematography, calling it lyrical.

question: What does the text say about Niki Caro?

answer: Niki Caro directed A Heavenly Vintage and co-wrote its script along with Joan Scheckel. The film marked the second time Caro worked with New Zealand actress Keisha Castle-Hughes. Caro's previous project was Whale Rider, seen by critics as simple and affecting. Whereas A Heavenly Vintage is seen as amazing silliness. Positive reviews state that Caro directed the film with an exquisite sense of detail and negative reviews that she never finds the emotional pulse of the story. Caro received a Gold Remi for Best Directing at the Houston International Film Festival.

question: Summarize the author's reaction to the screen adaptation of The Vintner's Luck.

answer: A heavenly Vintage film is loosely based on the novel The Vintner's Luck by Elizabeth Knox. Knox was disappointed at the direction the film took because she felt that Niki Caro, the director, took out what the book what actually about. Caro downplayed the romantic relationship between Sobran and Xaz, which Knox feels is a core aspect of the book. Knox laid in bed and cried for days after seeing the film from shock at the departure from the story. A critic also stated that Caro never found the emotional pulse of the story.


text:
What troubles me about today is everything.

I know that I’m entering work and I know that I do this every day, but this day seems just a little more terrible than the day before. Like that time I ordered a second beer and blacked out at that Applebees.

I walk out of the Vanpool and realize that I have left my work badge in my car. My car is 30 miles away at a parking garage and now I have no choice but to stand outside the door of the office and hope that some one lets me follow them into work -which is breaking and entering when you think about it.

Which is a crime.

Which I could be prosecuted for.

I stand outside the office and think it over – the pros and the cons.

The pros of breaking the law are that I probably won’t get caught, but if I do get caught, what if they throw away the key? Typically, its people like me that get thrown in jail for doing nothing at all. If I continue to stand out here I will be late for work, which is OK, because I’m never late. But what if it goes passed 15 minutes and I don’t have a solution? I could call the boss, but then it seems as though I’m irresponsible.

The door opens and I follow a woman into the office. I take this chance without thinking and wonder what other horrible choices I could make if put under pressure.

I’m at my desk and the coast is clear. There are no FBI guys or weird trench coat types waiting for me and so I become comfortable and relax into my chair.

But I start thinking that that’s just what they want - get me into a position of feeling comfortable and then it’s like the Matrix and armed men storm the building –

The computer boots up and I take a look at my email. There’s an email from my boss. I open it.

She’s explains that there’s a cake in her cube for her birthday and that anyone can just come by and take a slice.

Just come by and take a slice.

Nice try! I know where that leads. They are waiting right under the microwave. I know it. Waiting for me to slip up and come in and “Oh, happy birthday!”

“Oh, thank you, and by the way!” And then the cuffs come down and you’re being shoved face first into a desk and a foot comes down on your neck and you’re thinking maybe I should have just called in sick five feet away from the office door, but no I was impulsive.

I close the email and open my desk drawer and look at a picture of Scrappy Doo that I find humorous. He’s skateboarding behind a kennel truck. The other dogs are cheering him on. It’s almost as though he has beat the entire system, and having done so, he’s rubbing it in their faces with his skateboard and free will.

I want to be like Scrappy.

My mind is cleared by this and I stare out the window at the parking lot.

The phone rings.

I pick it up.

“Come have some cake…” The line breaks and men in black uniforms swing into my cube, crashing through the window.

“I forgot my badge!” I’m yelling. But they don’t seem to care and my teeth break against my desk.

title: [HM] Ronald and Everyone Who is Out to Get Him

question: What does the story say about breaking and entering?

answer: It's a crime with consequences. The narrator, after forgetting the work badge, follows a woman into the office after she opens the door.  He's anxious about getting caught for it. Uniformed men take him at the end, but they don't give an official reason for doing so.

question: What does the story say about legal protocol?


text:
The BOY TOUR was a concert tour by Irish rock band U2. Staged in support of their debut album _Boy_ (1980), the tour visited small clubs from 1980–1981. Comprising five legs and 157 concerts, the tour began on 6 September 1980 in Coventry, England, and ended on 9 June 1981 in London, England. It was U2's first tour of continental Europe and North America.[1]

Setlist

The setlist varied each night throughout the tour, with all songs from _Boy_ being performed with the exception of “Shadows and Tall Trees”.[2] Content from _U2 3_ was played, as were “11 O'Clock Tick Tock”, “Touch”, and “Things to Make and Do”. Towards the end of the tour, songs from the upcoming _October_ were played, including “Fire” and “I Fall Down”. “The Ocean”, “11 O'Clock Tick Tock”, and “I Will Follow” were often played twice due to the band's small catalogue at the time. Most shows began with “The Ocean” and closed with “11 O'Clock Tick Tock”. Three unreleased songs, “Father is an Elephant”, “Carry Me Home” and “The Cry” were also performed. Throughout the tour, Bono would include snippets of other songs not recorded by U2 - “Send in the Clowns” was often tagged onto the end of “The Electric Co.”[3]

Tour dates

  Date                            City                         Country                              Venue
  ------------------------------- ---------------------------- ------------------------------------ --------------------------------
  Leg 1: Europe
  6 September 1980                Coventry                     England                              General Wolfe's
  7 September 1980                London                       Lyceum Ballroom
  8 September 1980                Marquee Club
  9 September 1980                Bristol                      Berkeley
  11 September 1980               Hull                         Wellington Club
  12 September 1980               Scarborough                  Taboo Club
  13 September 1980               Leeds                        Queen's Hall
  15 September 1980               London                       Marquee Club
  16 September 1980               Plymouth                     Fiesta Suite
  17 September 1980               Penzance                     Demelza's
  18 September 1980               Totnes                       Civic Hall
  19 September 1980               Stroud                       Marshall Rooms
  21 September 1980               Wollaston                    Nag's Head
  22 September 1980               London                       Marquee Club
  23 September 1980               Sheffield                    Limit Club
  24 September 1980               Aylesbury                    Friars Club
  25 September 1980               Liverpool                    Brady's
  26 September 1980               Birmingham                   Cedar Club
  27 September 1980               Coventry                     Coventry University
  29 September 1980               London                       Marquee Club
  30 September 1980               Brighton                     University of Brighton
  2 October 1980                  Leeds                        Duchess of York
  3 October 1980                  Retford                      Porterhouse
  4 October 1980                  London                       School of Economics
  5 October 1980                  London                       Half Moon Club
  7 October 1980                  Nottingham                   Boat Club
  9 October 1980                  Manchester                   Manchester Metropolitan University
  11 October 1980                 London                       Kingston University
  14 October 1980                 Hilversum                    Netherlands                          KRO Studios
  15 October 1980                 Amsterdam                    Milkyway
  16 October 1980                 Groningen                    Vera
  17 October 1980                 Apeldoorn                    Gigant
  18 October 1980                 Brussels                     Belgium                              Klacick
  19 October 1980                 London                       England                              Lyceum Ballroom
  4 November 1980                 Dublin                       Ireland                              Project Arts Center
  7 November 1980                 Exeter                       England                              University of Exeter
  8 November 1980                 Southampton                  University of Southampton
  9 November 1980                 London                       Moonlight Club
  11 November 1980                Canterbury                   University of Kent
  12 November 1980                Bradford                     Bradford University
  13 November 1980                Sheffield                    Limit Club
  14 November 1980                Kidderminster                Kidderminster Town Hall
  15 November 1980                Bristol                      University of the West of England
  18 November 1980                Reading                      University of Reading
  19 November 1980                Wolverhampton                University of Wolverhampton
  20 November 1980                Blackpool                    Blackpool and The Fylde College
  21 November 1980                Edinburgh                    Scotland                             Nite Club
  22 November 1980                Liverpool                    England                              Brady's
  24 November 1980                Coventry                     Coventry University
  26 November 1980                Hulme                        Playhouse Theatre
  26 November 1980                London                       Marquee Club
  27 November 1980
  28 November 1980                Aston                        University of Aston
  29 November 1980                Stoke-on-Trent               Keele University
  30 November 1980                Brighton                     Jenkison's Cabaret Bar
  1 December 1980                 London                       Hammersmith Palais
  2 December 1980
  3 December 1980                 Paris                        France                               Baltard Pavilon
  Leg 2: North America & Europe
  5 December 1980                 Rochester                    United States                        Penny Arcade
  6 December 1980                 New York City                The Ritz
  7 December 1980                 Washington, DC               Bayou Club
  8 December 1980                 Buffalo                      Stage One
  9 December 1980                 rowspan:“1”|Toronto          Canada                               rowspan:“1”|El Mocambo
  11 December 1980                rowspan:“1”|Washington, DC   United States                        rowspan:“1”|Bayou Club
  12 December 1980                Providence                   Main Event
  13 December 1980                Boston                       The Paradise
  14 December 1980                New Haven                    Toad's Place
  15 December 1980                Philadelphia                 Bijou Club
  17 December 1980                Belfast                      Northern Ireland                     Ulster Hall
  18 December 1980                Galway                       Ireland                              Leisureland
  19 December 1980                Strandhill                   Baymount Entertainment Centre
  20 December 1980                Cork                         Arcadia Ballroom
  22 December 1980                Dublin                       TV Club
  Leg 3: Europe
  23 January 1981                 Belfast                      Northern Ireland                     Queen's University
  24 January 1981                 rowspan:“1”|Glasgow          rowspan=“2” rowspan:“2” |Scotland    Strathclyde University
  25 January 1981                 Edinburgh                    Valentino's Club
  26 January 1981                 York                         England                              York University
  27 January 1981                 Manchester                   University of Manchester
  28 January 1981                 Norwich                      University of East Anglia
  29 January 1981                 Northampton                  Iron Horse
  30 January 1981                 Loughborough                 Loughborough University
  31 January 1981                 Manchester                   University of Manchester
  1 February 1981
  9 February 1981                 Stockholm                    Sweden                               Underground
  10 February 1981                Brussels                     Belgium                              Beursschouwburg
  11 February 1981                Amsterdam                    Netherlands                          Paradiso
  12 February 1981                The Hague                    Paard van Troje
  13 February 1981                Rotterdam                    De Lantaarn
  14 February 1981                Sittard                      Donkiesjot
  15 February 1981                Hamburg                      Germany                              Onkel Po's Carnegie Hall
  17 February 1981                Berlin                       Kant Kino
  18 February 1981                Munich                       Sugar Shack
  19 February 1981                Geneva                       Switzerland                          Salle Du Faubourg
  20 February 1981                Lyon                         France                               National School of State Works
  21 February 1981                Paris                        Le Palace
  Leg 4: North America
  3 March 1981                    Washington D.C               United States                        The Bayou (2 shows)
  4 March 1981                    Philadelphia                 Bijou Cafe
  5 March 1981                    Albany                       J.B. Scott's
  6 March 1981                    Boston                       Paradise Rock Club
  7 March 1981                    New York City                The Ritz
  9 March 1981                    Montreal                     Canada                               Le Club
  10 March 1981                   Ottawa                       Barrymore's Music Hall
  11 March 1981                   Toronto                      Maple Leaf Ballroom
  14 March 1981                   San Diego                    United States                        Globe Theater
  15 March 1981                   Los Angeles                  Reseda Country Club
  16 March 1981                   Anaheim                      Woodstock Concert Theater
  18 March 1981                   San Jose                     San Jose State University
  19 March 1981                   San Francisco                The Old Waldorf
  20 March 1981
  22 March 1981                   Portland                     Fog Horn
  23 March 1981                   Seattle                      Astor Park
  24 March 1981                   Vancouver                    Canada                               Commodore Ballroom
  26 March 1981                   Salt Lake City               United States                        New Faces Club
  28 March 1981                   Denver                       Rainbow Music Hall
  30 March 1981                   Lubbock                      The Rox
  31 March 1981                   Austin                       Club Foot
  1 April 1981                    Houston                      Cardi's
  2 April 1981                    Dallas                       Bijou Showcase Club
  3 April 1981                    Oklahoma City                Quicksilver's
  4 April 1981                    Tulsa                        Cain's Ballroom
  6 April 1981                    Kansas City                  Uptown Theater
  7 April 1981                    St. Louis                    Graham Chapel
  9 April 1981                    Minneapolis                  Uncle Sam's
  10 April 1981                   Ames                         Fillmore
  11 April 1981                   Chicago                      International House
  12 April 1981                   Park West
  14 April 1981                   Madison                      Merlyn's
  15 April 1981                   Milwaukee                    The Palms
  17 April 1981                   Cincinnati                   Bogart's
  18 April 1981                   Detroit                      Harpo's
  19 April 1981                   Columbus                     Club Agora
  20 April 1981                   Cleveland                    Agora Ballroom
  21 April 1981                   Pittsburgh                   The Decade
  2 May 1981                      Gainesville                  Rathskeller
  3 May 1981                      Tampa                        The End Zone
  4 May 1981                      Hallandale Beach             Agora Ballroom
  6 May 1981                      Atlanta                      The Agora
  7 May 1981                      Birmingham                   Ram's Head
  8 May 1981                      Avondale                     Old Man River's
  9 May 1981                      Memphis                      Poet's
  11 May 1981                     Denver                       Rainbow Music Hall
  13 May 1981                     Santa Monica                 Santa Monica Civic Auditorium
  15 May 1981                     San Francisco                California Hall
  19 May 1981                     Toronto                      Canada                               Ryerson Theater
  20 May 1981                     Rochester                    United States                        Red Creek
  21 May 1981                     Buffalo                      Uncle Sam's
  22 May 1981                     Syracuse                     City Limits
  23 May 1981                     Albany                       J.B. Scott's
  24 May 1981                     Hampton                      Club Casino
  25 May 1981                     Providence                   Center Stage
  27 May 1981                     New Haven                    Toad's Place
  28 May 1981                     Boston                       The Metro
  29 May 1981                     New York City                The Palladium
  31 May 1981                     Asbury Park                  The Fast Lane
  Leg 5: Europe
  4 June 1981                     Salford                      England                              Salford University
  6 June 1981                     Aylesbury                    Maxwell Hall
  8 June 1981                     Geleen                       Netherlands                          Damen Sport Park
  9 June 1981                     London                       England                              Hammersmith Palais

[1] de la Parra (2003), pp. 16–17

[2]

[3]

title: Boy Tour

question: What was the first stop on the Boy Tour?

answer: Coventry England General Wolfe's

question: Name three songs performed on the Boy Tour.

answer: 11 O'Clock Tick Tock, Fire, and I Will Follow

question: How many concerts in total did the tour consist of?

answer: 157 concerts

question: Who were the opening acts for the tour?

answer: That information can't be found.

question: When did the tour begin and end?

answer: It began on September 6, 1980 and ended on June 9, 1981.

question: Write a ~3 sentence summary.

answer: The Boy Tour was a 1980-1981 tour by the band U2 in support of their debut album Boy. The tour encompasses continental Europe and North America. The band played songs from their album Boy as well as songs from their upcoming album, October.


text:
  Dear Cecil:

  Why do we say "a pair of pants" when there is only one article of clothing involved? I have been told it's because there are two legs, but then why isn't it a pair of shirts? Shirts have two sleeves. I'm so confused. Can you help?

  Rose M., Chicago

 [] Illustration by Slug Signorino

Cecil replies:

Fret not, my little anchovy. Ann Landers might puppy out and tell you to get professional counseling, but here at the Straight Dope, we deliver.

Now for the facts.

First of all, let’s note there is a class of objects that are thought to consist of two independent but connected parts, usually identical or at least similar to each other. In addition to pants and trousers, there are eyeglasses, scissors, tweezers, shears, pliers, and so on.

The terms for these objects are always plural in form, and they are usually referred to as “a pair of ….” This usage goes back to at least 1297 AD, when we have the expression “a peire of hosen.”

The implication is that the two parts are separable in some sense, and in fact a pair of hose can often mean two separate pieces. (True, you can’t separate tweezers, but I never claimed the English language was rational.)

In contrast to trousers, a shirt is thought of mainly as a covering for the torso, and may or may not have sleeves. Hence no pair.

The “pair of …” designation is somewhat arbitrarily applied. At one time it was common to speak of a pair of compasses (for drawing), a pair of nutcrackers, or a pair of bellows. But I would venture to say that in the U.S., at least, these expressions are dying out.

On the other hand, we do speak of a pair of panties, even though panties aren’t really a pair of anything, having (usually) no legs. But clearly this is merely an extension of the expression, “pair of pants.”

Further confusing matters is “a dozen pairs of rosaries,” even though there are 50-some beads. This harks back to an old use of the word “pair” to mean “a set of more than two like or equal things making a whole.”

A related usage, supposedly common in the theater business for many years, is “a pair [flight] of stairs.” Occasionally theatrical types will say of a pair that it is “nice,” and one assumes the rest of the superstructure ain’t bad either. But that’s a discussion for another day.

Cecil Adams

Send questions to Cecil via cecil@straightdope.com.

question: Why do we say "a pair of pants"?

answer: According to Cecil, it's because "a pair" implicates that the object is separable and because the object itself its plural, but it's arbitrarily applied.

question: What is meant by "Ann Landers might puppy out and tell you to get professional counseling, but here at the Straight Dope, we deliver"?

answer: It's possible Ann Landers is a rival advice column, who would suggest that a reader get help instead of getting advice.

question: Why call panties a pair even though they have no legs?

answer: According to Cecil, it just seems to be an extension of the expression "a pair of pants".

question: Explain "a pair [flight] of stairs".

answer: That isn't really answered in the post, but it comes from theater business.


text:
Panicked, Elizabeth sprints away from her pursuers, panic bubbling in her chest. She doesn’t even have time to process what just happened, all she can do is run and pray she won’t get caught. She runs through the marketplace, dodging startled shoppers and angry glares. She almost knocks over a fruit stand, but the owner and a few bystanders manage to catch it before anything falls. As if through a tunnel she can hear him screaming at her to be careful. She doesn’t stop though; all she can do is run.

She can’t breathe, but she can’t stop. She needs to find a place to hide, but where? Suddenly an idea strikes her; she quickly veers left down a muddy alleyway and splashes her way down to a small grate. She usually hides here after her father- no! Now is not the time to think of that! She needs to escape! She needs a plan! She quickly pries the grate open, slides in, and shuts it behind her. She curls up in her all too familiar corner and finally lets everything sink in.

Shivering with cold and fear she runs over the events leading up to this point. She just murdered her father; she stabbed him with a knife. She felt his blood on her hands and saw the life flicker out of his eyes. Her mother had started screaming and cradling his body, a guard heard and came running. She remembered dropping the knife when she realized what she had just done. The guard asked what happened and her mother just hysterically screeched at Elizabeth. As the guard turned, she took one final fearful look at her mother and bolted. Come to think of it, she didn’t even know if the guard had followed her or not. More than likely he did, but she was just too light and fast for him, even in a dress.

Elizabeth tried to calm herself. She had done what she had to do; no-one could fault her for that… right? The hopeful part of her mind prayed that everyone would understand and all would be forgiven, but the rational part of her knew just how wrong that was. She had to escape. Maybe she could find another town somewhere and build a new life… no. That wouldn’t work… Realizing what a hopeless situation she’s in, a small sob escapes her lips, but she quickly stifles it- she can’t let a guard hear her now. She’ll just stay the night here. Maybe in the morning she’ll be able to think of something to do…
__________________________________________________________

Elizabeth wakes up in a very familiar place, curled up like a dog in a ripped dress covered in blood, mud, and straw. Sun is streaming through the grate, but it didn’t quite reach where she’s hiding. She whimpers and buries her face in the straw, not caring how bad it pricks and itches.

She has to go home. Untangling her bruised and cut limbs she crawls out of her hidey-hole. Standing up, she gathers her tattered and torn dress and starts limping through the marketplace. She receives many disapproving glares from the other townsfolk, but she doesn’t care. She makes this walk of shame almost every morning.

She passes a guard on the outskirts of the town who just grunts at her to pass then stumbles up the winding trail to her house. As she walks in her father looks up from the newspaper, grins like a Cheshire cat, and says, “Morning Pumpkin, how’s my baby this morning?” Elizabeth just flinches and hangs her head. God, how she wants to kill this man.

title: Elizabeth (an original story by me)

question: Why does Elizabeth want to kill her father?

answer: Because he probably violates her in secret.

question: Was Elizabeth's mother complicit in her husband's acts against their daughter?

answer: Probably. She either knew about the abuse or at the very least something was going on and turned a blind eye or she knew nothing. Her mother's reaction in the dream (she became hysterical) indicates shock and surprise that Elizabeth would kill her father. Then again, the mother might just be blinded by her feelings for the man, that she overlooked what was being done to her daughter and acted shocked and surprised just the same.


text:
_MOUSE BIRD SNAKE WOLF_ is a 2013 graphic novel, written by David Almond and illustrated by David McKean. It is about three children who create animals from inanimate objects.

Reception

A _Guardian_ review of _Mouse Bird Snake Wolf_ describe it “a folktale or creation myth.” and wrote “There is a captivating simplicity about the unshowy language. By contrast the pictures are dramatic, striking, gorgeously lyrical.”[1]

_Publishers Weekly_, in a starred review, wrote “First cousin to Philip Pullman’s imaginings, this contemporary fable about man’s power to create and to destroy may be controversial in settings where questioning biblical creation stories is taboo, but where questioning is encouraged, it will challenge and provoke.”[2] and a _Kirkus Reviews_ called it “haunting .. Wild and alive,”[3]

_Mouse Bird Snake Wolf_ has also been reviewed by _Booklist_,[4] _Library Media Connection_ magazine,[5] _The Horn Book Magazine_,[6] The _School Library Journal_,[7] _Reading Time_,[8] and _The Bulletin of the Center for Children's Books_.[9]

Awards

-   2014 Kate Greenaway Medal shortlist[10]
-   2014 USBBY Outstanding International Book[11]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

title: Mouse Bird Snake Wolf

question: Who illustrated Mouse Bird Snake Wolf?

answer: David McKean

question: What genre is Mouse Bird Snake Wolf?

answer: The genre isn't stated, although Guardian describes it as a folktale or creation myth.

question: Who was the publisher for Mouse Bird Snake Wolf?

answer: That information can't be found.

question: List the organizations that reviewed Mouse Bird Snake Wolf.

answer: Guardian, Publishers Weekly, Kirkus Reviews, Booklist, Library Media Connection magazine, The Horn Book Magazine, The School Library Journal, Reading Time, and The Bulletin of the Center for Children's Books

question: What awards did Mouse Bird Snake Wolf win?

answer: The 2014 Kate Greenaway Medal shortlist and the 2014 USBBY Outstanding International Book

question: Write a ~2 sentence summary.

answer: Mouse Bird Snake Wolf is a 2013 graphic novel written by David Almond and illustrated by David McKean. The tale of three children who create animals out of inanimate objects has been described as a folktale or creation myth.


text:
I've been writing letters to my future self for a while now. This is one that I recently found from a while ago, and it really hit home for me.

*********************************

Dear future self,

One day, you will take her for granted. One day, she will just be a normal part of your life, part of your routine. You will think that since you've been together for so long, you won't need to even try anymore. When that day comes, I want you to come back to this journal and read this passage, because I have a few things to say to you.

Firstly, fuck you. You're an asshole. You'll probably try to rationalize taking her for granted, telling yourself that you're still a good guy and it's her fault for not trying harder. Don't delude yourself, you're an asshole and you need to accept it. You are the antagonist.

Secondly, stop and think. Think of before you met, and how lonely you were. Think of those late summer nights that you spent alone, outside, on the deck of your porch just wishing you had someone to share your feelings with. Think of how happy she had made you when you first spoke, and how ecstatic you had been when she told you that she liked you. Think about how in-love you were, once upon a time, and about how you wanted nothing else but to show her sweet, romantic gestures just to make her smile. And finally, think of her. Think of how she must feel now that you no longer open the door for her, or kiss her on the forehead, or tell her she's beautiful. Just stop and think.

Lastly, if you're truly out-of-love with her, try to fall back in. Remember those simple, happy moments: staring at each other from across the room, and laying on the grass, and talking walks and holding hands. Remember why you fell in love in the first place. Remember how that old couple responded when they were asked, "How have you two managed to stay in love for so long?"

"We just never fell out of love at the same time."

Lastly, remember that if none of that works, it may be time to let her go. Even though it scares you, even though you fear change, quit being a pussy and just tell her. If you can't keep her happy, let her find someone else that will.

These are your rules of love, future self. Remember them.

********************************

title: A Letter to my Future Self.

question: What is the relationship between the narrator and the girl?

answer: They are a couple who have been together for a very long time.

question: What is the current condition of the relationship between the girl and the narrator?

answer: It is not stated.

question: Why does the narrator write letters to his future self?

answer: It might be as a form of reminder and advice.

question: Write a ~4 sentence summary.

answer: One of the letters the narrator wrote to his future self was a note of advice regarding his current relationship with a girl he's been with for so long. Given his kind of personality, he advised himself to stay loving toward her even when his feelings for her may start to wane. He also encouraged himself to remember why they fell in love the first time. However, if the relationship doesn't work, he should let her go and let her find happiness with someone else.


text:
The morning light shines through my window, hitting my face, bringing me back in to consciousness. I throw off my duvet cover, and the cats jumped off the bed in surprise. I have my fuzzy robe on within the minute, and after making my bed, my journey to the bathroom begins.

Brush teeth, wash face, comb hair. The morning routine has been drilled into my head for ages. But I like it that way. Orderly.  Routine. I start to make my way back to my bedroom, pausing at the first doorway on my left. It was the twin's room. A bunk bed in the corner, the top with a bright pink blanket, the bottom with a baby blue one. Toys scattered the floor, a half-full glass of dark red juice sitting on the bed-side table. I pick up the worn, stuffed rabbit from the carpet, feeling the threads, barely holding together. It was once my toy, but it was given my sister. No one ever asked me if I was okay with that, they just assumed I was finished with such childish things. I never liked the rabbit anyway, toys seem like a waste of time. I walk over to the dresser, running my finger along the edge of it, gazing at my reflection in the mirror on the wall. My dark hair falls just past my shoulders, contrasting the pale skin and light green eyes I inherited from my mother.

I softly close the door behind me as I exit the room, making my way to the next one. My eldest brother's room is even more messy than the twin's. Clothes and books and magazines and pens and CDs and game controllers and posters everywhere. They scattered the now-invisible floor and futon bed and red walls, like a collage of my brother and everything he was. The CDs he had bought at a yard sale last weekend lay piled beside the bed. A picture had been thrown to the ground, ripped in two. He had recently been broken up with, and seemed very distraught over it. I don't understand his emotions. Why would he feel sad about someone who didn't want him anyway? I slam his door as I leave, it had been difficult to close ever since him and my father had been playfully wrestling and broke through it. I remember it sounded like a gunshot, or at least what I thought a gunshot sounded like at the time. So loud and out of place.

The next door was to my parent's room. My mother had tried to keep it orderly, the effort was evident. Clothes folded, but never put away. A small garbage can in the corner, but it hadn't been changed in so long it had begun to overflow. Both had worked 9-5 jobs and had four children to raise - so keeping a neat room was not a priority. I lay down on the their cozy, king-sized bed, with its deep red comforter and silky white sheets. I could smell my mother's favourite perfume and my father's aftershave that my brother had bought for his birthday. Amateur hand-drawn pictures by my siblings lined the walls, maybe to remind the two that they had something to get up in the morning for. I slowly closed the door to the room, to avoid that irritating creaking sound it made.

As I enter my own room, I feel the breeze come in from the open window, blowing my hair behind me. Most of my room is white, the colour always looks neat. I gaze around at my books, all ordered alphabetically. At the bedside table, where my alarm clock and lamp are placed flawlessly parallel to each other. At the closet, where the transparent curtain covering it revealed the neatly hung clothes within. At the desk, where not a single thing is out of place. Perfection.

Hunger hits me suddenly, and I hang a sharp right outside my door to go downstairs. I ignore the sticky wetness under my feet as I put some bread in the toaster. I stare out at the cloudy sky through the window over the sink, an airplane speeds across and a flock of birds land in a  nearby tree. Sometimes I feel like I'm a bird - floating through life, often with no direction, no feeling. The popping toast breaks the perfect silence that had fallen over my house. I eat it plain, my hunger wouldn't allow for any more delay. I finish the toast, and sigh, my stomach finally satisfied. I feel content.

I turn around and look at the family kitchen. Red smears the walls, the cupboards, the counters, the floors. And the four bodies on the floor. Their faces and clothes and skin all covered with that ruby red substance. Some dishes and cutlery lay scattered with them, knocked down in the struggle. The colour coats the fallen items and people, blending them all together. Red. So much red.
A scream pierces the air, breaking that beautiful silence once more. A look of horror on our neighbour's face as she walked into the kitchen; I forgot she was coming by to pick up her casserole dish. I sat down in the crimson and ran my fingers through it as she sobbed into the telephone, summoning emergency services. I don't see what the emergency is - there's no saving those who are gone.

**Is it clear in the end that she is the one who killed them? In the last line, I am trying to show that she is emotionally "gone", and her family in gone in that they are dead. I also tried to have the colour red a few different times in the story. How do I make it better? Also need a title. Thanks for any help!**

title: Have to write a short story for English class, need feedback! (887 words)

question: Who has been killed?

answer: There are four bodies on the kitchen floor but the narrator describes five family members and there is no implication that any one person survived. It is likely a mistake by the author. It is also possible the twins are conflated or one of the family members (elder brother, mother, father) is away, but there are no indications to suggest this.

question: Summarize the narrator's mindset.

answer: The story opens with the narrator waking and automatically going about her morning routine, while the implication is that she killed her family during dinner the previous night. The narrator is cold, detached from the emotional charge of her surroundings as she walks through the room of each family member she recently killed. She remains unmoved even when the neighbor enters and screams at the sight of the bodies and blood.

question: Summarize the role of cereal in the story.


text:
[Alcatel's new Idol 4 and 4s are hot pieces of art: hands-on]

Alcatel is among the biggest handset makers worldwide, but you wouldn't necessarily know this from the news – Alcatel can't seem to penetrate the mainstream media channels strongly enough, possibly because it's been entirely focused on the more affordable end of the market so far.

This may or may not change this year, but Alcatel sure is pushing hard. That much has become clear today, as Alcatel has just announced its new headliners: the Idol 4 and Idol 4s.

[Small artistic touches take the Idol 4 and 4s design beyond the ubiquitous rounded rectangle. - Alcatel's new Idol 4 and 4s are hot pieces of art: hands-on]

[Small artistic touches take the Idol 4 and 4s design beyond the ubiquitous rounded rectangle. - Alcatel's new Idol 4 and 4s are hot pieces of art: hands-on]

[Small artistic touches take the Idol 4 and 4s design beyond the ubiquitous rounded rectangle. - Alcatel's new Idol 4 and 4s are hot pieces of art: hands-on]

[Small artistic touches take the Idol 4 and 4s design beyond the ubiquitous rounded rectangle. - Alcatel's new Idol 4 and 4s are hot pieces of art: hands-on]

[Small artistic touches take the Idol 4 and 4s design beyond the ubiquitous rounded rectangle. - Alcatel's new Idol 4 and 4s are hot pieces of art: hands-on]

[Small artistic touches take the Idol 4 and 4s design beyond the ubiquitous rounded rectangle. - Alcatel's new Idol 4 and 4s are hot pieces of art: hands-on]

[Small artistic touches take the Idol 4 and 4s design beyond the ubiquitous rounded rectangle. - Alcatel's new Idol 4 and 4s are hot pieces of art: hands-on]

Small artistic touches take the Idol 4 and 4s design beyond the ubiquitous rounded rectangle.

Based on specs, the Alcatel Idol 4 and Idol 4s can be classified as mid-range smartphones. They have more or less affordable price tags, and they try to deliver a relatively clean and streamlined take on Android, without gimmicky features and bloatware. They are also among the most beautiful smartphones we have seen in the last couple of years.

'Quality build made of glass and metal' – this description could be used for a surprisingly large number of phones these days. But we typically wouldn't add much to it, simply because it's often hard to tell one phone from the other. Generic shapes devoid of character is what seems to be the norm these days. "There's only so many ways you can make a rectangular smartphone," they tell us. Well, with the Idol 4 and 4s, Alcatel is showing us it doesn't have to be this way. The company's new phones have their own style, their own distinguishing features that make them look unique, all the while staying familiar and universal. What's more, their specific design aesthetics don't stand in the way of comfort – in no way did the new Idols felt unpleasant to hold at any moment, quite the contrary.

The Idol 4 is the mainstream product: an impressively thin, 5.2" 1080p smartphone with the Snapdragon 617 processor. It may not sound like much, but the size is perfect, the screen is pleasant to look at, and the system performance is very good – noticeably better than competing offerings, even some models from big name companies like Samsung or LG. Couple that with the expected pricing of about $280, and the value in this promising handset is immediately apparent.

The Idol 4s is the beefed up version of the 4. The screen is 5.5 inches with 1440p resolution, but the phone is still nice and easy to handle. The Idol 4s should be priced somewhere between $400 and $500, but the price is justified: it'll make use of the most powerful chipset in the 6xx series: the Snapdragon 652, which comes with faster CPU and GPU. It's by no means a slouch.

Like their predecessors, the new Idols are extremely symmetric, and they offer you a fully rotating interface: this means that if you happen to accidentally hold your phone upside-down, you'll still be looking at pretty much the same thing, as if you're holding it correctly. Sound channels routed to the stereo speakers also get swapped depending on the way you're holding the phone, so that you always have a correct audio picture. The Idol 4 and 4s even have another pair of stereo speakers on the back, so if your phone is placed head down on a table, you don't need to worry about missing an event – your phone is smart enough to fire up the sound through the rear-facing speakers. How cool is that?

Alcatel's approach with the Idol 4 and Idol 4s is neither "more is less", nor "less is more". To be more specific, the company is looking to deliver more on the user experience front, and less on the dubious features/apps front. What this means is that it won't try to wow you with obscure gestures and software gimmicks, but instead will try to make using your phone a more pleasurable experience: with nice and fluid performance, coherent interface and meaningful additions and alterations to the Android system. Needless to say, we find the new Idols lovely, and we just can't wait to spend more time with them. We have to close with a drop of bitterness, though, because Alcatel is yet to reveal release date details for these two. But that's OK. True love is worth waiting for.

Alcatel Idol 4 and 4s hands-on

 [Alcatel-Idol-4s-6.JPG]

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question: Why can't Alcatel penetrate the mainstream media channels despite being one of the biggest handset makers worldwide?

answer: Probably because the company has been focused on the more affordable end of the smartphone market.

question: What makes the Idol 4s more powerful than the Idol 4?

answer: The Idol 4s features a larger, better 5.5" 1440p resolution screen and is powered by a Snapdragon 652 that comes with a faster CPU and GPU.

question: What is a unique feature present on both Alcatel phones?

answer: Both models are extremely symmetric, offering a full rotating experience.


text: My mother used to bathe me as a child. And twenty six years later I stand in my old room, making my bed. She walks in as though to find a nail clipper only to look up and see her naked son standing there embarrassed. She instantly turns around and walks out apologizing for the intrusion. As she's leaving, she says "I'm sorry your father had such a small penis"

title: Making the bed

question: Why is the son naked?

answer: He might have slept naked.

question: Why does the mother apologize for the boy's father's small penis?

answer: It is implied that the boy has inherited a small penis from his father.

question: How old is the narrator?

answer: Somewhere in their twenties or thirties.


text: The numbers, the words all of it is recalling in my head. I only have 7 hours until the exam and the gap is closing. All the things that I should have learned all flooding my head in a singularity of modern proportions. If there were only 5 more hours in the day I would be fine, but no. Instead I am writing to you a single plea. A hope to god that I am able to access that single point in time where I absorbed the necessary information; where I recalled and understood it. It is up to you now! Channel your energy to me. give me your mind and your attention. Your ability to communicate the facts! If you choose not to it is fine, but I would be much obliged to share your mind state. Think, love, help, LEARN. - sincerely a mad man.

title: Downvote me. (Thoughts from a pre-finals mind)

question: Why is the narrator upset?

answer: Because of the exam.

question: Who is the narrator writing a letter to?

answer: To the readers.

question: Will the narrator pass the exam?

answer: It is not stated.

question: Did someone help the narrator?

answer: It is not stated.

question: Write a ~3 sentence summary.

answer: The narrator is panicking as they only have 7 hours until the exam.  All the things that they should have learned are flooding their head.  The narrator asks the readers to channel their energy to them and help them pass the exam.


text:
THOMAS AVERY (1813–1894) was a scale or weighing machine manufacturer and local politician. He was mayor of Birmingham in 1868 and 1881.

W & T Avery

[W & T Avery weighing machine
for infants] When a mercer and draper, Thomas's father, William Avery who died in 1843, inherited from within his own and his wife's family a long established weighing machine business which had begun in the early 18th century with the manufacture of steelyards.

With his brother, another Thomas who died in 1824, William Avery continued the business under their own names, W & T Avery.[1]

In 1843 two of William's sons Thomas (1813–1894) with his elder brother William Henry Avery (1812–1874) took over the business.[2] Avery's business expanded and became a substantial employer.

Administration of Birmingham

Thomas withdrew his capital from the business in 1866 and devoted his energies to improving the then poor quality local government. He was elected a councillor for the ward containing the Avery businesses as a leading citizen determined to bring some efficiency to council administration and was elected alderman and mayor in 1868 and was mayor again in 1881.[3]

He achieved the provision of sewage works and he was largely responsible for the council acquiring a formerly private water supply which brought potable water to the people of Birmingham. The sewage works was given a sewage farm and sewage no longer contaminated the water of the River Tame.[4]

Public service

Avery was a magistrate for Birmingham, Warwickshire and Worcestershire. He was governor, trustee or treasurer for institutions such as the Birmingham and Midland Institute, Mason College etc.[5]

He died in Edgbaston a few months after his wife —born Mary Ann Beilby— on 17 February 1894. There were no surviving children, his extensive property went to his Avery nephews.[6]

[1] Anita McConnell, _Avery, Thomas (1813–1894)_, Oxford Dictionary of National Biography, Oxford University Press, May 2005

[2]

[3]

[4]

[5]

[6]

title: Thomas Avery

question: Is Thomas Avery from the United States or the United Kingdom?

answer: The text doesn't explicitly say but it due to the mention of the River Tame and several British city names, the text strongly indicated Avery lived in the UK.

question: What invention was Thomas Avery's family known for?

answer: A weighing machine.

question: Explain Thomas Avery's connection to sewage works.

answer: He was largely responsible for the provision of sewage works and the delivery of potable water to the people of Birmingham.

question: How many nephews did Thomas Avery have?

answer: The text doesn't say.

question: Write a ~2 sentence summary.

answer: This text provides a brief biography of Thomas Avery, a machine manufacturer and local politician in Birmingham, UK, in the 19th century. Avery continued in his family's business before moving into local government, where he served two terms as mayor of Birmingham.


text:
-   March 6, 2013
-

Call it the coffee conundrum: What to do when new sugary drink rules come between a harried, half-awake New Yorker and a morning cup?

Come Tuesday, when Mayor Michael R. Bloomberg’s ban on the sale of large sugary drinks goes into effect after months of public debate over the measure, its impact on beverages like soda will be clear: no more jumbo colas. But coffee drinkers, and those who pour them, are likely to face a thicket of complications as varied as the lattes, macchiatos and Americanos on a Starbucks menu.

Customers at Dunkin’ Donuts and McDonald’s can expect to add their own sugar packets and flavor swirls to large and larger coffees.

At other cafes, some will be given one lump, or perhaps two, in their coffees; those seeking more will need to visit the condiment stand.

Starbucks regulars will at first see no change at all, then may find a raft of them waiting one morning. Some large drinks will be affected, others not at all.

“The whole point of buying coffee is just you get it and go,” said Yolanda Rivera, 30, who was drinking a medium iced (and sugared) coffee in a Dunkin’ Donuts near Times Square on Wednesday. “It’s just going to be annoying.”

The city’s new regulations regarding coffee hinge on delicate calculations about milk, calorie and sugar ratios. As with other sugary drinks, coffee cups 16 ounces or smaller are unaffected. But unlike sodas, which will max out at 16 ounces, cups of coffee larger than 16 ounces can still be served as long as the barista adds no more than three to five packets of sugar. (The limit depends on the size of the drink.)

And once the drink is handed over, customers can add as much sugar as they want.

None of those rules apply to drinks that are more than 50 percent milk, like lattes, because the city considers milk a valuable source of nutrition. And there is no limit to the number of Splenda, Equal and Sweet ’n Low packets a barista can pour in.

The city says the rules are simple. “This will have no impact on a large cup of joe, unless more than four packets of sugar are added,” said Samantha Levine, a city spokeswoman. “Real sweet tooths who want even more sugar can pour in as much as they like themselves.”

Image[Dunkin’ Donuts has tried to get ahead of the confusion over the new regulations by handing out small fliers at its cash registers.]

Given some coffee sellers’ uncertainty over how much sugar and milk is in their drinks, however, compliance can be a tricky game. And different companies appear to be interpreting the added-sugar rules differently, perhaps to circumvent a predictable kink in the morning-coffee routine: As baristas ponder how many packets of sugar are allowed in different cup sizes, the line of frustrated customers will no doubt grow.

While the regulations stipulate that servers can add a limited amount of sugar to coffee, Dunkin’ Donuts and McDonald’s will no longer do so. Customers will have to add the sugar themselves, from a condiment stand in Dunkin’ locations and with packets on the side at McDonald’s.

“Our focus is on customer service and making sure that our crew know exactly what to do to comply with the ban,” said Cheryll Forsatz, a McDonald’s spokeswoman.

A Dunkin’ spokeswoman, Michelle King, said the company had developed its policy after consulting with the city’s Board of Health.

Dunkin’ has tried to reduce the inevitable confusion by handing out small fliers at cash registers. Titled “New N.Y.C. Regulations — What They Mean for You,” the fliers explain that while lattes and small coffees are protected, drinks like hot chocolate, frozen Coolattas and larger coffees will be downsized or desugared. Workers at the chain have also been trained to answer questions about the ban and gently inform regulars that their favorite drinks will be unavailable by Tuesday.

Shock and dismay are not uncommon reactions, said Jared Feldman, a Bedford-Stuyvesant resident who has witnessed many similar exchanges over the past week at his local Dunkin’. “They go through all the stages of grief,” Mr. Feldman said.

Then there is Starbucks, which interprets the rules as saying baristas can add sugar to large coffee drinks as long as the customer asks first; the city says the amount must be limited. Rather than spending money now on reprinting menus and retraining baristas, the company is waiting to make changes while officials gauge the response from city inspectors — and the outcome of a pending lawsuit against the rules filed by the beverage industry.

“A majority of our drinks fall outside of the ban, and we’re not expecting to make any immediate changes next week,” said Linda Mills, a spokeswoman for Starbucks, which has more than 300 locations throughout the city.

A typical grande beverage at Starbucks is 16 ounces; venti sizes and above will be affected. Many popular espresso drinks at Starbucks, like caramel macchiatos and pumpkin spice lattes, would be exempt from the restrictions, because they often contain a lot of milk. But Starbucks is unsure how to measure the milk content of the popular Frappuccinos, which are about 60 percent ice.

Independent coffee shops have not been immune. At Café Angelique in the West Village, Robert McConkey, the manager, said he had to eliminate most large sizes of cold drinks from the menu. Large flavored ice coffees posed a special problem because of the sugar in the flavored syrup. The cafe decided to continue selling them, but only with the syrup on the side.

“The way the law is worded, there’s plenty of ways for us to get around a lot of them,” he said. “It just seems so ridiculous.”

question: What did Mayor R. Bloomberg ban?

answer: The mayor banned the sale of large sugary drinks.

question: What are the specifications of the ban?

answer: The regulation says that coffee cups 16 ounces or smaller would remain unaffected. But, sodas and cups of coffee larger than 16 ounces can be served only with no more than three to five packets of sugar. Once the drink is served, the customer can add as much sugar as they want.

question: Which cafe chain is affected the most?

answer: This information can't be found.

question: Is the ban taken back?

answer: No.

question: Write a ~5 sentence summary.

answer:
The Mayor of New York, R. Bloomberg, banned large sugary drinks. According to the ban, drinks weighing less than 16 ounces would remain unaffected. But those with more than 16 ounces cannot add more than three to five packets of sugar. Once the drink is handed to the customer, they may add as much as they want.

Dunkin Donuts and McDonalds have come up with the idea of making the customers add the sugar themselves from a condiment stand.


text:
It was his first day on the job, the manager told him while he was sitting in his confined cubicle that there were a few occupational hazards he should keep in mind while on the job. He didn’t listen. He was far too busy staring at the provocatively dressed receptionist a little ways down the hall. He figured an occupational hazard isn’t something he needed to worry about, and rightfully so, he was just an accountant. His day consisted of pointless number punching day in and day out. He couldn’t stand being there, and the first day had yet to even finish, the clock ticked as slow as it ever had before. Retirement was the only thing on his mind, “One day,” he thought, “one day…”

Meanwhile, a man is atop the Empire State Building meticulously checking and maintaining all the electrical gauges. It’s his first day on the job as well, he listened very closely to the occupational hazards for his kind of work. He feared his first climb for weeks, and cautiously made every move making sure it was the right one. He prayed to his god he’d come out of the ordeal alive and well, all he could wait for was his paycheck.

When the second day comes around, only one man is still breathing. Turns out cubicles are more dangerous then you’d think… Occupational hazards seem to have a dark sense of humor of its own, a sense of humor only It understands.

title: Occupational Hazard

question: Where is this story set?

answer: At least part of it is set in New York given the Empire State Building is mentioned as the work location of one of the characters.

question: What are the themes in the story?

answer: That occupational hazards should be taken more seriously; if the story can be seen as taking on horror / speculative fiction qualities, it would be that the universe has a dark sense of humor.

question: Who are the main characters?

answer: An accountant and his manager; an electrician

question: What is the purpose of the two anecdotes?

answer: To provide contrast to one another (the men's jobs and the surface level of occupational hazard they involve) and to drive home the point that occupational hazards need to be taken more seriously

question: Write a ~3 sentence summary.

answer: A bored accountant ignores his manager's instructions around occupational hazards on his first day. Meanwhile, an electrician on top of the Empire State Building takes every precaution. However, it is the accountant who winds up dead.


text:
[]

Lightning Returns: Final Fantasy XIII is out today. If you plan on going in to save some souls, here are a few things you might like to know before you start.

Lightning Returns: Final Fantasy XIII is out today, the third and final game in what we never would have expected to become a trilogy. Jumping in could be daunting even for those who played the prior games, so I've outlined a few things you might want to know before you get started. For more detail on what I thought of Lightning Returns, check out the Shacknews review.

YOU DON'T REALLY NEED TO KNOW THE STORY

As covered in previous reviews, the plot of the Final Fantasy 13 series is _absolute nonsense_. It would frequently throw out meaningless religious-sci-fi jargon to fill plot gaps, and character motivations were all over the map. The story in Lightning Returns is relatively straight-forward compared to the last few games, and doesn't really require that you be familiar with them. For the most part this story is disconnected from the others and stands on its own. Long-time fans will get the most out of seeing returning characters in this newly apocalyptic plot, but the game has enough brief interludes to keep newbies as familiar as they need to be for any new developments. However…

BEST TO KNOW THE COMBAT BASICS

Oddly, as much work as Lighting Returns does to catch up new players in its story, it more-or-less throws you in the deep end of combat. You get a few brief tutorial screens, but the battles start on the difficult end and stay at that level throughout. Veterans who have seen the combat evolve through three iterations will take to it like a fish to water, but new players might have a harder time adapting to the fast-paced approach. Equipment descriptions even occasionally refer to combat roles like "Ravager" or "Commando" from prior games, even though Lightning Returns doesn't use those terms.

SET YOUR DEFAULT SCHEMATA ACCORDINGLY

It's tempting to let the coolest-looking outfit be your default Schemata, especially since it will be the one used in cutscenes. But that default setting plays an important role in combat, since it defines your starting skills. A buff- or debuff-focused Schemata can be a great help to start out a battle, while one focused more on healing would be utterly useless. Especially in the case of tough bosses, let function win over fashion.

YOU CAN ESCAPE... FOR A PRICE

If you find yourself in a particularly tough battle, you can use a special skill to Escape. However, each time you use it, you'll burn an hour of time in the game clock, so excessive running away will cost you precious time to complete missions. The time penalty is removed in Easy Mode, but I found some benefit to having it around. Sometimes if I needed to pass an hour or two quickly to access time-sensitive quests, I could get into some battles and Escape rather than waiting around.

YOU MIGHT NOT FINISH, AND THAT'S OKAY

If my playthrough was any indication, this isn't a game that's very easy to finish in a single run. I spent so much time exploring and familiarizing myself with the world that my game clock ran out with only one of the five Main quests completed, and the others in various stages of completion or roped behind bosses I couldn't beat. Square Enix seems aware of this, and lets you start a New Game Plus even if your first playthrough was a failure. You'll keep your stat boosts and most equipment, making the second run much easier. That structure does mean you'll repeat some content, though, so if you want to finish in one run you might want to access a strategy guide or FAQ to keep you properly on-track.

CHANGE YOUR SCHEMATA OFTEN

Though the Stagger element is less emphasized here than in previous games, you'll need to know how to weaken enemies and render them staggered to deal serious damage--especially against tougher enemies and bosses. That will mean finding their weak spots, either by purchasing field guides or simply trying different spells and attacks until the weak points are added to your database. Once you know their weaknesses, engineer your Schemata to exploit them. If an enemy is very weak to a particular type of magic, just have that spell assigned to all three of your Schemata so you can swap between them and continue to using it while the other two recharge. Even the strongest enemies in the game are pussycats once you've staggered them, so stay focused on that aspect.

DON'T EXPECT TO "LEVEL UP"

Traditional Final Fantasy fans might find themselves surprised, but Lightning Returns has no experience bar or points, no victory fanfare when you level up, no equipment gated behind high levels. It throws all that away in favor of mission-based stat boosts. Completing a side-quest, for example, might gain you 10 extra HP or +5 to strength. Those boosts are permanent, even if you start a New Game Plus after failing to save the world. They also stack atop each other, so completing as many missions as possible will make you very powerful--albeit through a series of incremental steps.

TAKE SOME TIME TO READ THE SIDE QUEST PROMPTS

In a game overflowing with side quests and loot-gathering "Canvas of Prayers" missions, it's easy to succumb to the temptation to speed through the quest dialogue and just look for your mission goals. That would be a shame, though, as Square has hidden fun little nuggets inside the quests. From references to past Final Fantasy games to a wink at the short story, _The Gift of the Magi_, there's a lot of enjoyment to be found in the strange little tales Square cooked up.

BUT REMEMBER, MAIN QUESTS YIELD THE BEST REWARDS

If you're pressed for time and need to choose between progressing in the main quest and completing side missions, always prioritize the main quests. Not only do they gain you more days--which means more time to complete side quests before the final confrontation--but they also carry much bigger stat boosts than the side quests. Some of them even give you extra slots for recovery items or special abilities. It's best to plan out your "days" by prioritizing one story mission, and peppering in side quests here and there as you find them.

question: What does the text say about Lightning Returns: Final Fantasy XIII?

answer: At the time of the article, Lightning Returns: Final Fantasy XIII's release was announced.

question: What does the text say about the Lightning Returns: Final Fantasy XIII's story?

answer: The player won't be needing any background knowledge on the previous game releases of the series. Anyone can play the game without knowing the origination story of the franchise.

question: What does the text say about Lightning Returns: Final Fantasy XIII's gameplay?

answer: The game oddly throws you in the deep end of combat and requires players to know the basics of gaming combat.

question: Why does the text say that it would be okay not to finish the game?

answer: Lightning Returns: Final Fantasy XII's game company, Square Enix, made sure that the player has plenty of time to explore the game's map as well as making the bosses difficult to defeat.


text:
WaveWorks Interactive Sound Engine (Wwise) is an audio library game developers can use license to use in their games.

  QuoteWwise WaveWorks Interactive Sound Engine is the industry's only complete audio pipeline solution. Designed to suit your workflow, Wwise features the integration of an advanced audio authoring tool and a robust sound engine.

  By addressing the specific needs of both audio programmers and sound designers, Audiokinetic has created the ideal solution for all of today's game development pipelines. Wwise allows you to prototype new projects right out-of-the-box; it is workgroup ready and is easily integrated into next-generation game engines. Working in Wwise will increase your productivity and enhance your creative output while saving you time and money across the audio production of any game title.

They have stated publicly on twitter they are planning Linux support:

  @directhex @TwoLofBees @deepsilver Wwise will be there with SteamOS.  Please contact us if you need linux support now.

  Bernard Rodrigue (@decasteljau) September 27, 2013

I am not too clued up on things like this not being a game programmer or audio man myself, but considering it stopped LIMBO being ported natively I am betting it's not the only one.
Considering how many platforms this audio solution works on it's not surprising it's popular, their website claims it's used in over 300 games.

  QuoteWwise is currently available for the following platforms: Android™, iOS, Mac®, Nintendo 3DS™, PlayStation®3, PlayStation®4, PlayStation®Vita, Wii™, Wii U™, Windows®, Xbox 360™, Xbox One™ and Windows Phone 8.

According to Ethan Lee who ports quite a few games to Linux, part of the problem with LIMBO not being able to be ported natively was it's use of Wwise, so this will be another barrier down for Linux game development (source).

  QuoteHad Limbo used something other than Wwise, it may have gotten a native Linux version.

Frozenbyte the developers behind the Trine & Shadowground games had to replace Wwise in Trine 2's Linux version because of no Linux support as well:

  QuoteWe licensed Wwise for audio and Bink for video, and they worked reasonably well. Some of the time we saved has been lost since then though, we had to write our own audio system for Linux for example.

Source

I do wonder how many more companies will be announcing Linux support of their products in the near future thanks to Valve's support of it with SteamOS.
Not just that, but I wonder how many more games will be jumping over now we will have another middleware problem out of the way. Article taken from GamingOnLinux.com.

question: What is WaveWorks Interactive Sound Engine?

answer: WaveWorks is an audio library that game developers can license and utilize in their games.

question: What does Wwise allow game developers to do?

answer: Wwise allows developers to prototype new projects right out-the-box, and it is easily integrated into the the next-generation game engines.

question: Is Wwise planning Linux support?

answer: They are planning to offer Linux support.

question: Does Wwise currently offer Linux support?

answer: Not explicitly answered, but it seems as though there have been issues with the Linux operating system and Wwise.

question: Write a ~2 sentence summary.

answer: This article gives a description of WaveWorks Interactive Sound Engine, an audio library for game developers. It also talks about the library's limitations in relation to use in Linux.