text:
“REUBEN BRIGHT” is a (modified) Petrarchan sonnet[1] written by American poet Edwin Arlington Robinson, early in his career, and published in _Children of the Night_ (1897). The poem acquired some fame as teaching material for English teachers.

Form and summary

“Reuben Bright” is a sonnet with decasyllabic lines of iambic pentameter.[2] Its structure is that of the Petrarchan sonnet according to Stephen Regan;[3] its rhyme scheme is abba abba cdcd ee. In other words, the octet has two quatrains of enclosed rhyme, and the sestet has a quatrain of alternating rhyme and a concluding couplet.

The poem tells of a butcher, Reuben Bright, who might be supposed to be rough and unfeeling because of his profession, but when news is brought that his wife is to die, he cries like a baby. When she dies, he packs up all the articles she handcrafted in a chest and adds cedar boughs (a “traditional symbol of death”[4]) and then destroys the slaughter house. One critic said the poem shows “a man's devotion to his wife”.[5] Like many of Robinson's narrative sonnets, “Reuben Bright” has a “characteristic signature: usually a bizarre or extraordinary story”, according to Donald Hall, who also noted that in its first printing the last line was altered significantly by a typo: the poem had been printed with the last line saying “tore down _to_ the slaughter house”.[6]

Critical appreciation

Robinson wrote “Reuben Bright” around the same time as “Richard Cory”. David Perkins, in his _A History of Modern Poetry_ (first published 1976), called some of those early poems including “Reuben Bright” and “Richard Cory” “revolutionary”, with narrative elements of prose fiction brought into a lyric poetry written about realistic subject matter in vernacular language.[7] Stephen Regan likewise notes the “plain-speaking, intimately conversational idiom”. The poem's value, he argues, lies in the tension between that “matter-of-fact” language (and the close tonal connection between, for instance, “Bright” and “brute”) and the psychological depths Robinson hints at, opened by the butcher's “capacity for deep feeling”.[8] Robinson critic Warner Berthoff had said that “Robinson is the poet of casualties; of broken lives and exhausted consciences”, and Regan saw Reuben Bright as the best example of this quality.[9]

Unlike a regular sonnet of this form whose dramatic turn can be expected to come between the octet and the sestet, “Reuben Bright” has no such dramatic change in “mood or attitude”, just a narrative development. An ironic twist does not come until the last line, which, as Milton R. Stern noted, is a device frequently found in Robinson's poetry.[10] Poet and critic Donald Hall also commented on the structure, and did note a kind of conclusion at the end of the octave: “Robinson's octave ends with wild grief; but the active imagination of the sestet is his genius--the cow-killer converted”.[11]

Use in teaching literature

Milton Stern, writing in 1957 considered the sonnet to be an excellent poem to teach poetry to students who might have gotten jaded with traditional sonnets, and are challenged to try and figure out how the shocking ending results from the death of Bright's wife. That the poem does all this with rather ordinary language and without traditional poetic elements is important as well: “the student can more easily see that poetry does speak to our own human condition”. According to Stern, “Robinson constantly takes 'little' people, 'ordinary' people, who lead the 'usual' life of all of us, and finds therein the dramatic, the poetic, and the human”.[12] In an article published two years after, Stern again suggested “Reuben Bright”, along with a few other Robinson poems, as very useful “Poems for Teaching”.[13]

Martha Fisher, in a discussion of the process-intervention model in teaching literature, mentioned “Reuben Bright” (and “Richard Cory”) as a narrative poem that students could be asked to rewrite as a short story or a play.[14]

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title: Reuben Bright

question:
Answer the following question based on the above passage:

Summarize the structure of this poem.

answer: It's a sonnet written in octet with alternating rhyme. Despite its structure being relatively simple, the rhyme scheme is admittedly confusing.

text: This does not fully answer the question.

refinement: This is a Petrarchan sonnet with the rhyme scheme abba abba cdcd ee. The octet has two quatrains of enclosed rhyme and the sestet has a quatrain of alternating rhyme and a concluding sestet.

answer: "Reuben Bright" is a Petrarchan sonnet composed of decasyllabic lines of iambic pentameter. Its rhyme scheme is abba abba cdcd ee. The octet is comprised of two quatrains of enclosed rhyme, while the sestet is made up of a quatrain of alternating rhyme followed by a concluding couplet. The poem tells of a butcher, Reuben Bright, and how he reacts when his wife is to die by crying like a baby. When she does die, he packs up her handmade crafts in a chest and adds cedar boughs. Then he destroys the slaughter house. The ironic twist comes at the end of the poem, where the last line reveals he tore down the slaughter house. Overall, the poem's structure follows that of a Petrarchan sonnet and is comprised of an octet and a sestet.

text: This answer contains superfluous information.

refinement: "Reuben Bright" is a Petrarchan sonnet composed of decasyllabic lines of iambic pentameter. Its rhyme scheme is abba abba cdcd ee. The octet is comprised of two quatrains of enclosed rhyme, while the sestet is made up of a quatrain of alternating rhyme followed by a concluding couplet.

answer: "Reuben Bright" is a Petrarchan sonnet with two quatrains of enclosed rhyme in the octet and a quatrain of alternating rhyme in the sestet. The poem tells the story of a butcher who reacts to his wife's death with the grief of a baby. He packs up all the articles she handcrafted into a chest and adds cedar boughs before he destroys the slaughter house. The twist comes at the end with an ironic twist that reveals sudden depth of feeling in the butcher. The poem's structure consists of a typical sonnet progression with a dramatic turn at the end.

text: The answer contains superfluous information.

refinement: "Reuben Bright" is a Petrarchan sonnet with two quatrains of enclosed rhyme in the octet and a quatrain of alternating rhyme in the sestet.

text: This sentence is incomplete

refinement: "Reuben Bright" is a Petrarchan sonnet with two quatrains of enclosed rhyme in the octet and a quatrain of alternating rhyme in the sestet and a concluding couplet.

answer: It is a modified Petrarchan sonnet, which means it has two quatrains of enclosed rhyme, and a concluding couplet. The quatrains are arranged according to the rhyme scheme abba abba cdcd ee. It has decasyllabic lines of iambic pentameter.

answer: The structure has decasyllabic lines of iambic pentameter, and is considered to be a Petrarchan sonnet, with a rhyme scheme of abba abba cdcd ee. The octet consists of two quatrains of enclosed rhyme. The sestet has a quatrain of alternating rhyme. There is a couplet to conclude the poem.

question:
Answer the following question based on the above passage:

Summarize the praise for the poem.

answer: The sonnet is revolutionary in that it contains some narrative elements commonly seen in prose fiction, which are pulled into lyric poetry by virtue of the structure discussed above. The unique factor is the juxtaposition of the commonplace, layperson's language, the storytelling advent, and the deeper meanings hinted at through both the brightly punctuated lyricism as well as the layering of the poem. The listener is left to interpret the many facets of the storyteller, or the one performing the sonnet. The placement of lines is important to managing this ambiguity, and was not a common feature until this poem's publishing.

answer: "Reuben Bright" is praised for its realism, plain-speaking style and human depth. The shocking ending stems from the butcher's capacity for deep feeling, and the poem focuses on people in normal life, showing the dramatic and poetic in the mundane. The poem is recommended as a good teaching text.

answer: "Reuben Bright" is considered a narrative poem with a suggestive and human quality. Critics praise its accessible language and the tension between its matter-of-factness and psychological depth. The poem offers an accessible way of introducing poetry to students, who can see how poetry speaks to their human condition. The narrative has an ironic twist in its ending. Ultimately, the poem is praised for its dramatic qualities, characterization, and ability to make people seem "real".

answer: Robinson wrote the poem around the same time as Richard Cory. Perkins called his poems including this one, "revolutionary" and called the sonnet's structure "the structure of the Petrarchan sonnet..." Regan called the sonnet's use of "plain-speaking, intimately conversational idiom" as well as the narrative act, foregrounded by the alternating rhyme and entrance into a more descriptive tone in the final couplet, echoing the tension between language and psychology. Berthoff called Robinson the poet of casualties, of broken lives and exhausted consciences. Hall also called "Reuben Bright" a milestone for Robinson and for the sonnet.

answer: The poem's value lies in the tension between the matter-of-fact language and the psychological depths Robinson hints at. The poem shows a man's deep devotion to his wife.

text: The answer does not cover all aspects of the praise.

refinement: The poem's value lies in the tension between the matter-of-fact language and the psychological depths Robinson hints at. Reuben Bright does not have the expected dramatic turn between the octet and sestet as most sonnets do. Instead there is an ironic twist in the last line.

question:
Answer the following question based on the above passage:

Summarize how and why this poem has been used in teaching literature.

answer: Initially a love story between Reuben and his wife, it teaches students how transitions between stanzas can shift the main focus of the work.

text: This does not answer the question.

refinement: Unlike most sonnets, Reuben Bright is written in ordinary layman's language. This may appeal to students who are jaded by the language of traditional sonnets. Teachers can challenge students to try and figure out how the shocking ending results from the death of Bright's wife. Milton Stern points out that Robinson takes ordinary people, leading ordinary lives and "finds therein the dramatic, the poetic and the human."

answer: "Reuben Bright" is a Petrarchan sonnet with decasyllabic lines of iambic pentameter. It tells of a butcher who is apparently rough and uncaring but upon hearing of his wife's impending death, cries like a baby. The poem has been used in teaching literature because its structure and narrative are unique and unconventional, thus making the poem excellent for promoting critical thinking. Moreover, the poem is useful in teaching how poetry can tackle mundane or everyday situations and reveal the depth of emotion in seemingly ordinary people.

answer: The poem has been used to be taught to students who might have gotten jaded by traditional sonets. The poem is used to help the students see that poetry does indeed speak to the human condition. The use of common words and not traditional poetic elements helps the student grasp the concept better. Another interesting point is that the poem's ending points to how a butcher has a capacity for deep feeling.

text: The language is clumsy.

refinement: The poem may be useful for teaching students who might have gotten jaded by traditional sonets. The poem is used to help the students see that poetry does indeed speak to the human condition. The use of common words and not traditional poetic elements helps the student grasp the concept better. Another interesting point is that the poem's ending points to how a butcher has a capacity for deep feeling.

text: Spelling

refinement: The poem may be useful for teaching students who might have gotten jaded by traditional sonnets. The poem is used to help the students see that poetry does indeed speak to the human condition. The use of common words and not traditional poetic elements helps the student grasp the concept better. Another interesting point is that the poem's ending points to how a butcher has a capacity for deep feeling.

answer: "Reuben Bright" has been used in teaching literature as an example of a narrative poem that students can explore for its realistic subject matter and its surprising ending. The poem relativizes common assumptions about butchers as unfeeling individuals, and shows that even such an apparently hardened individual has emotions. It thus encourages students to take a fresh look at their own assumptions about people and their potential for emotion. Furthermore, its structure and simplicity can serve as an instructional model for students when considering a variety of sonnet forms.

answer: This poem is one many students might find refreshing when put up against the more stuffy, predictable and traditional sonnets. There are some elements-those palling around with grief and death-that inject a bit of a human feeling to the poem, as if it were less esoteric because it is so relatable in its intentional messiness. Ordinary people with their ordinary emotions are front and center and made to feel seen and valued in this sonnet.


split: test

text:
[Herd of Cows]

 Flickr / Marc Dalmulder
-   IN FEBRUARY 2018, THE US CATTLEMEN’S ASSOCIATION (USCA) FILED A PETITION TO THE USDA ARGUING THAT LAB-GROWN AND PLANT-BASED MEAT STARTUPS SHOULD NOT BE ABLE TO CALL THEIR PRODUCTS "MEAT," SINCE THEY DO NOT COME FROM SLAUGHTERED ANIMALS.
-   THE STARTUPS SAY THEY ARE NOT BACKING DOWN.
-   WHILE LAB-GROWN MEAT PRODUCTS ARE NOT AVAILABLE TO THE PUBLIC YET, A NUMBER OF STARTUPS ARE ATTEMPTING TO MAKE IT MORE COMMERCIALLY FEASIBLE. PLANT-BASED MEAT COMPANIES, LIKE IMPOSSIBLE FOODS AND BEYOND MEAT, ALREADY SELL THEIR ITEMS AT SUPERMARKETS AND RESTAURANTS.
-   THE DEBATE WILL LIKELY INTENSIFY.

------------------------------------------------------------------------

For the first time, a major part of the US beef industry is taking aim at tech startups creating meat — without animals — that tastes like the real thing. (These startups fall into two major buckets: companies that make meat from plants, and others that are growing real meat using animal cells in labs.)

In February, the US Cattlemen’s Association (USCA) filed a 15-page petition to the USDA asking the agency to strictly define "meat" and "beef" as animals raised and slaughtered. The group argues that displaying plant-based meat products next to traditional meat items could confuse customers, especially when they're labeled as chicken or beef.

Plant-based and lab-grown meat startups are refuting that argument.

Ethan Brown, the CEO of the plant-based foods company Beyond Meat, believes that its burgers serve the same purpose as traditional beef.

"Why can't we call it a piece of meat? It has the same things in it, it presents the same way, and it performs the same function," he told Capital Public Radio. "A lot like we call the mobile phone a phone, and we don’t call it a fake landline."

Josh Tetrick, CEO of the food-tech startup Just (formerly called Hampton Creek), told Business Insider that tech companies and the beef industry should work together on creating the future of meat. Just produces plant-based foods, like eggless mayonnaise, and it's also working on a cultured — or lab-grown — meat product.

"I understand better than most the nuances and challenges of product naming," said Tetrick, who won a similar battle over labeling Just's eggless mayo as mayo in 2015. "My biggest takeaway is this: The leaders of the national and global meat industry want to feed the world animal protein in a sustainable way. That’s a shared interest that should be celebrated."

Big Beef is divided on how to fight fake meat startups

By filing an official motion, the country's ranchers are showing cultured and plant-based meat startups that they are prepared to fight for the definition of meat.

"[The government] should require that any product labeled as 'beef' come from cattle that have been born, raised, and harvested in the traditional manner, rather than coming from alternative sources such as a synthetic product from plant, insects, or other non-animal components and any product grown in labs from animal cells," the USCA wrote.

[]

An Impossible Foods employee works at the company's headquarters in Redwood City, California.
 Melia Robinson
But not every group within the beef industry agrees on how to challenge these startups.

In April, the more-powerful National Cattlemen’s Beef Association (NCBA) sent a letter to the USDA, arguing for the opposite ruling as the USCA.

The NCBA's position may seem counterintuitive, but as Quartz notes, the move is likely part of a larger strategy to fight fake meat startups. By putting their products under the oversight of the USDA, lab-grown and plant-based meat companies would need to adhere to the USDA's existing regulations on meat, which could hamper research and development.

Fake meat startups — attracting hundreds of millions in venture capital — say that they're not backing down

In the petition, the USCA mentions Impossible Foods and Beyond Meat, companies that are each backed by millions in VC funding. The group also calls out Memphis Meats, Just, and Mosa Meats — three startups that are racing to bring lab-grown meat to market.

Recent venture-capital investments could make that more commercially feasible.

In January, Tyson Foods announced that it had invested in Memphis Meats, joining the startup's list of prominent backers including Bill Gates, the food giant Cargill, and Richard Branson.

Plant-based meat companies have also caught the attention of VCs. In 2016, Tyson also bought a 5% stake in Beyond Meat, a company that sells plant-based burgers, chicken, and sausage in grocery stores. Meanwhile, Impossible Foods has chosen to sell its burgers exclusively in restaurants. Until recently, Impossible's patties were only available at select food establishments for over $10. But in April, the company debuted $2 sliders at 140 White Castle locations across New York, New Jersey, and Illinois.

Just could be the first cultured food startup to get its meat to stores. Last year, the company said it plans to do so by the end of this year. Memphis Meats and Mosa Meats say they will start offering their products to the public in 2021.

"We have made progress in all areas that needed improvements — creating fat tissue, creating color, moving towards serum-free culturing — but we’re not there yet," Mosa Meats CEO Peter Verstrate previously told Business Insider.

Proponents of meat-mimicking food argue that it's more environmentally friendly than raising traditional livestock.

This month, a group of scientists from the University of Oxford published the most comprehensive analysis to date of the damage farming does to the planet. The new research suggests that without dairy and meat consumption, global farmland use could be reduced by over 75% — an area equivalent to the US, China, European Union, and Australia combined — and still feed the world. Globally, traditional animal farming accounts for about 18% of all greenhouse emissions, uses 47,000 square miles of land annually, and exhausts 70% of the world's water.

As startups improve their meat alternatives, the debate over what can legally be considered meat will likely intensify.

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question:
Answer the following question based on the above passage:

What does the text say about the USCA?

answer: The US Cattlemen's Association (USCA) is a group that represents the interests of ranchers and beef producers in the US. In February 2018, they filed a petition to the USDA, arguing that lab-grown and plant-based meat startups should not be able to call their products "meat." First, in April, NCBA sent a letter to the USDA, arguing for the opposite ruling of the USCA. The more-powerful NCBA's position may be a move to halt development of fake meat startups. One of their concerns is the idea of calling these products "meat" despite that they aren't made from slaughtered animals.

text: This is about the NCBA, not the USCA. It should be omitted.

refinement: The US Cattlemen's Association (USCA) is a group that represents the interests of ranchers and beef producers in the US. In February 2018, they filed a petition to the USDA, arguing that lab-grown and plant-based meat startups should not be able to call their products "meat." First, in April, NCBA sent a letter to the USDA, arguing for the opposite ruling of the USCA.  One of the USCA's concerns is calling these products "meat" despite that they aren't made from slaughtered animals.

text: It's omitted that the USCA argues that displaying these fake meat products next to traditional meat items would confuse customers.

refinement: The US Cattlemen's Association (USCA) is a group that represents the interests of ranchers and beef producers in the US. In February 2018, they filed a petition to the USDA, arguing that lab-grown and plant-based meat startups should not be able to call their products "meat." First, in April, NCBA sent a letter to the USDA, arguing for the opposite ruling of the USCA.  One of the USCA's concerns is calling these products "meat" despite that they aren't made from slaughtered animals. The USCA argues that displaying these fake meat products next to traditional meat items would confuse customers.

text: The text doesn't describe the USCA as such. It would be better to omit this.

refinement: The US Cattlemen's Association (USCA) is a group that filed a petition to the USDA, arguing that lab-grown and plant-based meat startups should not be able to call their products "meat" in February 2018. First, in April, NCBA sent a letter to the USDA, arguing for the opposite ruling of the USCA.  One of the USCA's concerns is calling these products "meat" despite that they aren't made from slaughtered animals. The USCA argues that displaying these fake meat products next to traditional meat items would confuse customers.

answer: The US Cattlemen's Association (USCA) is a group that represents the interests of ranchers and beef producers in the US. First, in April, NCBA sent a letter to the USDA, arguing for the opposite ruling of the USCA. The more-powerful NCBA's position may be a move to halt development of fake meat startups. One of their concerns is the idea of calling these products "meat" despite that they aren't made from slaughtered animals.

answer: The US Cattlemen's Association (USCA) is a group that is taking aim at tech startups creating meat without animals. They filed a petition to the USDA asking the agency to strictly define "meat" and "beef" as animals raised and slaughtered. The group argues that displaying plant-based meat products next to traditional meat items could confuse customers, especially when they're labeled as chicken or beef.

question:
Answer the following question based on the above passage:

What does the text say about the NCBA?

answer: The NCBA is the more powerful National Cattlemen's Beef Association. They sent a letter to the USDA in April arguing for the opposite ruling as the USCA. The move is likely part of a larger strategy to fight fake meat startups. By putting their products under the oversight of the USDA, lab-grown and plant-based meat companies would need to adhere to the USDA's existing regulations on meat, which could hamper research and development.

answer: In April, the more-powerful National Cattlemen’s Beef Association (NCBA) sent a letter to the USDA, arguing for the opposite ruling as the USCA. In the petition, the USCA mentions Impossible Foods and Beyond Meat, which fall inside the target of the NCBA. Purdue Univ. reports that the lobby group is owned by members of the American beef industry.

answer: In April, the more-powerful National Cattlemen’s Beef Association (NCBA) sent a letter to the USDA, arguing for the opposite ruling as the USCA. In the petition, the USCA mentions Impossible Foods and Beyond Meat, which fall inside the target of the NCBA.

question:
Answer the following question based on the above passage:

What does the text say about reasons for supporting development of meat-mimicking food?

answer: The text states that proponents of meat-mimicking food argue that it's more environmentally friendly than raising traditional livestock. The new research suggests that without dairy and meat consumption, global farmland use could be reduced by over 75% - an area equivalent to the US, China, European Union, and Australia combined - and still feed the world. Globally, traditional animal farming accounts for about 18% of all greenhouse emissions, uses 47,000 square miles of land annually, and exhausts 70% of the world's water. The text also states that plant-based meat is healthier than traditional meat.

text: The text does not say this. This should be omitted.

refinement: The text states that proponents of meat-mimicking food argue that it's more environmentally friendly than raising traditional livestock. The new research suggests that without dairy and meat consumption, global farmland use could be reduced by over 75% - an area equivalent to the US, China, European Union, and Australia combined - and still feed the world. Globally, traditional animal farming accounts for about 18% of all greenhouse emissions, uses 47,000 square miles of land annually, and exhausts 70% of the world's water.

answer: The text states that proponents of meat-mimicking food argue that it's more environmentally friendly than raising traditional livestock. The new research suggests that without dairy and meat consumption, global farmland use could be reduced by over 75% - an area equivalent to the US, China, European Union, and Australia combined - and still feed the world. Globally, traditional animal farming accounts for about 18% of all greenhouse emissions, uses 47,000 square miles of land annually, and exhausts 70% of the world's water.

question:
Answer the following question based on the above passage:

What does the text say about public opinion of meat-mimicking food?

answer: There is some concern among industry insiders and customers that meat-mimicking products, like plant-based and lab-grown meats, will cause confusion due to their labeling. This angst comes from the fact that meat products are made from slaughtered animals, which many people consider the definition of "meat". However, others see this food as healthier in that it's an easy source of protein without animal slaughter and lactose, which has harmful effects on the environment.

text: The text doesn't discuss the public opinion. There should be no answer.

answer: There is some concern among industry insiders and customers that meat-mimicking products, like plant-based and lab-grown meats, will cause confusion due to their labeling. This angst comes from the fact that meat products are made from slaughtered animals, which many people consider the definition of "meat". However, others see this food as healthier in that it's an easy source of protein without animal slaughter and lactose, which has harmful effects on the environment. Sales of these kinds of products are raking in lots of money, and they could have a lot of potential.

answer: No answer


text:
KATIE EMILY BRAY (born 23 January 1987) is an English mezzo-soprano and is best known as the winner of the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World in 2019. She is particularly noted for her baroque repertoire.[1]

Early life and education

[St Margaret's School, Exeter] Bray was born on 23 January 1987 in Exeter, Devon, England. She was educated at St Margaret's School in Exeter until 2005 and went on to study at the University of Manchester, graduating in 2008. She then went onto study opera as a post-graduate at the Royal Academy of Music, where she was taught by Elizabeth Ritchie and Iain Ledingham,[2][3] and finished her studies at the academy in 2012 having won an Alfred Alexander Scholarship and been recipient of The Karaviotis Scholarship.[4]

Professional career

In 2013, Bray made her debuts with Glyndebourne Festival Opera and English Touring Opera.[5] Bray has also performed with Opera North, English National Opera, Scottish Opera, Welsh National Opera, Garsington Opera, Opera Holland Park, English Touring Opera and Irish National Opera.[6][7] Bray has also performed in concert halls and festivals around the United Kingdom, such as Wigmore Hall, Cadogan Hall, the Holywell Music Room and St George's, Hanover Square. She has also performed recitals in many song festivals that include the City of London Festival, the London English Song Festival and the Oxford Lieder Festival.[8]

Repertoire

-   Hansel - _Hansel and Gretel_
-   Rosina - _The Barber of Seville_
-   Varvara - _Káťa Kabanová_
-   Louis XV Chair/Female Cat/Owl - _L'enfant et les sortilèges_
-   Lola - _Cavalleria rusticana_
-   Nancy - _Albert Herring_
-   Daughter - _Akhnaten_
-   Lucilla - _La scala di seta_
-   Zerlina - _Don Giovanni_
-   Zulma - _L'italiana in Algeri_
-   Zaida - _Il turco in Italia_
-   Mallika - _Lakmé_
-   Zenobia - _Radamisto_
-   Minerva - _Il ritorno d'Ulisse in patria_
-   Satirino - _La Calisto_
-   Charlotte - _Werther_ [9]

Competitions and awards

Bray has won many singing competitions and awards, including:

-   Alfred Alexander Scholarship and recipient of The Karaviotis Scholarship[10]
-   Major van Someren-Godfrey Prize for English Song (2009)[11]
-   Elena Gerhardt Lieder Prize (2010)[12]
-   Audience Prize in the Handel Singing Competition (2010)[13]
-   Third prize in the Jackdaws Vocal Award (2010)[14]
-   Sir Thomas Armstrong Prize[15]
-   Opera Prize in the Mozart International Singing Competition (2011)[16]
-   Third prize overall in Mozart International Singing Competition (2011)[17]
-   At the Royal Academy of Music she received the Principal's Prize and first prize in the Richard Lewis Singing Competition (2011)[18]
-   Represented England in the BBC Cardiff Singer of the World competition, where she won the Dame Joan Sutherland Audience Prize (2019)[19]

Discography

Bray appears on

-   _David Matthews: Symphony No. 7 & Vespers_ (2014)[20]
-   _Mahler: Lieder eines fahrenden Gesellen (arr. Schoenberg)_ (2015)[21]
-   _Rückert Lieder: Robert & Clara Schumann_ (2016)[22]

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title: Katie Bray

question:
Answer the following question based on the above passage:

Summarize what happened before 2011.

answer: Bray was educated at St Margaret's School up to 2005 and then went on to study at the University of Manchester, graduating in 2008, where she studied opera. She then went onto study opera as a full post-graduate at the Royal Academy of Music (R.A.M.). While studying at the R.A.M. she was taught by Elizabeth Ritchie and Iain Ledingham, and she was awarded with an Alfred Alexander Scholarship, the Karaviotis Scholarship and the Principal's Prize and first prize in the Richard Lewis Singing Competition.

answer: Prior to 2011, Katie Bray won various singing competitions and awards. These include the Alfred Alexander Scholarship and the Richard Lewis Singing Competition. She performed with opera companies and festivals, notably at the BBC Cardiff Singer of the World competition where she won the Dame Joan Sutherland Audience Prize.

text: Some parts of this critique do not align with the timeline before 2011. The latter half of the passage discusses events that occurred after 2011. It is important to edit this response.

refinement: Katie Bray was educated at St Margaret's School in Exeter until 2005 and continued her education at the University of Manchester. Prior to 2011, Katie Bray won various singing competitions and awards. These include the Alfred Alexander Scholarship and the Richard Lewis Singing Competition.

answer: Katie Bray was born in Devon and educated at St. Margaret's School in Exeter until 2005. She went on to study at the University of Manchester, graduating in 2008 and opera as a post-graduate at the Royal Academy of Music. She received numerous prizes in 2009 and 2010: Major van Someren-Godfrey Prize for English Song, Elena Gerhardt Lieder Prize, Audience Prize in the Handel Singing Competition and third prize in the Jackdaws Vocal Award.

answer: Bray was educated at St Margaret's School and went on to study at the University of Manchester but didn't graduate. In 2010 she went on to study opera as a post-graduate at the Royal Academy of Music. She taught at the Academy and once finished, went on to study opera. In 2011, Bray represented England at the Mozart International Singing Competition where she was awarded the Alfred Alexander Scholarship.

text: This critique has a lot of incorrect facts in it. Bray did graduate from University of Manchester, and additionally this response includes events from years ahead of 2011.

refinement: Bray was educated at St Margaret's School and went on to study at the University of Manchester and graduated from there.  In 2010 she went on to study opera as a post-graduate at the Royal Academy of Music. Her career in opera started from then on out. In 2011, Bray represented England at the Mozart International Singing Competition where she was awarded the Alfred Alexander Scholarship. She also won various other awards in 2011 like the Major van Someren-Godfrey Prize for English Song in 2009, the Elena Gerhardt Lieder Prize, as well as the Audience Prize in the Handel Singing Competition.

answer: Before 2011, Katie Bray had won various prizes as a singer, including an Alfred Alexander Scholarship and recipient of The Karaviotis Scholarship, major van Someren-Godfrey Prize for English Song, and at the Royal Academy of Music she received the Principal's Prize and first prize in the Richard Lewis Singing Competition. In the BBC Cardiff Singer of the World competition in 2019, she won the Dame Joan Sutherland Audience Prize.

text: The last sentence in this response needs to be omitted as it is outside the scope of what is being asked. Additionally, it is important to note the education that Katie Bray received before 2011.

refinement: Before 2011, Katie Bray had won various prizes as a singer, including an Alfred Alexander Scholarship and recipient of The Karaviotis Scholarship, major van Someren-Godfrey Prize for English Song, and at the Royal Academy of Music she received the Principal's Prize and first prize in the Richard Lewis Singing Competition. Katie's educational career occurred at St Margaret's School in Exeter until 2005, in which she went to study and graduate from the University of Manchester.

question:
Answer the following question based on the above passage:

What does the text say about the training of an opera singer in Britain?

answer: Katie Bray was educated in Exeter and went on to study at the University of Manchester. Next she did a post-graduate program in opera at the Royal Academy of Music. She was taught by Elizabeth Ritchie and Iain Ledingham. She won an Alfred Alexander Scholarship and received the Karaviotis Scholarship. After graduating she went on to successfully compete in numerous competitions. Bray made her debut with Glyndebourne Festival Opera and English Touring Opera.

text: It is important to note that there is no official answer to this question, as training is not being provided.

refinement: There is no formal training discussed in the text but an assumption is made off of Katie Bray's education. Katie Bray was educated in Exeter and went on to study at the University of Manchester. Next she did a post-graduate program in opera at the Royal Academy of Music. She was taught by Elizabeth Ritchie and Iain Ledingham. She won an Alfred Alexander Scholarship and received the Karaviotis Scholarship. After graduating she went on to successfully compete in numerous competitions. Bray made her debut with Glyndebourne Festival Opera and English Touring Opera.

answer: Bray was taught by her music professors at the University of Manchester and Royal Academy of Music like Elizabeth Ritchie and Iain Ledingham. She was an Alfred Alexander and Karaviotis Scholarship recipient. Ritchie is recognized as one of the pioneers of British music education, who established a music teacher-training course and penned definitive texts on aural training and piano pedagogy and has even worked for the BBC for over forty years. She is a Fellow of the Royal Schools of Music and has been awarded honorary fellowships of higher-education institutions in the UK and Ireland.

answer: The text doesn't state much surrounding the training of opera singing; however, it is discussed that Bray has received many singing competitions and awards. Regardless, she also received training primarily at the Royal Academy of Music, where she was taught by Elizabeth Ritchie and Iain Ledingham. Her degree and professional career all started with her studies at Manchester University, graduating in 2008 and then starting with Glyndebourne Festival Opera. A few years later, in 2012, she then went on to pursue a post-graduate at the academy, finishing in the same year currently she still is attending and performing there.

answer: The text mentions that Katie Bray received her training at the Royal Academy of Music and excelled in competitions and awards. From this, it can be inferred that her training involved preparing for opera competitions and awards. The text also suggests that Bray is known for her baroque repertoire and has been successful in several opera competitions. These facts indicate that performance in opera competitions is a standard element of training for an opera singer in Britain.

answer: The text says that Katie Bray is a mezzo-soprano noted for her baroque repertoire and that she studied at the Royal Academy of Music where she was taught by Elizabeth Ritchie and Iain Ledingham. Bray has been awarded many singing competitions and awards and is particularly known for her baroque repertoire. Therefore, the text makes it clear that Bray has received a rigorous training in opera singing in Britain.

text: It is important to note that Katie Bray went through a lot of education to succeed in her professional career.

refinement: Katie Bray went through a lot of educational achievements to build her success in opera.  The text says that Katie Bray is a mezzo-soprano noted for her baroque repertoire and that she studied at the Royal Academy of Music where she was taught by Elizabeth Ritchie and Iain Ledingham. Bray has been awarded many singing competitions and awards and is particularly known for her baroque repertoire. Therefore, the text makes it clear that Bray has received a rigorous training in opera singing in Britain.

question:
Answer the following question based on the above passage:

Summarize Katie Bray's most recent accomplishments.

answer: She was the winner of the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World in 2019. She studied at St. Margaret's School in Exeter and graduated with honors at the University of Manchester. She went on to hit most of the major competition stages, winning the third prize overall in the Mozart International Singing Competition in 2011 and represented England in the BBC Cardiff Singer of the World, where she won the Dame Joan Sutherland Audience Prize in 2019.

text: The second sentence in this response is not necessary and should be omitted as it does not adhere to what the question is asking.

refinement: She went on to hit most of the major competition stages, winning the third prize overall in the Mozart International Singing Competition in 2011 and represented England in the BBC Cardiff Singer of the World, where she won the Dame Joan Sutherland Audience Prize in 2019. Additionally, she was the winner of the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World in 2019.

answer: She is most known for being the winner of the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World in 2019.

answer: Katie Bray is a mezzo-soprano made known for her baroque repertoire. Her most recent accomplishments include winning the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World competition and several singing competitions and awards. Overall, she is well-regarded in the singing world.

answer: Katie Bray is a mezzo soprano with an impressive baroque repertoire. Bray won the Dame Joan Sutherland Audience Prize in 2019 when she represented England in the BBC Cardiff Singer of the World competition. She is best known for this accomplishment. Recently, she recorded and appears on Ruckert Lieder by Robert and Clara Schumann and Mahler's Lieder eines fahrenden Gesellen.

answer: Katie Bray is a mezzo-soprano noted for her baroque repertoire. Recently, Bray won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World competition. She has also been the recipient of numerous singing contests and awards, including the Alfred Alexander Scholarship, the Karaviotis Scholarship, the Major van Someren-Godfrey Prize for English Song, the Elena Gerhardt Lieder Prize, third prize in the Jackdaws Vocal Award, and the Sir Thomas Armstrong Prize. Additionally, Bray represented England in the BBC Cardiff Singer of the World competition, where she received the Dame Joan Sutherland Audience Prize.


text:
Politics|U.S. Plans to Pay Mexico to Deport Unauthorized Immigrants There

[Central American migrants at the border in Tijuana. The money from the Trump administration will help Mexico increase deportations of Central Americans.]

Credit...Meghan Dhaliwal for The New York Times

-   Sept. 12, 2018

WASHINGTON — President Trump has promised for years that Mexico would pay for a vast border wall, a demand that country has steadfastly refused. Now, in the Trump administration’s campaign to stop illegal immigration, the United States plans instead to pay Mexico.

In a recent notice sent to Congress, the administration said it intended to take $20 million in foreign assistance funds and use it to help Mexico pay plane and bus fare to deport as many as 17,000 people who are in that country illegally.

The money will help increase deportations of Central Americans, many of whom pass through Mexico to get to the American border. Any unauthorized immigrant in Mexico who is a known or suspected terrorist will also be deported under the program, according to the notification, although such people are few in number.

Katie Waldman, a spokeswoman for the Department of Homeland Security, said the program was intended to help relieve immigration flows at the United States border with Mexico.

“We are working closely with our Mexican counterparts to confront rising border apprehension numbers — specifically, a 38 percent increase in families this month alone — directly and to ensure that those with legitimate claims have access to appropriate protections,” Ms. Waldman said.

A spokesman for the Mexican Embassy did not immediately respond Wednesday to a request for comment.

The plan, which has been debated internally for months, is part of a broader push by the Trump administration to redirect billions in foreign assistance to other priorities. The administration has yet to spend nearly $3 billion in foreign aid, money allocated last year by Congress with broad bipartisan support. Hundreds of millions of dollars meant to help stabilize Syria and support Palestinian schools and hospitals has already been redirected.

While the administration has made several announcements about not spending on priorities Congress intended, it has mostly kept quiet about what it will do with the money. But it has long been frustrated that Congress provides billions for foreign aid while refusing to fund its immigration priorities. The money will be transferred from the State Department to the Department of Homeland Security, and then sent to Mexico.

“Congress intended for this money to lift up communities dealing with crime, corruption and so many other challenges, not to expand this administration’s deportation crusade,” said Representative Eliot L. Engel of New York, the top Democrat on the House Foreign Affairs Committee. “I want answers about why the State Department thinks it can ignore Congress and dump more cash into deportation efforts. Until then, I’ll do whatever I can to stop this.”

The maneuver is the latest by the administration to reduce the number of immigrants crossing the southwestern border. The most prominent piece of the effort has been the “zero tolerance” policy to criminally prosecute any immigrant who enters the country without authorization. That led to the widely criticized practice of separating children from their parents at the border, which spurred a humanitarian and political crisis for Mr. Trump.

But the president’s advisers have also employed other strategies to deter immigrants, including revamping the rules surrounding who can qualify for asylum and trying to strike an agreement with Mexico that would disqualify any migrant who had not sought asylum there from claiming it in the United States.

Under the program, Mexico would be responsible for detaining and providing judicial review of immigrants before deporting them. The sometimes cumbersome and lengthy legal process in the United States to deport asylum seekers has long frustrated Mr. Trump, who has often said the laws must be changed to speed deportations. Getting Mexico to do deportations instead would bypass that process.

Immigrant advocacy groups called the deportation aid for Mexico a misguided and wasteful use of money that would fail to address the problems prompting migrants to travel to Mexico and the United States in the first place.

“We shouldn’t be paying another country to do our dirty work; we should actually be fixing our immigration system and helping these countries get back on solid footing,” said Ali Noorani, the executive director of the National Immigration Forum. “It smacks of desperation.”

question:
Answer the following question based on the above passage:

Why are people willing to break the law to illegally immigrate to the United States?

answer: Because of a poor quality of life in their homelands.

answer: The answer is not stated.

answer: The article does not answer this question.


text:
LAZARUS NKALA (26 February 1927 – 3 December 1975), known in political circles by the nickname UMAVAVA,[1] was a Rhodesian trade union leader, activist, and revolutionary. Born in Filabusi in Matabeleland, he attended mission and government schools and trained as a builder. He worked in Bulawayo, and became a union leader and African nationalist activist. In the 1950s and 60s, he served in leadership roles in the Southern Rhodesia African National Congress, National Democratic Party, and Zimbabwe African People's Union. He was detained in 1964 and, with the exception of a three-week period the following year, was held in continuous detention for the next ten years. Upon his release in 1974, he was named Organising Secretary of the ANC, and attended the Victoria Falls Conference as part of Joshua Nkomo's delegation. He died shortly after in an automobile accident driving from Salisbury (now Harare) to Bulawayo.

Early life

Nkala was born on 26 February 1927 in Filabusi, Matabeleland, Southern Rhodesia.[2][3][4] He comes from a large Ndebele family; one of his siblings, Enos, also became active in the independence movement and later served in parliament and as a cabinet minister.[5] His father, Madika Nkala, was a peasant farmer, teacher at the local Methodist mission school, and later a cobbler.[6][7][8] His mother, Mbase Moyo, was a lay preacher of the American-led Brethren in Christ Church.[9] Nkala was raised in the Brethren faith and attended primary school Nkankezi School and at the Church's Matopo Mission.[10][11] He went on to study at Mzingwane High School in Essexvale (now Esigodini), where he became exposed to politics through fellow students, including Jason Moyo and others.[12][13] There, he received elementary industrial instruction, trained as a bricklayer, and qualified as a builder in 1947.[14][15]

Career and political activity

Nkala worked in Bulawayo as a builder for many years.[16] In 1950, he was elected chairman of the Bulawayo branch of the African Artisans' Union.[17] He was elected president of the union in 1956, an office he held until his arrest in 1964.[18] He also served for some time as president of the African Trade Union Congress' Matabeleland region.[19] He was also appointed Chairman of the Barbourfields Tenants' Association and member of the Bulawayo African Townships Advisory Board.[20]

In 1957, Nkala joined the Southern Rhodesia African National Congress, led by Joshua Nkomo, and served as treasurer for the organisation's Bulawayo branch until it was banned in 1959.[21] He was a prominent figure in the African nationalist movement in Bulawayo, and was briefly detained after a state of emergency was declared by the colonial government in February 1959.[22][23] He served as treasurer for the Bulawayo branch of the National Democratic Party (NDP), Nkomo's new party, from 1960 to 1961, when it, too, was banned.[24] From 1961 to 1963, Nkala was the Bulawayo district chairman for the NDP's successor, the Zimbabwe African People's Union (ZAPU).[25] In 1962, ZAPU was banned, and the next year, some of its members broke away and formed Zimbabwe African National Union (ZANU). Nkala remained loyal to Nkomo's organisation, while his brother Enos joined ZANU.[26][27] From 1963 to 1964, he served as National Organising Secretary of the People's Caretaker Council, a newly-founded successor organisation to ZAPU that was the same in all but name.[28][29]

On 23 April 1964, Nkala was detained by the Rhodesian government, and with the exception of a three-week period in April/May 1965, he remained in restriction or detention for over ten years.[30] He was initially held at Gonakudzingwa restriction camp, but because of his strong influence on the morale of his fellow restrictees, was moved, along with Nkomo and Joseph Msika, to Camp 5, a more isolated location.[31] There for four years, he had little human contact besides Nkomo and Msika, and began taking correspondence courses.[32] He passed his A Levels and went on to receive a Bachelor of Arts in political science and public administration from the University of South Africa.[33][34] He was released on 3 December 1974.[35]

In December 1974, Nkala was named to the Central Committee of the African National Council (ANC), and attended the Victoria Falls Conference in August 1975 along with Nkomo as part of the ANC delegation.[36][37] When the ANC split internally in September 1975, Nkala remained loyal to Nkomo's faction, and was named organising secretary at the party's congress, held in Salisbury (now Harare) on 26 and 27 September 1975.[38]

Death and legacy

Around 2:30 p.m., 3 December 1975, exactly one year after his release from detention, Nkala was killed on the Salisbury-Bulawayo Road near Bembezi when his car overturned.[39][40][41][42] The ANC colleague he was traveling with, Aggrippah Moyo, was also killed.[43] A joint funeral held for Nkala and Moyo in Bulawayo was attended by thousands.[44][45] Joshua Nkomo spoke at the burial, stating that Nkala's and Moyo's death would not be in vain, and that Zimbabweans would achieve the independence the two died while fighting for.[46] Nkala left behind a widow and five children.[47] He was buried at Pelandaba Cemetery in Bulawayo, and was declared a national hero after independence in 1980.[48] In November 2019, 1st Avenue in Bulawayo was renamed Lazarus Nkala Avenue.[49]

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title: Lazarus Nkala

question:
Answer the following question based on the above passage:

What does the text have to say about Nkala's politics after 1960?

answer: Nkala was elected treasurer for the Bulawayo branch of the National Democratic Party in 1960 and served until the party was banned in 1961. He served as the district chairman for the NDP's successor, the Zimbabwe African People's Union, from 1963 to 1964. Nkala was detained by the Rhodesian government in 1964, and with the exception of a three-week period in 1965, he remained in restriction or detention for over ten years. He was released in 1974 and attended the Victoria Falls Conference in 1975. Nkala was killed in a car accident on the Salisbury-Bulawayo Road in 1975.

answer: Nkala was a prominent figure in the African nationalist movement in Bulawayo. He was briefly detained after a state of emergency was declared by the colonial government in 1959. He served as treasurer for the Bulawayo branch of the National Democratic Party (NDP) from 1960 to 1961, when it was banned. From 1961 to 1963, Nkala was the Bulawayo district chairman for the NDP's successor, the Zimbabwe African People's Union (ZAPU). In 1962, ZAPU was banned, and the next year, some of its members broke away and formed Zimbabwe African National Union (ZANU). Nkala remained loyal to Nkomo's organization, while his brother Enos joined ZANU. From 1963 to 1964, he served as National Organizing Secretary of the People's Caretaker Council, a newly-founded successor organization to ZAPU that was the same in all but name.

answer: Nkala was elected president of the African Artisans' Union in 1956 and held the position until his arrest in 1964. He was a prominent figure in the African nationalist movement in Bulawayo, and was briefly detained after a state of emergency was declared by the colonial government. He was elected treasurer for the Bulawayo branch of the National Democratic Party in 1960 and served until the party was banned in 1961. He served as the district chairman for the NDP's successor, the Zimbabwe African People's Union, from 1963 to 1964. Nkala was detained by the Rhodesian government in 1964, and with the exception of a three-week period in 1965, he remained in restriction or detention for over ten years. He was released in 1974 and attended the Victoria Falls Conference in 1975. Nkala was killed in a car accident on the Salisbury-Bulawayo Road in 1975.

question:
Answer the following question based on the above passage:

Summarize everything before 1960.

answer: Nkala was elected chairman of the Bulawayo branch of the African Artisans' Union in 1950. He was elected president of the union in 1956. He served for some time as president of the African Trade Union Congress' Matabeleland region. He was also appointed Chairman of the Barbourfields Tenants' Association and member of the Bulawayo African Townships Advisory Board. In 1957, Nkala joined the Southern Rhodesia African National Congress, led by Joshua Nkomo, and served as treasurer for the organization's Bulawayo branch until it was banned in 1959. He was a prominent figure in the African nationalist movement in Bulawayo, and was briefly detained after a state of emergency was declared by the colonial government in February 1959.

text: The answer omits Nkala's life before politics.

refinement: Nkala was born in 1927 to a peasant farmer and teacher father and a preacher mother in Christ Church. He was raised in Brethren faith and was exposed to politics in high school. He received elementary industrial instruction after that as a bricklayer, and he qualified as a builder in 1947. He worked as a builder for many years. Nkala was elected chairman of the Bulawayo branch of the African Artisans' Union in 1950. He was elected president of the union in 1956. He served for some time as president of the African Trade Union Congress' Matabeleland region. He was also appointed Chairman of the Barbourfields Tenants' Association and member of the Bulawayo African Townships Advisory Board. In 1957, Nkala joined the Southern Rhodesia African National Congress, led by Joshua Nkomo, and served as treasurer for the organization's Bulawayo branch until it was banned in 1959. He was a prominent figure in the African nationalist movement in Bulawayo, and was briefly detained after a state of emergency was declared by the colonial government in February 1959.

answer: Nkala worked as a builder in Bulawayo, where he was elected chairman of the African Artisans' Union in 1950. In 1956 he became the president of the union. He was also elected president of the African Trade Union Congress' Matabeleland region. He was appointed Chairman of the Barbourfields Tenants' Association and member of the Bulawayo African Townships Advisory Board. In 1957, he joined the Southern Rhodesia African National Congress. He was briefly detained after a state of emergency was declared by the colonial government in 1959. He served as treasurer for the Bulawayo branch of the National Democratic Party until it was banned.

answer: Nkala was elected chairman of the Bulawayo branch of the African Artisans' Union in 1950. He was elected president of the union in 1956. He served for some time as president of the African Trade Union Congress' Matabeleland region. He was also appointed Chairman of the Barbourfields Tenants' Association and member of the Bulawayo African Townships Advisory Board. In 1957, Nkala joined the Southern Rhodesia African National Congress, led by Joshua Nkomo, and served as treasurer for the organization's Bulawayo branch until it was banned in 1959. He was a prominent figure in the African nationalist movement in Bulawayo, and was briefly detained after a state of emergency was declared by the colonial government in February 1959. In 1960, he served as treasurer for the Bulawayo branch of the National Democratic Party.

question:
Answer the following question based on the above passage:

Summarize everything related to Nkala's family.

answer: Nkala was born into a Ndebele family. He had one brother, Enos, who also became active in the independence movement and later served in parliament and as a cabinet minister. His father was a peasant farmer, teacher at the local Methodist mission school, and later a cobbler. His mother was a lay preacher of the American-led Brethren in Christ Church. He had a wife and five children.

answer: Nkala was born in 1927 to Madika Nkala and Mbase Moyo. He had a large family, and one of his siblings, Enos, also became active in the independence movement and later served in parliament and as a cabinet minister. Nkala's father was a peasant farmer, teacher at the local Methodist mission school, and later a cobbler. His mother was a lay preacher of the American-led Brethren in Christ Church. Nkala was raised in the Brethren faith and attended primary school Nkankezi School and at the Church's Matopo Mission. Nkala had five children.

answer: Nkala was born in 1927 to Madika Nkala and Mbase Moyo. He had a large family, and one of his siblings, Enos, also became active in the independence movement and later served in parliament and as a cabinet minister. Nkala's father was a peasant farmer, teacher at the local Methodist mission school, and later a cobbler. His mother was a lay preacher of the American-led Brethren in Christ Church. Nkala was raised in the Brethren faith and attended primary school Nkankezi School and at the Church's Matopo Mission.

question:
Answer the following question based on the above passage:

What does the text say about Nkala's marriage?

answer: Nkala was married and had five children. His wife was a widow at the time of his death.

text: "His wife was a widow at the time of his death" is either a nonsensical statement or a tautology. It should be removed.

refinement: Nkala was married and had five children.

answer: Nkala was married and had five children.


text:
I think that people are inherently good. I strongly believe in the Golden Rule. I treat others as I would like to be treated: Holding doors open for those that I sense would have trouble. Giving up my seat to those that look as though they might need it: men, women, and the elderly. Being considerate! Saying thank you, and you're welcome! Thinking of others before myself. Writing "thank you" letters when appropriate. Not being mean to animals (perhaps excluding snakes and spiders unless they keep to themselves). I had always helped, and it felt good. But slowly, I began to notice things were changing. I still wanted to help others, but it was getting more difficult as I was passing the 3/4 of a century mark. I would tell my friends (just kidding) that I couldn't associate with people that old. When did I get this old? I have children over 50 and grandchildren over 20. Has society changed? Are its members less caring? I have heard this.

I went to a take-out pizza establishment last week. Going in, I held open the door for a young lady who said "thank you", and when I entered, she insisted that I order before she did. The place was busy with little space to stand. When I picked up my order, I had to squeeze my way to the door as there was not much room, and I was having some trouble walking. As I got to the door, it opened. Automatic I thought. I looked down to find a boy of about ten holding it for me and smiling. "Did I look that feeble?" I thought. I said thank you, and he was smiling as he said "your welcome." No one had told him to do it. He was on his own. I think it made him feel good! Someone had taught him manners. It feels good to help others.

Another pizza place I go to has a flight of stairs to overcome. Going up is not a problem, but going down with a pizza in hand is. One of the young employees asked if she could help. I said "sure". I went ahead, got in the car, and she handed it through the car window to me, all-the-while sporting a wide grin. Thanks, I said. You are welcome, she replied. Every time I get pizza and she is working, she immediately says "I'll give it to you through the window." I think it makes her feel as good as it does me!

When I go to the grocery store, I buy 2-3 weeks of food because I don't know when I will have the energy again(pain when walking, but getting better). The box boys or girls will always ask if they can empty the shopping cart for me. Then they bag the groceries and ask if they can help me load them into the car. I always ask them if they can go home with me and unload them and put them away too. They smile, we joke. I ask them if they are still in school and where they are attending. They are always friendly. I say thank you and they say "you're welcome".

When did I get old? I stopped playing competitive softball at 70 due to some injuries, but I received a call from one of my softball friends saying that he is forming an 80-year old competitive team and would like me to play on the team. It was nice of him to ask, and I do think he meant it. As soon as I get rid of my pain, I will start slowly working out again. My mind says yes, but my body isn't so sure. I am "bird-walking"----getting off the subject now, so must get back on point.

I had an appointment with a pain clinic. I knew the area well but had never seen the medical office. I had the address, but could not find any numbers on the buildings. My car does not have GPS(2002 model), and I was ten minutes late for the meeting. I had to park across the street in a dirt parking lot. The street had moderate traffic, but I managed to get across. The curb must have been at least 18-24 inches high. It seemed like an insurmountable wall, but by holding on to the front of a parked car, I managed to get up. Now there were four steps to climb and a heavy door to open. At the top of the stairs was a man of about 35 years old. He had tattoos on his arms and neck, and smiled at me and politely opened the door. I said thanks. I was told that other patients would have to be seen before me, and the wait might be an hour or more. I decided not to wait. I would go to the car, call my private doctor, tell him my pain situation and see if he would give me a shot for the it.

As I left the pain center, the tattooed man stood at the base of the steps. He smiled again and asked me if I needed any help. Was he waiting for me to leave so he might mug me? I wobbled down the 4 steps and said no thank you, my car is just across the street. He said, "You don't look as though you can go that far". "If you give me your keys, I will go over and get it for you." I thought, "Sure, then you will drive the car away." My car was a 15-year old Hyundai SUV. I didn't trust him even though he had opened a door for me and smiled at the same time. Surely, he had devious intentions. "This doesn't look good," I thought. So, I said, "I can make it." He backed off but watched as I tried to negotiate the 18 in curb. There was no car for me to grab for balance. He began to approach me again, and I began to sweat. There was no one else nearby. He put one arm around my waist and proceeded to lift me off the ground. Then, oh so gently, moved me off the curb and onto the street 18 inches below. "I hope this helps," he said with a smile. "I'll watch as you cross the street", he said still smiling. I felt bad that I had jumped to conclusions and again said "thanks".

I called my doctor whose office was 10 minutes away. His nurse told me that the doctor said to come in, and he wanted to know if she could give me the shot. I said that would be fine, but I will have a lot of trouble getting out of the car much less getting around to the office as the parking was in the back. He worked from the house that he had turned into his office. He was the only doctor that worked there. I had known him and his nurse for 25 years. She was cute and always in a good mood. She came to the back, needle in hand, had me open the driver's side door, had me pull one side of my pants down an inch exposing my left hip, and with great joy jammed the needle in it.

"This doesn't look good!," I said smiling. "People might get the wrong idea!" She laughed, I smiled. This didn't look good, but neither did the fellow with the tattoo. This was all about people that I had met recently and the good that they had done, and how it feels to help others.

title: [MF] THIS DOESN'T LOOK GOOD...

question:
Answer the following question based on the above passage:

Summarize the kind acts people perform for the narrator.

answer: The narrator is helped by a young lady at a pizza place. She insists that the narrator order before she does. The narrator is helped by a boy of about ten at the pizza place. The narrator is helped by a young employee at a pizza place. The narrator is helped by a young man at a pain clinic. The narrator is helped by a young man at the pain clinic.

text: The narrator being helped by a young man at a pain clinic is repeated.

refinement: The narrator is helped by a young lady at a pizza place. She insists that the narrator order before she does. The narrator is helped by a boy of about ten at the pizza place. The narrator is helped by a young employee at a pizza place. The narrator is helped by a young man at a pain clinic.

text: The answer should mention the nurse.

refinement: The narrator is helped by a young lady at a pizza place. She insists that the narrator order before she does. The narrator is helped by a boy of about ten at the pizza place. The narrator is helped by a young employee at a pizza place. The narrator is helped by a young man at a pain clinic. He is also helped by a nurse at the doctor's office, who walks to his car to give him a needle.

answer: The narrator is helped by a young lady at a pizza place. She insists that the narrator order before she does. The narrator is helped by a boy of about ten at the pizza place. The narrator is helped by a young employee at a pizza place. The narrator is helped by a young man at a pain clinic. The narrator is helped by a young man at the pain clinic. The narrator's doctor helps him at his office.

answer: The narrator is helped by a boy at a pizza place, who opens the door for him. At a grocery store, the box boys or girls offer to empty the shopping cart for him. The narrator is helped by the tattooed man at the pain clinic.

question:
Answer the following question based on the above passage:

What does the story say about what the narrator thinks of himself?

answer: The narrator thinks that people are inherently good, and everything in life should be based on the Golden Rule, which is to treat others as you would want to be treated. Bearing this in mind, the narrator tries to help people and makes it a habit of going around doing these things because they believe it makes them feel better. He believes that it's every individual's responsibility to help others and also actively looks for ways in which he can be of assistance to others.

text: The first and last lines are not relevant to what the narrator thinks about himself.

refinement: The narrator tries to help people and makes it a habit of going around doing these things because they believe it makes them feel better.

text: The answer should mention that the narrator doesn't really think of himself as elderly.

refinement: The narrator tries to help people and makes it a habit of going around doing these things because they believe it makes them feel better. He doesn't really think of himself as elderly and feeble.

answer: It's implied that the narrator feels as though he no longer holds the same regards of his life. While he's keen on still embracing helping others, he also clearly acknowledges that as he ages, it becomes wilfully more difficult to help others on his own accord. What the narrator still believes in though is the idea that everyone has that innate nature of wanting to help others. The narrator thinks that he is old.

answer: It's implied that the narrator feels as though he no longer holds the same regards of his life. While he's keen on still embracing helping others, he also clearly acknowledges that as he ages, it becomes wilfully more difficult to help others on his own accord. What the narrator still believes in though is the idea that everyone has that innate nature of wanting to help others.

question:
Answer the following question based on the above passage:

Summarize the events of the story that relate to its title.

answer: The narrator is in a car accident. He is not badly hurt, but he gets out of the car and tries to make his way to the pain clinic. He finds the walk difficult and is late for his appointment. He is helped by a man to get up the steps and into the clinic. He is then helped by a boy to get back to his car.

text: This answer is inaccurate; these events are not the ones from which the title is derived.

refinement: When the narrator goes to the doctor's, the nurse walks out to his car to administer his needle. He remarks that it doesn't look good for him to be getting a needle in the middle of the parking lot.

answer: The narrator believes that people are inherently good. They are kind to others, and they feel good when they help others. The narrator is old and has trouble walking, but they are still kind to others. The narrator is helped by a young man at a pizza place. The narrator is helped by a young man at a pain clinic.

answer: The narrator is having a difficult time walking and is late for his appointment. He is helped by a man to get up the steps and into the clinic. He is then helped by a boy to get back to his car.

question:
Answer the following question based on the above passage:

What does the story say about the cause of the narrator's pain?

answer: No answer

answer: The narrator's pain is caused by some injuries he'd sustained during a softball game.


text:
Chapter 1: The Rules, Rankings and Responsibilities

Finally God allows me to tell my tale. First off, I am an angel. It takes centuries to become a Dream Guardian. You need to understand more than what several lifetimes can teach you.¬ Demons have no rules and no pattern just like nightmares. I do not deal with demons any more but that is for another tale.

Dream Guardians are still angels and we have rules while our enemies do not. Rules are in place for YOUR protection not ours I mean, it’s not like we can die but you can. Our rules are more guidelines and can be broken as we see fit. Firstly, do not show yourself unless absolutely necessary. You know that feeling you get when you feel calm even though you see something that would usually scare you during sleep paralysis? That is something we can do but it isn’t the best choice if you are in danger. We can’t attack during this. Secondly, only put people into a state of sleep paralysis if you are in danger in your sleep and you can’t break free from being held or touched in any way from a monster. Putting you in a state of paralysis is a last resort but buys us a few seconds as they have to re-enter your “sanctuary”. And lastly, we are invisible by choice. We need to wake you before they touch you. Everyone isn't the same to wake up so we don’t know how hard it will be. We try to fight them as you sleep. Those nightmares you have but wake up and can’t remember? We showed ourselves to fight which erases the dream altogether.

Everybody has a different imagination and fear so we have no idea what we are fighting. This is why we are the top angels in heaven. Demons don’t change, their motives do. And we don’t have wings by the way. We can fly but we look like we did back in the mortal world.

People we do not manage to save die, or more commonly known, “bed death” or “cot death”. Some missions will never leave your memory. The hardest part is seeing them at the pearl gates and explaining what happened. As a sign of respect we take 6 earth months off to look over the family and help them through. Very rarely God allows us to project dreams of lost ones into the affected peoples dream so they can say goodbye properly. It is something every Guardian Angel has been through yet it does not get any easier. Imagine kissing your child goodnight and without knowing goodbye too. They sleep in perfect health in their favourite pyjamas wrapped in their blanket with their scent on it. Waiting, excited or any other emotion for tomorrow to inevitably come. But it never does, it never will. The night takes a toll and by morning they are gone. You watch as the first person who tries to wake them start being concerned and then begin to shake. Full denial until they feel their pulse. They break down with their uniform still in hand ready to get them changed for school and just as their knees grow weak they fall to the ground screaming uncontrollably as the rest of the family come running in realising what has happened and no one has anything to say but cry and ask God why. The ambulance comes and declares the rough time of death as you watch helplessly knowing this is your fault and you can’t say sorry. The rest of the day is carried out with the family being closer than they ever have been. People offering their condolences but nothing in the world can make them better than to bring the child back. But nothing can bring them back. And the worst part? The worst part is when they kiss them goodbye and say “I love you” as tears helplessly run down their face. The pain is unimaginable.

Children are the hardest to save, their imaginations are a lot wilder and they don’t understand how one minute they can be hugging their parents and the next minute an unknown figure is holding them tight crushing them. They are too weak and confused and just before they draw a last breath they are in a sleep paralysis. The one DAMN THING I can rely on usually and I only make them more helpless as not all children understand that the bedroom is the safest place so they don’t have a sanctuary yet and the monster is already on top of them choking them before I can wake them. PLEASE make your children understand they are safe in their bedroom. I can’t describe the feeling of fear and sickness I get when I realise a child does not feel safe where they sleep. And yes this is one of many true stories. He was 5. He was the energy of the family and all they can do is look at photos. Just by smiling he would light up any of their days. He was kind and gentle and too young to understand why he left his family behind. You know, people cry in heaven too.

His safest place was in the living room on the carpet with his toys. That is no good to me. Not when he sleeps in his bed. I watched as a small coffin, much smaller than it should ever be for anyone get carried to a grave. I stood by the gravestone crying too. I remembered as I seen the fear in his eyes as I made him experience his first paralysis and last. His last words will haunt me from now to eternity… “Please save me I don’t want to go”.

title: [FN] Dream Guardians: A Never-Ending Battle (intro to my story I am working on)

question:
Answer the following question based on the above passage:

What does the text say about sleep paralysis in children?

answer: At least one child, too young to sleep in his own bed, has been killed by a sleeping nightmare monster before life fades away. The child was killed despite the child not sleeping in a bed as the child would usually cling to his mother until she yells at him to go to bed, a behavior from the time when the child would still sleep in the same room as his parents. Sleep paralysis is the only safe thing no one ever gets used to, the narrator explains, so when it happens suddenly it's terrifying. A child is more likely to think their own parents are the monster when the child feels their life is in danger, the narrator says. The child's last words haunt the narrator to eternity.

text: Run on sentence

refinement: At least one child, too young to sleep in his own bed, has been killed by a sleeping nightmare monster before life fades away. The child was killed despite the child not sleeping in a bed as the child would usually cling to his mother until she yells at him to go to bed; a behavior from the time when the child would still sleep in the same room as his parents. Sleep paralysis is the only safe thing no one ever gets used to, the narrator explains, so when it happens suddenly it's terrifying. A child is more likely to think their own parents are the monster when the child feels their life is in danger, the narrator says. The child's last words haunt the narrator to eternity.

text: This sentence does not occur in the text

refinement: At least one child, too young to sleep in his own bed, has been killed by a sleeping nightmare monster before life fades away. Sleep paralysis is the only safe thing no one ever gets used to, the narrator explains, so when it happens suddenly it's terrifying. A child is more likely to think their own parents are the monster when the child feels their life is in danger, the narrator says. The child's last words haunt the narrator to eternity.

text: Less about the specifics of the child's death and more coverage of general principles is necessary

refinement: Children have wild imaginations and they don't understand how one minute they can be hugging their parents and the next minute an unknown figure is holding them tight crushing them. They are reluctant to admit that the monster attacking them is too real. They are too weak and confused and just before they draw a last breath they are in a sleep paralysis. They dread sleep in a way their parents never do.

answer: No answer

text: There is an answer to this question provided in the text

refinement: Children have wild imaginations and they don't understand how one minute they can be hugging their parents and the next minute an unknown figure is holding them tight crushing them. They are reluctant to admit that the monster attacking them is too real. They are too weak and confused and just before they draw a last breath they are in a sleep paralysis. They dread sleep in a way their parents never do.

answer: Angel says children have wild imaginations and they don't understand how one minute they can be hugging their parents and the next minute an unknown figure is holding them tight crushing them. They are reluctant to admit that the nightmare is too real because they are used to waking their parents. They dread sleep in a way their parents never do.

text: The question requires an answer from the text about sleep paralysis

refinement: Angel says children have wild imaginations and they don't understand how one minute they can be hugging their parents and the next minute an unknown figure is holding them tight crushing them. They are too weak and confused and just before they draw a last breath they are in a sleep paralysis. They dread sleep in a way their parents never do.

answer: Angel says children have wild imaginations and they don't understand how one minute they can be hugging their parents and the next minute an unknown figure is holding them tight crushing them. They are reluctant to admit that the monster attacking them is too real. They dread sleep in a way their parents never do.

text: Add in a sentence about sleep paralysis

refinement: Angel says children have wild imaginations and they don't understand how one minute they can be hugging their parents and the next minute an unknown figure is holding them tight crushing them. They are reluctant to admit that the monster attacking them is too real. They are too weak and confused and just before they draw a last breath they are in a sleep paralysis. They dread sleep in a way their parents never do.

text: Remove "Angel says

refinement: Children have wild imaginations and they don't understand how one minute they can be hugging their parents and the next minute an unknown figure is holding them tight crushing them. They are reluctant to admit that the monster attacking them is too real. They are too weak and confused and just before they draw a last breath they are in a sleep paralysis. They dread sleep in a way their parents never do.

answer: At least one child, too young to sleep in his own bed, has been killed by a sleeping nightmare monster by the time the text reaches about halfway. The child was killed despite the child not sleeping in a bed as the child would usually cling to his mother until she yells at him to go to bed, a behavior from the time when the child would still sleep in the same room as his parents. Sleep paralysis is the only safe thing nobody ever gets used to, the narrator explains, so when if it happens suddenly it's terrifying. A child is more likely to think their own parents are the monster when the child feels their life is in danger, the narrator says. The child's last words haunt the narrator to eternity.

text: Information about the specific child does not answer the question

refinement: Sleep paralysis is the only safe thing nobody ever gets used to, the narrator explains, so when if it happens suddenly it's terrifying. A child is more likely to think their own parents are the monster when the child feels their life is in danger, the narrator says.

text: Add in more information specifically relating to children

refinement: Children have wild imaginations and they don't understand how one minute they can be hugging their parents and the next minute an unknown figure is holding them tight crushing them. They are reluctant to admit that the monster attacking them is too real. They are too weak and confused and just before they draw a last breath they are in a sleep paralysis. They dread sleep in a way their parents never do.


text:
Tick....Tick....Tick...

That old clock still has my number. The cats eyes go back and forth, but they're always watching me. From the kitchen, to the living room, and though the walls seperate us, I can feel it watching in the bathroom. Shampoo bottles half empty, my blow dryer and bubble bath. I don't need these things, but I need to take them. I picked a few empty boxes from the grocery nearby, but havent filled up one yet.

Tick....Tick...

If I just sit on the floor..no, if I lay actually, I can see the colors of the curtains and couches swirling around. I'm not high yet, nothing to drink this early, and still I'm spinning. I want to rip the books off of the shelf and hurl them at the TV, but then I won't have the white noise. Maury or something is playing, they're about to find out if some guy is the father to a child of a loud woman. I hope he's not.
    If I get up now, and start collecting and packing, I'll likely feel a sense of accomplishment, that's what I've been primed to believe, but what really will be done? I'll have moved on from a place of comfort, even if it has grown less familiar. I'll be carrying my things, physical and emotional, from block to block, searching for a new place to put down my baggage. Who does that help, and what does it accomplish?
    Maybe I'll just leave it all. Who needs these things; pots and pans, frilly curtains and polished oak poles. If I'd spent less time picking them out, maybe I wouldn't feel so conflicted. What do I need from here anymore, and what did I need from here to begin with? I'm wondering if I ever felt truly at home here, or if I bought these accessories to distract myself from an empty feeling I've always had inside these walls.

Tick....Tick...

If I step onto the balcony and look below, I can see the flower garden meant to be cared for by this floor, the apartments above and below, and mine. A bare area in the middle where I got lazy, or apathetic, or forgetful. I don't remember the last time I planted something, and It's harder to remember if it was out of a gradual lack of interest, or if there was a clear and defined event that curbed my desire to make the patch of earth I was responsible for a nicer and more beautiful thing to see and touch. I normally have an ashtray, but I think It's in one of the boxes now, so It can't hurt too much to flick one cigarette off the porch, just this time.
    I've been avoiding our room. I can't be in there, I keep thinking. It's too hard, I keep saying. I wonder though if I feel ashamed, or If I feel betrayed. I don't know why he did it, but I wonder if it was my fault. Maybe I wasn't loving enough, or maybe I was distracted dwelling in my dark times and failed to see his. I've been told before about the distraction. My parents, my friends, I'm always reffered to as if I'm empty headed, or just careless to others feeling. Maybe I am? Is this an opportunity to work on a bad habit and salvage future relationships? Should I take the plates and silverware? I could just buy more, but I did pick these out specifically because they matched our dining room walls and table. If I find myself lying on the floor again, does that say something about my desire to take what's mine anymore? What is mine, anymore?

Tick....

I think I should just leave this place behind and move on, to something scary and brand new and different. Maybe I should change my hair, my name, throw out all of my clothes and start a new life. I'm lost, but still alive. I'll leave these possessions, and the boxes, and just walk east.
    I will walk into our room one last time, and say goodbye, and kiss his forehead. That at the very least will save me from worrying about taking my red lipstick, and I may as well leave the rest of my makeup too. The clock is still watching though, so perhaps I'll just send a postcard from my new life.

'Love From Sunny Somewhere, Wish You Were Here!'

And I do, wish you were here. Just like I know I'll wish you were with me anywhere I go. I can't pretend things are a certain way anymore though, just like I know now you couldn't.
So If I just leave it all behind, what will be waiting for me outside?
    The trees and sidewalks, the birds and buses, all with purpose, ill defined, with expectations just like mine. Dependent on the will of other people to make our purpose known, and weak enough to be benign as soon as others cease to use us.

So I do, leave the boxes, but I think I'll take that fucking clock.

title: [MF] How Small We Are

question: What's the narrator's gender?

answer: Implied female as she has makeup and lipstick she's contemplating leaving behind.

text: Makeup isn't necessarily telling of one's gender.

refinement: The narrator is leaving behind makeup, so perhaps they are a woman.

text: That at the very least will save me from worrying about taking my red lipstick, and I may as well leave the rest of my makeup too.

answer: Unclear but feminine details are given.

text: That at the very least will save me from worrying about taking my red lipstick, and I may as well leave the rest of my makeup too.

answer: Woman.

text: There is no evidence for this provided in the answer.

refinement: Unclear, but the narrator is leaving behind makeup, which might traditionally indicate they are female.

question: Why is the narrator moving out?

answer: The narrator may move on from a place of familiarity. She is confused about her life. The page doesn't mention a reason, but the narrator seems unpleasant about her past and her feelings.

text: Some grammar and word choices, and extraneous details.

refinement: The narrator may move on from a place of familiarity-she seems to want something different and new. She is confused about her life.

text: I think I should just leave this place behind and move on, to something scary and brand new and different.

answer: While the text doesn't say, it seems the narrator has decided she no longer wants to stay in a relationship with the man.

text: We don't know the gender of the narrator.

refinement: While the text doesn't say, it seems the narrator has decided she no longer wants to stay in a relationship with the man.

text: I've been avoiding our room. I can't be in there, I keep thinking. It's too hard, I keep saying. I wonder though if I feel ashamed, or If I feel betrayed. I don't know why he did it, but I wonder if it was my fault. Maybe I wasn't loving enough, or maybe I was distracted dwelling in my dark times and failed to see his.

answer: It's implied that their relationship has fallen apart.

text: I've been avoiding our room. I can't be in there, I keep thinking. It's too hard, I keep saying. I wonder though if I feel ashamed, or If I feel betrayed. I don't know why he did it, but I wonder if it was my fault. Maybe I wasn't loving enough, or maybe I was distracted dwelling in my dark times and failed to see his.

question: Why does the narrator want to leave everything behind?

answer: They feel apathy and depression over the prospect of starting anew.

text: The answer seems more like a reason the narrator doesn't want to leave- that there are hardships that come with starting anew.

text: What do I need from here anymore, and what did I need from here to begin with? I'm wondering if I ever felt truly at home here, or if I bought these accessories to distract myself from an empty feeling I've always had inside these walls.

answer: The narrator has a sense of apathy about the life that she has been living and the current state of her living space. She wants to rid her life of external things to make something new and worthwhile out of her life.

text: We don't know the narrator' gender.

refinement: The narrator has a sense of apathy about the life that they have been living and the current state of their living space. They want to rid their life of external things to make something new and worthwhile out of their life.

text: What do I need from here anymore, and what did I need from here to begin with? I'm wondering if I ever felt truly at home here, or if I bought these accessories to distract myself from an empty feeling I've always had inside these walls.

text: Blank.

question: What is the "Tick... Tick..."?

text: Blank.

text: Blank.

answer: The sound of the clock pestering the narrator.

text: That old clock still has my number. The cats eyes go back and forth, but they're always watching me. From the kitchen, to the living room, and though the walls seperate us, I can feel it watching in the bathroom.

question: Write a ~1 sentence summary.

answer: The narrator wonders what to do with the clocks, boxes and other things in her house.

text: The point is that the narrator is leaving their partner.

refinement: The narrator wonders what to do with the clocks, boxes and other things in her house as she realizes she must leave her partner.

text: We don't know the narrator's gender.

refinement: The narrator wonders what to do with the clocks, boxes and other things in their house as they realize they must leave their partner.

answer: The narrator has lived in her apartment for years, and is thought to be filled with nervous energy. She decides to leave it all behind and move on and start anew.

text: We don't know the gender of the narrator.

refinement: The narrator has lived in their apartment for years, and is thought to be filled with nervous energy. They decide to leave it all behind and move on and start anew.

text: I am not sure that "thought to be filled with nervous energy" is necessary here, and it can add some confusion without further explanation.

refinement: The narrator has lived in their apartment for years. They decide to leave it all behind and move on and start anew.

text: The point of this text is the narrator is leaving their partner.

refinement: The narrator has lived in their apartment for years. Tonight, they are anxious as they decide whether or not to leave their partner, who is asleep. They decide to leave it all behind and move on and start anew.

answer: The narrator has lived comfortably in their own apartment for a while now; but they feel they are becoming to lethargic and apathetic for no real reason, and they have a sense of slipping into a very familiar routine that they hate.

text: There needs to be a mention of their partner, as that is the point of this text.

refinement: The narrator has lived comfortably in their own apartment with their partner for a while now; but they feel they are becoming to lethargic and apathetic-they feel stuck in their romantic relationship as well.

text: It should say the narrator decides to leave.

refinement: The narrator has lived comfortably in their own apartment with their partner for a while now; but they feel they are becoming to lethargic and apathetic-they feel stuck in their romantic relationship as well. After doing some late-night thinking, they leave.

answer: The narrator is going through their stuff that they're packing away in boxes to move as their relationship has recently fallen apart.

text: We don't know the narrator's relationship has recently fallen apart.

refinement: The narrator is going through their stuff that they're packing away in boxes to move as their relationship has recently fallen apart.

answer: This is a short account of a person weighing the pros and cons of moving or not.

text: I don't think you need the prefacing.

refinement: The narrator weights the pros and cons of moving or not.

text: It should be "moving out", colloquially.

refinement: The narrator weights the pros and cons of moving or not.

text: There needs to be a mention of their partner.

refinement: The narrator weights the pros and cons of moving or not. Their partner has been unfaithful, and the narrator feels their life is stagnating.

text: This summary should say they do move out.

refinement: The narrator weights the pros and cons of moving or not. Their partner has been unfaithful, and the narrator feels their life is stagnating. After a good deal of thinking, the narrator does move out.

answer: The author is moving out of her home.

text: We don't know the gender of the narrator.

text: This should say why they are moving out of their home.

refinement: The author is moving out of their home because their partner has been unfaithful and the narrator feels that their life is in a rut.

text: It should say that the narrator does leave.

refinement: The author is moving out of their home because their partner has been unfaithful and the narrator feels that their life is in a rut. After some contemplation, they decide to leave, and do.