text:
Suddenly I’m awake in a lit room. My son’s room, I’m sure I turned off the lamp. Maybe not. No, I’m sure I did. If I didn’t then I wish I had. It isn’t the lamp being on that has stricken me with fear however. It’s what the light, that should be off, now reveals in the darkness.

In the wallpaper of my son’s room there is a face. I can see it clear as day and by the looks of it, it can see me back. The pattern of sail boats, some with open sails and some without, usually aligned vertically from floor to ceiling, have moved. Nothing else in the room has followed the sailboats into the realm of the impossible. My son’s teddy bear still sits hunched over on his dresser unmoved from when I placed it there before bed. The pile of toys has held it’s shape as a pile of toys, never striving to be anything more. Anything evil.

The sails, mangled together, through and around, conjoined in what is clearly a face. Two sunken closed eyes the size of my head. Hundreds of little sail boats as eyelids. A man’s face. I’m sure of it. Either way, face or not, this is not the pattern of my son’s wallpaper. Too terrified to move because what if it does?
Something just moved in the bed beside me. Under the covers. My bones would have leapt from my body had every muscle not been dead with fear. I didn’t think I could be more scared but now something is moving. My son rolls over and continues to sleep. A relief, it wasn’t Death, come to get me. Death is still on the wall. Back to the face after reassuring myself my son wasn’t going to wake up. My son! I fell asleep with him. How many nights has he slept under the gaze of this face? Were all his nightmares more than dreams? Should I have insisted that he no longer sleep with Mommy and Daddy? He had to be a big boy.
The eyes are open. All the little sails flipped back to reveal an onyx knot of little black sailless boats tightly formed into perfect pupils.

Then the teddy bear sits up. I scream.
Awake now in a dark room. Someone flicks the light on. My son, the light on his side, in his room. The wallpaper back to it’s meaningless pattern. Teddy, back to sleep on the dresser. My pillow, wet from the nightmare leaking out of my head.
I wipe my hair from my eyes and look at my son. At only six he worries when his father screams in the dead of night. I’m still terrified, nightmares linger far longer than dreams and I can’t shake the feeling that the room is watching me. We turn every light in the house on and go downstairs. I drink a glass of water; my son, a glass of milk.

Can’t shake it. It’s still dark out and I find no comfort in staring out the kitchen window.
“You saw him didn’t you?” My son asks.
“Come on, you can sleep in our room tonight.” I tell him. “Daddy just had a bad dream.”
We both know it isn’t true but we can talk about it in the morning.

We go back to my room and snuggle in close to my wife. She is warm with ignorance of what just occurred and it somehow makes me level headed about all of it. Makes me start to question what I had seen. It was all just a dream. It had to have been. It’s the only logical conclusion.
I see Teddy’s head poke up from the foot of the bed. The lights go out. I scream because that’s all there is to do then-

title: Scream

question: Why has the son not told the father about the face before?

answer: He probably has and the father and mother no doubt rejected his contentions as bad dreams or an overactive imagination.

text: There is no evidence that the son has seen the face before.

answer: That information is not directly stated.

text: There is no evidence that the son has seen the face before.

answer: He's scared.

text: There is no evidence that the son has seen the face before.

refinement: He's scared but there's no evidence the son has seen the face before.

question: What is the long term solution to the problem? The boy can't move permanently into his parents' room.

answer: Sell the house and move into a new one. Throw the bear away.

text: These are hypothetical solutions that are not found in the text.

refinement: This information is not found in the text.

text: Empty response.

refinement: This information is not found in the text.

text: Empty response.

refinement: This information is not found in the text.

question: Why is the evil confined to the boy's room?

answer: The evil in the room is unable to roam.

text: It omits mentioning that the seen evil is on the wallpaper of the room, preventing it from roaming.

refinement: The evil is seen on the wallpaper of the boy's room.

answer: He may have been having nightmares that night, or there may have been an earthquake when he was younger

text: The answer doesn't address the question.

refinement: The evil is seen on the wallpaper of the boy's room.

text: There is no evidence to suggest that there may have been an earthquake.

refinement: The evil is seen on the wallpaper of the boy's room.

answer: Perhaps it has to do with the presence of the child or perhaps something evil happened in the room.

text: There is no evidence that suggest such hypothetical reasons.

refinement: There is no evidence that suggest why the evil is confined to the boy's room.

question: Is it just a nightmare?

answer: Naturally it is just a nightmare.

text: There is no evidence to suggest that it is just a nightmare.

answer: It probably is. The boy doesn't say what it is he saw. Children have active imaginations and in this case so does the Dad

text: There is no definite evidence to suggest that it might just be a nightmare.

text: Empty response.

question: Write a ~12 sentence summary.

answer: The narrator wakes up in a lit room that he's sure he turned off the lights. He sees a face on the wall of his son's room. He rolls his son over and notices the face on the wall. The pattern of little sailboats that used to be vertical have now transformed into the face of a man. He wonders how his son has seen this without waking up. He wakes up and then sees the little face on the wall has moved in place. The little boat pattern and black dots form into perfect pupil eyes. The teddy on his son's dresser sits up and moves arm and head to the side. He thinks of sleep paralysis and how it must seem psycho tot consider it a nightmare instead, since it can't be real. His son wakes and tells the narrator that he saw the face. They both know it's fantasy. His son goes back to sleep with his dad who also goes back to bed with his wife who's in on the story as well. They all wake up at once with a startle when Teddy, the son's teddy bear, wakes up and moves its head.

text: "My son rolls over and continues to sleep" is evidence that the narrator did not roll his son over.

refinement: The narrator wakes up in a lit room that he's sure he turned off the lights. He sees a face on the wall of his son's room. His son rolls over and notices the face on the wall. The pattern of little sailboats that used to be vertical have now transformed into the face of a man. He wonders how his son has seen this without waking up. He wakes up and then sees the little face on the wall has moved in place. The little boat pattern and black dots form into perfect pupil eyes. The teddy on his son's dresser sits up and moves arm and head to the side. He thinks of sleep paralysis and how it must seem psycho tot consider it a nightmare instead, since it can't be real. His son wakes and tells the narrator that he saw the face. They both know it's fantasy. His son goes back to sleep with his dad who also goes back to bed with his wife who's in on the story as well. They all wake up at once with a startle when Teddy, the son's teddy bear, wakes up and moves its head.

text: "rolls over and continues to sleep" is evidence of the narrator not noticing the face on the wall when his son rolls over.

refinement: The narrator wakes up in a lit room that he's sure he turned off the lights. He sees a face on the wall of his son's room. His son rolls over and continues to sleep. The pattern of little sailboats that used to be vertical have now transformed into the face of a man. He wonders how his son has seen this without waking up. He wakes up and then sees the little face on the wall has moved in place. The little boat pattern and black dots form into perfect pupil eyes. The teddy on his son's dresser sits up and moves arm and head to the side. He thinks of sleep paralysis and how it must seem psycho tot consider it a nightmare instead, since it can't be real. His son wakes and tells the narrator that he saw the face. They both know it's fantasy. His son goes back to sleep with his dad who also goes back to bed with his wife who's in on the story as well. They all wake up at once with a startle when Teddy, the son's teddy bear, wakes up and moves its head.

text: There's no evidence to suggest that the narrator wonders how his son has seen the face without waking up.

refinement: The narrator wakes up in a lit room that he's sure he turned off the lights. He sees a face on the wall of his son's room. His son rolls over and continues to sleep. The pattern of little sailboats that used to be vertical have now transformed into the face of a man. He wakes up and then sees the little face on the wall has moved in place. The little boat pattern and black dots form into perfect pupil eyes. The teddy on his son's dresser sits up and moves arm and head to the side. He thinks of sleep paralysis and how it must seem psycho tot consider it a nightmare instead, since it can't be real. His son wakes and tells the narrator that he saw the face. They both know it's fantasy. His son goes back to sleep with his dad who also goes back to bed with his wife who's in on the story as well. They all wake up at once with a startle when Teddy, the son's teddy bear, wakes up and moves its head.

text: "pattern of sail boats, some with open sails and some without, usually aligned vertically from floor to ceiling, have moved" is evidence that the pattern of sail boats have moved, not the face.

refinement: The narrator wakes up in a lit room that he's sure he turned off the lights. He sees a face on the wall of his son's room. His son rolls over and continues to sleep. The pattern of little sailboats that used to be vertical have now transformed into the face of a man. He wakes up and then sees the pattern of sail boats have moved in place. The little boat pattern and black dots form into perfect pupil eyes. The teddy on his son's dresser sits up and moves arm and head to the side. He thinks of sleep paralysis and how it must seem psycho tot consider it a nightmare instead, since it can't be real. His son wakes and tells the narrator that he saw the face. They both know it's fantasy. His son goes back to sleep with his dad who also goes back to bed with his wife who's in on the story as well. They all wake up at once with a startle when Teddy, the son's teddy bear, wakes up and moves its head.

text: "Then the teddy bear sits up" is evidence the son's teddy bear sits up but does not move arm and head to the side.

refinement: The narrator wakes up in a lit room that he's sure he turned off the lights. He sees a face on the wall of his son's room. His son rolls over and continues to sleep. The pattern of little sailboats that used to be vertical have now transformed into the face of a man. He wakes up and then sees the pattern of sail boats have moved in place. The little boat pattern and black dots form into perfect pupil eyes. The teddy on his son's dresser sits up, and he screams. He thinks of sleep paralysis and how it must seem psycho tot consider it a nightmare instead, since it can't be real. His son wakes and tells the narrator that he saw the face. They both know it's fantasy. His son goes back to sleep with his dad who also goes back to bed with his wife who's in on the story as well. They all wake up at once with a startle when Teddy, the son's teddy bear, wakes up and moves its head.

text: There's no evidence to suggest that the narrator thinks of sleep paralysis.

refinement: The narrator wakes up in a lit room that he's sure he turned off the lights. He sees a face on the wall of his son's room. His son rolls over and continues to sleep. The pattern of little sailboats that used to be vertical have now transformed into the face of a man. He wakes up and then sees the pattern of sail boats have moved in place. The little boat pattern and black dots form into perfect pupil eyes. The teddy on his son's dresser sits up, and he screams. His son wakes and tells the narrator that he saw the face. They both know it's fantasy. His son goes back to sleep with his dad who also goes back to bed with his wife who's in on the story as well. They all wake up at once with a startle when Teddy, the son's teddy bear, wakes up and moves its head.

text: There's no evidence to suggest they think of the face's image to be fantasy.

refinement: The narrator wakes up in a lit room that he's sure he turned off the lights. He sees a face on the wall of his son's room. His son rolls over and continues to sleep. The pattern of little sailboats that used to be vertical have now transformed into the face of a man. He wakes up and then sees the pattern of sail boats have moved in place. The little boat pattern and black dots form into perfect pupil eyes. The teddy on his son's dresser sits up, and he screams. His son wakes and tells the narrator that he saw the face. His son goes back to sleep with his dad who also goes back to bed with his wife who's in on the story as well. They all wake up at once with a startle when Teddy, the son's teddy bear, wakes up and moves its head.

text: There's no evidence to suggest that the wife would be "in on" the story.

refinement: The narrator wakes up in a lit room that he's sure he turned off the lights. He sees a face on the wall of his son's room. His son rolls over and continues to sleep. The pattern of little sailboats that used to be vertical have now transformed into the face of a man. He wakes up and then sees the pattern of sail boats have moved in place. The little boat pattern and black dots form into perfect pupil eyes. The teddy on his son's dresser sits up, and he screams. His son wakes and tells the narrator that he saw the face. His son goes back to sleep with his dad who also goes back to bed with his wife. They all wake up at once with a startle when Teddy, the son's teddy bear, wakes up and moves its head.

text: "I see Teddy’s head poke up from the foot of the bed" is evidence that the narrator wakes up and not all of them.

refinement: The narrator wakes up in a lit room that he's sure he turned off the lights. He sees a face on the wall of his son's room. His son rolls over and continues to sleep. The pattern of little sailboats that used to be vertical have now transformed into the face of a man. He wakes up and then sees the pattern of sail boats have moved in place. The little boat pattern and black dots form into perfect pupil eyes. The teddy on his son's dresser sits up, and he screams. His son wakes and tells the narrator that he saw the face. His son goes back to sleep with his dad who also goes back to bed with his wife. They narrator wakes up with a startle when Teddy, the son's teddy bear, wakes up and moves its head.

text: "A man’s face" is evidence that the face is of a man's.

answer: The narrator is a father. His son is six years old. He is in a lit room that his son's room. The light he are on and he is sure he turned them off. He is not sure which was scarier for him - the light or what the light revealed, that in his son's room, the pattern of sailboats in the background had now changed to a horrific face. The pattern used to have normal sailboats whimsically aligned. One sail drops from the wall and is elongated vertically forming eye sockets. Another flap of the sail is elongated horizontally for the eyebrows. The face's left eye is a black pupil and back near the eye socket, another sail forms the eyelid. The right eye is an onyx knot that opens as he focuses on it. The teddy bear left and starts to look at him. The man screams in the side of his pillow. Awake again, this time a lit bedroom...Turns out it was only a nightmare. He turns on the lights and tells the son it must have been a bad dream. His son comforts him and they go back to sleep. He wakes up again and sees the teddy staring at him.

text: There is no evidence that suggests the son's age.

refinement: The narrator is a father. He is in a lit room that his son's room. The light he are on and he is sure he turned them off. He is not sure which was scarier for him - the light or what the light revealed, that in his son's room, the pattern of sailboats in the background had now changed to a horrific face. The pattern used to have normal sailboats whimsically aligned. One sail drops from the wall and is elongated vertically forming eye sockets. Another flap of the sail is elongated horizontally for the eyebrows. The face's left eye is a black pupil and back near the eye socket, another sail forms the eyelid. The right eye is an onyx knot that opens as he focuses on it. The teddy bear left and starts to look at him. The man screams in the side of his pillow. Awake again, this time a lit bedroom...Turns out it was only a nightmare. He turns on the lights and tells the son it must have been a bad dream. His son comforts him and they go back to sleep. He wakes up again and sees the teddy staring at him.

text: 'He is in a lit room that his son's room' should be read as, He's awake in a lit room that is his son's room.

refinement: The narrator is a father. He wakes in a lit room that is his son's room. The light he are on and he is sure he turned them off. He is not sure which was scarier for him - the light or what the light revealed, that in his son's room, the pattern of sailboats in the background had now changed to a horrific face. The pattern used to have normal sailboats whimsically aligned. One sail drops from the wall and is elongated vertically forming eye sockets. Another flap of the sail is elongated horizontally for the eyebrows. The face's left eye is a black pupil and back near the eye socket, another sail forms the eyelid. The right eye is an onyx knot that opens as he focuses on it. The teddy bear left and starts to look at him. The man screams in the side of his pillow. Awake again, this time a lit bedroom...Turns out it was only a nightmare. He turns on the lights and tells the son it must have been a bad dream. His son comforts him and they go back to sleep. He wakes up again and sees the teddy staring at him.

text: 'The light he are on and he is sure he turned them off' should be rephrased to: 'The light is on but he is sure he turned it off'.

refinement: The narrator is a father. He wakes in a lit room that is his son's room. The light is on but he is sure he turned it off. He is not sure which was scarier for him - the light or what the light revealed, that in his son's room, the pattern of sailboats in the background had now changed to a horrific face. The pattern used to have normal sailboats whimsically aligned. One sail drops from the wall and is elongated vertically forming eye sockets. Another flap of the sail is elongated horizontally for the eyebrows. The face's left eye is a black pupil and back near the eye socket, another sail forms the eyelid. The right eye is an onyx knot that opens as he focuses on it. The teddy bear left and starts to look at him. The man screams in the side of his pillow. Awake again, this time a lit bedroom...Turns out it was only a nightmare. He turns on the lights and tells the son it must have been a bad dream. His son comforts him and they go back to sleep. He wakes up again and sees the teddy staring at him.

text: The image of eye sockets that the sails were forming were actually sailless boats forming images of pupils.

refinement: The narrator is a father. He wakes in a lit room that is his son's room. The light is on but he is sure he turned it off. He is not sure which was scarier for him - the light or what the light revealed, that in his son's room, the pattern of sailboats in the background had now changed to a horrific face. The pattern used to have normal sailboats whimsically aligned. All the little sails flipped back to reveal an onyx knot of little black sailless boats tightly formed into perfect pupils.    The teddy bear left and starts to look at him. The man screams in the side of his pillow. Awake again, this time a lit bedroom...Turns out it was only a nightmare. He turns on the lights and tells the son it must have been a bad dream. His son comforts him and they go back to sleep. He wakes up again and sees the teddy staring at him.

text: There is no evidence that the teddy was looking and staring back, making the man scream into his pillow.

refinement: The narrator is a father. He wakes in a lit room that is his son's room. The light is on but he is sure he turned it off. He is not sure which was scarier for him - the light or what the light revealed, that in his son's room, the pattern of sailboats in the background had now changed to a horrific face. The pattern used to have normal sailboats whimsically aligned. All the little sails flipped back to reveal an onyx knot of little black sailless boats tightly formed into perfect pupils. The teddy sits up and the man screams. Awake again, this time his son turns on the light. He turns on the lights and tells the son he must have had a bad dream. They go back to the dad's room and snuggle together. He see the Teddy's head poke up from the foot of the bed.

answer:
A father is lying beside his sleeping child. He's awake from a nightmare but sees new things when he opens his eyes. He sees a face in his son's wallpaper and his son's teddy bear sitting up. He screms. He want's his son to sleep with him.

They are in the kitchen in the morning. His son reveals he saw the face too. He wants to sleep in their room. They go to their room. His wife points out the absurdity of this. He wants to see the bear again and see the face again. He sees the bear's head poking out from the end of the bed. He screams again because that's all he can do.

text: There's no evidence to suggest that the son saw the face too. The son only asks the dad if he saw the face.

refinement:
A father is lying beside his sleeping child. He's awake from a nightmare but sees new things when he opens his eyes. He sees a face in his son's wallpaper and his son's teddy bear sitting up. He screms. He want's his son to sleep with him.

They are in the kitchen in the morning. His son asks if he saw him. He wants to sleep in their room. They go to their room. His wife points out the absurdity of this. He wants to see the bear again and see the face again. He sees the bear's head poking out from the end of the bed. He screams again because that's all he can do.

text: It misses to specify that it is still dark out when they are in the kitchen.

refinement:
A father is lying beside his sleeping child. He's awake from a nightmare but sees new things when he opens his eyes. He sees a face in his son's wallpaper and his son's teddy bear sitting up. He screms. He want's his son to sleep with him.

They are in the kitchen and it's still dark out. His son asks if he saw him. He wants to sleep in their room. They go to their room. His wife points out the absurdity of this. He wants to see the bear again and see the face again. He sees the bear's head poking out from the end of the bed. He screams again because that's all he can do.

text: There is no evidence to suggest that the wife points out the absurdity.

refinement:
A father is lying beside his sleeping child. He's awake from a nightmare but sees new things when he opens his eyes. He sees a face in his son's wallpaper and his son's teddy bear sitting up. He screms. He want's his son to sleep with him.

They are in the kitchen and it's still dark out. His son asks if he saw him. He wants to sleep in their room. They go to their room. He wants to see the bear again and see the face again. He sees the bear's head poking out from the end of the bed. He screams again because that's all he can do.

text: There is no evidence to suggest that the dad wants to see the bear and the face again.

refinement:
A father is lying beside his sleeping child. He's awake from a nightmare but sees new things when he opens his eyes. He sees a face in his son's wallpaper and his son's teddy bear sitting up. He screms. He want's his son to sleep with him.

They are in the kitchen and it's still dark out. His son asks if he saw him. He wants to sleep in their room. They go to their room. He sees the bear's head poking out from the end of the bed. He screams again because that's all he can do.

text: Spelling error in 'he screms'

refinement:
A father is lying beside his sleeping child. He's awake from a nightmare but sees new things when he opens his eyes. He sees a face in his son's wallpaper and his son's teddy bear sitting up. He screams. He want's his son to sleep with him.

They are in the kitchen and it's still dark out. His son asks if he saw him. He wants to sleep in their room. They go to their room. He sees the bear's head poking out from the end of the bed. He screams again because that's all he can do.

text: It excludes mentioning that the image of the face is seen from the pattern of sailboats that dot the wallpaper.

refinement:
A father is lying beside his sleeping child. He's awake from a nightmare but sees new things when he opens his eyes. He sees a face within the pattern of sailboat on his son's wallpaper and his son's teddy bear sitting up. He screams. He want's his son to sleep with him.

They are in the kitchen and it's still dark out. His son asks if he saw him. He wants to sleep in their room. They go to their room. He sees the bear's head poking out from the end of the bed. He screams again because that's all he can do.

answer:
The narrator wakes in his son’s lit room, though he’s sure that he turned off the lamp. Though the rest of the room looks normal, a man’s face is staring at him from the wallpaper, woven together from the sailboats.

He wonders how many times his son has to fall asleep beneath this evil gaze. The eyes are open. Then the teddy bear sits up and the narrator screams. He wakes in a dark. His son switches on the light. The six-year-old worries when his father screams in the night.

They go to the kitchen and the boy says “You saw him, didn’t you?”. The two climb into the double bed with mom. It was just a bad dream. Then, Teddy looks over the headboard.

text: The teddy actually pokes up from the foot of the bed.

refinement:
The narrator wakes in his son’s lit room, though he’s sure that he turned off the lamp. Though the rest of the room looks normal, a man’s face is staring at him from the wallpaper, woven together from the sailboats.

He wonders how many times his son has to fall asleep beneath this evil gaze. The eyes are open. Then the teddy bear sits up and the narrator screams. He wakes in a dark. His son switches on the light. The six-year-old worries when his father screams in the night.

They go to the kitchen and the boy says “You saw him, didn’t you?”. The two climb into the double bed with mom. It was just a bad dream. Then, Teddy pokes up from the foot of the bed.

answer: This story is set in a dream world, and it's about a certain father and son. The father constantly wakes up scared in his boy’s room, which has a face on the wall that his son could’ve been seeing throughout the day. The son goes out of his way to make the father comfortable. The father eventually wakes up in his room, screams again, and the lights are turned on. The teddy bear wakes up as well. Then, the author wakes up in the dark, screaming again.

text: It fails to mention that the face is an image on the wallpaper of the son's room caused by the pattern of sailboats.

refinement: This story is set in a dream world, and it's about a certain father and son. The father constantly wakes up scared in his boy’s room, which has an image of a man's face from the pattern of sailboats on the room's wallpaper that his son could’ve been seeing throughout the day. The son goes out of his way to make the father comfortable. The father eventually wakes up in his room, screams again, and the lights are turned on. The teddy bear wakes up as well. Then, the author wakes up in the dark, screaming again.

text: There is no evidence to suggest that the son sees the image throughout the day.

refinement: This story is set in a dream world, and it's about a certain father and son. The father constantly wakes up scared in his boy’s room, which has an image of a man's face from the pattern of sailboats on the room's wallpaper. The son goes out of his way to make the father comfortable. The father eventually wakes up in his room, screams again, and the lights are turned on. The teddy bear wakes up as well. Then, the author wakes up in the dark, screaming again.

text: The son doesn't go out of his way.. it is the dad who tells the son it is just a nightmare and tells him to come sleep with him and mom.

refinement: This story is set in a dream world, and it's about a certain father and son. The father constantly wakes up scared in his boy’s room, which has an image of a man's face from the pattern of sailboats on the room's wallpaper. The dad tells the son it is just a nightmare and invites him to sleep in his room with mom. The father eventually wakes up in his room, screams again, and the lights are turned on. The teddy bear wakes up as well. Then, the author wakes up in the dark, screaming again.

text: The teddy is not waking up, it is poking his head out from the foot bed making the dad scream again.

refinement: This story is set in a dream world, and it's about a certain father and son. The father constantly wakes up scared in his boy’s room, which has an image of a man's face from the pattern of sailboats on the room's wallpaper. The dad tells the son it is just a nightmare and invites him to sleep in his room with mom. The teddy bear pokes his head up from the foot of the bed and the dad screams again.

answer:
He is in his son’s room, someone is watching him. He turns off the lamp in the room. Then the little black boats of the wallpaper flip over to form a face. The bear looks at him, sitting upright. The man screams. The bear sits again. Then the face on the wall winks at him. The man stops saying any of this is happening right now.
When his son asks him, the man tells him he had a bad dream. The man goes back to bed with his kids. Then he sleeps in his bed. He then sees Teddy’s head from the foot of his bed.

text: It should be specified that an image of a man's face is looking back at him and not that someone is watching him.

refinement:
He is in his son’s room, an image of a man's face is looking back at him. He turns off the lamp in the room. Then the little black boats of the wallpaper flip over to form a face. The bear looks at him, sitting upright. The man screams. The bear sits again. Then the face on the wall winks at him. The man stops saying any of this is happening right now.
When his son asks him, the man tells him he had a bad dream. The man goes back to bed with his kids. Then he sleeps in his bed. He then sees Teddy’s head from the foot of his bed.

text: He doesn't turn off the lamp, he's sure that he had turned it off which is now on.

refinement:
He is in his son’s room, an image of a man's face is looking back at him. He is sure he had turned off the lamp in the room, which is now on. Then the little black boats of the wallpaper flip over to form a face. The bear looks at him, sitting upright. The man screams. The bear sits again. Then the face on the wall winks at him. The man stops saying any of this is happening right now.
When his son asks him, the man tells him he had a bad dream. The man goes back to bed with his kids. Then he sleeps in his bed. He then sees Teddy’s head from the foot of his bed.

text: The teddy bear does not look at him, he just sits upright.

refinement:
He is in his son’s room, an image of a man's face is looking back at him. He is sure he had turned off the lamp in the room, which is now on. Then the little black boats of the wallpaper flip over to form a face. The teddy bear sits upright. The man screams. Then the face on the wall winks at him. The man stops saying any of this is happening right now.
When his son asks him, the man tells him he had a bad dream. The man goes back to bed with his kids. Then he sleeps in his bed. He then sees Teddy’s head from the foot of his bed.

text: There is no wink from the face on the wall.

refinement:
He is in his son’s room, an image of a man's face is looking back at him. He is sure he had turned off the lamp in the room, which is now on. Then the little black boats of the wallpaper flip over to form a face. The teddy bear sits upright. The man screams. The man stops saying any of this is happening right now.
When his son asks him, the man tells him he had a bad dream. The man goes back to bed with his kids. Then he sleeps in his bed. He then sees Teddy’s head from the foot of his bed.

text: There's no evidence to suggest that the man stops saying anything.

refinement:
He is in his son’s room, an image of a man's face is looking back at him. He is sure he had turned off the lamp in the room, which is now on. Then the little black boats of the wallpaper flip over to form a face. The teddy bear sits upright. The man screams.
When his son asks him, the man tells him he had a bad dream. The man goes back to bed with his kids. Then he sleeps in his bed. He then sees Teddy’s head from the foot of his bed.


split: train

text:
ARTHUR CROMPTON MOORE[1] (3 October 1877 - 5 October 1954)[2] was Archdeacon of Norfolk from 1934 until his death.

Moore was educated at Liverpool College, Clare College, Cambridge and Wycliffe Hall, Oxford.[3] He served curacies in Knutsford, Seville, Huddersfield and Stockport. He held incumbencies at Potter Heigham, Halesworth and Hereford.[4]

He died on 5 October 1954.[5]

Notes

Category:1954 deaths Category:20th-century English Anglican priests Category:Archdeacons of Norfolk Category:People educated at Liverpool College Category:Alumni of Clare College, Cambridge Category:Alumni of Wycliffe Hall, Oxford Category:1877 births

[1] National Archives

[2] Flickr

[3] _Crockford's Clerical Directory 1929-30_ p901 London: Oxford University Press, 1929

[4] ‘MOORE, Ven. Arthur Crompton’, Who Was Who, A & C Black, an imprint of Bloomsbury Publishing plc, 1920–2016; online edn, Oxford University Press, 2014 ; online edn, April 2014 [http://www.ukwhoswho.com/view/article/oupww/whowaswho/U240942, accessed 23 Dec 2016]

[5] _Ven. A. C. Moore._ The Times (London, England), Wednesday, Oct 06, 1954; pg. 8; Issue 53055

title: Arthur Moore (priest)

question: Who is Arthur Moore?

answer: Arthur Moore was an Archdeacon of Norfolk from 1934 until 1954.

answer: He was Archdeacon of Norfolk from 1934 until his death in 1954.

answer: Arthur Moore (1877-1954) was an Archdeacon of Norfolk and a priest.

question: What is an Archdeacon?

answer: one that assists in a church

text: Information is not found in the article.

refinement: Information is not found in the article.

answer: That information can't be found in the article.

answer: the article does not answer this question

text: Capitalization.

refinement: The article does not answer this question

question: How long did Arthur Moore live?

answer: Arthur Moore lived from October 3rd, 1877-October 5th, 1954.

answer: 77 years

answer: Moore lived for 20 years after the 1929 Directory

text: Bizarre inference.

question: Where did Moore serve curacies?

answer: Moore served curacies in Knutsford, Seville, Huddersfield, and Stockport.

answer: Moore served curacies in Knutsford, Seville, Huddersfield and Stockport.

answer: Knutsford, Seville, Huddersfield, and Stockport

question: Write a ~1 sentence summary.

answer: Arthur Crompton Moore was an Anglican priest and Archdeacon of Norfolk who died in 1954.

answer: Arthur Crompton Moore was an Archdeacon of Norfolk and notable Anglican priest; he died in 1954.

answer: This article discusses Arthor Moore, an English priest and Archdeacon of Norfolk from 1934 until his death in 1954.

answer: Arthur Moore (Archdeacon of Norfolk) died in 1954.

answer: Arthur Crompton Moore was an Archdeacon of Norfolk, until his death in 1954.

answer: Arthur Crompton Moore was an Archdeacon in Norfolk from 1934 until 1954, and died at the age of 78.


text:
MILDRED ELIZABETH ALBERT (née LEVINE; January 14, 1905 – August 26, 1991)[1] was an American fashion commentator, modeling agency director, fashion show producer, radio and television personality, and society columnist. Known as the “Mighty Atom” and Boston's “First Lady of Fashion”, she produced thousands of fashion shows during her career. She founded the Academie Moderne finishing school in 1936 and co-founded the Hart Model Agency in 1944. After selling both concerns in 1981, she remained active on the Boston fashion scene, covering fashion shows and hosting charity benefits, which earned her the title of “official grande dame” of Boston.

Early life and marriage

Mildred Elizabeth Levine was the youngest of four children born in Russia to Thomas Levine and Elizabeth Sugarman Levine.[2][3] The family immigrated to the United States when Mildred was three months old, settling in Roxbury, Massachusetts.[4] Her father worked in construction and real estate development in Brookline.[5]

She graduated from the Sargent School of Physical Education in 1926.[6] In 1928 she married James Albert, a Harvard-educated attorney.[7][8] They had two daughters and one son,[9] residing in Beacon Hill with a summer house in Beverly Farms.[10] Her husband gave her the nickname “Mighty Atom” based on her new initials, M. A., and her high-energy personality.[11]

Career

After graduation, Albert taught gym at Somerville High School.[12] Following her marriage, she began teaching dance, art, and literature at the Florence Street Settlement House in Boston.[13] She also taught posture at Massachusetts General Hospital and gave private lessons in poise and etiquette.[14]

In 1936[15] she founded the Academie Moderne finishing school in her Beacon Hill home.[16] The curriculum included “poise, proper walking, and good diction” and cultural visits to museums and ballet performances.[17] The school moved along with the Alberts to their next address at 35 Commonwealth Avenue; ownership of the house was transferred from the Alberts to the Academie Moderne in 1942.[18]

In 1944 Albert, together with Francis and Muriel Williams Hart, co-founded Hart Model Agency and Promotions, Inc. to train women for modeling careers.[19] This agency, too, operated out of Albert's home.[20] The Albert family continued to reside at 35 Commonwealth Avenue until 1967, when they moved to another address. The Academie Moderne and Hart Modeling Agency operated out of 35 Commonwealth Avenue into the 1980s.[21]

As dean of the modeling agency, Albert began staging new types of fashion shows, including “around-the-pool fashion shows, luncheon fashion shows, and the first cocktail fashion shows”.[22] She developed industry contacts by hosting a weekend luncheon and fashion show at a local hotel that attracted 500 to 600 attendees, and drew top-name designers to the city by inviting them to cocktail parties at her home.[23]

Albert produced thousands of fashion shows during her career.[24] Among her biggest events were a show for the 100th anniversary of the National Association of Cotton Manufacturers and the Million Dollar Back Bay Fashion Show.[25][26] She scripted, produced and commentated on the thrice-daily fashion shows presented at the New England Pavilion at the 1964 New York World's Fair[27][28] and reported on the first White House fashion show in 1968.[29] During the 1970s she was a coordinator for the Miss Massachusetts beauty pageants.[30] She lent her name and financial support to stage fashion shows benefiting the charities of the March of Dimes, UNICEF, DuPont, Celanese, United States Rubber Company, and others.[31][32]

Each month she made the rounds of design studios and shows in New York City, and visited Europe biannually to interview top designers and report back on fashion trends and forecasts.[33] She also spoke to women's clubs and other groups.[34] She became known as Boston's “First Lady of Fashion”.[35]

In 1981 Albert sold both the finishing school and the modeling agency, continuing as dean emeritus of the former and consultant at the latter.[36] Into her eighties, she continued to be active on the Boston fashion scene. In 1985 she inaugurated a Saturday-afternoon luncheon and fashion show at the Ritz-Carlton Hotel in Boston which she ran until a few months before her death.[37] Seven hundred well-wishers attended her 82nd birthday party; recorded tributes were sent by Calvin Klein, Bill Blass, and Oscar de la Renta.[38]

Radio and television personality

Albert also became a radio and television personality. She hosted a weekly radio show called “Youthful Loveliness” on WEEI in the late 1930s, and “Fashion As I See It” on WCRB in the 1960s and 1970s.[39] In the 1950s she joined the CBS New England lecture circuit, speaking on the topic “Gracious Living”, and also began appearing on television programs on fashion and beauty.[40] In the 1980s she joined CBS' _Good Day_ program as a fashion-show reporter and conducted interviews with leading designers in Paris, London, Rome, New York, and Boston, including Geoffrey Beene, Bill Blass, Pierre Cardin, Coco Chanel, Oscar de la Renta, Christian Dior, Norman Hartnell, Halston, Anne Klein, Ralph Lauren, Emilio Pucci, , and Pauline Trigere.[41] From 1981 to 1991 she wrote a society column spotlighting fashion shows and charity benefits for _Tab_ newspapers.[42][43]

Memberships

She was a board member of the Hebrew Teachers College in Newton Centre, Massachusetts in the 1920s and 1930s.[44]

Awards and honors

She received the 1975 Fashion Show Consultant of the Year Award from the March of Dimes.[45] State of Israel Bonds honored her with its 35th Anniversary Award in 1983.[46] Massachusetts Governor Michael Dukakis honored her with a proclamation on October 29, 1986.[47] Boston Mayor Raymond Flynn declared April 19, 1990 as “Mildred Albert Day”[48] and named her Boston's “official grand dame”.[49][50]

Death and legacy

She died in Boston on August 26, 1991 at the age of 86.[51] Her funeral was held at Temple Israel[52] and she was buried at Sharon Memorial Park in Sharon, Massachusetts.[53]

The _Mildred Levine Albert Papers, 1910–1991_, are housed at the Schlesinger Library at Radcliffe College.[54]

[1]

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[54]

title: Mildred Albert

question: When was Mildred Elizabeth Albert born?

answer: January 14, 1905.

answer: Mildred Elizabeth Albert was born on January 14, 1905.

answer: January 14, 1905

answer: January 14 1905.

question: What nicknames did she have during her life?

answer: "Might Atom" and Boston's "First Lady of Fashion."

answer: Mildred Albert was known as the "Mighty Atom" and "Boston's First Lady of Fashion."

answer: Mighty Atom and Boston's First Lady of Fashion.

answer: Mildred Elizabeth Albert was known as the "Mighty Atom" and Boston's "First Lady of Fashion."

question: What did Mildred Albert do?

answer: She was a fashion commentator, modeling agency director, fashion show producer, radio and television personality, and society columnist.

answer: Mildred Albert was a fashion commentator, modeling agency director, fashion show producer, and society columnist. She produced fashion shows, hosted radio and television shows on fashion and beauty, and wrote a society column.

text: Second sentence repeats information of the first sentence

refinement: Mildred Albert was a fashion commentator, modeling agency director, fashion show producer, and society columnist.

answer: She was a fashion commentator, modeling agency director, fashion show producer, radio and television personality, and society columnist.

answer: Mildred Albert was a fashion commentator, modeling agency director, fashion show producer, radio and television personality, and society columnist.

question: Where was Mildred Albert born?

answer: Russia.

answer: Mildred Albert was born in Russia.

answer: Russia.

answer: Russia

question: Write a ~1 sentence summary.

answer: Mildred Albert was an American fashion commentator, modeling agency director, fashion show producer, radio and television personality, and society columnist.

answer: This article is about Mildred Elizabeth Albert, an American fashion commentator, modeling agency director, fashion show producer, radio and television personality, and society columnist.

answer: This article is about Mildred Albert, a 20th century American fashion personality.

answer: Mildred Albert was a fashion commentator, modeling agency director, and society columnist. She was known as Boston's "First Lady of Fashion" and produced thousands of fashion shows during her career. She died in 1991 at the age of 86.


text:
[This is about open communications and the two biggest opportunities we have to disconnect as an organization; when we are overwhelmed by growth and when we are losing traction.]This is about open communications and the two biggest opportunities we have to disconnect as an organization; when we are overwhelmed by growth and when we are losing traction.  The first is easier to rationalize than the second but that doesn’t make it right…‘everyone’s so busy, I don’t want to pull them away from their priorities, we’re having such a great run I can’t imagine anyone has any concerns.’  And the second…‘they can see for themselves what’s happening, I just don’t have any good answers right now, let’s hold off a while longer, maybe we’ll have better news.’

My perspective in sharing these thoughts is derived from manufacturing and distribution environments where personal communications can be constrained by distance.  And, circumstances may not be any different in office and campus settings.  If we’re not front and center questions are bound to arise.

A number of years ago a machine operator came up to my office wanting to talk.  He wandered a bit but eventually focused on the new Chevrolet models that had just been announced.  I really didn’t know much about them and gently pressed him to his point.  He knew things were slow in the plant and was actually testing the waters as to whether layoffs were coming and he should delay buying a new car.  Heard some of these?  ‘Who were the people that toured the plant yesterday, why have we shut down three lines, people are saying we’re for sale, is that true, is our medical insurance really going to be increasing by 42%?’

Not exactly skilled management when we get behind the curve!  Here are some of the things I’ve seen done or done myself to get ahead of it.

Tried and true:

• Never close your door; if you can’t talk now promise to get back to the employee before the end of the day and keep your promise!

• Don’t refer, make the referral yourself. Example – if someone has an HR question don’t send them to HR, ask HR to go to them.

• Always answer a question. It doesn’t have to be in five minutes and the answer can be ‘no.’ No answer at all suggests ‘you’re not important’ or you don’t need to know.

And a non-social media option – closed circuit breaking news.  A nice addition to breakrooms and lunch rooms.  Scroll on the screen who will be touring today, incoming orders, new customers, awards, exceptional performance, upcoming meetings and especially the thoughts for the day, always to include safety.

Perhaps one of the most effective communication techniques I’ve ever been part of…employee roundtables; one per month per shift or department.  Management attendance was limited to the president, the COO and the director of HR joined by the first 7 to 8 interested employees.  There was always food, no rigid time constraint, and no subject off limits unless we were prohibited by active legal proceedings.

The expectation was that questions would surround ‘business’ matters, ‘how are we doing financially, is our bully competitor still trying to steal our customers,’ and on.  Instead, initially the queries were more parochial, ‘are we still looking at cushioned floor mats, will machine #36 ever be repaired, are we trying to find a better tape for packaging, can we add another vending machine?’  What an opportunity – and we seized on it, taking corrective action wherever we could and reporting it out, sometimes through closed circuit news.

The word spread and the process matured nicely.  We first primed the pump with such things as ‘does anyone want to ask about the plans for a new warehouse’ and soon enough our roundtables became all inclusive.  We talked about the GOOD AND THE BAD.  A moment not to be forgotten; a participant whose work colleague had been terminated for failing a drug test floated the idea that our policy should be amended to allow two strikes.  The management participants were all prepared to respond but we were boxed out before we could speak!  The employee’s peers pounced on his suggestion aggressively insisting they were not about to work around motion equipment being operated someone who had tested positive.

Lesson learned: stay connected, the ROI makes it all worthwhile.

Read more: The Value Of Key Stakeholder Feedback For CEOs

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

What does the author intend to teach the reader?

answer: The author is attempting to teach the reader about how to manage employees at General Motors Plants. They give a number of concrete pieces of advice about how to reach employees. They also discuss their experience with employee roundtables, giving examples of how well the process worked for them in the past. The overall message is about reaching employees on a human level.

text: The author isn't giving advice about General Motors Plants. This is false.

refinement: They give a number of concrete pieces of advice about how to reach employees. They also discuss their experience with employee roundtables, giving examples of how well the process worked for them in the past. The overall message is about reaching employees on a human level.

text: This isn't really what the author is teaching the reader. The author is teaching the reader specifically about open communication during work place opportunities of disconnect.

refinement: The author is teaching the reader specifically about open communication during work place opportunities of disconnect. They also discuss their experience with employee roundtables, giving examples of how well the process worked for them in the past.

text: It's omitted that the opportunities for disconnect are being overwhelmed by growth or loss of traction in the company.

refinement: The author is teaching the reader specifically about open communication during work place opportunities of disconnect. They also discuss their experience with employee roundtables, giving examples of how well the process worked for them in the past. The opportunities for disconnect are being overwhelmed by growth or loss of traction in the company.

answer: They intend to teach the reader how to improve communication with staff to foster a feeling of connectivity and understanding.

text: Specify that what the author is teaching specifically is open communications and the two biggest opportunities to disconnect as an organization.

refinement: They intend to teach the reader how to improve communication with staff to foster a feeling of connectivity and understanding. Specifically the author is teaching open communications and the two biggest opportunities to disconnect as an organization.

text: It's omitted that the opportunities of disconnect are being overwhelmed by company growth and losing traction.

refinement: They intend to teach the reader how to improve communication with staff to foster a feeling of connectivity and understanding. Specifically the author is teaching open communications and the two biggest opportunities to disconnect as an organization. The opportunities of disconnect come in the form of being overwhelmed by company growth and losing traction.

answer: The author intends to teach readers how to maintain open communication so that employees are provided with heightened insight on workplace developments. The author stresses the importance of speaking openly and answering questions promptly, as this creates connection and trust between managers and employees. Additionally, the author suggests holding short, informal roundtable meetings in order to increase communication between employees and management.

answer: The author intends to teach the reader the importance of staying connected and open to feedback in order to avoid disconnection within an organization. The author points out that it is important to be attentive to any questions or concerns that come up within the organization, both during times of growth and during times of potential loss of momentum. While recognizing that open communication can be difficult, the author emphasizes its importance in preventing disconnection within the organization.

text: This is redundant and should be omitted.

refinement: The author intends to teach the reader the importance of staying connected and open to feedback in order to avoid disconnection within an organization. The author points out that it is important to be attentive to any questions or concerns that come up within the organization, both during times of growth and during times of potential loss of momentum.

text: The author is teaching the reader about open communication.

refinement: The author intends to teach the reader the importance of staying connected and maintaining open communication in order to avoid disconnection within an organization. The author points out that it is important to be attentive to any questions or concerns that come up within the organization, both during times of growth and during times of potential loss of momentum.

answer: The author intends to teach the reader to be aware of their personal communications, especially to people who work for them. Especially, the author intends to teach people how to keep their communications transparent and open.

text: This is a bit inaccurate. The author isn't really teaching people to be aware of their own personal communications. It's a matter of open communications during opportunities of disconnect in the work place only.

refinement: The author intends to teach the reader to maintain open communications during opportunities of disconnect in the work place. Especially, the author intends to teach people how to keep their communications transparent and open.

text: This is redundant and could be omitted.

refinement: The author intends to teach the reader to maintain open communications during opportunities of disconnect in the work place.

text: It's omitted that these times of disconnect include being overwhelmed by company growth or losing traction.

refinement: The author intends to teach the reader to maintain open communications during opportunities of disconnect in the work place. These times of disconnect include being overwhelmed by company growth or losing traction.

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

What kind of news is the person in management attempting to break to his employees, and what does it imply about GM's welfare?

answer: The person trying to break news to the employees is likely trying to tell them about layoffs. This suggests that GM is suffering financially.

text: This answer is incorrect. There is nothing really stated about GM's welfare or specific news the author is breaking.

refinement: There is nothing really stated about GM's welfare or specific news the author is breaking.

answer: Possibly related layoffs. It might mean that the presses for one of their factories might be declining.

text: This answer is incorrect. There is nothing really stated about GM's welfare or specific news the author is breaking.

refinement: There is nothing really stated about GM's welfare or specific news the author is breaking.

answer: The narrator is clearly dealing with complex financial issues relating to whether new plants will open and whether plants will close, and is aware of the concrete effect this will have on employee's lives. However, employees are often more concerned with day-to-day practical activities. When employees come and ask about  whether the plant is for sale, it implies that GM may have been having trouble keeping plants open or is experiencing financial difficulties — perhaps as a consequence of the 2008 market crash.

text: This is far too speculative. There is nothing really stated about GM's welfare or specific news the author is breaking.

refinement: There is nothing really stated about GM's welfare or specific news the author is breaking.

answer: He attempted to convey to his employees the fact that Chevy was planning to shut down three lines. It is implied that this was due to the corporation's failing position.

text: This answer is incorrect. There is nothing really stated about GM's welfare or specific news the author is breaking.

refinement: There is nothing really stated about GM's welfare or specific news the author is breaking.

answer: The person in management is attempting to break news that the company may be losing traction. This implies that the company is in a difficult state and questions are likely arising among the employees.

text: This answer is incorrect. There is nothing really stated about GM's welfare or specific news the author is breaking.

refinement: There is nothing really stated about GM's welfare or specific news the author is breaking.


text:
 [Yes, Nigerian Youths Are Lazy]

[ndic advert]

By Chima Amadi

Characteristic of the President’s foreign travels, an avoidable public relations storm is now being managed by his handlers arising from his characterization of majority of the nation’s youthful population as inherently beggarly and lacking the creativity and enterprise to weather the economic conditions on their own.
Depending on which spin doctor’s narrative you are reading, there is an attempt to create the impression that the president would never depict Nigerian youths in the way that is being suggested or that the youths are a direct opposite of the president’s gaffe.

The latter is the reason why the “Lazy Nigerian Youth” hashtag went viral within a few hours of its release.
However, I am not taken by the pictures of different enterprising Nigerian youths in their work places and the ensuing narrative of how they are hardworking, neither am I bothered by the accusations against the government of not creating an “enabling environment “ for the youth to thrive .

In my mind, both arguments are contradictory or cancel out each other and I will not spend time trying to reinforce one against the other. What is clear to me is that Nigerian youths are indeed lazy. The import of the president’s statement is not lost on me.
While we may not be totally accurate about the actual numbers of our population, what is not debatable is that Nigerians youthful population is a major component of the total population of the country. Estimates have put that population at over 70 percent .

A very significant number of this large population are graduates from the nation’s tertiary institutions. The good mix of literate and illiterate but both deprived youthful populations is the enabling condition for mass based revolution targeted at destroying the current rotten order entrenched by an impervious ruling elite that had subjected the masses to abject poverty.

The social conditions of these youthful population is enough to make them sufficiently angry at a system that was contrived and manipulated to ensure that they remain rooted at the base of the social lather in perpetuity while their traducers and scions use them for propulsion to manoeuver themselves to the pinnacle of that lather. I am not sorry for a population that refuses to be agitated over the prevailing political arrangements by ageing elite that deems them not fit to organize the political and economic structures of society but deploys them to political battle fields as thugs to entrench the same order that sees nothing good of them.
If the Nigerian youth in whose lifetime less endowed communes of youths in other climes take their fates in their own hands to recalibrate the political order in their countries through consistent and well organised mass actions as witnessed in the Middle East, cannot be riled enough to seek for an overthrow of the current order that merely uses them as cannon fodder for group preservation, then the president is right. If the Nigerian youth would rather an over 80 year old Wole Soyinka leads it in a rejection of the present order whose consequential symptoms of decadence affects them more than an evidently comfortable Laureate, I testify to their laziness
Only a lazy bunch of youths, with its clearly majority demographic, will accept the status quo of corruption, inefficiency, maladministration, nepotism, and corruption by public officials and still take to the social media and sometimes the streets in violent defense of the thieving lot. The Nigerian youth is lazy since he/she does not understand that the power to institute a new order lies in his/her hands and the opportunity to create a better future from the current bleakness is now more realisable than ever before given the electoral reforms and revolutionary reality of the PVC. But, how many of those regaling the virtual media space with photo shots of their “hustle” are in possession of this future recreating tool? With a likely population of 110 million or more, is it not absurd that the total votes cast in 2015 in the presidential elections were slightly higher than 25 million? The teeming youth population simply went amiss. If the reality that the youth is confronted with is not enough to instigate a push for something different, they should keep quiet and accept the presidential reprimand.

[Aljazirahnews]

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question: What is characteristic of the President's foreign travels?

answer: An avoidable public relations storm.

text: Characteristic of the President’s foreign travels, an avoidable public relations storm

answer: The President's foreign travels often lead to public relations storms, as his statements often cause controversy.

text: Characteristic of the President’s foreign travels, an avoidable public relations storm

answer: The President's foreign travels are characterized by a public relations storm.

text: Characteristic of the President’s foreign travels, an avoidable public relations storm

answer: There is an avoidable public relations storm that is then managed by his handlers.

text: Characteristic of the President’s foreign travels, an avoidable public relations storm is now being managed by his handlers arising from his characterization of majority of the nation’s youthful population as inherently beggarly and lacking the creativity and enterprise to weather the economic conditions on their own.

question: What President is being referred to?

answer: The President of Nigeria.

text: president would never depict Nigerian youths

answer: The president of Nigeria

answer: Nigerian President Muhammadu Buhari

text: president would never depict Nigerian youths

answer: The president being referred to in the passage is Goodluck Jonathan.

text: The answer is incorrect. According to the Internet, the president who causes the stir was Muhamaddu Buhari

refinement: It is the Nigerian President, Muhammadu Buhari.

text: president would never depict Nigerian youths

question: What is the author referring to when they say "both arguments are contradictory or cancel out each other"?

answer: The author is referring to the argument that Nigerian youths are hardworking and the argument that Nigerian youths are lazy.

text: This is not the contradictory argument

refinement: One argument is that Nigerian youths are hardworking, and the other narrative is that the government hasn't created an "enabling environment" for the youth to survive.

answer: The author is discussing the "Lazy Nigerian Youth" hashtag at the time of this document. One argument is that Nigerian youths are hardworking, and the other narrative is that the government hasn't created an "enabling environment" for the youth to survive.

text: I am not taken by the pictures of different enterprising Nigerian youths in their work places and the ensuing narrative of how they are hardworking, neither am I bothered by the accusations against the government of not creating an “enabling environment “ for the youth to thrive .

answer: The author is referring to the argument that Nigerian youths are hardworking and the argument that they are lazy.

text: This is not the contradiction

refinement: One argument is that Nigerian youths are hardworking, and the other narrative is that the government hasn't created an "enabling environment" for the youth to survive.

answer: The author is referring to the argument that Nigerian youths are hardworking, and the argument that Nigerian youths are lazy. The author believes that both arguments are contradictory, as they cannot both be true.

text: This is not the contradiction

refinement: One argument is that Nigerian youths are hardworking, and the other narrative is that the government hasn't created an "enabling environment" for the youth to survive.

question: What population is put at over 70%?

answer: The Nigerian youth

text: Nigerians youthful population is a major component of the total population of the country. Estimates have put that population at over 70 percent .

answer: The passage states that the "youthful population" is over 70% of the total population.

text: Nigerians youthful population is a major component of the total population of the country. Estimates have put that population at over 70 percent.

answer: The Nigerian youthful population

text: Nigerians youthful population is a major component of the total population of the country. Estimates have put that population at over 70 percent.

answer: The youthful population of Nigeria.

text: Nigerians youthful population is a major component of the total population of the country. Estimates have put that population at over 70 percent.

question: Who does the author label as a lazy bunch of youths?

answer: The author labels the Nigerian youth as a lazy bunch of youths.

text: What is clear to me is that Nigerian youths are indeed lazy.

answer: The author labels the Nigerian youth as a lazy bunch.

text: What is clear to me is that Nigerian youths are indeed lazy.

answer: The narrator labels Nigerian youths who accept the status quo of Nigeria as lazy.

text: Only a lazy bunch of youths, with its clear majority demographic, will accept the status quo of corruption, inefficiency, maladministration, nepotism, and corruption by public officials and still take to the social media and sometimes the streets in violent defense of the thieving lot.

answer: The author labels the Nigerian youth as a lazy bunch of youths.

text: What is clear to me is that Nigerian youths are indeed lazy.

question: What is the PVC?

answer: The PVC is the acronym for the presidential voting card.

text: No evidence found

refinement: That information can't be found in the document.

answer: That information can't be found in the document.

answer: The PVC is the People's Victory Coalition.

text: That may be but I could not find evidence of such

refinement: That information can't be found in the document.

answer: The PVC stands for the 'People's Victory Coalition', which is a political alliance of opposition parties in Nigeria.

text: It may well be but I could find no evidence on the Internet

refinement: That information can't be found in the document.

question: Write a ~2 sentence summary.

answer: The author of the article is not bothered by the accusations against the government of not creating an "enabling environment" for the youth to thrive. The author believes that Nigerian youths are lazy.

text: This summary is confusing and poorly constructed

refinement: The author of the article believes that Nigerian youths are lazy. He backs his argument by pointing out that despite their majority they accept the status quo of corruption, inefficiency, maladministration, nepotism, and corruption by public officials.

answer: The author argues that Nigerian youths are lazy because they do not take action to change the current political order.

text: Minor grammatical error

refinement: The author argues that Nigerian youths are lazy because they have not take action to change the current political order.

answer: This document is an opinion piece from the time the Nigerian president characterized Nigeria's youth as lazy. The author of this document believed that the Nigerian youth is lazy when they do not push against Nigeria's corruption, inefficiency, and maladministration for something better.

text: A little bit clumsy

refinement: This document is an opinion piece from the time the Nigerian president characterized Nigeria's youth as lazy. The author agrees that the Nigerian youth is lazy as they have not pushed against Nigeria's corruption, inefficiency, and maladministration.

answer: The author argues that Nigerian youths are lazy, as evidenced by their lack of political engagement. They are content to let older, more established figures lead the way, even when the current system is not working for them.

text: The Nigerian youth is lazy since he/she does not understand that the power to institute a new order lies in his/her hands and the opportunity to create a better future from the current bleakness is now more realizable than ever before given the electoral reforms


text: Darth Vader smoked cigarettes. Up there in space without anyone to talk to, he had nothing but time. The life he never lived floated by the 4-foot thick window bleeding out of focus with the smoke that twisted around until it hung in a solid mass that floated away too. Wouldn’t it be nice to have more than galactic domination? Not the universe per say, but perhaps that family he’d mistakenly "killed". He had never truly met his son. Did he even know that his father was Darth Vader, would he ever believe such a fact? And that’s why the cigarettes plugged the burning flare of holes in his clouded suit of woe. No, everything happens one way and couldn’t possible happen any other. For the pain of his everyday life, he did exceptionally well. He was slow now, but it wasn’t because of smoking. Everyday when he would return to his hibernation chamber, the droids would clean his armor and lungs. But not like that matter, the air filter on his mask almost let in nothing but clean air. So why cigarettes he’d ask himself? Because it was space and it was his fucking choice. It was his legacy, to look stupid by himself to himself with a cigarette when he wasn’t throttling rebels. Fuckit. Maybe he should learn an instrument. The organ would be ideal. As the Captain of the ship and second in command of the Empire, that seemed about right. But until then, he could only wish and pretend. Nobody knew what he was thinking when he was not in battle or a cut scene.  That was nice and kept him extremely intimidating.  No one but his droids had ever seen his scrap book or his cigarettes. Surely that would cause some unease as to his true power. Though it would be eternally unmatched, the fact that he had a journals full of pictures of cats and cute animals might do some unintended damage if let into the wrong hands. But he was not worried; everyone was terrified of him already. Underneath it all, he was as human as anyone. He was just simply doing his job; fear and intimidation of the entire universe. But every now and then, the guilty pleasures would leak through like a joyful memory of his childhood watching the two suns set, or his adolescence with the Queen. Their nights out on the plains of Naboo. How different things could be. Had he listen or not listened to Palpatine was unimportant now. Things ran their course the way they were supposed to. He thought of how ridiculous everyone would have considered George Lucas if Darth Sidious and himself were friendly. The legacy of his would not be as immortal. But enough with deep thought, it was almost time to invade Kashyyyk with the 501st. He must redirect his thoughts to the importance of this upcoming victory they had planned. Maybe this battle would yield something more than bloodshed…he had a strange feeling it somehow would.

title: Darth Vader Smoked Cigarettes

question: Who smokes cigarettes?

answer: Darth Vader

answer: Darth Vader

answer: The main character in the passage, Darth Vader, smokes cigarettes.

answer: Darth Vader

question: What does he maintain was a mistake?

answer: That he killed his family.

answer: He thinks he killed his family.

answer: He maintains that he never met his son.

text: this is related to, but is not, the correct answer

answer: Darth Vader believes that he should have listened to Palpatine, as this would have changed the course of his life and his legacy.

text: completely unrelated

question: Who are the only entities to ever have seen his scrap book or his cigarettes?

answer: His droids.

text: don't need a period and capitalization

answer: The droids

text: don't need capitalization for a fragment

answer: His droids.

text: don't need capitalization for a fragment

answer: The only entities to ever have seen his scrap book or his cigarettes are his droids.

question: Why does he smoke?

answer: Darth Vader smokes cigarettes because it helps him deal with the loneliness and regret he feels as the leader of the Empire. It is his way of escaping reality for a few moments, even if it is just a temporary reprieve.

text: unrelated to the explanation given in the passage

answer: He smokes because he has nothing else to do.

answer: He smokes because he has nothing else to do in space.

answer: Because it is his fucking choice.

question: Write a ~4 sentence summary.

answer: The narrator is Darth Vader, who smokes cigarettes while thinking about his past life and his future conquests. He muses that everything happens as it is meant to, and that his legacy would not be as immortal if he and the evil Emperor were friends. He is about to lead the 501st in an upcoming battle, and he hopes that it will yield something more than bloodshed.

answer: Darth Vader is in space, smoking a cigarette. He thinks about his son, and how he never met him. He thinks about how he is as human as anyone, and how he is just doing his job. He thinks about the upcoming battle, and how it will yield something more than bloodshed.

text: He doesn't know it will yield more than bloodshed -- he hopes it will.

refinement: Darth Vader is in space, smoking a cigarette. He thinks about his son, and how he never met him. He thinks about how he is as human as anyone, and how he is just doing his job. He thinks about the upcoming battle, and hopes it will yield something more than bloodshed.

answer: Darth Vader smoked cigarettes because he had nothing else to do in space. He thought about how different things could be if he had listened to Palpatine, and how he would not be as immortal if he had not. He also thought about how he would invade Kashyyyk with the 501st.

text: very confused

answer: Darth Vader takes up a cigarette habit and ruminates on how crummy his life has been. He enjoys the freedom of choice. Only his droids, who clean his lungs and armor in the chamber each night, are privy to this habit of his. He has a feeling his next battle will yield something other than bloodshed.


text:
[Early 80s vintages of Sassicaia] TENUTA SAN GUIDO is an Italian wine producer in the DOC Bolgheri in Toscana, known as a producer of “Super Tuscan” wine. It produces Sassicaia, a Bordeaux-style red wine.[1][2][3] The estate also produces a second wine, Guidalberto, and a third wine, Le Difese. Tenuta San Guido is member of the Primum Familiae Vini.

History

Tenuta San Guido was established by marchese Mario Incisa della Rocchetta, who was also co-owner of the race horse Ribot. Considered the seminal “Super Tuscan”, the name Sassicaia (Italian _sasso_ meaning “stone”, indicating a stony field)[4] originated in 1948 when first produced by Incisa della Rocchetta using Cabernet Sauvignon vines and for years only used for family consumption.[5] A story about these vines being sourced from Château Lafite-Rothschild,[6] was dismissed by Mario's son, Nicolò Incisa della Rocchetta, as the vineyard was planted from “cuttings from 50-year-old vines from a friend’s estate near Pisa”.[7] Though for years Sassicaia remained the marchese’s personal wine, his son Nicolò and nephew Piero Antinori convinced him to release it commercially, starting with the 1968 vintage, which was unveiled in 1971.[8] Initially there were only a few thousand bottles available, but those created a demand for more. Mario Incisa della Rocchetta hired consulting enologist Giacomo Tachis to further refine the wine while increasing production.[9]

At a 1978 _Decanter_ tasting of “great clarets”, a panel including Hugh Johnson, Serena Sutcliffe and Clive Coates awarded the 1972 Sassicaia first place over a field of 33 wines from 11 countries.[10]

In 1994 Sassicaia was granted its own DOC (Bolgheri Sassicaia DOC), the only wine from a single estate in Italy to enjoy this privilege.[11] Before that, and in similarity to other wines made outside the traditional DOC/DOCG regulations, Sassicaia was classified as an Indicazione geografica tipica (IGT). Initially it was a Vino da tavola.

Production

Tenuta San Guido cultivates fruit from several plots around Bolgheri, extending , with a grape variety distribution of 85% Cabernet Sauvignon and 15% Cabernet Franc.[12][13] The annual production is approximately 180,000 bottles.

The second wine, Guidalberto, was introduced in 2000. Its first vintage was composed of 40% Cabernet Sauvignon, 40% Merlot and 20% Sangiovese.[14] Newer vintages do not contain any Sangiovese.[15] The wine has an annual production of 150,000 bottles.

The most recently added wine, Le Difese,[16] is composed of 70% Cabernet Sauvignon and 30% Sangiovese, with an annual production of 120,000 bottles.

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14] http://www.tenutasanguido.com/pdf/GUIDALBERTO%20ENG%20PDF/2000%20Guidalberto%20ENG.pdf

[15] http://www.tenutasanguido.com/pdf/Guidalberto%20ENG%20PDF/2016%20Guidalberto%20ENG.pdf

[16]

title: Tenuta San Guido

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

What does the text say about where the vines are sourced?

answer: The grape variety distribution at Tenuta San Guido is composed of 85% Cabernet Sauvignon and 15% Cabernet Franc. The vines originated from "cuttings from 50-year-old vines from a friend's estate near Pisa".

text: The first sentence has little relevance to the source. It can, however, be put as the second sentence if need be.

refinement: The vines originated from "cuttings from 50-year-old vines from a friend's estate near Pisa". The grape variety distribution at Tenuta San Guido is composed of 85% Cabernet Sauvignon and 15% Cabernet Franc.

answer: Marchese Mario Incisa della Rocchetta claimed the grapes were planted using cuttings from 50-year-old vines from a friend’s estate near Pisa. He said it was Château Lafite-Rothschild and a rumor about the available grapes is an IGT.

text: The second sentence has no relevance to the question.

refinement: Marchese Mario Incisa della Rocchetta claimed the grapes were planted using cuttings from 50-year-old vines from a friend’s estate near Pisa.

answer: The vines for Sassicaia are sourced from near Pisa and cuttings from trees 50 years old.

answer: The name Sassicaia originated in 1948 when the wine was first produced using Cabernet Sauvignon vines. There was a story about these vines being sourced from Chateau Lafite-Rothschild, but this was dismissed by Mario Incida della Rocchetta's son, Nicolo. This is because the vineyard was planted from "cutting from 50 year old vines from a friend's estate near Pisa".

answer: Initially, a story that the vines were sourced from Chateau Lafite-Rothschild was in circulation, but the brother of the current owner of the winery, Mario's son Nicolò, dismissed that story. Nicolò said that the vines were planted from “cuttings from 50-year-old vines from a friend’s estate near Pisa”.

text: The story about Chateau Lafite-Rothschild was actually dismissed by Mario's son.

refinement: Initially, a story that the vines were sourced from Chateau Lafite-Rothschild was in circulation, but Mario's son Nicolò, dismissed that story. Nicolò said that the vines were planted from “cuttings from 50-year-old vines from a friend’s estate near Pisa”.

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

Summarize everything that happened in the 20th century.

answer: In 1948, the Incisa della Rocchetta, who was also co-owner of the race horse Ribot, created Sassicaia, a Bordeaux-style red wine. It became the seminal “super Tuscan”. It was only allowed for family consumption for years. In 2000, a second wine named Guidalberto, an Indicazione geografica tipica, was created. It became available in 1971. In 1994, Sassicaia was classified as Bolgheri Sassicaia DOC, the only wine from a single estate to receive DOC status.

answer: In the 1900s, Tenuta San Guido was established by marchese Mario Incida della Rocchetta. The name Sassicaia originated in 1948 and the wine was only used for family consumption for years. Mario's son Nicolo and nephew Piero convinced him to release the wine commercially, starting with a 1969 vintage released in 1971. Only a few thousand bottles were released, but those created a demand for wine. This led to the the wine having further refinements, and eventually earning first place in a 1978 Decanter panel. In 1994, Sassicaia was granted its own DOC.

text: There is a typo in the second to the last sentence (double "the").

refinement: In the 1900s, Tenuta San Guido was established by marchese Mario Incida della Rocchetta. The name Sassicaia originated in 1948 and the wine was only used for family consumption for years. Mario's son Nicolo and nephew Piero convinced him to release the wine commercially, starting with a 1969 vintage released in 1971. Only a few thousand bottles were released, but those created a demand for wine. This led to the wine having further refinements, and eventually earning first place in a 1978 Decanter panel. In 1994, Sassicaia was granted its own DOC.

answer: Beginning in the late 1940s, Italian wine producer Tenuta San Guido began producing the red wine Sassicaia, utilizing 85% Cabernet Sauvignon and 15% Cabernet Franc. Sassicaia was awarded first place in a 1978 wine tasting of great clarets and was granted its own DOC in 1994. Currently, the estate produces three wines, Mamicaia, Guidalberto, and Le Difese, with an annual production of 180,000 bottles total.

text: The response skipped a couple of events that happened prior to Sassicaia being awarded a prize in 1978.

refinement:
Beginning in the late 1940s, Marchese Mario Incisa della Rocchetta began producing the red wine Sassicaia for his own family consumption. his son Nicolò and nephew Piero Antinori convinced him to release it commercially - he agreed. Rocchetta's first production was around a few thousand bottles, creating more demand. Rochetta increased production, employing specialists to refine the wine further.

Sassicaia was awarded first place in a 1978 wine tasting of great clarets and was granted its own DOC in 1994. Currently, the estate produces three wines, Mamicaia, Guidalberto, and Le Difese, with an annual production of 180,000 bottles total.

answer: The Tenuta San Guido was established by marchese Mario Incisa della Rocchetta in the 1960s. Sassicaia, the estate's most well-known wine, originated in 1948. The wine was originally consumed by family members only. The 1968 vintage was unveiled in 1971, and Guidalberto was introduced in 2000. Sassicaia was granted its own DOC in 1994. The estate has an annual production of approximately 180,000 bottles. The estate also produces Guidalberto, with an annual production of 150,000 bottles.

text: The response order of events is a bit lopsided - earlier events ought to come first before what happened later. The response listed Guidalberto, which was manufactured in 2000 before it informs us about Sassicaia being granted its own DOC in 1994.

refinement: The Tenuta San Guido was established by marchese Mario Incisa della Rocchetta in the 1960s. Sassicaia, the estate's most well-known wine, originated in 1948. The wine was originally consumed by family members only. Sassicaia 1968 vintage was unveiled in 1971. It was granted its own DOC in 1994. The estate has an annual production of approximately 180,000 bottles. The estate also produces Guidalberto (introduced in 2000), with an annual production of 150,000 bottles.

answer: The story on how Sassicaia became first produced occurred in 1948. In 1958, it was unveiled as a commercial wine. The wine was released commercially starting with the 1968 vintage. They only gave out a few thousand bottles in the first few years. Mario Incisa della Rocchetta hired Giacomo Tachis to further refine the wine while increasing their production. There were only 33 wines from 11 countries that were part of this tasting, which they awarded first place to the 1972 Sassicaia. Towards the end of the 1900s, the estate was granted its own DOC the only wine estate to do so in Italy.

text:
- Sassicaia was not unveiled as a commercial wine in 1958.
- The last line needs to be more specific about the year the wine was granted its DOC.

refinement: The story on how Sassicaia became first produced occurred in 1948. The wine was released commercially starting with the 1968 vintage. They only gave out a few thousand bottles in the first few years. Mario Incisa della Rocchetta hired Giacomo Tachis to further refine the wine while increasing their production. There were only 33 wines from 11 countries that were part of this tasting, which they awarded first place to the 1972 Sassicaia. In 1994, Sassicaia was granted its own DOC the only wine estate to do so in Italy.

text: The highlighted statement has no context in the light of the whole response.

refinement: The story on how Sassicaia became first produced occurred in 1948. The wine was released commercially starting with the 1968 vintage. They only gave out a few thousand bottles in the first few years. Mario Incisa della Rocchetta hired Giacomo Tachis to further refine the wine while increasing their production. "1972 Sassicaia" won the Decanter tasting of "great clarets" in 1978 in a competition of 33 wines from 11 countries. In 1994, Sassicaia was granted its own DOC the only wine estate to do so in Italy.

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

Summarize how the wine is produced.

answer: Tenuta San Guido produces Sassicaia, a Bordeaux-style red wine. The grapes come primarily from Cabernet Sauvignon vines, with smaller percentages of Cabernet Franc. Annual production is approximately 180,000 bottles. Guidalberto is a second wine composed of 40% Cabernet Sauvignon and 40% Merlot, and Le Difese is a third wine composed of 70% Cabernet Sauvignon and 30% Sangiovese.

text: Guidalberto is missing one composition.

refinement: Tenuta San Guido produces Sassicaia, a Bordeaux-style red wine. The grapes come primarily from Cabernet Sauvignon vines, with smaller percentages of Cabernet Franc. Annual production is approximately 180,000 bottles. Guidalberto is a second wine composed of 40% Cabernet Sauvignon, 40% Merlot, and 20% Sangiovese. Le Difese is a third wine composed of 70% Cabernet Sauvignon and 30% Sangiovese.

answer: Tenuta San Guido cultivates fruit from several plots around Bolgheri, stretching about three hectares. When harvested, 85% of the grapes used are Cabernet Sauvignon, and 15% are Cabernet Franc. The production of 180,000 bottles a year of wine is quite reasonable, as large-scale wine production does not seem to be their goal.

text: - There is no mention of three hectares in the original passage.

refinement: Tenuta San Guido cultivates fruit from several plots around Bolgheri. When harvested, 85% of the grapes used are Cabernet Sauvignon, and 15% are Cabernet Franc. The production of 180,000 bottles a year of wine is quite reasonable, as large-scale wine production does not seem to be their goal.

text: - The response is lacking in detail about the production of individual wines.

refinement: Tenuta San Guido cultivates fruit from several plots around Bolgheri. When harvested, 85% of the grapes used are Cabernet Sauvignon, and 15% are Cabernet Franc. The production of 180,000 bottles a year of wine is quite reasonable, as large-scale wine production does not seem to be their goal. One of their wines, Guidabelto (introduced in 2000), is composed of 40% Cabernet Sauvignon, 40% Merlot and 20% Sangiovese.

answer: 050% of their grapes comes from their own estate (the other 15% comes from another source). Mario Incisa introduced his son and his nephew to market his wine after attempting it for a few years. The production at Tenuta San Guido is ongoing with 180,000 bottles a year.

text:
- 50% percent of Tenuta San Guido's wine does not come from their own estate.
- Mario Incisa did not introduce his son and nephew to marketing his wine.
- The response has little to do with the question asked.

refinement: Tenuta San Guido harvests its grapes from many plots in Bolgheri with the composition of 85% Cabernet Sauvignon and 15% Cabernet Franc. One of its wine, Guidalberto, is com[osed on 40% Cabernet Sauvignon, 40% Merlot and 20% Sangiovese which is a departure from most newer vintages with no Sangiovese. The estate's newest addition, Le Difese, has 70% Cabernet Sauvignon and 30% Sangiovese with a yearly production of 120,000 bottles.

category_text: The response does not answer the question at all.

answer: The wine was first produced in 1948 with cuttings from 50 year old vines from an estate near Pisa by Incisa della Rocchetta, and used for family consumption. Tenuta San Guido has a grape variety of 85% Cabernet Sauvignon and 15% Cabernet Franc, with an annual production of about 180,000 bottles. The second wine, Guidalberto was composed of 40% Cabernet Sauvignon, 40% Merlot and 20% Sangiovese (which is not contained in newer productions),  with an annual production of 150,000 bottles. The most recent wine, Le Difese, is composed of 70% Cabernet Sauvignon and 30% Sangiovese, with an annual production of 120,000 bottles.

answer: Tenuta San Guido produces a red Bordeaux-style wine called Sassicaia and the second wine Guidalberto. Sassicaia is primarily composed of Cabernet Sauvignon, while Guidalberto is composed of 40% Cabernet Sauvignon, 40% Merlot, and 20% Sangiovese. Le Difese, the most recent addition, is composed of 70% Cabernet Sauvignon and 30% Sangiovese. Overall, the estate produces approximately 180,000 bottles of wine per year.