text: Just a man with his thoughts. Should I drink? No. Should I smoke? No. But at the end of the day it’s who I am. It’s as short walk, one I have made more times than I can count, but in my mind the steps seem infinite. Where did I go wrong? So much potential they said. So much promise they said; and honestly it’s so much easier to sit on the other side of the table and judge than to experience the true gravity of it all. To sling unjust judgment towards this life, a future that is currently being written and all the while already wrote. I see those flashing lights, I see them night in and night out guiding me home with no true direction. I know where the perceived home is, I know where my lover sleeps, but it is not home. Home only exists in an idea, a place where I once was but will never find again. I stop by the local pub and shoot the same arduous shit I always do. Sports. Politics. Economy. Pseudo intellectual bullshit that happens with a frequency that i could likely have both sides of it with myself. I need to stop coming here, never again, never more. “Quoth the raven never more.”   I smirk, a smile I can only feel knowing that the pedantic idiocy of the yokels know not of this reference and it falls on ill-bred ears. I stand superior to the masses in my mind; their self perceived god ruling an empire of ignorance. I step back into the cold, longing for the brothers that once stood with me years ago. We may talk, we may lament, we may feel. Feel something that once was and will never be again. We have changed. Not necessarily to the people we should be, but to the people we now are. And yet I walk. Walk home to a love out of convenience. A love that happened at the right place at the right time. Not that childish love of youth, the truest kind love that will only exist in a flash, a blink of time only to be perused and never obtained. No this is a different love, one out of a mutual comfort, a comfort of not having to die alone. I burn another one, my only solace in the desolate wasteland that I have chosen. I stand as man who has forsaken my family, forsaken all those who have judge me [those who could judge me.] I will never be their man. I will never be the coattails upon which they hoped to ride. My parents will die old and alone as I cannot give the life they strived for me to feed them. I am cold. Cold with the realization that I am destined to be among the desolate; I fucking hate the cold. I remember, as I will never forget,  the times that I saw life on the silver platter. The times that my family gifted an existence that I could have obtained but never wanted. I will embrace the darkness. I will live the heart ache as if it was written to be mine and mine alone. My own selfishness feelings are the crushing weight of the infinite as though it is the only love I have ever known. I arrive “home.” One. Two. Three. Four. I know what waits for me on the other side of this lead laden door. A woman who desires only my embrace, but at the same time stands on the edge of the travesty that is our existence, fully accepting the misery I have brought upon her. I light up number three…or is it number four…who gives a shit. I would rather die at 30 than live to see myself broken down to nothing. I quietly open the door. The comforting smell of familiarity makes me sick. I hate my comfort, I hate my strife, I hate the obligatory relief I am expected to feel in this dump. I brush off the snow, climb the steps to my every day. It is so set in stone. Fifteen steps towards the love of my life. I chuckle whilst I brush my teeth. Love. What a childish idea that was crushed long ago. Smashed upon the rocks of reality. I pet the dog, I lock the door, I embrace suburbia with the heartache of a man that was destined for more.  I could have embraced the shallow 9-5 and all the predetermined dialogue that lies within. I curl up next to the physical embodiment of our failures. “Tomorrow,” I say, “tomorrow it will be different.” Knowing full well in my heart that tomorrow I will feel the biting cold once again. I find solace in the trivial; solace in the fact that today is but a few brief hours from tomorrow. The day that holds nothing but possibilities but offers the same cold, hopeless walk. I drift off into slumber hoping for better days, all the while with the knowledge that what has been written has been, and always will be written in stone. “Tomorrow,” I say, “that is the day that I will finally come to fruition.”

title: Tomorrow.

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

What is the narrator's sentiment in the story?

answer: The narrator is unfulfilled.

answer: He resents the boring monotony of his life; He doesn't feel love for his partner, a fact he finds discouraging; He minces the significance of the life he has settled for; He hates the cold, for heaven's sake.

text: It is not stated that he does not feel love for his partner.

refinement: He resents the boring monotony of his life. He minces the significance of the life he has settled for; He hates the cold, for heaven's sake.

text: I would put a dot instaed of ;

refinement: He resents the boring monotony of his life. He minces the significance of the life he has settled for. He hates the cold, for heaven's sake.

answer: The narrator seems to be at a point in his life where he feels stuck. He feels like he has no direction, and his life has no meaning. He seems to be in a rut. He is upset with himself for not living up to his potential and for not being the person his parents hoped he could be.

answer: The narrator seems to be at a point in his life where he feels stuck. He feels like he has no direction, and his life has no meaning. He seems to be in a rut.

answer: The narrator feels a loss and a realization of the futility of his existence.


split: train

text:
_NOWHERE LEFT TO HIDE_ is the debut studio album by Australian rock band Juke Kartel, released through Emporium Music on 3 April 2009. The title of the album comes from lyrics in the song “Then She Said”.

Live performances

On 27 March 2009, Juke Kartel commenced their _Nowhere Left to Hide_ national tour. They were supported by Town Hall Steps and Stone Parade. They also performed at the Gippsland emergency relief concert, to support victims of the February 2009 Victorian bushfires, along with Evermore, Adam Brand and Lee Kernaghan.

Singles

The first single released from the album was “Save Me”, on 4 October 2008. A music video was shot in New York City and has been shown on Channel V and Video Hits. The song was featured in an episode of The Biggest Loser 5 in the United States. The second single released was “December” on 10 January 2009. “If Only” was the third single released on 3 April 2009. The song was released in conjunction with _Nowhere Left to Hide_, to radio and as a digital download. On 27 March, Juke Kartel performed an acoustic version of “If Only” on Channel Ten.

Track listing

1.  “Save Me” - 3:44
2.  “Throw It Away” - 3:06
3.  “December” - 4:21
4.  “If Only” - 3:42
5.  “Innocence” - 3:51
6.  “My Baby” - 3:44
7.  “Sleeptalker” - 5:27
8.  “The Closer We Get” - 3:39
9.  “Scars” - 3:32
10. “Then She Said” - 3:59
11. “On Fire” - 4:17
12. “Firesign” - 4:47

Chart performance

  Year                       Chart                       Peak Position
  -------------------------- --------------------------- ---------------
  2009                       ARIA Australian Albums[1]   20
  Australian AIR Charts[2]   4

[1]

[2] Top 20 Albums 100 Indie www.aircharts.com.au

title: Nowhere Left to Hide

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

When was the album released?

answer: The album was released on 3 April 2009.

answer: 3 April 2009

answer: April 3, 2009

answer: 3 April 2009.

answer: April 3rd, 2009.

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

Who was the album's artist?

answer: Juke Kartel was the album's artist.

answer: Juke Kartel.

answer: Juke Kartel

answer: Juke Kartel

answer: Juke Kartel was the album's artist.

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

What singles were on the album?

answer: The album included "Save Me", "December", and "If Only".

answer: The single released from the album was "Save Me" with the second single "December", and the third single "If Only".

answer: "Save Me," "December," and "If Only"

answer: Only one, the title track, "If Only".

text: This is an incorrect response and the correct response needs to be written.

refinement: The singles on the album were "Save Me", " December", and "If Only".

answer: On Fire, Save Me, December, and Sleeptalker.

text: Incorrect response. There are some names of songs on here that are not singles stated from the passage.

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

What position did the album peak at on the Australian AIR Charts?

answer: 4.

answer: 4

answer: The album peaked at #4 on the Australian AIR Charts.

answer: The album peaked at 4.

text: It is important to note that the album peaked at number four.

refinement: The album peaked at number 4 on the Australian AIR Charts.

answer: The album peaked at number 4 on the Australian AIR Charts.

question: Write a ~3 sentence summary.

answer: Nowhere Left to Hide is the debut studio album by Juke Kartel, an Australian rock band. It was released in 2009 and contains the singles, "Save Me," "December," and "If Only." The album peaked at number 4 on the Australian AIR Charts.

answer: "Nowhere Left to Hide" is the debut studio album by Australian rock band Juke Kartel. The title comes from lyrics of the song "Then She Said." The songs "Save Me," "December," and "If Only" were all featured on the album.

text: More can be added to this summary to express the important facets explained in the passage.

refinement: "Nowhere Left to Hide" is the debut studio album by Australian rock band Juke Kartel. The title comes from lyrics of the song "Then She Said." The songs "Save Me," "December," and "If Only" were all featured on the album and all were great hits. The studio album has done well.

answer: Nowhere Left to Hide is the new studio album by Juke Kartel. It was released on the 3rd April of 2009 and received good reviews. Radio Chart Performances: Australian AIR Charts - 4th.

text: The last sentence of this summary needs to be fixed.

refinement: Nowhere Left to Hide is the new studio album by Juke Kartel. It was released on the 3rd April of 2009 and received good reviews. On the Radio Chart Performances, the album ranked 4th on the  Australian AIR Charts.

answer: Nowhere Left to Hide is the debut album by Australian rock band Juke Kartel. The album, released through Emporium Music, contains the singles “Save Me,” “December,” and “If Only.” The album peaked in the Australian Air charts at #4. Overall, the album features a blend of rock and pop and has been well received by both critics and listeners alike.

answer: Juke Kartel's debut album, _Nowhere Left to Hide_, was released on 3 April 2009. The album explores themes of fear, pain, and hope through songs that are deeply personal. The singles "Save Me" and "December" have both been successful on radio and charted well. In all, this is an innovative and versatile modern rock album.


text:
ERWIN JAMES MONAHAN (born 1957) is a convicted murderer and has been a contributor and columnist for _The Guardian_ since 1998, writing under the name “Erwin James”. He was released in August 2004 having served 20 years of a life sentence.[1][2] From 2000 he wrote a regular column about prison life entitled _A Life Inside_. It was the first column of its kind in the history of British journalism. He has continued to write for the national press and is the editor-in-chief of _Inside Time_, a national newspaper in the UK for people in prison, as well as doing charity work, since his release. While he was in prison he did not receive fees for his articles; instead these were paid to a charity, the Prisoners' Advice Service, which had helped him.[3]

Background

Monahan's mother died in a car crash when he was seven, he was separated from his sister when she was twenty months old. Following the crash his grieving father turned to alcohol and became a violent drunk, inflicting much of his angst on his subsequent partners and on the young Erwin. Monahan committed his first crime when he was ten, breaking into a sweet shop. He eventually notched up 53 criminal convictions, including for burglary, theft, criminal damage, assault and mugging and including the final two for murder for which he was sentenced to life imprisonment.

Monahan and his co-defendant, William Ross, whom he had met in a squat in London, were convicted of murdering theatrical agent Greville Hallam and solicitor Angus Cochran in 1982. Hallam was found strangled in his home in London. Cochran was murdered three months later after being mugged. Following the murders Monahan fled to France and joined the French Foreign Legion, serving in Corsica and Africa. After receiving information from Ross, Monahan was traced by Scotland Yard, and in August 1984 he handed himself in to the British Consul in Nice.

Monahan and Ross both pleaded not guilty to murder on both charges, each blaming the other for the killings. Another man implicated in the murders, Paul Dunwell, avoided prosecution by agreeing to give evidence for the prosecution against the pair. Justice Otton, who presided over the case, described Monahan as “brutal, vicious and callous” and sentenced him to life imprisonment with a minimum term of 14 years, subsequently increased to 25 years by the Home Secretary.[4] Ross was also sentenced to life imprisonment; he was released from prison to a hostel in March 2014.

In January 2006, Monahan wrote an article for _G2_, a section of _The Guardian_ (as “Erwin James”, as always), recalling his time in the French Foreign Legion.[5] In 2009 he admitted that part of the article contained information detailing experiences in Beirut which were untrue, as he had not, in fact, served there.[6]

For the majority of the time during which he wrote for _The Guardian_ the circumstances leading to his arrests and convictions were not revealed, but in April 2009 Monahan's full name became public.[7]

Monahan wrote in _G2_ in April 2009 that his behaviour had been unforgivable and that “I seek no forgiveness now.”[8]

Published works

-   _A Life Inside: A Prisoner's Notebook_ (2003)
-   _The Home Stretch: From Prison to Parole_ (2005)
-   _Redeemable: A Memoir of Darkness and Hope_ (2016)

[1]

[2]

[3]

[4]

[5] }}

[6]

[7]

[8]

title: Erwin James

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

What does the article say about Monahan's conviction?

answer: Erwin James Monahan was convicted of murder and sentenced to life imprisonment. The circumstances leading to his arrest and conviction were not publically revealed until April 2009. Monahan has since admitted his behavior was unforgivable and seeks no forgiveness.

answer: Monahan has been convicted of two murders and sentenced to life in prison. He has written regularly for _The Guardian_ since 1998, most often under the pseudonym “Erwin James”. While in prison, Monahan did not receive any payment for his articles, but rather payments went to a charity. Monahan admits that his behaviour was unforgivable.

text: The response contains irrelevant information.

refinement: Monahan has been convicted of two murders and sentenced to life in prison. Monahan admits that his behaviour was unforgivable.

answer: Monahan faced 53 criminal convictions, including for burglary theft, criminal damage, assault and mugging. His final two convictions were for the murder of Greville Hallam, a theatrical agent, and Angus Cochran, a solicitor, in 1982. For the murders, he was sentenced to life imprisonment with a minimum term of 14 years, which was subsequently increased to 25 years.

answer: Monahan and his co-defendant murdered a theatrical agent and a solicitor. He fled to France and joined the French Foreign Legion. They were caught and described as 'brutal, vicious and callous'. Monahan was sentenced to life imprisonment and Ross to life imprisonment; Ross was released to a hostel in 2014. Monahan admitted that part of the story about his time in the Foreign Legion was untrue.

text: The response contains irrelevant information.

refinement: Monahan and his co-defendant murdered a theatrical agent and a solicitor. They were caught and described as 'brutal, vicious and callous'. Monahan was sentenced to life imprisonment and Ross to life imprisonment; Ross was released to a hostel in 2014.

answer: Monahans received 53 criminal convictions, including for burglary, theft, criminal damage, assault, and mugging. His final convictions were from the murders of Greville Hallam and Angus Cochran. He was sentenced to life imprisonment with a 14 year miinimum. He claimed that William Ross more likely killed the victims, but another man implicated Monahan and Ross for the murders. His prison manuscript, A Life Inside, was used against him. He pleaded not guilty against both murders, boing Ross during the trial.

text: The response contains inaccurate information.

refinement: Monahans received 53 criminal convictions, including for burglary, theft, criminal damage, assault, and mugging. His final convictions were from the murders of Greville Hallam and Angus Cochran. He was sentenced to life imprisonment with a 14 year miinimum. He claimed that William Ross more likely killed the victims, but another man implicated Monahan and Ross for the murders. He pleaded not guilty against both murders, boing Ross during the trial.

text: The response contains some typos.

refinement: Monahans received 53 criminal convictions, including for burglary, theft, criminal damage, assault, and mugging. His final convictions were from the murders of Greville Hallam and Angus Cochran. He was sentenced to life imprisonment with a 14 year minimum. He claimed that William Ross more likely killed the victims, but another man implicated Monahan and Ross for the murders. He pleaded not guilty against both murders, along with Ross during the trial.

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

What does the article say about Monahan's column for The Guardian?

answer: Since 1998, Monahans had contributed and column for The Guardian, writing under the name “Erwin James”. He used to write a regular column about prison life. It had been the first column of its kind in British journalism. After his release, he continued to write for the national press. He is still a highly contentious figure in the British media, and the editor in chief of the “Inside Time”, a national newspaper in the UK for people inside prisons.

text: The response contains some misleading information.

refinement: Since 1998, Monahans had contributed and column for The Guardian, writing under the name “Erwin James”. He used to write a regular column about prison life. It had been the first column of its kind in British journalism. After his release, he continued to write for the national press. He is still an important figure in the British media, and the editor in chief of the “Inside Time”, a national newspaper in the UK for people inside prisons.

answer: Monahan has been a contributor to _The Guardian_ since 1998, and has written a regular column about prison life since 2000. The column was the first of its kind in British journalism and was paid for by a charity to help prisoners. Monahan writes about his experience in prison, and has admitted to wrongdoing.

text: The response contains inaccurate information.

refinement: Monahan has been a contributor to _The Guardian_ since 1998, and has written a regular column about prison life since 2000. The column was the first of its kind in British journalism. While he was in prison, the fees were paid to a charity to help prisoners. Monahan writes about his experience in prison, and has admitted to wrongdoing.

answer: Monahan wrote a column for The Guardian under the name "Erwin James" starting in 1998. In 2000, he began a regular column about prison life entitled A Life Inside, which was the first of its kind in the history of British journalism. He wrote an article in 2006 for G2, a section of The Guardian. For the majority of the column's run, the details of Monahan's arrests and convictions were not revealed, but in 2009, his full name became public, and Monahan wrote in G2 that his behavior had been unforgivable and that he did not seek forgiveness now.

answer: The column written by Monahan for The Guardian is described as the first in its kind in British journalism with a focus on prison life; Monahan has continued to write after his release from prison. The column was originally published under the name “Erwin James” and is meant to be an account of his experience in prison.

answer: Monahan has been a contributor and columnist for The Guardian since 1998 under the name "Erwin James" writing about prison life for the regular column about prison life "A Life Inside." It was the first column of its kind in British journalism. He also writes for the national press and is the editor-in-chief of Inside Time, a national newspaper in the UK for people in prison.

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

What does the article say about Monahan's youth?

answer: Monahan's father turned to alcohol and became a violent drunk after the car crash that killed his mother, mistreating the man's partners and son. Monohan committed his first crime stealing from a sweet shop when he was 10 years old.

answer: Monahan's mother died in a car accident when he was seven and he was separated from his sister when she was twenty months old. His father turned to alcohol and became a violent drunk. Monahan committed his first crime when he was ten, breaking into a sweet shop. He eventually notched up 53 criminal convictions including the two murder convictions. The last two were committed with a person named William Ross.

text: The response contains irrelevant information.

refinement: Monahan's mother died in a car accident when he was seven and he was separated from his sister when she was twenty months old. His father turned to alcohol and became a violent drunk. Monahan committed his first crime when he was ten, breaking into a sweet shop.

answer: Monahan's childhood was marred by violence due to his father turning to alcohol and domestic abuse. Monahan committed his first crime at the age of ten and accumulated over 50 criminal convictions before being convicted of murder. Monahan wrote for _The Guardian_ falsely recounting some of his experiences in the French Foreign Legion.

text: The response contains some irrelevant information.

refinement: Monahan's childhood was marred by violence due to his father turning to alcohol and domestic abuse. Monahan committed his first crime at the age of ten.

answer: Monahan experienced abuse in his childhood due to his mother's death and his father's alcoholism. He was convicted of murder, serving 20 years in prison before his release in 2004. During this time he wrote regular columns for _The Guardian_ under the pseudonym Erwin James. Following his release, he continued to write for the national press and edits _Inside Time_, a national newspaper for people in prison.

text: The response contains lots of irrelevant information.

refinement: Monahan experienced abuse in his childhood due to his mother's death and his father's alcoholism.

answer: Monahan's mother died in a car crash when he was seven, and he was separated from his sister when she was one year old. After his mother's death, his father turned to alcohol and became a violent drunk. Monahan committed his first crime when he was ten, breaking into a sweet shop.

text: The response contains misleading information.

refinement: Monahan's mother died in a car crash when he was seven, and he was separated from his sister when she was twenty months old. After his mother's death, his father turned to alcohol and became a violent drunk. Monahan committed his first crime when he was ten, breaking into a sweet shop.


text:
I can’t keep living like this. And it’s not your fault—it’s mine. I’m living for you when I should be living for myself, for evenings with friends and holidays with family. Because there isn’t a we. I have to live my own life.

And it isn’t you. I’ve been living in a fantasy, that’s the problem, a fantasy of you and me. I keep thinking that one day you’ll wake up and see me waiting here for you and everything will be like it’s supposed to. You’ll say hi and I’ll say hi and you’ll run your hand through your hair and the spikes will flip back up and I’ll laugh cause it’s cute and you’ll tell me I have a nice smile cause you like the way I squint and my freckles squish around my eyes. We’ll go to the docks, like we always do, and I’ll say the sea smells nice and you’ll say it looks a bit green like its sick and I’ll say that’s the way it’s supposed to look cause this isn’t Hawaii and you’ll say well it doesn’t look good for swimming and I’ll tell you of course it’s good for swimming and we should go sometime and you’ll promise we will someday. Someday isn’t going to come though. You’ll never get to read the notes or see the orange roses with the peeling petals I bought you. I wrote them every day, you know, little haikus and couplets. I thought you’d like that. They’re all stacked on the nightstand under the roses with wilting petals.

I guess we’re just not meant to be. I was so sure we were, yet here we are. Here I am, spilling my guts. Honestly, I can’t stand that we aren’t meant to be. It’s like losing faith. But I guess I have to let go of that the way I have to let go of you. You know, every day I dream about you and me. And you and me don’t exist. At least, not like that. I have to shake that out of my head. So it’s me. It’s my problem.

I can’t forget that time we stayed on the phone till two in the morning, just talking, and the way you laughed at my crappy jokes. That was wonderful. I won’t forget that. I was the most in love with you in those moments. Those were the moments you could have asked me to do anything for you and I would have said yes without hesitation. I was too afraid to tell you this before, but you left me breathless. I should have told you sooner. I guess I’m telling you now, though, and that must count for something. But I can’t help but feel like it’s too late. It’s so hard to find that place between too soon and too late. I’m not sure it exists, really, if there’s a right time to say I love you. I haven’t found it anyway. I know this is terrible timing but I have to tell you that I love you.

But I have to stop thinking about it, because it won’t bring you to me. So I’m going to try to forget how it felt when you smiled at me and how it felt when we spoke in unison. I have to move on, even if it’s without you, even if it hurts. I have to move on.

I’m sorry I’m telling you all this, but I feel like I should explain myself. I need to tell you why I can’t see you anymore. We’ll meet again someday, I’m sure, but at least for now I need to let you go. I don’t know if I can forgive myself for letting you go, but I have to try to live my own life. I hope you can forgive me.

I love you, but it’s not enough. Sometimes love doesn’t conquer. Sometimes it dies. And I’m going to let it, because we can’t save it. I can’t save it. So I’m going to let them unplug you now. They said you’ll stop breathing and your heart will stop beating and it will be slow, but you won’t feel a thing. I’m glad. I wonder if you can even feel this right now. If you can feel me leaving you. Well, in case you can, here’s the ring. I can’t keep it. Not if I’m going to keep going. Not if I’m going to live.

I’ve stayed with you through everything—rich and poor, sickness and health—but I can’t watch you die. I’m not going to stay, so this is goodbye. See you later, love.

title: Halcyon

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

What does the story say about the narrator's letter?

answer: The narrator's letter appears to be a goodbye letter, explaining why the narrator cannot continue to be in a relationship with their significant other. The narrator recognizes their love for their significant other, but feels they need to move on to live their own life. The letter is filled with sorrow, sadness, and regret. Ultimately, the letter appears to be a goodbye letter stating that the narrator is letting go of their significant other.

text: The response misses out on the fact that the narrator is going away from their significant other because they can't see them die.

refinement: The narrator's letter appears to be a goodbye letter, explaining why the narrator cannot continue to be in a relationship with their significant other. The narrator recognizes their love for their significant other, but feels they need to move on to live their own life. The letter is filled with sorrow, sadness, and regret. The narrator conveys through it that they're going away because they can't bear to see their lover die.

answer: The narrator's letter expresses sadness at having to let go of a significant relationship. Despite their love for one another, the relationship was not meant to last. The narrator feels that living in a fantasy world has led to him being unable to live his own life and has one to hurt the other person involved. The letter is an apology and explanation for why the relationship is ending.

text: The narrator's fantasy world doesn't hurt the other person involved.

refinement: The narrator's letter expresses sadness at having to let go of a significant relationship. Despite their love for one another, the relationship was not meant to last. The narrator feels that living in a fantasy world has led to him being unable to live his own life. The letter is an apology and explanation for why the relationship is ending.

text: It's not clear if the narrator is a male or a female.

refinement: The narrator's letter expresses sadness at having to let go of a significant relationship. Despite their love for one another, the relationship was not meant to last. The narrator feels that living in a fantasy world has led to them being unable to live their own life. The letter is an apology and explanation for why the relationship is ending.

text: The response doesn't mention that the letter is being written to the narrator's dying partner.

refinement: The narrator's letter expresses sadness at having to let go of a significant relationship. Despite their love for one another, the relationship was not meant to last. The narrator feels that living in a fantasy world has led to them being unable to live their own life. The letter is an apology and explanation for why the relationship is ending. The letter also states why the narrator is letting their significant other die and won't be staying there to see their death.

answer: The narrator writes to someone she cares about who is terminally ill. She apologizes for telling them she loves them when it's too late for them to do anything with that information - since they're resistant in a terminal state of life. She continues to describe her regret at not finding a chance to tell them sooner, and describes the emotions she feels on the night they're taken off life support.

text: The person the narrator is writing to is their significant other.

refinement: The narrator writes to her significant other who is terminally ill. She apologizes for telling them she loves them when it's too late for them to do anything with that information - since they're resistant in a terminal state of life. She continues to describe her regret at not finding a chance to tell them sooner, and describes the emotions she feels on the night they're taken off life support.

text: It's not clear if the narrator is a male or female.

refinement: The narrator writes to their significant other who is terminally ill. They apologize for telling them they love them when it's too late for them to do anything with that information - since they're resistant in a terminal state of life. They continue to describe their regret at not finding a chance to tell them sooner, and describe the emotions they feel on the night they're taken off life support.

text: Not because they're resistant but because they'll never get to read the letter.

refinement: The narrator writes to their significant other who is terminally ill. They apologize for telling them they love them when it's too late for them to do anything with that information - since they won't be able to read the letter in a terminal state of life. They continue to describe their regret at not finding a chance to tell them sooner, and describe the emotions they feel on the night they're taken off life support.

answer: The narrator writes a letter to a dying person. They say they have to live their own life. They live in a fantasy that one day everything will be like it’s supposed to be. The author can't forget the times they spent together. The author says they have has to let their love go. So they will let them unplug the person now.

text: The narrator and the author are the same.

refinement: The narrator writes a letter to a dying person. They say they have to live their own life. They live in a fantasy that one day everything will be like it’s supposed to be. The narrator can't forget the times they spent together. The narrator says they have has to let their love go. So they will let them unplug the person now.

text: The dying person is their significant other/lover.

refinement: The narrator writes a letter to their dying lover. They say they have to live their own life. They live in a fantasy that one day everything will be like it’s supposed to be. The narrator can't forget the times they spent together. The narrator says they have has to let their love go. So they will let them unplug their lover now.

text: Only one verb "have" is needed here.

refinement: The narrator writes a letter to their dying lover. They say they have to live their own life. They live in a fantasy that one day everything will be like it’s supposed to be. The narrator can't forget the times they spent together. The narrator says they have to let their love go. So they will let them unplug their lover now.

text: The narrator will let the doctors unplug their lover from their life support system.

refinement: The narrator writes a letter to their dying lover. They say they have to live their own life. They live in a fantasy that one day everything will be like it’s supposed to be. The narrator can't forget the times they spent together. The narrator says they have to let their love go. So they will let the doctors unplug their lover from life support now.

answer: The narrator writes a letter to their late spouse/significant other. They want to explain why they can't see them anymore and why they let them die. The narrator realizes it was too late to express his love for their spouse. The narrator wanted to give them the ring back, but couldn't keep it knowing that he would be moving on and living an unknown life from that point. The narrator wanted the memory of their partner to be all positive.

text: The narrator's significant other hasn't died yet.

refinement: The narrator writes a letter to their dying spouse/significant other. They want to explain why they can't see them anymore and why they let them die. The narrator realizes it was too late to express his love for their spouse. The narrator wanted to give them the ring back, but couldn't keep it knowing that he would be moving on and living an unknown life from that point. The narrator wanted the memory of their partner to be all positive.

text: The narrator is going to let their significant other die. They haven't died yet.

refinement: The narrator writes a letter to their dying spouse/significant other. They want to explain why they can't see them anymore and why they're letting them die. The narrator realizes it was too late to express his love for their spouse. The narrator wanted to give them the ring back, but couldn't keep it knowing that he would be moving on and living an unknown life from that point. The narrator wanted the memory of their partner to be all positive.

text: The narrator is giving the ring back to their significant other because they can't keep it with them anymore and move ahead.

refinement: The narrator writes a letter to their dying spouse/significant other. They want to explain why they can't see them anymore and why they're letting them die. The narrator realizes it was too late to express his love for their spouse. The narrator is giving them the ring back, because they can't keep it knowing that he would be moving on and living an unknown life from that point. The narrator wanted the memory of their partner to be all positive.

text: It's not clear if the narrator is a male or female.

refinement: The narrator writes a letter to their dying spouse/significant other. They want to explain why they can't see them anymore and why they're letting them die. The narrator realizes it was too late to express their love for their spouse. The narrator is giving them the ring back, because they can't keep it knowing that they would be moving on and living an unknown life from that point. The narrator wanted the memory of their partner to be all positive.


text:
A short story I wrote for my English class, hope you like it.

Adnan awoke to a chilling gust of wind flooding the room - snagged by the wind tower. In the corner was his father Rashid, slumped on the chair, his leather eyelids closed. Adnan opened the storage pot to find a meagre amount of dates left, and his stomach growled in protest. Rashid had woken up now, and was uttering gibberish. Adnan decided on leaving the dates for his father - he'd be getting a meal later in the day anyway.

Handing him the bowl, Adnan looked into the old man's milky eyes, which had been blinded by the corrosive, saline water of the Gulf. He wondered what it must be like for your senses to disintegrate, for the world to go black.

As he boarded the sturdy dhow, the sun had risen and the winds had settled, and he could almost feel the seering planks of palm wood through his sandles.

"Adnan, collect the stones from the beach!" barked Khalid, the captain. The stones were hefty rocks that were tied to a diver to allow him to sink faster, and collecting them was an arduous task for a slender person like Adnan.

After hoisting them aboard, the rest of the crew had finished preparations, and the boat was set to sail. The sons of the village rushed to the beach and shoved the boat (which of course was futile, but provided them with a sense of achievement), and with a simultaneous heave of the cumbersome oars, they lurched forward and departed, with Khalid staring sternly into the distance, positioned at the keel.

As the boat hesitantly shifted along the glimmering waters, the divers chanted in unison, helping distract them from the worsening fatigue of the relentless rowing. Adnan did not know the lyrics - they predated even his father - but he murmured away regardless. It was four to every oar, and Adnan was nestled between two stocky men who reeked of rancid body odour. He thought he might faint.

"Are you diving today?" he asked one of them, hoping conversation would take his mind off the noxious smells. The man scoffed, and replied

"Haven't gone under in many-a-year, my son."

Khalid ceased the rowing, and deployed the anchor. At this point, the village was barely in sight. Adnan was given his noseclip to clamp onto his nostrils whilst one of the collossi tied a stone to his ankle. Perched on the edge of the boat, he peered downward into the ominous ocean, and it was just as murky and menacing as he remembered: like a mouth opened wide, ready to swallow him whole. He was startled as a large hand clasped his shoulder.
"Don't you dare surface until you've collected twenty," whispered Khalid, and with that he shoved the boy violently overboard.

The stone yanked Adnan into the abyss, as he flailed about helplessly in its grip. Thud. He opened his eyes ever so slightly, and could just discern the boat far above him, the seabed, the fish, and a cluster of coral ahead. Untying the stone, he waded towards the school which circled the coral, and as they dispersed they revealed a cluster of oysters. He scrambled to scoop them into his basket as his lungs began to ache with a longing for air. Springing off the coral, he kicked viciously - journeying back to the dhow above him.

His lungs pressed against his ribs, as his heart pounded - begging to breathe. The gleaming sunlight coaxed him upwards, teasing his weary body which grew weaker by the second. Surfacing, he swallowed a huge intake of the salty air, and panted greedily, inhaling all that he could. Two muscular palms grasped his wrists and plucked him from the water. The man he had talked to previously snatched his basket, and as Khalid examined the harvest, his brow stiffened.

"This is eighteen."

"Some - some must have fallen out! I was running out of breath!" pleaded Adnan, frightened about the possibility of punishment.

"You can get to work opening what you brought up. When you finish that, you can dive again, alone this time. Oh - and you can forget about lunch."

Adnan was distraught. How would he feed himself? He was penniless, his house a relic of his family's past affluence. He had an old man to attend to, a stomach to appease. He trudged over to his basket on the floor, and equipped himself with a blade, and set to work opening the oysters. He prised open the first one, and discarded the empty oyster into the food pile - they'd be eaten later. The second one was similarly worthless, and the prospects seemed bleak.

On the ninth pearl, Adnan slotted the knife into the small gap of the oyster, and exerted as much force as he could to open it. In an instant, the blade slipped, and sliced his hand. Adnan winced, which attracted the attention of Khalid, who glanced at him suspiciously, before returning to his rope tying. Adnan scattered to collect the pearl that he had dropped onto the floor, and inside, resting in the slithery meat, like some holy offering from a  pilgrim, like a sacred gift from the heavens, lay a swollen, milky sphere, as large as a marble. It was gorgeous, the most perfect thing he had ever laid eyes upon.

He looked up. There were two others near him, all too preoccupied opening oysters to have noticed. Khalid was still working on the ropes it seemed. This could change his life. He could pocket the pearl and flog it for enough money to provide for him and his father for a year, maybe more. He extracted the pearl from its sanctuary and slipped it in his pocket. He knew of the consequences. He would lose his hand. He would be ostracised. Maybe even killed. Before he could rethink his decision, Khalid was looming over him.

"Found any pearls?" he enquired accusingly.

"N-not so far," replied Adnan. Suddenly, Khalid's hand grabbed his ear lobe, and tore him over to the side of the dhow.

"Then you can go down again and find me twenty more," he commanded. The stocky man who he had befriended was tying his stone on, and caught Adnan's eye with a sorrowful look.

Adnan plunged himself into the dark water, and he gently drifted to the bottom, like a piece of cloth. His stone landed, and it threw up a cloud of sand which slithered up his legs, before perishing and falling to the floor. He reached down to untie the string, but the knot wasn't like before, it was complicated and had stubby ends that he couldn't pinch. Panicking, he blew bubbles frantically, and as he despairingly traced their erratic trail with his eyes, the delicate beams of the Arabian sun which pierced the water were eclipsed by the silhouette of a migratory boat.

title: [MF] The Pearl

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

What does the story say about Adnan?

answer: Adnan was born in Bahrain, but when he was a child, his family inherited a house near the sea. His father Rashid was blind, and had gotten that way when the salt water too went in his eyes while diving. Adnan went to dive to collect the oysters so they can have something to eat and earn money at the same time.

text: Adnan's backstory is made up.

refinement: His father Rashid was blind, and had gotten that way when the salt water too went in his eyes while diving. Adnan went to dive to collect the oysters so they can have something to eat and earn money at the same time.

text: The answer should be written grammatically correctly with decent flow.

refinement: Adnan's father, Rashid, was blind and had gotten that way when salt water went into his eyes while diving. Adnan dived to collect the oysters so they'd have food to eat and some income.

text: The answer omits Adam's living arrangements.

refinement: Adnan was a seaman's son who overtook his father's duties on the ship, diving for oysters. Adnan's father, Rashid, was blind and had gotten that way when salt water went into his eyes while diving. Adnan dived to collect the oysters so they'd have food to eat and some income.

text: The answer omits Adnan's interactions with the Captain.

refinement: Adnan was a seaman's son who overtook his father's duties on the ship, diving for oysters. Adnan's father, Rashid, was blind and had gotten that way when salt water went into his eyes while diving. Adnan dived to collect the oysters so they'd have food to eat and some income. In a dive, the captain wants him to collect 20 oysters, but he can manage only 18, which earns him the captain's scorn. He's tasked to open the ones he collected and dive again. Adnan finds a really pretty pearl in one and hides it from others. When he dives again, his diving stone is too tight; Adnan can't get back to the surface and dies.

answer: Adnan is a slender person who is tasked to gather stones on the beach. He has bad eyesight due to corrosive, salty water. His father is also in the village, but Adnan doesn't exactly have a warm relationship with him. Adnan is also a son of one of the divers who sails boats to deeper waters to look for oysters.

text: Adnan and his father's relationship is misrepresented.

refinement: Adnan is a slender person who is tasked to gather stones on the beach. His father is a diver who collects oysters for the captain, like Adnan. However, the old man's eyesight is terrible after the salt and corrosion of the ocean worn down his eyes. Adnan feels for his father and wants to take care of him.

text: The answer omits Adnan's interactions with the Captain.

refinement: Adnan is a slender person who is tasked to gather stones on the beach. His father is a diver who collects oysters for the captain, like Adnan. However, the old man's eyesight is terrible after the salt and corrosion of the ocean worn down his eyes. Adnan feels for his father and wants to take care of him. In a dive, the captain wants him to collect 20 oysters, and he falls short at only 18. The captain tells him to open the ones he collected and dive for more. Adnan finds a pearl in one and keeps it secret, but on his second dive, his diving stone is fixed to his legs. Adnan dies while the ship leaves.

answer: Adnan was born in Bahrain, but when he was a child, his family inherited a house near the sea. His father Rashid was blind, and had gotten that way when the salt water too went in his eyes while diving. Adnan went to dive to collect the oysters so they can have something to eat and earn money at the same time. Adnan's mother died after his father's eyesight got worse  and he could not take care of her.

answer: Adnan is a young boy who is a pearl diver. He has an old blind father who relies on him for food. Adnan is a skinny boy who is not good at diving. The village relies on the pearls he brings up to survive, and he is not allowed to eat lunch.

text: Adnan's diving skill isn't mentioned. There's no mention of the village depending on his oysters either.

refinement: Adnan is a young boy who is a pearl diver. He has an old blind father who relies on him for food.

text: The story omits Adnan and the captain's interactions.

refinement: Adnan is a young boy who is a pearl diver. He has an old blind father who relies on him for food. In a dive, the captain wants him to collect 20 oysters, and he falls short at only 18. The captain tells him to open the ones he collected and dive for more. Adnan finds a pearl in one and keeps it secret, but on his second dive, his diving stone is fixed to his legs. Adnan dies while the ship leaves.

answer: Adnan is a poor man who lives in a village. He is a diver who collects oysters from the bottom of the sea. He has a father named Rashid who is blind.

text: The answer omits Adnan's interactions with the captain.

refinement: Adnan is a poor man who lives in a village. He is a diver who collects oysters from the bottom of the sea. He has a father named Rashid who is blind. In a dive, the captain wants him to collect 20 oysters, and he falls short at only 18. The captain tells him to open the ones he collected and dive for more. Adnan finds a pearl in one and keeps it secret, but on his second dive, his diving stone is fixed to his legs. Adnan dies while the ship leaves.

answer: Adnan is the main character of this story. He's a slender person who is tasked to gather stones on the beach. He has bad eyesight due to corrosive, salty water. His father is also in the village, but Adnan doesn't exactly have a warm relationship with him. Adnan is also a son of one of the divers who sails boats to deeper waters to look for oysters.

answer: Adnan is a poor man who lives in a village. He is a diver who collects oysters from the bottom of the sea. He has a father named Rashid who is blind. He is tasked with diving for oysters and gets one pearl. He is then punished by Khalid.

text: The answer mentions the captain and Adnan's interactions with too many omissions to be accurate.

refinement: Adnan is a poor man who lives in a village. He is a diver who collects oysters from the bottom of the sea. He has a father named Rashid who is blind. In a dive, the captain wants him to collect 20 oysters, and he falls short at only 18. The captain tells him to open the ones he collected and dive for more. Adnan finds a pearl in one and keeps it secret, but on his second dive, his diving stone is fixed to his legs. Adnan dies while the ship leaves.

answer: Adnan is a young boy who is a pearl diver. He has an old blind father who relies on him for food. Adnan is a skinny boy who is not good at diving. The village relies on the pearls he brings up to survive.

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

What does the story say about Adnan and Rashid?

answer: The story doesn't really mention anything about the daily life Adnan and his father Rashid. What it mentions is that Rashid is blind and Adnan gets him the allotment of food he needs to survive. He can rely on Adnan's earnings however upset his stomach gets from the dates left over from his modest lunch. Despite this, the old man can't do much for himself and relies on Adthan for everything.

text: The last two sentences are redundant.

refinement: The story doesn't really mention anything about the daily life Adnan and his father Rashid. What it mentions is that Rashid is blind and Adnan gets him the allotment of food he needs to survive.

text: Missing "of" before "Adnan"

refinement: The story doesn't really mention anything about the daily life of Adnan and his father Rashid. What it mentions is that Rashid is blind and Adnan gets him the allotment of food he needs to survive.

text: The answer omits why Rashid went blind and that Adnan is a diver too.

refinement: The story doesn't really mention anything about the daily life of Adnan and his father Rashid. What it mentions is that Rashid is blind and Adnan gets him the allotment of food he needs to survive. Rashid's eyes went blind due to the salty water, and Adnan also works as a diver collecting oysters.

answer: Adnan wakes up to a chilling gust of wind flooding the room. He finds his father, Rashid, slumped on the chair in the corner. Adnan leaves the dates for his father, and he will get a meal later in the day.

text: The answer omits that Rashid is blind and depends on his son.

refinement: Adnan wakes up to a chilling gust of wind flooding the room. He finds his father, Rashid, slumped on the chair in the corner. Adnan leaves the dates for his father, and he will get a meal later in the day. His father is blind after the seawater has worn down his eyesight and depends on Adnan.

answer: Adnan wakes up to a chilling gust of wind flooding the room. He finds his father, Rashid, slumped on the chair in the corner. Adnan leaves the dates for his father, and he will get a meal later in the day. Adnan wonders what it must be like for your senses to disintegrate.

answer: Adnan is the adult son who is always late to being in a good condition. He needs to care for his father who is blind.

text: The following sentence is meaningless: "Adnan is the adult son who is always late to being in a good condition." It also has made-up details like Adnan being late to somewhere.

refinement: He needs to care for his father who is blind.

text: The answer is too vague.

refinement: Adnan wakes up to a chilling gust of wind flooding the room. He finds his father, Rashid, slumped on the chair in the corner. Adnan leaves the dates for his father, and he will get a meal later in the day. His father is blind after the seawater has worn down his eyesight and depends on Adnan.

answer: Adnan wakes up to find his father, Rashid, slumped on the chair. He feeds Rashid some dates, and then leaves for work. At work, Adnan is tasked with collecting stones from the beach. He goes diving and tries to collect as many oysters as possible. He is told to return to the boat to open the oysters he collected. Rashid is blind and has been blinded by the corrosive, saline water of the Gulf.

text: Adnan's time at work is irrelevant to the question.

refinement: Adnan wakes up to find his father, Rashid, slumped on the chair. He feeds Rashid some dates, and then leaves for work. Rashid is blind and has been blinded by the corrosive, saline water of the Gulf.

text: Wrong comma use.

refinement: Adnan wakes up to find his father, Rashid, slumped on the chair. He feeds Rashid some dates and then leaves for work. Rashid is blind and has been blinded by the corrosive, saline water of the Gulf.

text: The answer omits that Adnan and Rashid are both divers collecting oysters.

refinement: Adnan wakes up to find his father, Rashid, slumped on the chair. He feeds Rashid some dates and then leaves for work. Rashid is blind and has been blinded by the corrosive, saline water of the Gulf. Adnan is also a diver collecting oysters.

answer: Rashid is blind and Adnan gets him the allotment of food he needs to survive. Despite this, the old man can't do much for himself and relies on Adnan for everything.

text: Wrong use of "despite this"

refinement: Rashid is blind and Adnan gets him the allotment of food he needs to survive. The old man can't do much for himself and relies on Adnan for everything.

text: The answer omits that Rashid went blind due to the saltwater, and Adnan is a diver.

refinement: Rashid is blind and Adnan gets him the allotment of food he needs to survive. The old man can't do much for himself and relies on Adnan for everything. His eyesight deteriorated due to the salty water, and Adnan works as a diver collecting oysters.

answer: Adnan wakes up to find his father, Rashid, slumped on the chair. He feeds Rashid some dates, and then leaves for work. At work, Adnan is tasked with collecting stones from the beach. He goes diving and tries to collect as many oysters as possible. He is told to return to the boat to open the oysters he collected.

answer: Adnan is the adult son who is always late to being in a good condition. He needs to care for his father who is blind. Adnan needs to provide Rashid a meal. Rashid's blind eyes have been blinded by seawater, suggesting Adnan may be someone's wife.

text: The answer is almost completely made up and incoherent.

text: The answer is empty.

refinement: The story doesn't really mention anything about the daily life of Adnan and his father Rashid. What it mentions is that Rashid is blind and Adnan gets him the allotment of food he needs to survive. Rashid's eyes went blind due to the salty water, and Adnan also works as a diver collecting oysters.

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

What does the story say about Khalid?

answer: Khalid is the captain of a dhow and Adnan's employer. He seems to have a pretty poor judgment as well as a not-so-pleasant attitude towards Adnan. He is cruel and clearly doesn't mind if one of his workers dies out at sea, though he has Adnan's wellbeing in mind.

text: The captain is implied to be responsible for Adnan's murder. He's not looking out for Adnan's wellbeing.

refinement: Khalid is the captain of a dhow and Adnan's employer. He seems to have a pretty poor judgment as well as a not-so-pleasant attitude towards Adnan. He is cruel and clearly doesn't mind if one of his workers dies out at sea.

text: The commentary in the answer, while warranted, is unnecessary.

refinement: Khalid is the captain of a dhow and Adnan's employer. He seems to have a not-so-pleasant attitude towards Adnan. He is cruel and clearly doesn't mind if one of his workers dies out at sea.

text: The answer omits that Khalid cruelly punishes Adnan and is implied to be responsible for his death.

refinement: Khalid is the captain of a dhow and Adnan's employer. He seems to have a not-so-pleasant attitude towards Adnan. He is cruel and clearly doesn't mind if one of his workers dies out at sea. He pushes Adnan to come up with 20 pearls on his first dive and punishes him with forsaking his lunch and making him dive again when he comes short. Adnan dies because of his diving stones being tied to him too tightly, implicating captain Khalid.

answer: Khalid is the captain of the dhow. He is a strict person who is not lenient when it comes to the rules. He is also a bully and a very mean person. He is also very stingy and does not care about the welfare of Adnan.

text: The answer should explicitly mention that Khalid cruelly punishes Adnan and is implicated for his death.

refinement: Khalid is the captain of the dhow. He is a strict person who is not lenient when it comes to the rules. He is also a bully and a very mean person. He is also very stingy and does not care about the welfare of Adnan. He pushes Adnan to come up with 20 pearls on his first dive and punishes him with forsaking his lunch and making him dive again when he comes short. Adnan dies because of his diving stones being tied to him too tightly, implicating captain Khalid.

answer: Khalid is the captain of the ship Adnan was hired for aboard. He is rough with his workers and enjoys punishing them. While he has a grudge against Adnan for coming up short on the collection, at the end of the story, he promises to send Adnan down again.

text: The captain doesn't send Adnan down as a promise. It's a punishment. Adnan dies because of it, implicating the captain.

refinement: Khalid is the captain of the ship Adnan was hired for aboard. He is rough with his workers and enjoys punishing them. He pushes Adnan to come up with 20 pearls on his first dive and punishes him with forsaking his lunch and making him dive again when he comes short. Adnan dies because of his diving stones being tied to him too tightly, implicating captain Khalid.

answer: Khalid is the captain of a dhow and Adnan's employer. He seems to have a pretty poor judgment as well as a not-so-pleasant attitude towards Adnan. His motives aren't clear but it would seem he is conniving, quite possibly to swindle Adnan into selling too cheap or else take his jewels.

text: The answer portrays the details of the conflict between Adnan and Khalid wrongly.

refinement: Khalid is the captain of a dhow and Adnan's employer. He seems to have a pretty poor judgment as well as a not-so-pleasant attitude towards Adnan. He pushes Adnan to come up with 20 pearls on his first dive and punishes him with forsaking his lunch and making him dive again when he comes short. Adnan dies because of his diving stones being tied to him too tightly, implicating captain Khalid.

answer: Khalid is the captain of the ship Adnan was hired for. The captain just makes Adnan dive for the oysters. Khalid enjoys commanding and punishing the workers of his ship. One the other hand, he scolded the divers who he felt were unfit to dive.

text: There's no scolding in the story by the captain for being unfit to dive.

refinement: Khalid is the captain of the ship Adnan was hired for. The captain just makes Adnan dive for the oysters. Khalid enjoys commanding and punishing the workers of his ship.

text: The answer should mention the specifics of Khalid's treatment of Adnan.

refinement: Khalid is the captain of the ship Adnan was hired for. The captain just makes Adnan dive for the oysters. Khalid enjoys commanding and punishing the workers of his ship. He pushes Adnan to come up with 20 pearls on his first dive and punishes him with forsaking his lunch and making him dive again when he comes short. Adnan dies because of his diving stones being tied to him too tightly, implicating captain Khalid.

answer: Khalid is the captain of the dhow Adnan works on. He is very strict and harsh. He makes Adnan dive for oysters and threatens to punish him if he doesn't find enough. Khalid is also suspicious of Adnan when he returns to the boat empty-handed and finds a pearl in his pocket.

text: The captain never found out about the pearl. However, he made Adnan dive again with diving stones permanently tied to his ankles.

refinement: Khalid is the captain of the dhow Adnan works on. He is very strict and harsh. He pushes Adnan to come up with 20 pearls on his first dive and punishes him with forsaking his lunch and making him dive again when he comes short. Adnan dies because of his diving stones being tied to him too tightly, implicating captain Khalid.

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

What is the story's setting?

answer: The story takes place in Adnan's village by the Gulf.

text: The answer should mention that the story happens on a ship.

refinement: The story takes place on the seas aboard a dhow around Adnan's village by the Gulf.

answer: The story is set in the Gulf.

answer: Information can't be found.

text: The question can be answered.

refinement: The story takes place on the seas aboard a dhow around Adnan's village by the Gulf.

answer: In the Gulf of Arabia.

text: The answer should mention that the story takes place aboard a ship.

refinement: Aboard a dhow around Adnan's village by the Gulf of Arabia.

answer: A fishing village off the coast of the Arabian Peninsula in the Gulf. The story takes place somewhere in 20th century Arabia.

text: The story never mentions Adnan's village to be a fishing village.

refinement: A village off the coast of the Arabian Peninsula in the Gulf. The story takes place somewhere in 20th century Arabia.

text: The answer should put a disclaimer to the speculation it includes.

refinement: A village off the coast of the Arabian Peninsula in the Gulf, indicated by the names (Adnan and Rhasid). The story seemingly takes place somewhere in 20th century Arabia.


text:
LAURA DEAN (born December 3, 1945) is an American dancer, choreographer and composer.[1][2] She is known for her collaborations with Steve Reich,[3] a number of commissioned works for the Joffrey Ballet,[4] and works for her own dance companies. Dean's earliest works were marked by a minimalist approach and an affinity for spinning; her later work saw more use of traditional dance methods.[5][6]

Awards

Dean is the recipient of awards including the 2008 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Dance. She has also received a “Bessie” New York Dance and Performance Award for her work with composer Steve Reich (1986). Dean has been awarded two John Simon Guggenheim Fellowships for choreography (1976 and 1981), the Montgomery Fellowship from Dartmouth College(1986), the Dance Magazine Award (1982), the Smithsonian Institution Certificate of Appreciation (1975), Harvard University's Certificate of Appreciation (1991), New York City Commission of the Status of Women Special Recognition Award (1984), the ABSOLUT Award for Artistic Achievement (1993), the Staten Island Arts Council Award for Outstanding Achievement (1988), the Lester Horton Award for Music for Dance (1994), the Brandeis Creative Arts Award for Extraordinary Artistic Achievement in Dance (1986) and an Honorary Doctorate from The College of Staten Island/The City University of New York (2001).[7]

Laura Dean was awarded The Millennium Grant from The National Endowment for the Arts for her work with The American Indian Dance Theatre. Ms. Dean has received The National Repertory Dance Grant from The National Endowment on the Arts and The Meet the Composer Grant for her work with The Aman Folk Ensemble. Her company has received funding from The New York State Council on the Arts, The North Carolina State Arts Council, 27 grants from The National Endowment for the Arts, ATT Foundation, The Jerome Foundation, The New York Foundation, The Jerome Robbins Foundation, The Sherman Foundation, The Lila Wallace Reader's Digest Fund, The Rockefeller Foundation, The Philip Morris Foundation and The Mary Duke Biddle Foundation.

Career

Laura Dean has composed thirty music scores and choreographed one hundred and nine dance works. This includes the choreography for her own dance and music company as well as for ballet companies, ice skating companies, other modern dance companies, student dance companies, The American Indian Dance Theatre and The Aman Folk Ensemble. She has choreographed nine works to the music of Steve Reich with the music played live by Steve Reich and Musicians to five of the works. Laura Dean Dancers and Musicians commissioned Steve Reich for the music _SEXTET_ for Laura Dean's dance _IMPACT_. Steve Reich and Laura Dean were awarded a Bessie/New York Dance and Performance Award for IMPACT/SEXTET in 1986.[8]

Laura Dean's company has performed in the United States, Canada, New Zealand, Indonesia, India, Europe and Eastern Europe. Works for her company have been commissioned by Het Muziektheater, The Brooklyn Academy of Music, The American Dance Festival, Walker Art Center, The Holland Festival, The Avignon Festival, Dartmouth College, The Styrian Autumn Festival, Graz, Austria.

Dean has created ballets including two works for The Royal Danish Ballet with the first work DELTA with a commissioned orchestral score from the composer Gary Brooker of Procol Harum, The New York City Ballet SPACE with an orchestral score The Four Sections by Steve Reich, eight ballets for The Joffrey Ballet including CREATIVE FORCE with a commissioned score Ray One by John Zeretzke. CREATIVE FORCE was seen in the Robert Altman film The Company. CREATIVE FORCE, as part of the film, was nominated for an American Choreography Award.[9]

Dean stopped choreographing and writing music in 2001. As of 2009, Laura Dean, the choreographer/composer, is no longer arranging and allowing restaging/reconstruction projects of her dance and music works. Dean does not allow the teaching of her choreography or music in classes, lectures, panels or in any way whatsoever.

The archive of Laura Dean's Papers is located at the David M. Rubenstein Rare Book & Manuscript Library at Duke University and includes photographic prints, negatives, slides, clippings, programs, VHS videotapes, and an audio cassette.[10]

[1] “Laura Dean” in _The Oxford Dictionary of Dance_ (Oxford University Press, 2010), , p. 125. Excerpts available at Google Books.

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title: Laura Dean (choreographer)

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

What does the article say about awards Dean has won?

answer: Laura Dean has received awards including the Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Dance and two John Simon Guggenheim Fellowships for choreography.

text: The response leaves out most of Laura Dean's awards.

refinement: Laura Dean has received awards including the Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Dance and two John Simon Guggenheim Fellowships for choreography. She has also received a "Bessie" New York Dance and Performance Award, the Montgomery Fellowship from Dartmouth College, and the Dance Magazine Award. Laura Dean has also won Certificates of Appreciation from the Smithsonian Institution and Harvard University, and the New York City Commission of the Status of Women Special Recognition Award. She also has won the ABSOLUT Award for Artistic Achievement, the Staten Island Arts Council Award for Outstanding Achievement, the Lester Horton Award for Music for Dance, and the Brandeis Creative Arts Award for Extraordinary Artistic Achievement in Dance. Laura Dean also has an Honorary Doctorate from The College of Staten Island/The City University of New York.

answer: Dean is the recipient of awards including the 2008 Samuel H. Scripps American Dance Festival Award, a "Bessie" New York Dance and Performance Award, two John Simon Guggenheim Fellowships for choreography, the Montgomery Fellowship from Dartmouth College, the Dance Magazine Award, The Smithsonian Institution Certificate of Appreciation, Harvard University's Certificate of Appreciation, New York City Commission of the Status of Women Special Recognition Award, the ABSOLUT Award for Artistic Achievement, the Staten Island Arts Council Award for Outstanding Achievement, the Lester Horton Award for Music for Dance, the Brandeis Creative Arts Award for Extraordinary Artistic Achievement in Dance and an Honorary Doctorate from The City University of New York. Furthermore, Dean was awarded the Millennium Grant from the National Endowment for the Arts for her work with American Indian Dance Theatre, the National Repertory Dance Grant from the National Endowment on the Arts and the Meet the composer Grant for her work with the Aman Folk Ensemble. He work has won 27 grants.

text: The response contains a typo.

refinement: Dean is the recipient of awards including the 2008 Samuel H. Scripps American Dance Festival Award, a "Bessie" New York Dance and Performance Award, two John Simon Guggenheim Fellowships for choreography, the Montgomery Fellowship from Dartmouth College, the Dance Magazine Award, The Smithsonian Institution Certificate of Appreciation, Harvard University's Certificate of Appreciation, New York City Commission of the Status of Women Special Recognition Award, the ABSOLUT Award for Artistic Achievement, the Staten Island Arts Council Award for Outstanding Achievement, the Lester Horton Award for Music for Dance, the Brandeis Creative Arts Award for Extraordinary Artistic Achievement in Dance and an Honorary Doctorate from The City University of New York. Furthermore, Dean was awarded the Millennium Grant from the National Endowment for the Arts for her work with American Indian Dance Theatre, the National Repertory Dance Grant from the National Endowment on the Arts and the Meet the composer Grant for her work with the Aman Folk Ensemble. Her work has won 27 grants.

answer: Dean has received awards including the 2008 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Dance, the John Simon Guggenheim Fellowship Award, Dance Magazine Award, Smithsonian Institution Certificate of Appreciation, and the Lester Horton Award for Music for Dance. Dean's company has received funding from The New York State Council on the Arts, The North Carolina State Arts Council, and The National Endowment for the Arts.

text: The response leaves out many of Laura Dean's awards.

refinement: Dean has received awards including the 2008 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Dance, two John Simon Guggenheim Fellowship Awards, the Dance Magazine Award, and the Lester Horton Award for Music for Dance. Dean's company has received funding from The New York State Council on the Arts, The North Carolina State Arts Council, and The National Endowment for the Arts. She has also received a "Bessie" New York Dance and Performance Award, the Montgomery Fellowship from Dartmouth College. Laura Dean has also won Certificates of Appreciation from the Smithsonian Institution and Harvard University, and the New York City Commission of the Status of Women Special Recognition Award. She also has won the ABSOLUT Award for Artistic Achievement, the Staten Island Arts Council Award for Outstanding Achievement, and the Brandeis Creative Arts Award for Extraordinary Artistic Achievement in Dance. Laura Dean also has an Honorary Doctorate from The College of Staten Island/The City University of New York.

answer: Dean was a recipient of awards including the 2008 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Dance. She also received the "Bessie" New York Dance and Performance Award for her work with composer; Steve Reich. In 2001, Dean was awarded the Millennium Grant from the National Endowment for the Arts for her work with The American Indian Dance Theatre. Her company has received funding from the New York State Council on the Arts, The North Carolina State Arts Council, and 23 other private organizations.

text: The response leaves out many of Laura Dean's awards.

refinement: Dean was a recipient of awards including the 2008 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Dance. She also received the "Bessie" New York Dance and Performance Award for her work with composer; Steve Reich. In 2001, Dean was awarded the Millennium Grant from the National Endowment for the Arts for her work with The American Indian Dance Theatre. Her company has received funding from the New York State Council on the Arts, The North Carolina State Arts Council, and 23 other private organizations. Laura Dean has also received awards including two John Simon Guggenheim Fellowships for choreography. She has also received the Montgomery Fellowship from Dartmouth College, and the Dance Magazine Award. Laura Dean has also won Certificates of Appreciation from the Smithsonian Institution and Harvard University, and the New York City Commission of the Status of Women Special Recognition Award. Additionally, she has won the ABSOLUT Award for Artistic Achievement, the Staten Island Arts Council Award for Outstanding Achievement, the Lester Horton Award for Music for Dance, and the Brandeis Creative Arts Award for Extraordinary Artistic Achievement in Dance. Laura Dean also has an Honorary Doctorate from The College of Staten Island/The City University of New York.

answer: She has been awarded a number of prestigious awards, including the 2008 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Dance, an honorific doctorate of arts from the College of Staten Island, and an Honorary Doctorate from The College of Staten Island/The City University of New York, among others.

text: The response repeats itself.

refinement: She has been awarded a number of prestigious awards, including the 2008 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Dance, and an Honorary Doctorate from The College of Staten Island/The City University of New York.

text: The response leaves out many of Laura Dean's awards.

refinement: She has been awarded a number of prestigious awards, including the 2008 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Dance, and an Honorary Doctorate from The College of Staten Island/The City University of New York. Laura Dean has also received awards including two John Simon Guggenheim Fellowships for choreography, a "Bessie" New York Dance and Performance Award, the Montgomery Fellowship from Dartmouth College, and the Dance Magazine Award. Laura Dean has also won Certificates of Appreciation from the Smithsonian Institution and Harvard University, and the New York City Commission of the Status of Women Special Recognition Award. She also has won the ABSOLUT Award for Artistic Achievement, the Staten Island Arts Council Award for Outstanding Achievement, the Lester Horton Award for Music for Dance, and the Brandeis Creative Arts Award for Extraordinary Artistic Achievement in Dance.