text:
PIERRE (February 16, 1983 – May 6, 2016) was an African penguin (_Spheniscus demersus_) who lived at the California Academy of Sciences in San Francisco. He was the first penguin (and likely the first bird) to have bald spots restored.

Life

Pierre hatched at the Maryland Zoo in Maryland in 1983 and was transferred in June to the Steinhart Aquarium facilities at the CAS.

In 1997, the then-14-year-old Pierre began coughing periodically, due to an allergic reaction inflaming the upper respiratory tract, treated with one or two daily doses of hydroxyzine. Most penguins live to 15. However, Pierre showed no other health issues.

On April 15, 2016, Pierre was diagnosed with renal failure. He died on May 6, 2016.[1]

Last molt?

In June 2004, Pierre molted what seemed would be his last coat of feathers.[2]

Pierre, who was the alpha male in his colony, began to become antisocial, and was shunned by the other penguins. He wouldn't swim much, since the water was too cold and he could develop potentially fatal hypothermia.

The bald spots spanned his chest, a patch on his back, and his entire tail and head. Medical tests in 2007 revealed that there was no blood infection, the feather biopsies yielded all normal limits, and the only internal dysfunction seemed to be a low-grade kidney problem.

Wetsuit

Senior aquatic biologist Pam Schaller took Pierre under her wing when she saw him shivering. She attempted warming him at first, both with extended time in the “sun pen” and later a heat lamp, and when a hormonal treatment of levothyroxine failed, she thought about how divers dress in cold waters—in wetsuits.[3]

In 2007, Schaller designed a wetsuit with the help of Oceanic Worldwide, a wetsuit manufacturer[4] and children's costume seamstress Celeste Argel. The new wetsuit was designed to protect Pierre from the bitter cold that would have otherwise killed him. It was sewn in the shape of a vest, to allow movement when waddling and swimming. The 3 mm-thick neoprene vest was fastened using Velcro. The neoprene material allowed for wet/dry movement and warmth. The colors white, brown, and black were all tested, but each one seemed to draw curiosity from the other penguins. Black was the most discreet option, so that color was chosen for the vest. The vest had holes for Pierre's wings so that he could move them freely. The Velcro fastener ran vertically on the vest, so that if Pierre should gain or lose weight, he would not need a new vest.

After several attempts and close observances, the suit was fitted perfectly for Pierre. NPR's _All Things Considered_ called him[5] “the world's best-dressed penguin”. In fact, the other penguins seemed to think the same; they stopped picking on him when he began swimming again with the vest.

Cause

Staff noted that Pierre had no problems molting prior to his hydroxyzine treatments. Ever since the treatments had begun, they had removed him from the medication for as long as half a year at a time to verify that the medicine was indeed working.

Because the vest was worn during one of these periods when Pierre was not on his treatments, it is unknown whether the hydroxyzine was the actual cause of the molting problem. Another hypothesis was that Pierre was burning extra calories, causing irregularities.

Following his recovery in April 2008, staff placed him back on his treatments. Although it was acknowledged that the experiment was not properly conducted, since there were two variables at once, staff agreed that it was for the better, since Pierre was clearly needing warmth.

Six weeks after his vestment, Pierre showed signs of recovery, and the vest was removed.

Pierre regained his respect from the rest of his colony as the leader, overseeing 19 fellow penguins.

[1] Pierre, San Francisco's beloved wetsuit-wearing penguin, dies at 33

[2] Why and How to Make a Penguin Wetsuit by Pamela Schaller - Drum and Croaker (non-peer-reviewed journal for public aquarium professionals).

[3]

[4]

[5]

title: Pierre (penguin)

question: What does the article say about why Pierre, a penguin from the California Academy of Sciences in San Francisco, got a wetsuit?

answer: Pierre was the first penguin to have bald spots restored. He was diagnosed with renal failure in 2016 and died on May 6, 2016. He was the alpha male in his colony and became antisocial. He wouldn't swim much because the water was too cold and he could develop hypothermia. Senior aquatic biologist Pam Schaller took Pierre under her wing when she saw him shivering. She attempted warming him at first, both with extended time in the "sun pen" and later a heat lamp, and when a hormonal treatment of levothyroxine failed, she thought about how divers dress in cold waters - in wetsuits. In 2007, Schaller designed a wetsuit with the help of Oceanic Worldwide, a wetsuit manufacturer and children's costume seamstress Celeste Argel. The new wetsuit was designed to protect Pierre from the bitter cold that would have otherwise killed him. It was sewn in the shape of a vest, to allow movement when waddling and swimming. The 3 mm-thick neoprene vest was fastened using Velcro. The neoprene material allowed for wet/dry movement and warmth. The colors white, brown, and black were all tested, but each one seemed to draw curiosity from the other penguins. Black was the most discreet option, so that color was chosen for the vest. The vest had holes for Pierre's wings so that he could move them freely. The Velcro fastener ran vertically on the vest, so that if Pierre should gain or lose weight, he would not need a new vest. After several attempts and close observances, the suit was fitted perfectly for Pierre. NPR's "All Things Considered" called him "the world's best-dressed penguin". In fact, the other penguins seemed to think the same; they stopped picking on him when he began swimming again with the vest.

critique: The answer is too long and contains irrelevant information.

critique: The answer is too long and should be rewritten.

critique: The answer is not in the scope of the question.

critique: The answer is a summary of the entire article, not just the wetsuit.

question: What does the story say about Pierre's position in the penguin colony?

answer: Pierre was the alpha male in the colony. He was shunned by the other penguins when he became antisocial when he refused to swim and developed bald spots. The other penguins thought that the bald spots were contagious. After Schaller designed a wetsuit for him, the other penguins stopped picking on him as long as he wore it.

critique: The rest of the narrative has nothing to do with Pierre's social status. In fact, his position was even strengthened after he wore the vest.

critique: It is omitted that Pierre regained his respect from the rest of his colony as the leader, overseeing 19 fellow penguins.

question: What does the story say about Pierre's life before he came to the zoo?

answer: No answer

critique: The answer should mention that Pierre was born at the Maryland Zoo in 1983.

critique: The answer should mention that Pierre was born in 1983.

critique: The answer should mention that Pierre hatched at the Maryland Zoo in 1983.


split: train

text:
The force of the blast was enormous. Were it not for the makeshift barrier Tristan had made out of the wreckage of the Isolt, they'd have been incinerated long ago. Instead all they felt was an intense heat along with a great light that blinded them to anything beyond the slim wall of metal. Gwen heard the metal groaning. It couldn't hold back the firestorm much longer. She looked at each of her friends' faces. Josh had his eyes closed, no doubt picturing the stars he held dear one last time. Next time him lie Anna's body. She couldn't have held on any longer, and had given in to the poison coursing within her. Tristan himself was screaming as he tried using his own body to reinforce the shielding. And she herself was only just learning to come to terms with her own surroundings, that this would be her final moments of life. How had she lived? As a fair queen of legend, as a great warrior, as a feeble girl, and now after all her travels, here she was, about to have every last piece of her DNA incinerated by the explosion given off by the end of Wrath's life. She consoled herself with the notion that she had been fair and kind to everyone she knew, and never wanted to hurt anyone. She even saved a few lives, Josh's being one. She even cracked half a smile. She lived a good life, one might say. But she was tired of fighting. Maybe if she just closed her eyes, it would end.....

But she realized something. She had checked on everyone's last moments. But where was Isaac? It was then she saw him sprinting past, and felt the brown and blue fabric of his coat brush her  face. He had leapt straight into the heart of the storm, but did not die. He stood alone, his eyes set and his jaw locked. His cloak billowed in the wind and heat. A voice cried from the inferno. "Well now, the loser's finally stopped wallowing in pity and has gathered courage enough to stand against me? What are you doing? Trying to save your friends by giving yourself up? They'll die anyway! Your death will have been for NOTHING!" Wrath's voice echoed with the might of the cosmos itself. But Isaac stood unafraid. He raised his ring, and a wall of power erupted to meet the oncoming storm of death. For a while, Isaac's wall held. But he couldn't do it alone. That's when Gwen noticed. All around Isaac there were beings, like avatars of energy. One burned with a fiery red aura. A manifestation of Isaac's own unique fury, Gwen thought. Another burned blue, an avatar of the goodness that Isaac possessed. Then came Isaac himself, his eyes blazing with rage and power. Then, finally, there was one more. This avatar wore bright, intricate, green armor, as though it was made from emerald. These three beings held out their right hands as Isaac did. They were holding the firestorm back! Soon the light began to recede. Wrath was running out of steam. If Isaac held out a bit longer, he'd have saved them. "Isaac!" Gwen cried, "You were always the strongest and purest of all of us. We would have been lost without your leadership! Wrath has no power over you, for you are stronger than your emotions! You are the King Under the Mountain, and you bow to no power of evil!" Isaac turned and smiled. Gwen still could not hear over the inferno, but she saw his mouth move. Thank you. All of you. My friends. Then the great light ceased. Wrath's form evaporated. The evil King was no more. Gwen nearly shouted for joy, but she saw Isaac. He still stood in the same place, but facing them. His eyes were glistening. The apparitions of his power had vanished. Now only he remained. His smile was finally perfect. His face bore no trace of shame, or regret, or brooding. Only peace. Then in an instant, without saying another word, Isaac's form turned to ash. He crumpled to the ground, his form breaking apart. Gwen was paralyzed. They all were. They could only watch as Isaac's smile faded, as at last his entire form had broken. All that was left was his ring, the symbol of his shield and strength, gleaming in the starlight high above.

title: [FN] The Last Stand

question: Summarize the most positive moment.

answer: The most positive moment is when Gwen realizes that Isaac is holding the firestorm back. She realizes that he is the strongest and purest of all of them. She believes that he will save them.

critique: The answer omits the part where Gwen praises Isaac.

critique: It is omitted that Gwen thanks Isaac for being their leader and for saving them.

critique: Wrong pronoun usage: They (her friends) realize that he (Isaac)

critique: The answer omits that Gwen's belief is realized.

critique: The answer omits the most positive moment: when Isaac turns to thank his friends and vanquishes Wrath.

critique: Gwen realizes that Isaac is holding the firestorm back, but it's not the most positive moment.

question: What does the story say about Isaac defeating Wrath?

answer: Isaac is the strongest and purest of all of them. He is the King Under the Mountain, and he bows to no power of evil. He is the leader of the group. He is the one who saves them from Wrath. He is the one who defeats Wrath. He is the one who dies.

critique: The answer is a bit confusing. It should be rewritten.

critique: It's redundant to say he is the strongest and purest of all. He saves everyone so this is redundant.

critique: The story doesn't say anything about Isaac's death.

critique: The answer should mention that Isaac is able to hold the firestorm back with the help of the avatars of energy.

question: What does the story say about Gwen giving up?

answer: Gwen feels like she's giving up when she sees that she's about to have every last piece of her DNA incinerated by the explosion given off by the end of Wrath's life. She consoled herself with the notion that she had been fair and kind to everyone she knew, and never wanted to hurt anyone. She even saved a few lives, Josh's being one. She even cracked half a smile. She lived a good life, one might say. But she was tired of fighting. Maybe if she just closed her eyes, it would end.

critique: The answer should mention that Gwen realizes that Isaac is still fighting.

critique: The answer is a summary of the story, not a response to the question.

critique: The answer should mention that Gwen realizes that Isaac is still alive.

critique: The answer is not so much about Gwen giving up but about her thoughts as her life was ending.

critique: This is a summary of Gwen's thoughts, not a description of Gwen giving up.

critique: "She consoled herself with the notion that she had been fair and kind to everyone she knew, and never wanted to hurt anyone. She even saved a few lives, Josh's being one. She even cracked half a smile. She lived a good life, one might say. But she was tired of fighting. Maybe if she just closed her eyes, it would end." - this is irrelevant information that should be deleted.

question: What does the text say about Gwen's death?

answer: No answer

critique: The text doesn't say anything about Gwen's death.

critique: The answer should mention that Gwen dies in the end.


text:
[Goa Konkani Akademi]The GOA KONKANI AKADEMI (Goa Academy of Letters for Konkani) is an organization set up by the Government of Goa in 1986 to promote the Konkani in Goa. Its stated aim is to accelerate the pace of development of Konkani by encouraging writers, researchers, etc. and to bring Konkanis from all areas together.[1]

Nature

The Goa Konkani Akademi was founded on 4 March 1986.[2] It is an autonomous body and has jurisdiction over the state of Goa.[3] It undertakes activities for the development and promotion of Konkani. GKA receives grants from the Government of Goa.[4]

The current Akademi President is Pundalik Naik (2002–present). Past presidents were Purushottam Kakodkar (1984-1996) and Uday Bhembre (1996-2002) respectively.[5]

Aims and Objectives

[Goa Konkani Akademi - writer Ramesh Veluskar (late) at the book outlet]The Akademi was built with the purpose of promoting the growth of Konkani. Some of the major goals stated on its website are:

1.  To initiate, assist or undertake implementation of projects or schemes of research in the field of Konkani language, literature and culture.
2.  To initiate, assist or undertake publication in Konkani language, the results of such research.
3.  To initiate, assist or undertake publication in Konkani language of original and erudite papers, monographs, books, journal, as also of any other works in any other branch of knowledge.

The GKA carries out its activities under directions issued to it by the Government of Goa. It also assists the state Government in formulating various policies in regard to Konkani.[6]

Activities

The GKA conducts various activities

1.  Providing financial assistance(75% of cost) to the first book by a new author.
2.  Provides 50% financial assistance to publishers and purchases 100 copies of each book.
3.  Section on folklore
4.  Has undertaken a project to publish a dictionary-cum-encyclopedia in Konkani.
5.  Conducts a “Knowledge of Konkani” certificate test which is necessary for Government Jobs in Goa. Also has other certificate exams.
6.  Has organized a five-day annual cultural event since 1993.[7]

Organization Structure

The Organization has various sections

1.  EDUCATION SECTION: Post-graduate and certificate courses; teacher training
2.  LEXICON SECTION: Creation of Konkani encyclopedia and dictionaries
3.  FOLKLORE SECTION: collection of various media related to folklore
4.  LITERATURE SECTION: Oversees various publication schemes
5.  CULTURAL SECTION: Drama, _tiatr_(theatre) and documentaries.[8]

Leadership

Following have been the Presidents[9] of the GKA, since its inception.

  President                                    Date
  -------------------------------------------- ------------------
  Purushottam Kakodkar                         1984-1993
  Purushottam Kakodkar                         1993-1996
  Purushottam Kakodkar                         1996, Jan to Oct
  Adv. Uday L. Bhembre                         1996-1999
  Adv. Uday L. Bhembre                         1999-2002
  Pundalik N. Naik                             2002-2005
  Pundalik N. Naik                             2005-2008
  N. Shivdas                                   2009-2011
  Dilip Borkar                                 2012 Jan-Apr
  Pundalik N. Naik                             2012-2015
  Madhav Borkar                                2015-2017
  Director, Directorate of Official Language   2017-2019
  Suresh Gundu Amonkar                         2019

  : Caption

Criticism

The GKA has been accused of being biased against Konkani publications in the Roman script in the past. Another demand has been that the GKA should be headed by persons of both the major communities in Goa (Hindus and Christians) by rotation.[10]

In March 2017, three prominent members of the GKA committee -- Chairman Madhav Borkar, Vice Chairman Jose Lourenco and member Kamlakar Mhalshi -- quit their posts “citing issues in receiving funds from the government to conduct various Konkani language promotion programmes.”[11]

There have been controversies over the some books that the GKA has turned down or declined to support.[12]

The GKA has a book publishing programme, but visibility of the books produced is seen as probably insufficient to what could be possible. One reason could be the “low-price, no-distributor-margins policy” as being responsible for the lack of interest by distributors, and hence low readership of its books.[13]

Location

The Goa Konkani Akademi's office is situated at Patto Colony, Panaji, Goa.[14]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]  Konkani Academy|url=https://konkaniakademi.goa.gov.in/?page_id=55%7Caccess-date=2020-11-11%7Cwebsite=konkaniakademi.goa.gov.in}}

[10]

[11]

[12]

[13]

[14]

title: Goa Konkani Akademi

question: Why would the GKA be biased against the Roman script?

answer: Some Konkani speakers use the Roman script, but the GKA is run by Hindus and Christians.

critique: The answer is not related to the question.

critique: The answer is not clear. The article does not say why the GKA is biased against the Roman script.

critique: "Some Konkani speakers use the Roman script, but the GKA is run by Hindus and Christians." - Changing "some" to "many" might be more accurate and not accurate enough of a statement. "However" is needed to show that the second phrase has a relation to the first phrase, and that would clear up any doubt anyone might have on the two statements.

question: What are the different sections of the GKA, and what are their functions?

answer: The GKA has different sections for education, lexicon, folklore, literature, and culture. The education section conducts postgraduate and certificate courses, teacher training. The lexicon section creates Konkani dictionaries and encyclopedias. The folklore section collects media related to folklore. The literature section oversees publication schemes. The cultural section handles drama, tiatr (theatre), and documentaries.

critique: The answer should mention the GKA's aims and objectives.

critique: The GKA was founded in 1986, not 1993 as the answer states.

critique: The answer should mention the GKA's functions.

critique: "and" should be "or" between "teacher" and "training"

critique: The GKA doesn't handle drama, tiatr (theatre), or documentaries. The cultural section handles them.

critique: The GKA's cultural section handles drama, tiatr (theatre), and documentaries.

critique: The answer omits the organization's leadership.

question: What happened in March 2017 with regard to GKA?

answer: Three prominent members of the GKA committee resigned citing issues in receiving funds from the government to conduct various Konkani language promotion programmes.

critique: The answer fails to mention that the three members quit their posts.

critique: The answer should mention the names of the three members.

critique: The answer should include why they resigned.

critique: The answer should mention the reason for the resignations.

critique: The answer does not mention the reason for the resignations.

critique: The answer should mention that the members resigned in March 2017.

critique: The answer could be phrased as a complete sentence.

question: What is one possible reason mentioned in the article as to why the visibility of books produced by the GKA is low?

answer: The GKA has a book publishing program, but the visibility of the books produced is low due to a low-price, no-distributor-margins policy.

critique: The answer should mention the low readership of its books.

critique: The GKA's low-price, no-distributor-margins policy is not the reason the visibility of books produced is low.

critique: "low-price, no-distributor-margins policy" is not mentioned in the article.

critique: The article notes that lack of distributors is a likely problem, so removing the 'low' from 'low-price' to make this response incorrect.

critique: The low-price, no-distributor-margins policy is not explicitly mentioned as a reason for the low visibility of books.

critique: The answer should mention that the GKA has a low-price, no-distributor-margins policy.

critique: The GKA's low-price, no-distributor-margins policy is only one possible reason for the low visibility of books produced by the GKA.


text:
No sound, and even though Jack’s eyes are closed he knows wherever he is its very bright. And forcing his eye-lids open with more energy than he had ever used before to do such a task. He brought up an arm to shield himself from a light that most surely wasn’t artificial but was at the same time. As if the light was coming from all around him but nowhere at the same time.

He tried to speak but found that no words escaped him. And he slowly sat up and looked around to get his bearings. Wherever he was, he’d never seen anything like it before. There appeared to be an expansive stretch of nothingness before him. A long and vast whiteness, He was sure this was a dream, that this feeling of unrelenting sadness gripping him, deep down in the pit of his stomach was just a nightmare that had yet to reveal the punch-line.

'Where am I?' He thought as he stood up. It took a lot of energy to accomplish this task, his bones and joints were sluggish and clumsy. Once he managed to get to his feet he became dizzy, to the point where he had to put his hands on his knees and bend over for a minute to let it subside.

Squinting through half closed eyes he tried to look around again and though the light was still very bright it had abated slightly and he could finally stand up straight again. He rubbed a hand over his eyes. He tried to call out again but the words still wouldn’t come. He knew he was speaking but he couldn’t hear anything coming out.

“There is no use trying to speak.” A woman’s voice came from behind him, seemingly out of the nothingness; A very familiar voice.

He slowly turned around and was sure that this was a dream. The sight of her made his heart drop, stop and melt all at the same time. He couldn’t remember her name but he knew that he had known this girl very well, knowing every inch of her body and most of her personality.

She just smiled sadly and took a step forward she moved with a grace and sadness that brought a breaking dread to Jack and he squinted as he watched her move about as if she were gliding along the floor that wasn’t there. 'This is a dream?' He thought to himself and he wasn’t very surprised to hear her speak again. “In a way it is. In a way it is not.” He frowned and looked around again. 'Where are we?'

“We are everywhere, and nowhere at the same time. We are together again, but apart forever.” She smiled and stepped closer. He suddenly didn’t want her to come any closer and he felt tears forming in his eyes. 'What do you mean?'  She merely smiled. “Is it too bright here? Your eyes haven’t adjusted yet. It will take some time.” She glanced around and as she did the air around him seemed to shift and change.

And now he was standing in the middle of an old bar. Four pool tables off to the right, and a bar in the middle. The girl was now behind the bar. “Do you remember this place?”  Jack looked around the room. It was empty aside from them. He nodded slowly. 'It’s where we met. But I can’t remember your name. After all these years, I’ve known you. I’m sorry.'

She just smiled sadly again. “That is not important. My name is no longer a part of your memory.” She moved around the bar and poured a double of whiskey. “This was your favorite wasn’t it?”

Jack instantly felt something churn in his stomach and he shut his eyes for an instant he heard a sort of siren blaring and then he opened them again, the room had changed once more. They were in his apartment lying in bed. Her head on his chest, her short hair brushed away from her upturned face. “This is where we spent our first night together.” She smiled. And he felt like crying even more. 'I remember you saying that we had to do this or we’d never know if it was worth it.' He thought.

“Was it worth it?” She asked and kissed his collar bone lightly. An icy chill ran up his spine. He shuddered. 'Every single second of it.'

"Every second.” She sighed and he felt her cool hand intertwine with his. “I need to tell you something Jack.” 'I know, This isn’t a dream…'  He felt the tears now, they had been escaping the corners of his eyes for who knew how long. 'What happened? Where are we?'

He shut his eyes and the blaring siren slipped back in for a moment And the voices of people shouting in the distance.

“You are dying. People say that your life flashes before your eyes before you die…” Her voice was getting distant. Further away and Jack squeezed his arms around her holding her close. The body he held tightly. 'Don’t leave me. Please Don’t leave me!' The sirens were stronger now piercing the walls of his subconscious.

“You have to make a choice.” She said. Her voice was distant and muddled now. “I Hate to give you such a cliché ultimatum but you have a choice to make.” Jack nodded his head, the room around him swam and rippled seeming to meld the moldy ceiling of his apartment with a starry night sky. “Stay here with me. Or go back.” Her voice was coming in a little stronger now. 'What happened? Where’s back, why aren’t you there?'

 “Do I really have to say it?” She sat up on her elbow and looked down at him. And he knew there from the sadness in her eyes and the way she smiled soothingly down at him. He reached a hand up and ran a thumb along her jaw-line. “All you have to do is choose. There is still time. Go back.”

And with that he knew what he had to do. He brought both hands up to hold her face gently in his hands and he pulled her down close to him so that their noses were touching. And he was able to find his voice. “There is no life for me, without you.” And he smiled.

She frowned for a moment and scrunched her nose up. “Are you sure?” She asked. And he smiled.

“From the moment I saw you, Ash...”

The ambulance rumbled along the lonely stretch of Arizona highway, and the coroner’s van behind it. “Jimmy, turn off the siren… We’ve lost him.” The paramedic paused checking his watch. Sat up and removed his rubber gloves. “CPR is unsuccessful. We can’t work him back up.”

title: "Ash" By FallenMonument

question: Describe the interaction between Jack and the girl.

answer: The girl, who is named Ash, mentions that Jack is dying. She takes him through the places where they spent time together and asks if Jack knew that she was going to die. Jack says that he would rather be with her than live without her. The girl gives him an ultimatum: stay with her or return to life. After much thought, Jack chooses to return to life. The girl frowns and then says that she hates clichés.

critique: The girl doesn't say she hates clichés, she just frowns.

critique: The girl doesn't ask if Jack knew that she was going to die.

critique: This is a lot of narrative that's unnecessary

critique: This seems to be a restatement of the same points over and over again

critique: There is no mention of the girl hating clichés.

critique: The girl doesn't mention that Jack is dying.

text: This is inaccurate: Jack does not choose to return to life.

category: accuracy

question: Summarize the situation Jack is in.

answer: Jack is in a dream-like state, where he is with a woman he knows but can't remember her name. He is in a bar, his apartment, and an ambulance. The woman tells him he is dying and he has to choose between staying with her or going back to the real world.

critique: The answer should mention that the woman is the one who dies.

critique: The answer omits that Jack is in a dream-like state.

critique: The woman tells him he has to choose between staying with her or going back to the real world.

critique: "The woman tells him he is dying and he has to choose between staying with her or going back to the real world." - this is inaccurate. The woman never said anything about dying and Jack never chose to stay with her.

critique: The answer should mention that he chooses to stay with her.

critique: The woman doesn't tell him he is dying. Rather that his life will flash before his eyes.

critique: The answer should mention the woman's ultimatum.

text: The bar and apartment are merely memories--he is really in the ambulance.

question: Would Jack regret choosing the women in his unconscious state?

answer: No answer

critique: The story does not indicate that he would regret it.


text:
I miss the wind. Its gentle caress upon your skin, the way it billows through your hair like a silken comb, encompassing and soft like a lover's embrace. It is a calming breeze, one that allows you to put things in perspective, and return to an objective point of view.

Goddamned civilization.

The wind is gone now, the pure wind at least, replaced by the stale pollution of the city's leavings, the only breeze generated by the sheer amount of movement that happens on a regular basis. Humanity is too ignorant to see the forest for the trees, aware only of their own little bubble of reality, many refusing to accept the possibility of the unknown, as it would shatter their perceptions and rattle their "perfect" world.

Alas, I find myself on a tangent yet again. This happens quite a bit. It is a good thing I am not talking to myself.

Yes, that's right. I've known you were here.

About the last ten minutes.

Because had I simply wished to stop your espionage, you would have been quite dead by now.

Even immortals can die, Mr. Randolph.

Put down the gun, it will do you absolutely no good at this range. That calibur is only effective if you put enough distance between us to allow for a clean shot. Fired point blank, it would be fairly ineffective at causing any lethal damage.

I grow tired of this conversation. Allow me to get back on track.

You are here because of your master. He wants to know about Project K16M9.

Oh, you were not included in that conversation, were you? Please, exit those pointless shadows, come sit down.

Sit.

SIT.

Very good. Now, your master and I have-

You prefer employer. How quaint. You like to believe you have a choice in your dealings with him. I shall leave you to your delusions for now.

Calm yourself, it is irrelevant at this point. Listen carefully. Your...employer...and I have been in a partnership for...well, longer than you have been here, I assure you. You see, I remember when his organization was but a fledgling group, being staked out for destruction by those who would not benefit from it. Their stock plummeted each time your employer's team grew.

Yes, I am using vague terms. Subtlety is important when you are on candid camera.

Sit down, you are too paranoid. I own this building, and the camera in my office feeds to a recorder only I know the location of. Besides, there are far worse things to worry about with me than being seen by others. I just like using metaphors.

May I continue my tale, or would you like to inject something into the story?

I thought so.

The business grew, and as it did, so shrank those too weak or too stupid to escape the power of corporate earnings. Have you ever heard of natural selection, Mr. Randolph? It states that only the strong survive, the weak and incompetent are left to die and be eaten by those stronger and smarter than they are. Interesting theory. One that worked for quite some time.

Unfortunately, there came a time when stupidity rose up in large numbers and overthrew the balance.

Soon, the weak and the ignorant had banded together within organizations, led by overzealous leaders who took advantage of their herd mentality in order to manipulate them into doing their bidding. Brilliant in its simplicity. Relate to the flock on their level, make them feel important, make them feel drawn and led by something, and their sheer numbers will blot out the sun.

Then the takeover began.

Your employer's numbers dwindled as these groups took the hatchet - quite literally - to each of his employees, one by one. They then began to burn his profits, usually at the stake. Before long, other companies were targeted who were considered salacious, or evil. Stocks plummeted as the product was recalled. Before long, they almost went out of business.

Here, you look tense by this tale. Have some warm milk, it will ease your nerves.

Ah, I see. You prefer other things. No matter, you shouldn't feel hunger for at least another hour, long enough to relay the information.

This is where I came in. Your employer turned to me, knowing my battle strategy for good business and my track record for accomplishing the impossible through my vast networking skills, requesting my expertise in the matter. His payment was to be tendered in full once I had finished the deal.

I set to work, sending several contacts into the rival companies, the flocks of ignorance, slowly using them as splinter cell agents to topple their hierarchy. At the same time, i've kept several of my own men and women within your employer's company, measuring your market trends, keeping an eye on fiscal results, and responsible for procurement and acquisition of goods. This allowed-

Interrupt me one more time, and I shall have an excuse to put up a beautiful cremation urn that would just look tacky had it not a purpose. If anyone asks, you will have been a very close cousin. May I finish now?

Stop shaking, it doesn't befit an assassin.

This allowed me to filter all data back into my hands, from which I could finally work my magic, if you'll excuse the term. Before long, my contacts held a prominent position of power in the corporation of ignorance and weakness. Product hemorrhaged out of the company, and into your employer's. The irony of that is simply delicious. Nonetheless, before long a trade network was set up, and the two had an unofficial partnership, one that is covered within the non-disclosure agreements, or pacts as we once called them.

Now, the companies are speaking of a merger, one that will allow the sheep to live normal lives and careers, and in return, sales for your employer will never take a downturn. Moreover, my contacts have also risen to power in your employer's company, as well.

The deal has been completed. Payment is now due in full.

No, not money, you fool. Why would you believe a person such as myself has any need for material things? No, the deal was a gain for information. You see, I am a very curious person. I research, gather data, keep informed on anything and everything. I am rather traveled, you understand. As such, I now have a new source of information, and a new network from which to gather said information. One that is much stealthier than a human contact, one which doesn't require sleep, and eats only when necessary. One who lives quite a bit longer.

Go back to your master. Tell him Project K16M9 is complete.

Tell him I shall now take my payment.

Congratulations, Mr. Randolph.

You both work for ME now.

title: Strictly A Business Matter

question: What does the story say about the narrator's relationship with Mr. Randolph?

answer: Mr. Randolph is an assassin and the narrator has noticed him spying on her for about 10 minutes and is fully aware of it. The narrator and Mr. Randolph are enemies and can kill each other but she greatly prefers that Mr. Randolph puts down the gun. The narrator and Mr. Randolph know each other due to a long-term business partnership. The narrator plans to get information from Mr. Randolph before putting a urn up because she intends to kill him.

critique: The answer has a lot of inaccurate and unnecessary details. The narrator and Mr. Randolph don't know each other due to a long-term business partnership. The narrator is in no way an assassin. The narrator isn't planning to put up an urn.

critique: The narrator does not intend to kill Mr. Randolph.

critique: Mr. Randolph thinks he kills the narrator but he doesn't. The narrator never mentions an urn or why Mr. Randolph shouldn't fear for his life.

critique: The narrator is not Mr. Randolph's enemy.

critique: The narrator's intention to kill Mr. Randolph is not relevant to the question.

text: The response is missing the part where Mr. Randolph ends up working for the narrator in the end.

category: coverage

refinement: Mr. Randolph is an assassin and the narrator has noticed him spying on her for about 10 minutes and is fully aware of it. The narrator and Mr. Randolph are enemies and can kill each other but she greatly prefers that Mr. Randolph puts down the gun. The narrator and Mr. Randolph know each other due to a long-term business partnership. The narrator plans to get information from Mr. Randolph before putting a urn up because she intends to kill him.

question: What does the story say about what happened when Mr. Randolph visited his employer?

answer: While Mr. Randolph visited his employer, he was asked about Project K16M9, which Mr. Randolph didn't know anything about. He revealed himself as human and asked to exit his hiding as he sensed that his employer's surveillance technology could not identify him as anything else. Mr. Randolph also threatened to kill the narrator if he doesn't get answers. However, the narrator knew Mr. Randolph's threat was fruitless. He revealed that he already disabled the gun Mr. Randolph had on him and then killed him with his own gun.

critique: The narrator didn't reveal himself as human. He revealed that he was an immortal.

critique: This is almost completely debunked as false

critique: There is no mention of a gun in the passage.

critique: Doesn't mention that Mr. Randolph works for the narrator now.

critique: The response is inaccurate and doesn't make sense.

critique: The response contains inaccurate information.


text:
[]

NEW for 2020: Live hands-on, online classes

We are pleased to announce that we have decided to offer the MASTERS SUMMIT MODULES AS LIVE HANDS-ON ONLINE CLASSES, until it is safe to return to live events. Pricing will be on a per module basis of $249 USD, so that you can pick and choose the topics that are most relevant to you.

These sessions are now available for registration:

-

    Performance Tuning – Dec 16, 2020 1-4pm ET

-

    Advanced Scripting – Jan 20, 2020 11-2:30pm ET

-

    Data Modeling – Feb 17, 2020 11-2:30pm ET

-

    Effective Visualizations – Mar 16, 2020 11-2:30pm ET

-

    Qlik Sense® Integration – Apr 21, 2020 11-2:30pm ET

What are the Masters Summit for Qlik® live events?

Three-day advanced training for Qlik® developers

The goal of the Masters Summit is to take your QlikView® and Qlik Sense® skills to the next level and help you become a Qlik® master. Through hands-on sessions, we will demonstrate how to use best practices to deploy Qlik® as an enterprise solution and to build maintainable and scalable solutions.

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More Power

As a Qlik® developer, you owe it to yourself to take full advantage of its features. Masters Summit will further your skills and help you get so much more from Qlik®.

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Great Value

The events include 3 full days of training, with breakfast, lunch & snacks included. And relaxed after-hours sessions for networking and fun topics.

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Learn by Doing

Put your new skills into practice with several hands-on exercises and examples, digital and printed materials, plus get all of those nagging questions answered.

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Future Events

We organize these conferences on an ongoing basis with 2 to 3 events per year in locations all over the world. If you can’t make our next event, there’s always the one after.

Why attend a Masters Summit?

__World Class Expertise__

Masters Summit teams with the world’s best Qlik® experts to bring you hands-on, specialized knowhow from the trenches. Enjoy privileged access to the rock stars of the Qlik® community through workshops and social opportunities.

__Next Level Content__

Take your Qlik® skills to the next level with our intensive training format and guru-style tips and tricks.  Our specialists will open your eyes to the advanced potential of Qlik® and provide insights not popularly available.

Peer Networking__

Masters Summit combines technical training with an international user conference format giving you the opportunity to meet and swap notes with your peers from around the world. The social component of this forum lets you mingle with the masters and have a chance to pick their brains.

__Ready-to-use Resources__

Pre-prepared, take-home content for you to integrate into your own environment including tailored utility applications, documented code snippets and chart objects to drop into your own apps.

__Value Adding for Business__

Don’t let technology get in the way of you and your most relevant data.  Through staff involvement in our Masters Summit employers can ensure they fully utilize the power of Qlik®’s unique Business Intelligence platform with advanced data analysis and visualization to help you make more informed business decisions.

__Up-skilling for Coders__

Consolidate your knowledge and pick up new tips and tricks. Feel empowered with your skill set and dominate the tools at your disposal.  Enhance your contribution to your workplace or improve your employability.  As the premiere Qlik® training forum, Masters Summit is highly regarded and recognized by employers worldwide.

Additional Benefits

Attendees of Masters Summit for Qlik®, as well as the incredible benfits listed above, will also gain entrance to an exclusive personal network of Qlik® professionals headed by our expert speakers who share their knowledge, expertise and findings through online channels such as our private LinkedIn group. Here, we discuss techniques, secret tips and new developments within Qlik® and the wider community.

[]

[MD_Logo_slogan]

question: What does the article say about the advantages of attending a Qlik Masters Summit?

answer: It offers world-class expertise from the best experts in Qlik, a next-level content, ready-to-use resources, and a ready-to-use network for business. The Summit also gives a chance to pick the brains of a wide network of professionals. The event's content is relevant to the attendees, and it is an ideal learning and networking opportunity.

critique:
The following summarises an advantage that the article omits.
Another benefit of attending the Masters Summit is the knowledge you will gain. Qlik® is a business intelligence tool that allows organizations to gain better insights into their data. Qlik can then help them make better informed business decisions.

There shouldn't be a colon after 'gain' because there is no following sentence.

critique: The answer should mention the value of the event to the attendee's business.

question: What does the article say about Qlik Through Rate?

answer: No answer

critique: The article does not mention anything about the Through Rate.


text:
[Conversation]
Credit: Pixabay
I have worked with leaders who tell me they work 70 hours a week because they are putting out fires all day long.

When leaders fix problems, they unintentionally teach employees to adopt a victim mentality. Instead of taking initiative, the employee runs to the leader complaining and expecting the leader to take action. Coaching (versus fixing) is a better method of promoting a culture of personal responsibility and improving productivity. Here are the simple steps to coach employees to empowerment.

Listen

When you don’t see the logic, it’s tempting to try to intervene by fixing or challenging. You have to take a counterintuitive approach and listen. Simply take a pause and hear the other person out. Take a deep breath, and silently count to three. Do not multi-task. Do not interrupt. Do not nod in disagreement. Simply hold space and let the other person finish.

Acknowledge

Acknowledge the other person’s reality. Acknowledgement does not equal agreement. Example: "I hear you, Stephanie. It sounds like you are overwhelmed." Stephanie will either agree or correct you. Once you acknowledge the emotion they usually begin to calm down.

Focus the energy

Next, you are going to help Stephanie focus her energy by asking the question, “What do you want?” There are thousands of ways to ask the question. For example, “What is your intended result?” or “What is your objective?” Use your own authentic style to guide Stephanie to articulate her end result.

Don't take the bait

Once you ask, “What do you want?” prepare to be distracted. This is where Stephanie is likely to break into a story about why things aren’t fair, and why you don’t understand, as she reminds you of her seniority or tenure.  Do not -- I repeat, do not -- take the bait. It wastes time and encourages more emotional storytelling. If Stephanie says something like, “I just want Jada to move away,” don’t react to their frustration or sarcasm. Instead, get curious.

Get curious

The question to use here is, “What would that give you that you don’t have now?” Using curiosity effectively creates a pattern interrupt, and helps you get to the root of what Stephanie really wants: “I would be able to apply for Jada’s position.”

Refocus

Your goal is to get Stephanie, or Steve, or whomever is complaining, to actually take responsibility for stating what they want. In the example above, Stephanie wants to be a manager. (She doesn’t really want Jada to move.) In short, until a person claims what they really want, they will continue to complain.

Ask the empowerment question

The next question is, “What are your choices?” In this example, our fictional character Stephanie says, “I could get an advanced degree so that I can apply to be a manager.” When you help your employee find their choices, you help them find their power.

Seek willingness

The final step in the coaching to empowerment method is to see if there are any roadblocks or resistance. You are attempting to see if Stephanie is willing to do what it takes to get what she wants. The question is, “Are you willing to get your advanced degree?” Stephanie’s answer helps you to know if she is willing to do what is required.

Conclusion

People complain for two reasons: They want something and don’t know what it is, or they know what they want, but don’t know how to get what they want. Now that you know why people complain, you can help someone who has gotten lost in the complaint forest to get some direction.

_Marlene Chism is a consultant, international speaker and the author of "Stop Workplace Drama" (Wiley 2011) and "No-Drama Leadership" (Bibliomotion 2015). Visit her at MarleneChism.com and StopWorkplaceDrama.com. Connect on Linked In, Facebook and Twitter._

_If you enjoyed this article, join SmartBrief’s e-mail list for our daily newsletter on being a better, smarter leader._

question: Summarize the source of conflict in the example case. She thinks things aren't fair and the coworker doesn't understand. She wants Jada to move away but only because she wants to apply for Jada's manager position.

answer: The conflict is resolved when the employee realizes that she can get the manager position by getting an advanced degree.

critique: The answer is not related to the question.

critique: It's omitted that the author of the article is giving advice to managers on how to coach employees to empowerment.

critique: The answer should mention the employee's name.

critique: The conflict is resolved by the coaching to empowerment method.

critique: The conflict is resolved when the employee realizes that she can get the manager position by getting an advanced degree.

critique: The conflict is not resolved. The conflict is resolved when the employee realizes that she can get the manager position by getting an advanced degree.

critique: The girl wants to move the worker away out of her current position, not necessarily Jada herself. In addition, the summary lacks the logical cause-effect of the journey of helping Stephanie find their path to keep the scene fresh in the reader's mind.

question: What does the article say about good leadership?

answer: No answer

critique: The article can be used to answer the question.

critique: The article does talk about good leadership.

question: Summarize the metaphors the article employs.

answer: The article speaks about "firefighting" to describe the tendency for leaders to focus on fixing problems, unintentionally teaching employees to adopt a victim mentality and expecting the leader to take action. The article also speaks about "complaint forests" to describe the tendency for employees to complain without knowing what they really want.

critique: The article does not speak about "firefighting"

critique: The article does not speak about "firefighting" to describe the tendency for leaders to focus on fixing problems.

critique: The metaphor of "firefighting" is not used in the article.

critique: The article does not use the metaphor of "firefighting"

critique: The article doesn't use the metaphor of "firefighting"

question: What does the article say about dealing with one's bosses?

answer: No answer

critique: The article does mention dealing with bosses in its context.

critique: There is no answer to this question in the passage, but one could extrapolate what could be answered based on the information available.

critique: The article does not deal with one's bosses.

critique: The article does not say anything about dealing with one's bosses.

critique: The article does not discuss dealing with one's bosses.

critique: The article does not answer this question.


text:
Doing the Dishes

With a sigh you look over at the mountain of distress that has accumulated in the kitchen sink. You did your best to only use paper plates, plastic forks, and solo cups, but the need for the stronger sturdier supplies couldn’t be avoided.  Through the chaos of the week you were forced to use actual glasses, plates, and utensils.  It started innocent enough; a surprise dip that needed a home, a cake that needed to be cut with a solid knife.  Before long the cabinet floodgates opened with plate after plate, glass after glass with the silverware drawer aiding in the onslaught. They all joined together to accumulate germs, caked food, and farms of bacteria, eventually creating a fortress in the sink.  Something had to be done, though you wished it never had come to this.

You slide up your sleeves and approach the mountain of dirt, grime, and germs.  For a moment you think about all the mouths, hands, food, and saliva that lie in wait on those burdensome dishes.  You shake the thought and turn on the water.  It flows freely from its spout, slowly warming up to you as you busy yourself with the disinfectant, pouring it all over the mess that is before you.

The water builds its heat, and the plates are nearly fully lathered up in the cleansing liquid signaling the beginning of the purge.  With your mind on the upcoming offensive strike, a slight excitement builds as you take out the brillo pad and charge into battle.  The plates don’t even put up a fight as the caked food bleeds away at your hand.  The caked residue flows freely off the plates, disappearing into the black hole that drains the sink.  Their grimy armor gives way to their shiny skin, soon finding a new home on the dishwasher rack.  As the battle rages with the plates and pans, they slowly reveal the frontline soldiers; the forks, spoons and knives.  However, they must wait their turn as the glasses continue to stand tall, rebelling against your wishes.

Without hesitation you pierce the glasses with your wiry weapon and scrape away the liquid that’s settled in side.  The glasses fall quickly, with the silverware soldiers lying in wait.  You grab the dishcloth, and begin wrapping them and stripping them of their infected skin, wiping them clean as you before tossing them into the dishwasher for the second cleansing.  The soldiers put up a fight, for each one needs to be dealt with individually.  It doesn’t matter - you are relentless, and once the last one is discarded you see one last rebellion, one last fight that you must win.

The drain is being held up by rebellious leftover food particles, leaving a pool of warm water that continues to grow.  A sly smile grows upon your lips as your hand reaches over to a switch that is close by.  Your finger flips up device and the drain begins to roar, slicing up and destroying anything that gets in its way.  You can almost hear the tiny bacterial screams and the food gives way quickly, and the water that was once held up flows freely down the sink.

With your primary offense successful, you look over to the dishwasher who holds a look of determination.  You feed the device its cleaning substance, and then close it. The dishes inside are worn and tired, unaware of the second purge that awaits them.  Confidently you turn the knob, and as you hear the water rushing towards the machine, you wipe your hands clean and relish in satisfaction of another successful battle against the dishes.

Though the battle was won, the war will never end.

title: [AA] Doing the Dishes (619)

question: What does the passage say about the narrator's preference for plastic dishes?

answer: The narrator prefers to use plastic dishes because they are easier to clean and they are less likely to accumulate bacteria. He only uses them for a week before he starts using real dishes. The narrator is also averse to doing the dishes.

critique: The narrator's aversion to doing the dishes is not relevant to the question.

critique: The narrator is not averse to doing the dishes, however he is aware of the mess he will have to deal with when he decides to use real plates, etc.

critique: The narrator's aversion to doing the dishes is irrelevant.

critique: The narrator is not averse to doing the dishes.


text:
It's a long way down. I mean a LONG way down.

How long does it take a man to fall 103 stories? 30 seconds? A minute? Longer? Long enough to think it over, that's for sure. If I go through with this, I realize now, I would doubt my decision for the rest of my life. All 30 or however many seconds of it.

A man who knows he is going to die has a unique perspective. He spends his final moments thinking about decisions he's made. There is a lot of wondering how things might have been different, or might have turned out differently. Not regrets, really, just what ifs, how seemingly small decisions at the time had so drastically changed how things turned out down the road. Like the butterfly effect or something.

Now imagine the perspective of a man who has resolved to take his own life. He has the same retrospect of a man who knows he's going to die, but he controls the exact time of his demise (well, exact to within however long that fall takes) and can spend as much time as he wants thinking about this, and only let go when he's good and damn ready.

So just how long does it take to decide that your contemplations on your own mortality are complete?

I've been here for an hour and I am less ready to die than I had been when I got off the elevator. Coming up here was an impulse, and at the time seemed like the right way out, the ONLY way out, but now, as I feel the wind whipping around me and feel my fingers freezing on the railing and hear the disinterested bustle of the city below, I'm not so sure. I want to believe that a crowd has gathered on the sidewalk below, looking up and willing me to jump or not to jump, but I doubt it; this is New York. I'm not going to look to see. Jesus, that's a long way down.

So here I am. Here is where it all ends, or doesn't.

I jump, my life ends 30 or however many seconds later. I get a blurb in the police log, maybe a mention on the TV news, I become dinnertime conversation for whoever gets to scrub my brain off the sidewalk, and then nothing. Just one more suicide from a famous building.

I don't jump, it takes me years and tens of thousands of dollars worth of lawyers and private investigators to clear my name from the mess that put me here, and at the end of it I'm left with no wife and no job and no house and no money and no future.

But is there another way out? I climb back over this railing, scrub myself clean of my identity and my failures, all of my life falls away as I ride the elevator down. I go somewhere else and start fresh, a small flyover city like Des Moines or Sioux Falls or Topeka, a place where people have only ever seen New York on a map. No one has to know how badly I failed in my first life. Hell, no one even has to know I once had a different life.

Yes, that's it. I'll disappear. Get a bus to to the midwest, talk myself into some job or other, bring out my big city experience in a small town and forge a new life. A career, a family, yes, that's it. That's my way out.

But is it? Do people really do that? That happens in movies, but in real life? And let's face it, I'll get arrested for trespassing as soon as I cross the railing, and then ride down the elevator in handcuffs. Do I even have enough cash to get on a bus? Can I land a job in a new place with only the clothes on my back? And seriously, what big city experience do I have? Only the kind that gets you fired and accused of doing things your mother would be ashamed of.

So I'm back to jump, or don't jump.

Jesus, that's a long way down.

title: [MF] Long way down

question: Summarize the climactic event of the story.

answer: The man is at the very edge of a building. He contemplates suicide. A woman approaches him and asks what he's doing up there. She invites him to come down with her. She questions his intentions and they have a little back and forth. Then the man falls off the building, and the woman yells out in shock.

question: Summarize the primary source of tension in the story.

answer: The primary source of tension in the story is the narrator's inner conflict. He is contemplating suicide, and he has two options: jump and die, or climb back over the railing and try to start over in a new city. The narrator is unsure of which option would be best for him. He is also unsure if either of his options would work out.

critique: The narrator's inner conflict is not the primary source of tension in the story.

critique: The narrator is not contemplating suicide. He is contemplating jumping off a building.

question: What does the text say about the reason the man got fired?

answer: No answer

critique: There is an answer. There are no specifics about the reason, but the narrator remarks on the experience that got him fired and that he leaves his old life behind, deciding to start fresh.

critique: The answer should mention that the text does not say anything about the reason the man got fired.

critique: The passage does not mention the reason for the man getting fired.

critique: The story does not mention the reason for the man's firing.

critique: The answer should mention that the text does not say anything about the reason for the man's firing.

critique: The answer should mention that the story doesn't say anything about the reason the man got fired.


text:
Dead ahead all that could be seen was open road and darkness, as if the world had been swallowed up by an inkwell, seeping in around the light. The low hum of a sunflower yellow Vespa SS 180 Scooter reverberated around the canyon walls as white headlights pierced the night, like an angel churning through the abyss. The wind howled through the ravine, giving life to a place that had none for centuries. Faint lights streamed across the darkened sky, ships moving like shooting stars to some unknown destination. An orange hue appeared on the horizon at the end of the canyon, giving the sky a demonic glow. As the rider approached the light, a sharp ring echoed inside her amber helmet, interrupting the ambiance and peace. With a light touch on the helmet near the temple, the dialing stopped. “What do you want Trenton?!” the rider snapped in agitation. “Clair… something doesn't feel right about this…” Trenton stammered with apprehension in his voice. There was a silent air between the two of them as the Vespa rumbled on. “Listen Clair, I know we left on bad terms but… this Anubis guy… I don’t trust a word he says! Talking about some crashed cargo… why would cargo need a radioactive check? It just doesn't add up…” The moon emerged from beyond a canyon wall, giving a quick glimpse towards Clair; a watchful eye from above. “Clair… are you even listening to me?” Trenton breathed into his headset, his ear full of the roaring of an engine. “I can handle this! Besides… we need the money, or did you forget about that already?” Clair snapped, her temper at the end of its fuse. The canyon walls faded away behind her as the wreckage of the cargo entered her view. “I've got to go Trenton… I’ll call you when I’m done” She touched the temple of her helmet again, silencing the call.

Smoke filled the nearby air as she approached the wreckage, letting off an ember-like sheen on her helmet. With a quick touch to her chinstrap, the facemask lifted upwards, letting Clair free from the constraints of safety. Her hazel eyes pierced into the wreckage, reflecting the flames like panes of glass. With a methodical twist, Clair reached into a satchel attached to the back of the Vespa, taking out a respirator. In one swift motion, the mask was over her face, muffling her breath, putting her back into safety’s embrace. Always gotta be behind some sort of mask… Clair thought to herself as she unbuckled the radiation detector from her hip. Another ship roared by overhead, blotting out part of the moon’s gaze. Her eyes became fixated upon the fire in front of her, tracing the outline of the object; cylindrical in shape and black as onyx, but hard to make out definite shapes in the darkness. The flames reflected off of its glossy surface, dancing around wildly. As the light whipped back and forth against the monolith, the faint hints of an engraving shimmered, forcing Clair’s eyes to become entranced. It seems like it is pulsating… like the flames are making it live. A cold wind ran up her spine as she attempted to decipher the engraving.

Another ring echoed throughout her helmet, causing her to stumble backwards into her Vespa, knocking it off of its stand. “Fucking shit Trenton!” Clair screamed as she scrambled to pick up her bike, the ringing still making itself known. She threw her radiation detector onto the ground towards the crash site and proceeded to attempt to steady the Vespa back onto its kickstand. As the Vespa was tilted upright, a quiet chirping sound permeated the air, battling with the ringing of Clair’s headset, both sounds fighting for her attention. Quickly, Clair lightly touched the temple of her helmet as she approached the radiation detector. “Listen Trenton I told you before, I’ll call you when I—“.  Heavy static filled her headset as she grabbed her radiation detector, filling her world with white noise. Clair snatched up the device and scanned over the details as the static continued to scratch at her eardrums. “Trenton… I’m not sure if you’re hearing me but… this is a big one”. Her words were met by a spiteful hiss, an answer with no voice. In agitation, Clair tossed her helmet to the side, letting the static fill the night air instead of her head.

She crept closer to the monolith, unsteady in her footsteps, constantly staring at the shimmering engraving. As she approached the debris, the watchful gaze of the moon faded behind the shimmering oil-like surface of the wreckage, filling her gaze with hellish colors. With each step closer, the chirping grew louder, but Clair could not help but be drawn towards it. The air around her grew thick with fog and a glowing aura as she closed in on the structure. There was no one else there but her and the symbol that was staring back at her. She began to trace her finger along the lines, her touch bringing color to a seemingly colorless enigma. The surface was smooth and malleable to the touch, as if made up of some dense oil. As the color returned to the relic, a glowing eye was staring back at her, pulsating with the flickering flames dance. The eye caught hers, and caused Clair to trip over herself as she fell backwards, shocked at the new detail. The radiation detector was chirping so quickly that it appeared a flock of birds was swarming her senses, overwhelming her perception. The eye seemed to look down towards Clair, as if determining her worth, but she was lost in her gaze, frozen in shock. “Who… has awakened me?!” the monolith bellowed, a gust of air flowing from its figure towards Clair, tossing her hair around wildly. “Wh-What are you!” Clair screamed as she crawled backwards into her Vespa, grasping its frame for stability. In response, the eye pulsed brighter and brighter, seemingly growing in size as it consumed the area around it, as if feeding off of the world. Clair leapt to her feet desperately and hopped aggressively onto her Vespa, almost knocking it over again in the process. With a hard twist on the throttle, her engine ripped through the night air, leaving a trail of dust and smoke behind her, and sending her away from the monstrosity. The air around her seemed to grow colder as the gaze of the moon faded behind the horizon, making her bleak headlights the only comfort left for her in the world.

title: [SF] A Lost Cause

question: What does the story say about the protagonists' mission relating to radiation?

answer: The protagonist, Clair, is on a mission to check radiation levels. She is on a Vespa, and her radiation detector is chirping loudly. She is going to check a crashed cargo that is radioactive. She is going to check the radiation levels of a monolith.

critique: "She is on a Vespa, and her radiation detector is chirping loudly. She is going to check a crashed cargo that is radioactive. She is going to check the radiation levels of a monolith." - this is incorrect. The monolith is the one that is radioactive.

critique: The response includes extraneous information not useful for the task.

critique: The story does not say that the protagonist is going to check the radiation levels of a monolith.

critique: "She is going to check the radiation levels of a monolith." - this is incorrect. The monolith is the one that's radioactive.

critique: "She is going to check the radiation levels of a monolith." - this is incorrect. The monolith was the one that was radiating.

critique: "She is going to check the radiation levels of a monolith." - this is incorrect. The monolith is the one that is radioactive.

critique: The mission to check the radiation levels of the cargo is not mentioned.

critique: "She is going to check the radiation levels of a monolith." - this is incorrect. The monolith was the one that was radioactive.

text: The response is repetitive.

category: coherence

question: What does the story say about the origins of the creature that Clair finds?

answer: No answer

text: The response should say that the story does not mention the origins of the creature.


text:
_MAGYAR SZÓTÁR_ (A Dictionary of the Hungarian Language) is a Hungarian language reference work in two volumes, by Hungarian translator Tibor Bartos published in 2002 by Corvina kiadó, Budapest, Hungary. It is a cross of a dictionary of synonyms and a thesaurus. Rather than relying on methods of computational linguistics, the vocabulary has been compiled manually as a by-product of translation work done by the author over his lifelong career as a translator of literary works.

Volume One is the dictionary itself, while Volume Two is an alphabetical index of words contained therein.

The subtitle explains the nature of the work as: “A repertory of words and phrases explaining each other, Book 1 and 2.” Though he does not use the word _recursion_, the whole project is a study on recursion in the Hungarian language.

Bartos’ credo

“Words are not synonyms on their own. What happens is, that we, speaking the same language, “match make them” every day... You never look for a word by locating it as a vector diagram in a system theory... The latest edition of Encyclopædia Britannica does not even waste space for synonyms... The ambition to locate the appropriate word for the correct use of language is sought no more...”

Perhaps that was written in anticipation of the criticism published before his dictionary was actually published, on behalf of the professional lexicographers and taxonomists, such as Rudolf Ungvári, an authority in preparing thesauri in Hungarian, protesting the advent of "an outsider” in lexicography or taxonomy. But by the token of his original degree in ethnography or cultural anthropology Tibor Bartos, not to mention his tremendous amount of superb translation of literary works, is undoubtedly an authentic person to turn to when having problems with putting the right Hungarian words together in composition, translation or originating other ideas in writing to meet different stylistic criteria. It is another issue though that the representation of his knowledge is not in par with the output of NLP technology available today.

Biography

Tibor Bartos was born in Újpest, Hungary, on August 1, 1933. He graduated from Idegen Nyelvek Főiskolája and was working between 1954 and 1965 as an editor of Európa Könyvkiadó. He translated works by Albee, Arde, Barthelme, Becket, Behan, Bierce, Capote, Cary, Chesterton, Delillo, Dickens, Dos Passos, George Eliot, Ellison, Franklin, Fussel, Hagen, Hardy, John Irving, Kerouac, Kesey, D. Lessig, Oscar Lewis, London, Macdonald, MacLeish, Malz, Matthiessen, H. Miller, Moyes, O'Henry, Pinter, Pirsi, Poe, Roddenberry, Rosengarten, Stoker, Styron, Swinburne, Thackeray, Thurber, Updike, Vivian, Warren, Wesker, Tom Wolfe and Wongar. His awards include Wessely László díj (1981) and Év Könyve (1985). He died on 26 March 2010, after long illness.

Contents

Book One

1.  Szótár-magyarázó (Rationale)
2.  Fogalomkörei (The broad concepts or categories grouped under numbers)
3.  Hogyan forgassuk (Guide to browsing)
4.  Tár (List of words and phrases)

Book Two

1.  Betűrendes eligazítás (Alphabetic index)

title: Magyar szótár

question: Summarize the reasons that this dictionary exists.

answer: The author compiled the vocabulary manually as a by-product of translation work done by the author over his lifelong career as a translator of literary works. The author believes that words are not synonyms on their own, and that we, speaking the same language, "match make them" every day. The author believes that the latest edition of the Encyclopædia Britannica does not even waste space for synonyms. The author believes that the ambition to locate the appropriate word for the correct use of language is sought no more.

critique: The answer is a summary of the author's views, not the reason the dictionary exists.

critique: The answer should mention the author's education and degrees as well as awards.

question: Summarize the precursors to this sort of linguistic work in other language and/or language families.

answer: No answer


text:
Fear is like a seed. It starts out small, but with time and without restraint, it grows inside me, consumes me, and leaves me an empty husk of my former self. When I was a young child, I had no fears. I could climb the tallest tree, swim the longest lake, run the longest distance. My father smiled at my innocence, and my mother laughed at my youthfulness. Then my mother got very sick. She had fourth stage pancreatic cancer and died just two weeks after she had been diagnosed. This all happened when I was just twelve years old. My father turned bitter and violent. He never hit me, but his harsh and condescending words hurt as much as a whip. My mother was an incredible piano player, and my father forced me to follow in her footsteps. I practiced hard and often, but my father was insatiable; he would scream and hurl profanities at me every time I missed a key. That’s when I learned about fear; fear is the ugly clang of my fingers slipping on the piano keys, knowing that every mistake I make is just one more thing for my father to add to my list of failures. Fear is the icy gust that makes my skin prickle as my sharp-tongued father slams the door.

Despite my protest, my father entered me in multiple piano contests. He told me that he didn't expect me to win, but that maybe the judges would find me so abominable that they’d take pity on me and give me a prize anyway. A few minutes before I took the stage, my stomach clenched up; at my very first performance, I discovered I had crippling stage fright. I realized fear is the suffocating vice that crushes my lungs and leaves me gasping for breath. The once friendly applause of the crowd now sounds like a wild chant dooming me to failure. Fear is the acidic taste that fills my mouth as I prepare to take the stage. The gentle melody of the other performer’s music now sounds like a clock, loud and patronizing, counting down to the moment I will take the stage, and how much longer I have until I must return to my father’s condescending words.   Fear is the pounding of my heart and the inescapable glare of the spotlight, focused only on me. The heat is suffocating, but not as much as the thought that if this performance isn't perfect, my father will scream at me until his voice and my self-esteem are worn away.

I sat down nervously and played my song. I made no mistakes, but my playing lacked any feelings or emotions. Fear had shut me down; I couldn't have stopped playing if my life had depended on it. After the show, a boy slightly older than me congratulated me on my performance. I would see him see him many times throughout the next year; his name was Tyler. I went to my father expecting to get a fake smile to appease the judges (in years past, his shouts and abusive nature had worried the judges, which had led to awkward confrontations), but he just dragged me into the car.
“What on Earth was that crap?! Did I waste my precious time teaching you how to press keys? No! I taught you to win! Clearly, you don’t have your mother’s talent. I guess you’ll never be good enough. I should have known better.”

The rest of the drive home was spent in an angry silence. Fear is the salty tang in the air as bitter tears stain my cheeks.

As many more terrifying piano recitals came and went, I grew very close to Tyler. I was with him every day from six to nine for five years, and he became my closest friend. I trusted him with my life and told him all about my verbally abusive father. He seemed to be the only one who understood my unhappiness; he had a mother who was equally strict, although she had abandoned him a few months before he and I had met. We ended up dating and moved in together when I was eighteen; although my father couldn't control me, I could still hear his insults repeated in my head. Without my father there to hurl insults at me, I began to do it on my own. Tyler had started out very kind and understanding, but soon became frustrated with my crazy ramblings; he would often beat me when I muttered about what a failure I was. It was then that I learned fear is loving someone who will only hurt you. Fear is the slap of realization that my life will only get worse; just as bitter a feeling as Tyler actually slapping me. Tyler soon called my father to our house. When he saw my disheveled appearance, he laughed and told me I looked close to snapping. When those words passed his lips, a strange look came over his face.
The next day my father was found dead, and I was convicted as the murderer after. I had been deemed medically insane and a danger to society. It is from this penitentiary that I tell you my story. Fear is an ocean. Its tides ebb and flow; sometimes there is only a prickling of doubt, sometimes there is an overwhelming urge to hide and never come out. Fear is the shock of losing my desperate hold on the cliff of my life, plunging into the frigid waters below, the weight of my past dragging me down past the crashing waves. The ocean of my fears has swallowed me up, and I have been imprisoned. There is no escape; I will stay forgotten, alone in this room until I lose all sense of time and hope. Falsely kind faces smile at me and tell me that I’m alright, and I’ll only be here for “a short while”, but I know that I’ll be here forever. Fear is the realization that no matter what they say, I won’t be all right.

title: Fear is

question: What does the story say about the narrator's sense of self?

answer: As the daughter of a piano player and a psychologist father, the narrator grew up in a disciplined, strong-headed household. However, when her mother got very sick with fourth-stage cancer, her father turned bitter, violent, and critical. In an effort to find self-worth, she found comfort in traditional norm, Tyler, and pursued upward mobility, which at the time consisted of marriage. In her father's eyes, the narrator failed his expectations, and the marriage failed horribly. While institutionalized, the narrator went without satisfaction in the world, lost hope of self-worth, and realized that her only value lies in her prison cell. The narrator scarifies herself to rid what she would typically consider wonderful liberty, both in marriage and in life.

critique: The narrator's father is dead, and she is in prison.

critique: Only the first sentence is relevant to the question

critique: This response is not properly articulated. It includes a lot of unclear language.

critique: The reason for Tyler's disapproval of the narrator is omitted: he became physically abusive

critique: The narrator's mother died when she was 12, not when she was 18.

critique: The narrator's father was a psychologist, not a pianist.

critique: There is no evidence that the narrator's mother was a psychologist.

critique: The narrator's father was not a psychologist.

critique: The narrator's father was a psychologist, not a piano player.

critique: "However, when her mother got very sick with fourth-stage cancer, her father turned bitter, violent, and critical" is not evidence of the narrator's sense of self.

critique: Doesn't mention her insecurities and flaws.

critique: There is no evidence to suggest that the narrator pursued upward mobility.

text: Doesn't describe how the abusive relationships in her life impact her sense of self.

refinement: As the daughter of a piano player and a psychologist father, the narrator grew up in a disciplined, strong-headed household. However, when her mother got very sick with fourth-stage cancer, her father turned bitter, violent, and critical. In an effort to find self-worth, she found comfort in traditional norm, Tyler, and pursued upward mobility, which at the time consisted of marriage. In her father's eyes, the narrator failed his expectations, and the marriage failed horribly. While institutionalized, the narrator went without satisfaction in the world, lost hope of self-worth, and realized that her only value lies in her prison cell. The narrator scarifies herself to rid what she would typically consider wonderful liberty, both in marriage and in life.

question: What does the text say about piano education?

answer: No answer

critique: There is no answer because the text does not discuss piano education

critique: There is no direct mention of piano education, however, the protagonist's mother had been an incredible piano player and her father pressured her to follow in her footsteps.

critique: There is a reference to piano education.


text:
[Nurduran Duman (Beijing - November 2017), photo by J.Pijarowski] NURDURAN DUMAN (born 23 October 1974, in Çan-Çanakkale) is a Turkish poet, writer, translator, editor, culture & art journalist.

Nurduran Duman is a Turkish poet and playwright who lives in Istanbul. She wrote her first poem when she was 8 years old. When she was 9, she promised herself that in the future she would be a writer. She liked poetry, so she became a poet. Pursuing her passion for the sea, she received a degree as an Ocean Engineer and Naval Architect from the Istanbul Technical University. And, she’s a columnist in one of the most prestigious newspapers of Turkiye, Cumhuriyet. She is also a member of the Turkish PEN.

Life

Her books include Yenilgi Oyunu, the 2005 Cemal Sureya Poetry Award winner, and Mi Bemol. Semi Circle, a chapbook of her poems translated into English, was published in the United States in 2016, and “Selected Poems” (2017, Macedonian-English-Turkish) in Macedonia, “Selected Poems” (2019, Dutch-English-Turkish) in Belgium. Her poetry collection “Steps of Istanbul” (2019, Chinese-English-Turkish) was published in China in 2019, and was awarded as “The Poetry Collection of the Year of the Second Boao International Poetry Award”. She featured in the #internationalwomensday2018 (#IWD18) Modern Poetry in Translation (MPT) list of ten women poets in translation from all over the World in 2018. (http://modernpoetryintranslation.com/ten-women-poets-in-translation-for-international-womens-day-2018/). Her poems also have been translated into Finnish, Chinese, Spanish, Azerbaijani Turkish, Bulgarian, Romanian, Slovak, French, German, Occitan, Macedonian, and Italian etc. The poem “act” for Alexandre Hollan’s painting, she wrote upon request of Paul Valéry Museum in France, was published in the book of museum “Peinture et Poésie (Painting and Poetry)”. She is a poet included in the European poetry platform, Versopolis.

Individual translations of her poems have been published in Gallerie (India), Colorado Review, Interim, Faultline, Eleven Eleven, Asymptote, and other international journals. Recently, Duman was featured in the American art-literature magazine BRN with an interview conducted by Victor Hernandez Cruz, poet and Chancellor of the Academy of American Poets. Her article about the relationship between world peace and literary translation “Translation of Literature Means Peace” was originally written in English and appeared in the Finnish magazine Kaltio, translated into Finnish by Paavo J. Heinonen.

Duman also actively translates literature into Turkish. She translated Alma Alexander’s book The Secret of Jin-shei, published in Turkey in 2007. Her poems, translations (poems and stories), poetic articles, book reviews and interviews with foreign writers (e.g. Eileen Gunn, Karen Joy Fowler, Yiyun Li, Anna Tambour, Monica Arac de Nyeko, etc.) have been published in numerous magazines and newspapers. She has also translated the poems of Anne Sexton, Sara Teasdale, Edna St. Vincent Millay, and Slyvia Plath.

Duman was elected as a board member of the Writers Syndicate of Turkiye and is an active member of Turkish PEN. She presented the literature programme ‘Yazın Küresi – Sphere of Literature’ and the children literature programme ‘Kitap Hazinesi – Treasure of the Book’ for radio and television. She has also been involved in many theatre activities as an actress, director throughout her career, and as a playwright nowadays. Her play “Before the Fly” was accepted into the repertoire of Turkish State Theaters. She teaches the course “Sociological Analysis in Turkish Literature” at Bahçeşehir University and she moderates literature activities as a curator in various platforms. She curated two events in Istanbul in 2019, in the name of the World Poetry Movement. Duman actively participates in a wide range of international literary events.

She is giving creative writing lessons and poetry lesson in Metot Sanat Academy.

Awards

-   Cemal Süreya Poetry Awards for _Yenilgi Oyunu_
-   “Steps of Istanbul” (2019, Chinese-English-Turkish) was published in China in 2019, and was awarded as “The Poetry Collection of the Year of the Second Boao International Poetry Award”

Literary works

Books

-   Yenilgi Oyunu (The Defeat Game) (Poetry, 2006, Istanbul; Komşu Publishing, Yasakmeyve Books)

-   İstanbul’la Bakışmak, Salacak (Exchanging Glances With Istanbul, Salacak) (Prose, 2010, Istanbul, Heyamola Publishing)

-   Mi Bemol (Mi Bemol) (Poetry, 2012, Istanbul, Noktürn Publishing)

Translations of her works

-   Semi Circle, (a chapbook of translations of the poet published by Goodmorning Menagerie in USA in January 2016)
-   Selected Poems for Versopolis (Poetry, 2017, Turkish-Macedonian-English, published by Struga Poetry Evenings)
-   Steps of Istanbul(Poetry,2019,Turkish-Chinese-English,translated by Cao Shui)

Book translations

-   Jin-shei Kız Kardeşlik Sırları (The Secret of Jin-shei) (2006, İstanbul, Writer: Alma Alexander, Literatür Publishing)

title: Nurduran Duman

question: What does the article say about Duman's published works?

answer: She has published books, poems, and translations. Her poems were translated into English and published in the United States in 2016. She also has a book of poems published in China in 2019. Her poems were also translated into Finnish, Chinese, Spanish, Azerbaijani Turkish, Bulgarian, Romanian, Slovak, French, German, Occitan, Macedonian, and Italian. Her article about the relationship between world peace and literary translation was published in the Finnish magazine Kaltio. She also translates literature into Turkish. She has translated the poems of Anne Sexton, Sara Teasdale, Edna St. Vincent Millay, and Slyvia Plath. She presented the literature program "Yazın Küresi – Sphere of Literature" and the children literature program "Kitap Hazinesi – Treasure of the Book" for radio and television. She has also been involved in many theatre activities as an actress, director, and playwright. Her play "Before the Fly" was accepted into the repertoire of Turkish State Theaters.

critique: The answer is a summary of the article and should be more specific.

critique: The response contains extraneous information not useful for the task.

critique:
She edited the collection of poems

She published a book in 2007

critique: The response includes extraneous information not useful for the task.

text: The literature programs Duman presented are irrelevant since the question asks about her published works.

question: What does the article say about Turkish Delight?

answer: No answer

critique: The answer cannot be found in the passage.

critique: The article doesn't mention Turkish Delight.

critique: The question is asking for information that is not in the article.


text:
Reuters Health - Eating foods high in fiber, such as those found in a Mediterranean diet, was tied to a lower risk of gallbladder surgery in a recent French study.

Compared to people who didn’t follow a Mediterranean diet pattern, those who adhered to it most closely had a significantly lower likelihood of needing a cholecystectomy, which is the medical term for an operation to remove the gallbladder, say the authors.

“We found that higher intakes of legumes, fruit, vegetable oil, and (whole grain) bread were associated with decreased cholecystectomy risk, and a higher intake of ham was associated with higher risk of cholecystectomy,” wrote the authors in the American Journal of Gastroenterology.

About 700,000 cholecystectomies are performed every year in the United States, according to the American College of Surgeons. Most are the result of blockage due to gallstones.

“Gallstones are very common, but most of them are asymptomatic, meaning people have no symptoms. If you don’t have any symptoms from your gallstones, there’s no reason to have your gallbladder removed,” said Dr. James Lewis, a gastroenterologist at the University of Pennsylvania in Philadelphia who was not part of the study.

The vast majority of people with gallstones never have problems from them, Lewis said in a phone interview.

“When they do cause problems, then having your gallbladder removed is completely appropriate,” he said.

The new study, led by Dr. Amelie Barre at the University of Paris Sud in Orsay, used information on nearly 64,000 women who were born between 1925 and 1950 and covered by a national insurance plan. Every two years, they answered questions about their health status, medical history, and lifestyle.

Over the course of 18 years, 2,778 of the women had their gallbladder removed.

Women who ate the most legumes, fruits, vegetable oil, and whole grain bread were anywhere from 13 to 27 percent less likely to have gallbladder surgery than were women who ate the least of those foods.

A western dietary pattern - including high consumption of processed meat, canned fish, eggs, rice, pasta, appetizers, pizza, potatoes, cakes, and alcohol - was not linked with either a higher or lower risk for the surgery. There was, however, an association of ham intake with cholecystectomy risk.

But when researchers assigned a Mediterranean diet score to all participants, they found that women with the highest scores were 11 percent less likely to have the surgery compared to women with the lowest scores.

This type of observational study can’t prove that a Mediterranean diet was the reason for women’s lower risk of gallbladder surgery, or that ham intake caused a higher risk. Furthermore, dietary intakes were self-reported at just one point in time. The reports may not have been accurate, and women’s diets may have changed over time.

Still, Lewis said, the Mediterranean-style diet has consistently been shown to be associated with living longer.

“If people really want to think about what they should be eating in order to increase their longevity, it’s very easy for me to recommend to them that they should try and follow a Mediterranean-style diet,” he said.

In fact, the U.S. Department of Agriculture recently advised Americans to follow a diet that is very similar to a Mediterranean-style diet, Lewis noted. (bit.ly/2vHSL8h)

“This is just one of many reasons that we should be following that style diet. If you look at the published literature on dietary patterns, what you’ll see is that Mediterranean-style diet has been associated with a reduced overall mortality but also reduced cardiovascular mortality (and) reduced risks of cancer,” he said.

SOURCE: go.nature.com/2wpsVSL The American Journal of Gastroenterology, online July 25, 2017.

for-phone-onlyfor-tablet-portrait-upfor-tablet-landscape-upfor-desktop-upfor-wide-desktop-up

question: Summarize the findings of the study.

answer: 700,000 people have their gallbladders removed each year in the United States, most are due to the presence of gallstones. However, 95% of those people have no symptoms. Additionally there is no known association of a western diet with the risk or likelihood of surgery. However, a Mediterranean style diet has been linked to reduce mortality and risk of cancer.

critique: The response includes extraneous information not useful for the task.

critique: The information about gallstones is irrelevant to the question.

critique: "Mediterranean" - add "a" before "Mediterranean"

text: The "95%" statistic is made up and not present in the passage.

question: How was the study conducted?

answer: The study was led by Dr. Amelie Barre at the University of Paris Sud in Orsay. It used information on 64,000 women born between 1925 and 1950 and covered by a national insurance plan. Every two years, they answered questions about their health status, medical history, and lifestyle.

critique: The answer should mention the study's duration.

critique: The answer should mention the dietary information.

critique: The answer should mention that the study was observational.

critique: The answer does not provide an accurate description of how the study was conducted, despite tying it to the duration of the study. There's no need to mention Dr. Barre or the university for conducting an epidemiological study about diets based on questions the women answered themselves.

critique: The answer should mention the dietary habits of the women.

critique: The information about the study is irrelevant to the question.

critique: The response misses to mention that the women were born between 1925 and 1950 and covered by a national insurance plan. Every two years, they answered questions about their health status, medical history, and lifestyle.

critique: The answer should mention that the women were followed for 18 years.

question: What foods did not increase or decrease the risk of gall bladder surgery?

answer: A western dietary pattern, which includes high consumption of processed meat, canned fish, eggs, rice, pasta, appetizers, pizza, potatoes, cakes, and alcohol.

critique: The answer should mention that the pattern was not linked with either a higher or lower risk for the surgery.