text:
The 14TH ARMY was a field army of the Soviet Army, formed twice.

The army was first formed during the Winter War, in which two of its divisions fought in the Battle of Petsamo. After Operation Barbarossa, the army fought against German and Finnish attacks in Operation Silver Fox. In the middle of July 1941 the army was able to hold its positions. In October 1944 it fought in the Petsamo–Kirkenes Offensive and seized Pechenga. The army defended and guarded the newly captured territory until the end of the war. Its headquarters became the Belomorsky Military District at the end of July 1945. The army reformed in June 1948 from the 126th Light Mountain Rifle Corps as the 14th Army (Assault). Stationed on the Chukchi Peninsula, the army's mission was to invade Alaska in event of a war. It was disbanded in May 1953 after Stalin's death.

History

The first 14th Army was formed in October 1939 in the Leningrad Military District. It participated in the Soviet-Finnish war, during which its 52nd and 104th Rifle Divisions fought in the Battle of Petsamo.

From 24 June 1941 the army included the following units.[1]

    42nd Rifle Corps (Ist Formation 22 June 1941, disbanded 14 October 1941; was used to reinforce the Kandalksha operational group)[2]

        293rd Separate signals battalion
        279th separate sapper battalion
        104th Rifle Division
        122nd Rifle Division

    14th Rifle Division
    52nd Rifle Division
    1st Tank Division
    23rd Murmansk Fortified Region
    1st Mixed Air Division (HQ Murmansk, Colonel M.M. Golovnya, disbanded February 1942)[3]

        137th Fighter Aviation Regiment (Afrikanda) (SB)
        145th Fighter Aviation Regiment (Shangui) (38 I-153)
        147th Fighter Aviation Regiment (Murmashi) (36 I-153) Leonid Ivanov won the Hero of the Soviet Union posthumously while flying with this regiment up to his death on 27 June 1941.

    258th Fighter Aviation Division was formed from the Air Forces of the 14th Army in 1942
    a number of artillery and other units

The army was initially subordinated to the Northern Front and conducted defensive operations on the Murmansk, Kandalaksha and Ukhta directions against the German-Finnish Operation Silver Fox (29 June 1941 – 19 September 1941) and in coordination with the 7th Separate Army, in the Defensive Operations on the Petrozavodsk, Ukhtinsk, Rugozersk, and Olonetsk directions (1 July 1941 – 10 October 1941). In November 1941 three deer transportation units were formed in the 14th Army, each of them included 1,000 deer and 140–150 herdsmen and soldiers.[4] From the middle of Army was able to stop Finnish enemy forces advance, and subsequently until October 1944 (from 23 August 1941 as part of the Karelian Front) it solidly retained its sector positions, and conducted active offensive combat for the purpose of improvement in the position it occupied.

On 18 October 1944, the 14th Army after rearrangement was involved in the second stage of the Petsamo-Kirkenes Operation. From south to north in the battle were introduced 127th Light Rifle Corps, the reserve of the 31st Rifle Corps, 99th Rifle Corps, 126th Light Rifle Corps, 131st Rifle Corps. At that time, battles were mainly in the pursuit of the retreating enemy. 127th Light Rifle Corps and 31st Rifle Corps advanced on the Nickel, the 99th Rifle Corps and the 126th Light Rifle Corps on Ahmalahti, 131st Rifle Corps on Tarnet.

By 20 October 1944 127th Light Rifle Corps and 31st Rifle Corps semicircle covered Nickel from the north, south and south-west, 21 October 1944 126th Light Rifle Corps reached the lake Klistervati, 99th Rifle Corps 22 October 1944 released the road Ahmalahti – Kirkenes. 131st Rifle Corps has released 10/17/1944 to the state border and entered 18 October 1944 on Norwegian soil. Nickel was taken 22 October 1944.

Forcing Yar Fjord on 24–25 October 1944 Army troops fanned out in Norway. 31st Rifle Corps, without forcing the bay, and ran down the deep south, and reached Nausta 27 October 1944, coming on the Norwegian-Finnish border. The 127th Light Rifle Corps carried out an offensive attack in the same direction, but on the western shore of the Fjord. The 126th Light Rifle Corps undertook deep inroads in the west and reached the city 27 October 1944 Neiden 99th Rifle Corps and the 131st Rifle Corps rushed to Kirkenes, which was released on 25 October 1944, the then 99th Rifle Corps also sent the city Neiden.

By 29 October 1944, the Petsamo-Kirkenes operation was over, and with it the 14th Army's combat role. While the German forces evacuated and burned the far north of Norway, using scorched earth tactics, the Soviet advance was halted at the Tana River. Norwegian forces arrived to occupy the area between Soviet and German forces and support those civilians who had refused to evacuate. The 14th Army had taken the city of Petsamo (today Pechenga). Subsequently, until the end of the war the army defended the newly occupied territory and the state borders of the USSR with Finland and Norway.

Commanding officers

-   Lieutenant General V. A. Frolov (October 1939 – August 1941)
-   Major General Roman Ivanovich Panin (August 1941 – March 1942)
-   Major General Vladimir I. Shcherbakov (March 1942 – May 1945), from the end of April 1943 lieutenant general.

On 31 July 1945 the army headquarters was disbanded and the personnel were used to fill out Headquarters Belomorsky Military District.

14th Assault Army (1948-1953)

The army was reformed in June 1948 from the 126th Light Mountain Rifle Corps as the 14th Army (Assault). According to some data, there were plans for its use in Chukchi Peninsula and, in the case of war, landing in Alaska.[5] The army included the 116th, 117th and 121st Rifle Divisions, all former mountain rifle brigades. These divisions were not equipped like standard rifle divisions and lacked tank and antitank artillery battalions. The army included the 1221st and 1222nd Separate Cannon Artillery Regiments, the 280th Separate Engineer-Sapper Battalion and the 187th and 493rd Separate Communications Battalions as well as the 687th and 1252nd Separate Communications Companies.
It was commanded by Lieutenant General Nikolay Oleshev.[6]
In 1949, the 95th Mixed Aviation Division (converted to fighters in 1952) at Anadyr became part of the army.
On 4 May 1951, Major General Georgy Latyshev took command of the army. Lieutenant General Ivan Rubanyuk became the army commander on 14 April 1952.
The army was disbanded in May 1953 after Stalin's death.[7]

[1] p.138, Lenskii

[2] p.23, Perechen No.4 Headquarters of Corps, Soviet General Staff, Moscow, 1956

[3] Niehorster, http://niehorster.org/012_ussr/41_oob/leningrad/air.html, disbandment date from Russian Wikipedia article. Title of divisional also translates as 'Composite'.

[4]

[5]

[6]

[7] Feskov et al 2013, pp. 581–582

title: 14th Army (Soviet Union)

question: Summarize the history of the army.

answer: The army was first formed in October 1939 in the Leningrad Military District. It participated in the Soviet-Finnish war, during which its 52nd and 104th Rifle Divisions fought in the Battle of Petsamo. From 24 June 1941 the army included the following units. In November 1941 three deer transportation units were formed in the 14th Army, each of them included 1,000 deer and 140-150 herdsmen and soldiers. The army was initially subordinated to the Northern Front and conducted defensive operations on the Murmansk, Kandalaksha and Ukhta directions against the German-Finnish Operation Silver Fox.

critique: The answer should mention the army's second formation.

critique: The answer should mention the 14th Assault Army.

critique: The answer omits the army's second formation.

critique: The army's activities in November 1941 are irrelevant to the question.

critique: Extraneous information that is not relevant for the question. Remove the information about the units, subsequent battles and October 1944.

question: Who were the commanding officers and when?

answer:
Lieutenant General V.A. Frolov (October 1939 - August 1941)
Major General Roman Ivanovich Panin (August 1941 - March 1942)
Major General Vladimir I. Shcherbakov (March 1942 - May 1945), from the end of April 1943 lieutenant general.
Lieutenant General Nikolay Oleshev (1948-1953)
Major General Georgy Latyshev (1951-1953)
Lieutenant General Ivan Rubanyuk (1952-1953)

critique: The answer should mention the army's second formation.

critique: The answer should include the army's first formation.

critique: The answer should be in chronological order.

critique: I'm not sure why I skipped the first captain, which is listed in the article. The article also gives Leningrad a maj. rep.

critique: The answer should include the names of the commanding officers.

critique: The comma before the final officer is unnecessary.

critique: The answer should include the dates for the last two commanding officers.


split: train

text:
The Beginning

The leaves fall relentlessly through sheets of rain. A boy rushes to get to the subway. Past the shallow puddles on the sidewalk, not giving a second glance at people on the street, he sprints down the stairs and into the underground network.

The boy is trying to make it halfway across the city, a one-train trip, only three stops, and the next one won’t come for another hour. A backpack slung over his back, it’s contents being a science textbook and a book entitled *Violin: From Crescendo To Concerto*, he is headed to a five o’clock violin lesson, directly followed by an hour long math tutor, and finally practicing his lines for the school play, *Hamlet*.

The young man is halfway to the station when he realizes he is five minute early. You would think that this would relax him, give him a moment of peace, but no. It only further increases his anxiety. Horrible thoughts of a broken train or a flooded tunnel fill his mind. He sits down, anxious beyond measure,and doesn't even notice the quarter fall from his pocket. He sees it, and upon realizing that it's his he springs up and walks towards it.

Too late however, a man bundled in various winter coats and another coat of grime bent down and grabbed it.

"Excuse me, sir," the boy says to the man.

The man walks on a if he hasn't heard him.

The boy repeats himself, louder than before, "Excuse me, sir!"

The man stops and looks behind, giving the sense that he has not heard the boy yet another, more subliminal sense, suggesting that he had.

"What is it you want, boy?" The man gives him a hard stare, as if daring him to say more.

The boy stutters, "I, um, the coin, it's um, mine could I-".

The man snaps at him, "Cut to the chase, boy! You won't get anywhere with that second-guessing cinder block up there between your shoulders!"

"I'm sorry sir, it's just that coin you picked up from the ground, it' mine."

The man offers sarcasm, "Well, such a *strong-minded* individual such as yourself who *obviously* shows very *plain* leadership qualities ought to have everything that is rightfully his, shouldn't he?" The man tosses the coin into the boy's outstretched hand and turns away.

The boy knows he shouldn't interfere with the man anymore, he was an odd type and gave him a bad feeling, but his attitude perplexed him more than anything and he wanted to know more.

"Excuse me, sir!", he calls out once more.

The man turns back, a look of vexation crossing his face.

"What is it you want now boy, is it the dollar I have hidden up my sleeve, or maybe the roll of dimes in my coat pocket?"

"No sir, I'm sorry for asking, but what is it that has you so flustered?"

"Flustered! I said nothing that implied my being flustered! What makes you assume that?"

"It's just, you seemed very cross at departing with that coin and-"

"I wasn't cross with the *coin*, I was cross with *you*, boy!"

"What have I done to offend you?", said the boy, trying not to express his own offense.

"You don't have the right look about you boy. Your gait's hurried, your fingers are restless, and your voice box's barely flickering with power."

"Why is that a problem, sir?"

"See, look at that! You're supposed to get up in my face, show some anger, something! Who taught you to be so soft-spoken?"

"Well, my parents taught me the rules, and I follow them in school."

"That's *despicable*! Tell me, boy, what happens if you do follow these *rules*?"

"Well, I've been told I'll have a happy life with a good job and lots of money." The whole time the boy has stared into space, hardly blinking.

"Lies!", the man shouts, "I'll tell you something, boy, not because I want to, but because you need to hear it."

"What is it then?"

"You're working for an empty cause. The lies they tell you is to keep your potential hidden, to make sure you work for them, not vice versa. You busy a lot?"

The boy nods.

"Just as I thought, they're really distractions. Who really cares if you can play Beethoven's 5th, can you choose between right and wrong. Can you see that there is something beyond what you know, something greater that valedictorians and diplomas, or will you live your life as another worthless human being?"

The boy is startled. Things are starting to make sense. "I'm afraid I don't quite follow you, sir."

"Tell me boy, do you do the things you do because you want to or because of this better life thing?"

The boy is too stunned to speak.

"It's like a modern *carpe diem*, boy. Every day wasted is a day you gave to them, do you want to continue to live like this?"

The boy shakes his head no.

"Neither do I, boy. But you're younger than me. You have a better chance at bringing about the change than I do. We cannot have these ideals yet, we have to work towards them, and maybe one day we will amount to something."

"I'm sorry, who's "we"?"

That moment his subway rolls into the station. The man smiles at him. "Remember what I said."

The boy gets into the subway. He turns back to get a glimpse of the man. He does. He also notices a tattoo on his arm that he didn't notice before. An "A" with a circle around it. Then the man vanishes from sight, into the crowd.

The boy sits down and opens his backpack. In it, along with it's previous contents, is a bunch of papers stapled together, a book called *Against the Logic of Submission* by Wolfi Landstreicher. IT looks as though it was printed by a home printer. The boy begins to flip through it when he notices a piece of lined paper, poorly torn out of a notebook, probably. It has one simple address: 818 SW 3rd Ave., PMB 1237 Portland, OR 97217.

With the address and the papers the boy slowly begins to awaken over the next few weeks. He realizes to the full extent what the man was saying. He begins a plan.

He leads the revolution.

title: The Beginning

question: Summarize the trajectory of the quarter.

answer: The quarter falls from the narrator's pocket as he stands. A man picks it up and then drops it in the narrator's outstretched hand. The narrator has a conversation with the man and then picks up the coin to put it back in his pocket.

critique: The narrator's name is never given, so he is not the narrator. The boy is the narrator.

critique: The answer is misleading and confused. It should be scrapped.

critique: The first two sentences do not refer to the quarter.

critique: The quarter doesn't fall from the boy's pocket as he stands. It falls from his pocket as he's sitting.

text: The coin isn't mentioned again after the narrator's conversation with the man

category: coherence

question: Summarize the surprise ending to the story.

answer: The man surprises the boy by giving him a book about anarchism. He also gives him an address, which the boy uses to learn more about anarchism. Then he leads the revolution.

critique: The book is not about anarchism but 'Against the Logic of Submission'

critique: The man did not give the book to the boy.

critique: The man also gives the boy a book about anarchism

critique: The man doesn't give the boy a book about anarchism. The boy already has a book about anarchism.

critique: The phrase "surprise ending" is a bit misleading. The surprise of the story is a complete reversal of the reader's expectations about the kind of man the man the boy encountered is.

critique: The man doesn't give the boy a book about anarchism. He gives him a book called "Against the Logic of Submission" by Wolfi Landstreicher.

question: What does the story have to say about conformity?

answer: The story seems to be about the need for change and the need for conformity. The man tells the boy that he is working for an empty cause, that the people in charge are lying to him, and that he should break free and fight for a better life. The story seems to be about the need for change and the need for conformity.

critique: It misses to mention that the man advises the boy to defy the expectations set by his teachers, peers, and parents and rebel against conformity by finding his own life path instead of following the rules.

critique: The story doesn't really say anything about conformity.

critique: The story is not about the need for conformity.

critique: The story does not seem to be about the need for change and the need for conformity. It is about conformity and the need to break free from it.

question: What does the story say about the convenience of the public transit system?

answer: No answer

critique: The answer should mention that the public transit system is convenient for the boy.

critique: The story talks specifically about the boy being anxious about his train coming on time, which is why he worries so much. Oftentimes throughout this story, people are running on the streets, rushing to get to their destinations.

critique: The answer should mention the boy's train trip.

critique: The response misses to mention that the story highlights the convenience of the public transit system by showing how easy it is for the boy to make it to the subway station.

critique: The story doesn't say anything about the convenience of the public transit system.


text:
I opened my eyes. What time is it? I look outside. Hmm, there doesn’t appear to be any sunlight. Tick Tock, Tick Tock. The sound of the clock captures my attention. I turn over in my bed. The clock is stopped. I am confused, I swore I heard it ticking only a moment ago. The time reads seven o’clock. I know that isn’t right, as the sun would be up if it were seven in the morning or at night. I turn back over and I see my wife in bed with me. She sits there breathing, calmly. I get out of bed, walk down the hall and open the door to my son’s bedroom. I peer inside and see him curled up in bed and sucking on his thumb. I walk down the stairs, through the living room and into our kitchen. Our house was three bedroom house, with a living room, dining room and kitchen. The living quarters were upstairs while the other rooms were down stairs. I looked at the digital clock on the oven. 12:00 blinks on the display. I guess the power cut off a few minutes ago. I flip the switch on the wall just to check, the light comes on. I guess in retrospect that wasn’t necessary as the clock above the oven was on. I go back upstairs to check my phone. I pick it up, however it won’t turn on. At this point, I begin to get frustrated. Maybe I should just go back to sleep, and wait for the sun to come up. I decide to do just that. So I get back in bed with my wife, I close my eyes and drift slowly back into a deep slumber.
What time is it? Where are you? Who are you?
I wake up from my sleep. A cold sweat is dripping down my back. I feel like I am having to gasp for air. Panic overcomes me. Sheer terror. I look to my right, the bed is empty. I call out for my wife, no response. I walk down the hall to my son’s bedroom. I open the door and he is gone, his teddy bear however in his place. I call out for my son. No response. I walk over to the window which overlooks the driveway, my wife’s car is still parked. Hurriedly, I rush downstairs and check the backyard. A sigh of relief. My son sits in the corner, digging at the ground with a stick. My son is four years old, small kid for his age. He has beautiful brown hair which he gets from me, however his stunning blue eyes he gets from his mother. I open the back door and I run to him. He looks at me, fear swelling in his eyes and begins to cry. I tell him that it’s me, his father. However he screams. I try to pick him up, but he only squirms and wails. I back up from my son, only to see nothing. He disappears. My legs shake and I vomit. I turn around, all I see are ash and embers. I pass out.
Remember what I told you?
I wake up and I hear the comforting sound of my wife’s voice. There is a white light overhead, her face is but a blur. Slowly things begin to come into focus. Her blonde hair brushes against my face. How long have I been out? I see her more clearly now, and I can see that she’s been crying. I ask her what is wrong. She tries to speak, but only her lips move. I hear nothing. I snap my fingers. Snap, snap. I can hear that, why can I not hear my wife’s voice? My wife’s face begins to fade, no longer does my wife stand before me, but a nurse. She brushes the hair out of my eyes, I feel a sharp pain in my arm. She tells me it will only hurt for a second. I wince, it felt like hours. I begin to speak, but the nurse tells me to be quiet. Where is my wife?
These things happen.
I’ve been in this room for what I guess has been three days. Finally, a nurse came in and told me they’d be moving me into a less intensive room. She helped me out of my bed and into my wheelchair. As I was being rolled down the hall, every person that I passed looked at me. However, their stares were not just blank stares, They seemed to have genuine emotion. It was as if they pitied me. I began to feel uncomfortable, so I closed my eyes. The nurse stopped for a second and asked me to wait. I opened my eyes again to see the nurse walking away. I was alone. I sat there for a moment. All the sudden my wheelchair began to move again. I looked behind me, but I saw no one. As the chair rolled, it bang to pick up speed. Faster and faster it pushed me. I was headed straight towards the double doors at the end of the hall. The chair had no plans to slow down. As we approached the doors, the doors flung wide open and before me was a dark abyss. I was flung into this utter emptiness. However, I never once felt like I was falling. I was merely floating. I turned to look at the doors, but they were gone. I was alone in this dark void.
You will overcome.
A strange light appeared below me, or maybe it was above me. The light began to expand and grow, warmth radiated from that light. I’ve always been told to stay away from the light. However, I could not help but to want to be consumed by the light. I smiled as the light seemed to grow and finally overcome me. I landed on a cloud. Was I in heaven? No, a man behind me said so sternly. You are not in heaven, nor are you in hell. You aren’t anywhere. I turned around, but no one was there. You won’t find me by looking. You will never find me. I cannot be found. The cloud opened up and I fell. I landed in the ocean, or what I thought was the ocean. I swam to the top of the water. I stepped out into my bathroom. I brushed the dust off my bed. How long had it been since I slept here? I got under the covers and I fell asleep.
You will restore.
I woke up. Bacon. I turned over, my wife was not in bed. I walked to my son’s room, nothing. The smell of bacon intensified. My wife. Cooking. I grab her and turn her around. She smiles. Bacon.

title: [TH] Bacon.

question: Where is the narrator located?

answer: The narrator is located in a house with his wife and son.


text:
About a month ago, my girlfriend asked me for a fake name idea for one of her law school papers because they have to be submitted anonymously so the teachers aren't biased when they grade them. Anywho, I came up with a name and a story to accompany it...

I'm very open to criticism. I'd like to see how it does from people that I don't date.

----

Beefy Bitch...

Cornelius Harberdash VII

While his name might allude to an impressive pedigree, Cornelius comes from a rather rough past. Growing up an orphan is never easy. With a name like Cornelius, it was a matter of time before the other orphans started calling him Corn which then led to Cornbeef which then led to Cornbeef bitch because as we all know, children love simple alliteration especially when it is used to make fun of others. Irony won when a child born "Cornelius Harberdash VII" eventually found himself haunted by the painfully shortened nickname "Beefy Bitch."

Beefy Bitch awoke and began wiping the sand from his eyes.
"How'd ya sleep BB?" said Tom O'Horseraddish. "Okay, I figures" BB grumbled.
Today was one of the best... Grilled Cheese Tuesday. BB loved Grilled Cheeses most of all. More than pudding. More than Oreos. More than Oreos dipped in pudding. He could NOT wait for lunchtime. Hopefully Ms. Wartburger would let him get in line early if finished his chores first. Cleaning the toilets with toothbrushes wasn't that bad - especially if you compared it to THE other chore. The chore that was so horrific and inexplicable that only the worst of the orphans was burdened with its doing. Last month, Tom had been given the chore because he set 5 tacs in my Ms. Wartburger's desk chair. In short, Tom hasn't been the same. He doesn't even like Grilled Cheeses anymore which conveniently enough is great for BB.

"Say O'Horseraddish, you gonna eat yer Grilled Cheese today?" BB said rhetorically. Tom's eyes got puffy and he went silent for a bit after the question...

"NO, it's all yours," Tom spewed as he choked back another gag at the thought of cheese.

The day went on, and BB's passionate for Grilled Cheese fueled the most spectacular toilet cleaning imaginable. One would feel guilty for even breathing on the toilets after seeing their pristine glisten.

BB showed Ms. Wartburger his accomplishments expecting a congratulatory praise.

"Dat shitter looks like shit!" howled the Burger.

"But Ma'am I went through 6 packs of teefbrushes today, and last week Timmy-Bob used only 2." BB pleaded.

"You givin' me lip boy?" bellowed the burger.

"No'am"

"Damn straight, you're not... Now get the hell out of here 'for I change my mind and make you clean 'me again"

BB scurried off hoping to beat the other orphans. His only motivation to keep going was founded in the Grilled Cheese. Without it, he might as well forget how to breath.

As he turned the corner to the kitchen's food-line, he saw something that literally altered his existence.

 "Cornbeef" showed on the Kitchen's Bulletin Board.

To this day, there exists no string of words to describe BB's emotional implosion when his eyes scraped over each letter.

As BB stood there, anger began to culminate. A fury started to swell that is illegal in most moral municipalities. BB's vision faded and his concept of reason dissipated. He took twelve solid steps forwarded and cried, "CORNBEEF?!?!?!"

"Haha what's da matter Beefy Baby Bitch!" mocked Sampson Puddlenut.

"Look er'body, Beefy Baby Bitch is sad bout the Cornbeef."

BB mechanically turned his head and fixated on Puddlenut. He had always picked on BB. However, today was quite possibly the worst day for Puddlenut to toss a snide comment. Puddlenut had essentially signed his own death certificate.

"Dafuq ya say to me?!" BB challenged ferociously.

Puddlenut immediately knew he had made a mistake. Even though he was 3 years older and 2 feet taller, Puddlenut had heard about BB's origin's. Until today, BB's past had seemed to be but fiction. BB's current intensity confirmed the rumors in an instant. Puddlenut couldn't handle the realized folly anymore. He wet himself on the spot - which led to his eventual nickname "Puddlepants" but nevermind that now.

"That's what I thought Puddles, now MOVE OUT OF MY WAY."

The sea of orphans split as BB marched to the front of the line. Nobody had breathed, let alone moved freely in the past 57 seconds due to fear of capturing BB's attention. Movement in the kitchen only corresponded to the inaudible demands made by BB as he cleared the way.

As he scanned the staff for the highest ranking adult he met eyes with none other than his eventual mortal enemy.

----

That's as far as I got before purposefully pulling the "to be continued?!" bullshit. I wasn't sure if I'd keep writing but I thought why not leave it open ended? Cliff Hangers are pretty popular for a reason. Closure can leave the audience satisfied and ready to move on with things.

title: The Legend of Beefybitch

question: What is THE other chore?

answer: The other chore is so horrific and inexplicable that only the worst of the orphans was burdened with its doing. The narrator says that Tom had been given the chore because he set 5 tacs in Ms. Wartburger's desk chair.

critique: The response is missing the part of the answer that describes the other chore.

critique: The response should include that the narrator is not sure what the chore is.

critique: The answer is not related to the question.

question: What has upset Beefy Bitch so much?

answer: He is upset because the kitchen has run out of grilled cheese sandwiches.

critique: The narrator does not mention that Cornbeef was written on the kitchen's bulletin board, upsetting Beefy Bitch.

critique: The answer is a guess. The story doesn't say.

critique: Beefy Bitch had his heart set on grilled cheese sandwiches and actually has to eat something else that day. His anger is fueled by the difference in how many toothbrushes he used compared to another kid and how well he cleaned the toilet. The sentence should be rewritten for clarity.

critique: The answer is incorrect. Beefy Bitch is upset because the kitchen has run out of grilled cheese sandwiches.


text:
Michael wore aviators that he bought at a gas station. Scratched off the label and told everyone that they were custom built by some Italian guy. But after a Google search of Luigi Vespucci didn't yield an Italian eyewear crafter who specializes in American design, they called bullshit. So Michael called them uncultured.

Michael wore Tommy Hilfiger shirts and shorts with his sun-kissed Sperry's. He had yellow, red, purple, and green ones, seersucker, striped, solid, and dotted ones. He thought they made him look devil-may-care. They made him look snobbish. When there wasn't any sun, he hung his sunglasses off the top button of his shirt to flaunt true Italian craftsmanship.

Michael gelled his hair in a supposedly sensual way. On his chin, the goatee that he had been nurturing for over a month (but which he wasn't old enough to grow) struggled to survive. The wispy hairs swayed lazily with every condescending shake of his head. To his face, people complimented his mature appearance. Behind his back, they giggled mercilessly.

But Michael was proud of that emaciated patch of hair. You have to be proud of everything you accomplish when you don't accomplish much.

Unfortunately, Michael was unbearably proud. One time in grade school, he won Student of the Week. Everyone did, a fact that Michael refused to recognize. His teacher bought him a Dollar Tree medal with a frayed ribbon that read "You're #1!" Joy seizing his fingers, he tried to humbly adorn the honor but ended up beaming like the jack-ass he was. In the dull plastic, Michael saw a movie star loved by millions for his philanthropy, a rock legend who cured cancer, and a rocket scientist selling a million copies of his latest fantasy epic, all of which would be child's play for a man of his infinite potential. Right up to the day he moved out, Michael subtly hinted at his worthless trophy to any newcomer in his room until they had to notice it. He never won anything again.

Lack of material didn't stem Michael's bragging. Strutting across the freshly clipped lawns of his private high school, the sunlight glinting off his golden rings, he extolled his sleek new BMW, his sprawling mansion, and (the one time his parents refused to spoil him) even his shitty sunglasses. While his perfectly manicured fingernails tapped lazily against the delicate hairs of his chin, he complimented his own beautifully lush hair, his tasteful outfit, and the masculinity of his beard. One time he exercised; he bragged about how fit he was for a week. He boasted of his humility, intelligence, and creativity, asserting that the only reason he received subpar grades was he didn't give a fuck. Whenever he managed to muster a crowd, he nonchalantly told lavish, made-up tales of drunken glory, pussy attainment, and other forms of badassery.

And as part of building himself up, Michael tore others down. His tone refining into a sharp, sardonic edge, he mocked their modest homes, scuffed cars, and "gas station" aviators. Many times during lunch, he spilled milk on another's shirt and told them not to get upset since it probably wasn't worth much anyway. He criticized the nerds for trying too hard, the jocks for being idiots, and the poor for being lazy (like most rich kids, he felt he deserved his wealth). It was pitiful.

Aside from his reflection, Michael had few friends. Women avoided him like the plague, only touching him with brief glances of disgust. He spent every weekend alone, socializing vicariously through Facebook. Wherever he sat at lunch, others left. Whenever he asked about the upcoming party, everyone silenced. When people did bother listening to him, it was with a slight, mocking smile on their lips.

Michael got the picture. He knew no one could stand him. So, lost and cripplingly uncharismatic, he decided that the only way he could garner friends would be to garner respect.

But Michael did it all wrong. Since people must know what you've accomplish in order to respect you, he bragged. By exposing others' flaws, he validated his own superiority. And dressing himself in the finest clothes and sporting facial hair gave him a mature, respectable look. Or so he thought.

And what started out as subtle actions designed to win the approval of his peers led to mocking. So Michael upped the ante, but that led to more mocking. And this cycle continued until Michael became just an inescapable parody of himself.

By high school, Michael hated everyone else. Hated that they could be themselves. Hated that they all had girlfriends to share their burdens. Fiery tears burning in his eyes, he watched them laugh together, cry together, and poke fun at each other while he stood alone with only a nice care and a nice house and too much money. He pined to join them instead of being this self-absorbed asshole, but they would claim it was just another ruse to prove his superiority. Be it rational or irrational, Michael saw the only way forward as digging himself deeper into the grave he had begun in grade school.

So Michael wore aviators that he bought at a gas station. Scratched off the label and told everyone that they were custom built by some Italian guy. Because no one respects a man who wears gas station aviators.

title: Gas Station Aviators - 892 words, character description (Any feedback greatly appreciated. Could you see this character in a longer story or novel?)

question: Summarize the things Michael does to try to impress others.

answer: Michael wears aviators that he bought at a gas station. He tells everyone that they were custom built by some Italian guy. He also wears a goatee that he can't grow yet. He gels his hair in a sensual way. He wears Tommy Hilfiger shirts and shorts. He wears Sperry's. He wears golden rings. He sports a BMW, a sprawling mansion, and a private high school. He tells lavish, made-up tales of drunken glory, pussy attainment, and other forms of badassery. He tears others down. He exposes others' flaws. He dresses in the finest clothes and sports facial hair.

critique: It is omitted that he brags about his wealth, intelligence, and creativity.

critique: Extra details that are not necessarily what Michael does to try to impress others.

critique: The answer should mention that Michael brags about his wealth, fitness, and intelligence.

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

question: What does the story say about Michael's relationship with his classmates?

answer: No answer

critique: The answer should mention that Michael is disliked by his classmates.

critique: The answer is not blank. It should be rewritten.

question: Summarize the irony of the end of the story.

answer: Michael is so desperate to be respected that he wears gas station aviators. He scratches off the label and tells everyone they are custom built by an Italian guy. He thinks no one will respect him if he wears gas station aviators.

critique: Michael's reasoning for wearing gas station aviators (no one respects the man who wears them) is the complete opposite of his motivation for wearing them in the first place. He would've contained the potential annoyance of snide remarks about his gas station glasses if this trait wasn't so integral to his character.

critique: The answer is incorrect. Michael is not desperate to be respected. He is just trying to fit in.

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

critique: The answer should mention that Michael is mocked for wearing the aviators.

critique: The answer omits the irony of Michael's actions.

critique: The answer is incorrect. Michael wears gas station aviators because he thinks no one respects a man who wears them.

question: What does the story say about Michael's occupation as an adult?

answer: No answer

critique: The story does not mention Michael's occupation as an adult.


text:
THE LAB, located in San Francisco's Redstone Building, is a not-for-profit arts organization and performance space founded in 1984.

The Lab believes that if it gives artists enough time, space, and funding to realize their vision, the work they produce will change the way we experience the world. These are often small propositions that (like all great art) challenge the familiar ways we perceive value, and so it seeks out extraordinary artists who are underrepresented as a result of gender, class, race, sexuality, or geography, and whose work is not easily defined and therefore monetized. As a site of constant iteration and indeterminacy, The Lab is, above all, a catalyst for artistic experimentation.

The Lab is W.A.G.E. Certified. W.A.G.E. Certification is a program initiated and operated by working artists that publicly recognizes non-profit arts organizations demonstrating a commitment to voluntarily paying artist fees that meet a minimum standard.[1]

History

Founded in 1984 by Alan Millar, John DiStefano, Laura Brun and other art students from San Francisco State University, The Lab was a site for interdisciplinary artistic production. The Lab (née Co-LAB), located in a two-story building at 1805 and 1807 Divisadero Street, featured a black box theater upstairs and a gallery space downstairs. Early presentations included music shows by radical groups such as Rhythm & Noise, Minimal Man, Hüsker Dü, and Z'EV; exhibitions of works by experimental artists Dana Fair, Peter Edlund, and Mark Durant; and performances by luminaries Elbows Akimbo, Mary Trunk and Scott MacLeod, among many others. In 1985, Co-LAB renamed itself as “The LAB” under the auspices of Alan Millar's non-profit The•art•re•grüp, Inc.

In 1995, The Lab relocated to the historic Redstone Building in San Francisco’s Mission District. A hub for political organizing since 1914, the Redstone played a significant role in the General Strike of 1934 and unions occupying the building have successfully advocated for expanded rights for African Americans, women, and Chicano workers.[2] With a nod to this rich history, in 1995 The Lab partnered with Aaron Noble of the Clarion Alley Mural Project and the Redstone Building's still-active union and non-profit occupants on a series of murals in the building's main atrium, which were dedicated upon completion by Mayor Willie Brown.[3]

Since 1984, The Lab has hosted performances and projects by Cluster, Jack Smith, Nan Goldin, Lynn Hershman Leeson, My Bloody Valentine, David Wojnarowicz, Nayland Blake, Christine Tamblyn, Lutz Bacher, Orlan, Lydia Lunch, Karen Finley, Kevin Killian, Sapphire, Negativland, Carl Stone, Koh-i-Noor, The Billboard Liberation Front, Survival Research Laboratories, Mike Kelley, Barry McGee, Carrie Mae Weems, Barbara Kruger, Xylor Jane, Bill Orcutt, Malcolm Mooney, Kathleen Hanna, Jello Biafra, Flipper, Fred Frith, Rhys Chatham, Nao Bustamante, Rebecca Bollinger, Bruce Conner, Paul DeMarinis, Elbows Akimbo, Felipe Dulzaides, Guillermo Gómez-Peña, Beth Lisick, Alan Millar, Trevor Paglen, Rex Ray, Lise Swenson, PrOphecy sun, Alice Notley, and many more.[4]

[1]

[2]

[3]

[4]

title: The Lab (organization)

question: What does the text say about the organization's founding?

answer: The Lab was founded in 1984 by Alan Millar, John DiStefano, Laura Brun, and other art students from San Francisco State University. The Lab was a site for interdisciplinary artistic production. The Lab (née Co-LAB), located in a two-story building at 1805 and 1807 Divisadero Street, featured a black box theater upstairs and a gallery space downstairs.

critique: The Lab was founded by Alan Millar, John DiStefano, Laura Brun, and other art students from San Francisco State University.

critique: The answer should mention the name change.

critique: The last sentence is not relevant to the question.

critique: The Lab's location is irrelevant to the question.

question: What does the text say about the organization's goals?

answer: The Lab believes that if it gives artists enough time, space, and funding to realize their vision, the work they produce will change the way we experience the world. The Lab seeks out extraordinary artists who are underrepresented as a result of gender, class, race, sexuality, or geography, and whose work is not easily defined and therefore monetized. The Lab is a catalyst for artistic experimentation.

critique: The first sentence is redundant after the second.

critique: The last sentence is not relevant to the question.

critique: "The Lab is a catalyst for artistic experimentation." - is not a goal.

critique: The Lab's goals aren't explicitly stated in the text.

critique: "The Lab is a catalyst for artistic experimentation." - is not an organizational goal and should be deleted.

critique: The answer should mention that the Lab is a not-for-profit arts organization.

question: What does the text say about the organization's current leadership?

answer: No answer

critique: The text does not say anything about the organization's current leadership.

critique: The text does not discuss the organization's current leadership.

critique: The response misses to provide an accurate answer to the question.


text:
Saskatchewan Fun and Interesting Facts

Learn about Saskatchewan’s history, economy and overall quality of life over at the Government of Saskatchewan website. Visit our Statistics page for the lowdown on population, climate and much more.

Here are some interesting tidbits about Saskatchewan:

[]

FLAG: Saskatchewan's official flag was adopted in 1969. It features the provincial shield of arms along with the floral emblem, the western red lily. The flag's upper half is green, representing Saskatchewan's northern forests; the lower half is gold, symbolizing the southern grain areas.

FLOWER: In 1941, the western red lily was chosen as the official flower of Saskatchewan. This lily grows in moist meadows and semi-wooded areas. With its flaming red blossoms, it stands out brilliantly against a natural green background. The western red lily is a protected species.

BIRD: The sharp-tailed grouse is one of Saskatchewan's most popular game birds. It was selected as the provincial bird emblem in 1945.

GRASS: In 2001, needle-and-thread grass was designated Saskatchewan's official grass. It's a native bunchgrass common to the dry, sandy soils of the Northern Plains. Seed stalks may reach 1.3 m (4 feet) in height and leaves are up to 30 cm (12 inches) long and very narrow. The name comes from the shape of the seeds, which are sharply pointed and have long, twisted, thread-like fibres.

SASKATCHEWAN DISTRICT TARTAN: The Saskatchewan Provincial District Tartan has seven colours: gold, brown, green, red, yellow, white and black. It was registered with the Court of Lord Lyon King of Arms in Scotland in 1961.

SASKATCHEWAN DRESS TARTAN: The Saskatchewan Dress Tartan was introduced in 1997 for competitive highland dancers on the occasion of the Canadian Interprovincial Highland Dancing Championships held that year in Regina.  It is a variant of the Saskatchewan District Tartan, with the off-white line of the original tartan becoming the background colour of the dress version.

TREE:  In 1988, the white birch was adopted as the official tree of Saskatchewan. This hardwood tree is found across the northern three-quarters of the province. Typical uses for the wood include lumber, plywood, veneer and fuel.

MINERAL:  Sylvite, also known as potash, is Saskatchewan's official mineral. We are the world's largest producer and exporter of potash. Our vast reserves of potash are expected to last for hundreds of years at current rates of production. Over 95 percent of the potash produced in Saskatchewan is used for fertilizer purposes.

ANIMAL:  Saskatchewan designated the white-tailed deer our official animal in 2001. Here in our more northern latitudes, the white-tailed deer tends to be larger than its southern brethren, reaching heights of more than a metre (3.5 feet) at the shoulder and weighing as much as 180 kg (400 lbs). Adults have a reddish-brown summer coat and a greyish-brown winter coat, with white underparts. The name comes from the white underside of the tail, which is raised like a flag when the deer is running or frightened.

SPORT:  Curling was named Saskatchewan's official sport in 2001, although many have considered it so for years. Once called the "roaring game" because of the thunderous noise made by corn brooms used to sweep rocks down the ice, curling has a rich history in the province. The fabled Richardson brothers, curling out of Regina, won four Canadian and World men's championships between 1959-63. Another extraordinary rink from Regina, the Sandra Schmirler team, won three Canadian and World women's championships in the '90s, followed by the first ever women's Olympic gold medal in curling at 1998.

[]EMBLEM:  Multis E Gentibus Vires, "From Many Peoples Strength" - The provincial Coat of Arms was granted through Royal Warrant from Queen Elizabeth II in 1986. It is an augmentation of the original shield of arms adopted by Royal Warrant of King Edward VII in 1906. A crest of a beaver and crown is placed above the shield. On either side of the shield are supporters: a lion and a deer. The shield itself displays the royal lion and three gold wheat sheaves, symbolizing Saskatchewan agriculture. The base is formed of western red lilies, Saskatchewan's floral emblem.

question: What does the text say about potash?

answer: Sylvite, also known as potash, is Saskatchewan's official mineral. The province is the world's largest producer and exporter of potash. Our vast reserves of potash are expected to last for hundreds of years at current rates of production. 95 percent of the potash produced in Saskatchewan is used for fertilizer purposes.

critique: The answer omits that Saskatchewan is the world's largest producer and exporter of potash.

question: What does the text say about Saskatchewan tartans?

answer: Saskatchewan has two tartans. One is the Provincial District Tartan, registered in 1961. This tartan has seven colors: gold, brown, green, red, yellow, white, and black. The other is the Dress Tartan, which was introduced in 1997. It is a variant of the Provincial District Tartan that has an off-white background.

critique: The answer should mention that the Dress Tartan was introduced for highland dancers.


text:
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question: Summarize the features needed to take a podcast to the next level, according to the text.

answer: According to the text, the features needed to take a podcast to the next level are a customizable website, download stats and analytics, built-in security, an import from anywhere feature, and the option to use your own domain.

critique: The answer should mention the other features.

critique: The answer should mention the features of the different plans.

question: Summarize the professional plan for podcasts that is stated in the text.

answer: The professional plan for podcasts is stated to be $49 per month. It comes with unlimited podcasts, unlimited downloads per month, and advanced download metrics. The professional plan also comes with up to 10 collaborators, collaborator role assignment, exclusive website themes, shareable metrics, priority support, increased MP3 file size, hidden Fireside branding, click tracking, customizable favicon, bulk episode editing, and episode renumbering.

critique: "shareable metrics, priority support" should be categorized as out of scope for these plans statements.

critique: The answer should mention that the professional plan also comes with advanced theme customization.

critique: The answer should mention the other features of the professional plan.

critique: The answer is too long, and some of the details are not mentioned in the text.

question: Would this article be helpful to someone who wants to learn how to create a podcast?

answer: It might be helpful because it tells the reader about podcast hosting.

critique: It is omitted that it tells the reader about hosting a podcast on the Fireside platform.

critique: The article does not tell the reader how to create a podcast.


text:
RHACHIBEROTHIDAE, sometimes called THORNY LACEWINGS, are a family of winged insects in the order Neuroptera. The family has only 14 extant species in 4 genera found in Sub-Saharan Africa, but has a diverse fossil record extending back to the Early Cretaceous in Lebanon (then part of North Gondwana), Eurasia and North America.[1]

Long included in the Berothidae (beaded lacewings), they are usually considered a separate family by current authors. Another closely related group are the mantidflies (Mantispidae), and at least some of the probably paraphyletic group of fossil forms collectively called “Mesithonidae” also seem to be quite close.

Taxonomy

-   Rhachiberothidae Tjeder, 1959
    -   †Paraberothinae Nel _et al_., 2005
        -   †_Acanthoberotha_ Nakamine et al, 2020 Burmese amber, Cenomanian
        -   †_Albertoberotha_ McKellar & Engel, 2009 Canadian amber, Campanian
        -   †_Alboberotha_ Nel _et al_., 2005 Charentese amber, France, Cenomanian
        -   †_Astioberotha_ Nakamine et al, 2020 Burmese amber, Cenomanian
        -   †_Chimerhachiberotha_ Nel _et al_., 2005 Lebanese amber, Barremian
        -   †_Creagroparaberotha_ Makarkin, 2015 Burmese amber, Cenomanian
        -   †_Eorhachiberotha_ Engel, 2004 Burmese amber, Cenomanian
        -   †_Kujiberotha_ Nakamine & Yamamoto, 2018 Kuji amber, Japan, Santonian
        -   †_Micromantispa_ Shi _et al_., 2015 Burmese amber, Cenomanian
        -   †_Paraberotha_ Whalley, 1980 Lebanese amber, Barremian
        -   †_Raptorapax_ Petrulevicius _et al_., 2010 Lebanese amber, Barremian
        -   †_Retinoberotha_ Schlüter, 1978 Bezonnais amber, France, Cenomanian
        -   †_Rhachibermissa_ Grimaldi, 2000 New Jersey amber, Turonian
        -   †_Scoloberotha_ Engel & Grimaldi, 2008 Burmese amber, Cenomanian
        -   †_Spinoberotha_ Nel _et al_., 2005 Lebanese amber, Barremian
        -   †_Stygioberotha_ Nakamine et al, 2020 Burmese amber, Cenomanian
        -   †_Uranoberotha_ Nakamine et al, 2020 Burmese amber, Cenomanian
    -   Rhachiberothinae Tjeder, 1959
        -   _Hoelzeliella_ Aspöck & Aspöck, 1997
        -   _Mucroberotha_ Tjeder, 1959
        -   _Rhachiberotha_ Tjeder, 1959
        -   _Rhachiella_ Aspöck, Aspöck, Johnson, Donga & Duelli, 2020
        -   †_Whalfera_ Engel, 2004 Baltic amber, Eocene
    -   _Incertae sedis_
        -   †_Oisea_ Nel _et al_., 2005 Oise amber, France, Ypresian

[1]

title: Rhachiberothidae

question: What does the text say about what constituted the Thorny Lacewings' diet?

answer: No answer

critique: The text does not say anything about the diet of the Thorny Lacewings.

question: What does the text say about Rhachiberothidae?

answer: Rhachiberothidae is a family of winged insects that are sometimes called thorny lacewings. The family has 14 extant species in 4 genera found in Sub-Saharan Africa. They have a diverse fossil record that extends back to the Early Cretaceous in Lebanon, Eurasia, and North America.

critique: The text doesn't say that the family is sometimes called thorny lacewings.

critique: The fossil record is not "that extends back" but "extending back"

critique: The question asks about the Rhachiberothidae, not the Berothidae.

critique: The family is sometimes called "thorny lacewings"

critique: The answer should mention that the family is in the order Neuroptera.

critique: They are found in sub-Saharan Africa, not sub-Saharan.

question: What does the text say about the relationship between Rhachiberothidae, Berothidae, and Mantispidae?

answer: Rhachiberothidae is sometimes included in Berothidae, but is usually considered a separate family by current authors. Another closely related group are the mantidflies (Mantispidae). At least some of the probably paraphyletic group of fossil forms collectively called "Mesithonidae" also seem to be quite close.

critique: The answer should mention that Rhachiberothidae and Berothidae are related.

critique: The answer should mention that the Rhachiberothidae are a family of winged insects.

critique: "Rhachiberothidae is sometimes included in Berothidae, but is usually considered a separate family by current authors." - this is inaccurate. Rhachiberothidae is considered a separate family from Berothidae.

critique: The answer should mention that Berothidae and Mantispidae are separate families.

critique: The answer omits that Rhachiberothidae are sometimes included in Berothidae.

critique: The answer could be clearer in its pronoun use.

critique: The answer should mention that Rhachiberothidae is sometimes included in Berothidae.

critique: "Rhachiberothidae is sometimes included in Berothidae, but is usually considered a separate family by current authors. Another closely related group are the mantidflies (Mantispidae)." - only one of those systems were mentioned and should be replaced with "Rhachiberothidae is sometimes included in Berothidae, but is usually considered a separate family by current authors, while mantidflies (Mantispidae) belong to a different family."


text:
Walking home late one night after last call at the tavern, alone on a lightless road, a flash ignites the sky above. As quick as it comes, I am disappeared from that tired avenue, and my surroundings are no longer the outdoors. I am in a red and orange striped and spotted room that I can only recognize as a holding cell of some sort. The colors are breathing; laughing. Slowly, a green and yellow gaseous cloud begins to build, and soon it's all I can breathe. Though I can breathe it simply enough, I do my best not to, but it keeps growing until it's the only thing I can inhale.

Hours? Days? All I know, when I finally regain consciousness in that red and orange cell, is that I have never felt more tired in my life. Ever. Groggy, shaky, weak and woozy, I try to prop myself onto my hands and knees, as I appear to have passed out on the floor of my cell. I survey the room by slowly crawling around, and find that the door is made of a glass like substance, and it feels different from the other three walls, but I can't actually see the difference. The pattern on the glass matches the pattern on the other three walls. Two days, three? How long have I been here? Has it been longer than a week? It's this moment that I realize just how famished I am. "Hello," I say with a dry voice, my throat parched and scratchy. "Water."

The wall that I believe is the door becomes clear. I can see through it into a gray hall, likely metallic walls, floor and ceiling. There are faint yellow lights spacing the hallway every twenty feet or so, but all I can see is darkness on either end. And footsteps. I hear footsteps. Finally, a shadowy figure appears at the far end of my vision down the left side of the hall from my cell. As it gets closer, my eyes begin to blur more and more, until I know whatever it is, though I am completely blind, it's standing directly in front of me. The sound of compressed air being released hisses out to my right, and I can feel a slight draft from the hallway. Were I to have use of my legs, I might attempt to run, but I can still barely sit up. Hands grab under both of my arms, and I am dragged out of the cell and into the hall.

After being taken into a lift, and what feels like being paraded around in front of whatever species is holding me, they drop me in a heap on the floor. My vision finally begins to return, and the first thing I notice is the size of the room I am in. Cavernous would be a mild attempt at a description, but I am starting to see better still, and I can see that I am before the seat of power. A large throne, sitting atop an island of a dais, and a ruler to occupy the seat. Humanoid in appearance, his flesh is a blueish green. He wields six mighty arms, and five horned ridges appear at the top of his head, rather than any hair.

"I am Xyzornat, ruler of Devil's Reach. You have been aboard my ship for three years today." He stands from his seat, and all around me, robed figures begin chanting a dark tattoo. They close in on me, and I still can't move. When they are within two feet of me, in a complete circle, they throw back their robes, revealing themselves to be of the same race as their leader. With a blade in each of their six hands, they individually and simultaneously sever their own heads. Blood pools around me, soaking into my clothes. Xyzornat, leader of Devil's Reach, leaps fifty feet into the air, and seems to hover above me for a moment, before crashing down. His eight limbs have me completely pinned and surrounded. He opens his mouth and two, foot long fangs pierce into my neck, just below my Adam's Apple. The pain is extreme, and I can feel the teeth push into my chest. I feel them slide, inch by inch behind my ribs, until they stab into my heart. The last thing I will ever hear is his voice as he says, "Your soul is now mine."

title: Xyzornat:  Ruler of Devil's Reach (Part One)

question: Describe some of the themes of this passage.

answer: The theme of fate, for instance, is considered in the story when the narrator doesn't quite comprehend the abduction but quickly comes to terms with it hitting the floor of his cell, clutching at his bladder futilely, afraid and helpless. This can be interpreted as a subtle sign of the inevitable.

critique: The narrator is not clutching at his bladder.

critique: The narrator is not afraid and helpless.

critique: The themes the story highlights should be further developed, not the comments.

critique: "Hitting the floor" is not a good description of what happens to him.

critique: The narrator is in a cell, not on the floor.

critique: This is not relevant to the question and is confusing.

critique: It is far too speculative, and is barely related

critique: There's no evidence of the narrator clutching at his bladder.

critique: The response misses to mention the theme of pain and suffering.

critique: The answer should reflect that the narrator is very thirsty and hungry in the beginning of the story.

question: What might become of the narrator?

answer: The very last line in the story strongly hints that he is going to die.

critique: The story doesn't give any indication that the narrator is going to die.

critique: This is not a strong enough answer. It's omitted that the narrator is likely to be turned into an undead servant of Xyzornat.

critique: It is not clear if the narrator is going to die.

critique: The story doesn't end with the narrator's death.

critique: Doesn't mention anything about the narrator being turned into a demon

critique: It is later in the response, the narrator does die.

critique: It's not clear if the narrator is a human or alien.

critique: These events could happen in any order. They could be occuring parallel and the narrator's death could be close in directly after.

critique: There is no evidence that directly shows that the narrator will die after being bitten by Xyzornat. It is implied that he will.

critique: The answer is a little misleading. The narrator is dead.

question: What does the story say about how vulnerable humans are?

answer: The narrator is a human, presumably on Earth. He is grabbed near a tavern by a different species. The narrator, who is weak and woozy at the time, can barely sit up. He knows he is being kidnapped but he is incapable of moving. He is tortured and murdered even though he is exhausted and unable to fight back due to being shocked and hungry.

critique: The narrator is a human, and the story never mentions if he is on Earth.

critique: The answer could be more specific about the species that is kidnapping the narrator.

critique: "He is grabbed near a tavern" - this is inaccurate. He was walking home late one night after last call at the tavern.

critique: "The narrator, who is weak and woozy at the time, can barely sit up." - this is incorrect. The narrator is fully conscious when he is grabbed.

critique: The narrator is not specifically a human. His species is never mentioned.

critique: The narrator is not grabbed near a tavern.

critique: Omits the mention of the king's ability to use magic which renders humans very vulnerable against him

critique: Xyzornat's species, as well as the rest of his species, is not described. He is a human who consumes his soul after following the tradition of pronouncing a dark tattoo, then killing themselves in the process.

critique: "He is grabbed near a tavern by a different species." - is inaccurate. He is grabbed on a lightless road, not near a tavern.

text: While the narrator is quite weak and vulnerable, the story doesn't make any commentary about humans as a whole.

category: accuracy

refinement: The narrator is a human, presumably on Earth. He is grabbed near a tavern by a different species. The narrator, who is weak and woozy at the time, can barely sit up. He knows he is being kidnapped but he is incapable of moving. He is tortured and murdered even though he is exhausted and unable to fight back due to being shocked and hungry.

question: How do the narrator's emotions change throughout the text?

answer: The narrator was relaxed and merry at the beginning of the text, but that changed when the flash in the sky affected them and sent them to the hiding space aboard some kind of ship. The narrator feels uneasy, lost, lonely, and heart-wrenched and even starts to apply their emotions more. The narrator is most afraid when Xyzornat says that the narrator's soul has now been taken from them and that their body would now belong to him.

critique: "The narrator is most afraid when Xyzornat says that the narrator's soul has now been taken from them and that their body would now belong to him." - this is inaccurate because it has nothing to do with the text.

critique: Xyzornat is the one who says this, not the narrator.

critique: The narrator was never relaxed and merry at the beginning of the text.

critique: The narrator was never relaxed or merry at the beginning of the text.

critique: It's not really the narrator being heart-wrenched and lonely that does this. The narrator has another revelation and starts to really apply their emotions more.

critique: The narrator is not relaxed and merry at the beginning of the text.

critique: The narrator's emotions don't change much.

critique: "The narrator is most afraid when Xyzornat says that the narrator's soul has now been taken from them and that their body would now belong to him.", no character is named in the story.

critique: There's no evidence that the narrator was merry or relaxed.

critique: "The narrator is most afraid when Xyzornat says that the narrator's soul has now been taken from them and that their body would now belong to him." - this is inaccurate. Xyzornat doesn't take the narrator's soul and say that the narrator's body will now belong to him. He takes the narrator's soul and says that their body will now belong to him. It's changed to be more accurate.

critique: The narrator doesn't feel uneasy, lost, lonely, or heart-wrenched.

text: The answer should mention that the narration doesn't include explicit emotional states of the narrator. However, some sensible guesses can be made, which is what this answer contains.

category: other

refinement: The narrator was relaxed and merry at the beginning of the text, but that changed when the flash in the sky affected them and sent them to the hiding space aboard some kind of ship. The narrator feels uneasy, lost, lonely, and heart-wrenched and even starts to apply their emotions more. The narrator is most afraid when Xyzornat says that the narrator's soul has now been taken from them and that their body would now belong to him.

category_text: Lacking disclaimer


text:
WILLIAM YOUMANS is an American Broadway, film and television actor and singer, best known for originating the roles of John Jacob Astor in _Titanic: the Musical_, and Doctor Dillamond in _Wicked_.

Life and career

Youmans was born into a performing family; his great-uncle was Broadway composer Vincent Youmans. William made his Broadway debut in 1981, playing Leo Hubbard in _The Little Foxes_. He performed numerous roles in the original production of _Big River_ and sang the role of Alcindoro in the Baz Luhrmann-directed revival of _La Bohème_. He also portrayed Sir Richard Bingham in _The Pirate Queen_ and performed in the play _The Farnsworth Invention_.

In 1997 he originated the role of John Jacob Astor in _Titanic,_ and 2003, originated the role of Doctor Dillamond in _Wicked_. After a San Francisco tryout, in which the role was played by John Horton, the original Broadway production opened October 30, 2003, starring Kristin Chenoweth and Idina Menzel. Youmans left the role of July 24, 2005, and later reprised the role in the Chicago production for a limited engagement from December 12, 2006 through January 14, 2007. He can be heard on the show's original Broadway cast recording.

Off-Broadway

In 1986 he was in the Off Broadway play THE WIDOW CLAIRE by Horton Foote He played a few different roles in the musical _Coraline_.

Film and television

Youmans appeared in the films _Mrs. Soffel_, _Compromising Positions_, _Nadine_, _Fresh Horses_ and the independent film _Last Supper_.

Youmans' first television appearance was a made-for-television movie of a Mark Twain story, _The Private History of a Campaign That Failed_. He has since appeared on episodes of _The Equalizer_, _Spenser: For Hire_, _NYPD Blue_, _Law & Order_ and _Law & Order: Special Victims Unit_.

Filmography

  Year   Title                                 Role                  Notes
  ------ ------------------------------------- --------------------- -------
  1984   _Mrs. Soffel_                         Guard George Koslow
  1985   _Compromising Positions_              Motel clerk
  1987   _Nadine_                              Boyd
  1988   _Fresh Horses_                        Gary
  1992   _Last Supper_                         The writer's son
  2011   _Extremely Loud & Incredibly Close_   Bartender
  2014   _Birdman_                             Bartender (Tommy)
  2014   _A Midsummer Night's Dream_           Robin Starveling

title: William Youmans

question: What influenced William Youmans to take up performing as a career?

answer: He was born into a family of performers. His great-uncle was a Broadway composer.

question: Why did it take Youmans so long to appear on television shows?

answer: He was busy with his Broadway career.

critique: Answer doesn’t explain why he was busy with his Broadway career.

critique: There is no evidence to suggest that Youmans' busy schedule with Broadway prevented him from appearing on television.


text:
[]When was the last time you reached out to a reporter without a story to pitch?

If you’re like many nonprofit communicators, you might be straining to answer this question because it’s been a long time.

This is especially true if your role isn’t exclusively focused on media relations. If your work also involves some combination of social media, marketing, speechwriting, fundraising solicitations, event planning, blogging, and managing the production of your annual report, it’s hard to carve out the time to actually build relationships with reporters and editors.

As a result, your media relations work largely focuses on sending out news releases. Often at the last minute.

And, often, you send those releases out of obligation or habit — not because you think they are actually going to result in a media hit.

But if you care about getting better coverage for your organization, I’d like to try to break this cycle by giving you an assignment.

I’d like you to try to pick up a reporter.

Of course, I don’t mean this in the get-a-number-and-let’s-go-out context.

What I’m suggesting is much more, let’s say, professionally correct.

The first step is to identify a reporter who works for a news outlet that reaches a key audience for your nonprofit. Ideally, it’s a reporter who you’ve been thinking that you should build a relationship with.

Now here’s the catch — you’re not allowed to pitch a story with your initial outreach.

Instead, you’re simply going to introduce yourself or your organization to that reporter — and make it clear that you’re there to help.

That’s it.

You’re not going to try to sell him a story idea or get her to come to your annual dinner.

You’re simply aiming to start a relationship that will eventually evolve into a story or an invite or an interview.

How do you do this?

It’s easier than you might think.

Ideally, you want to START THE RELATIONSHIP BY SENDING THE REPORTER OR EDITOR THREE IMPORTANT SIGNALS:

1.  You follow and respect his or her work.
2.  You or your organization can be a resource in future reporting.
3.  You’re not looking to simply pitch stories — you want to be a partner.

The first step in this process involves a bit of legwork.

YOU ACTUALLY HAVE TO SPEND A LITTLE BIT OF TIME GETTING TO KNOW THE JOURNALIST’S WORK. Go online and look at recent stories he or she has covered. Pay attention to the themes they cover and the examples they cite.

Next, think about how you can help.

Perhaps it’s by providing them with background data or a report. Perhaps it’s by having them get to know your executive director. Perhaps it’s by offering to connect them with a partner organization that does similar work.

The next step takes a bit of courage.

Send that reporter an introductory email or note.

If you don’t know where to start, LET ME GIVE YOU A FEW SUGGESTED “PICKUP LINES” OR OPENERS:

-   “I’ve enjoyed following your coverage of nonprofits for the XYZ Gazette and wanted to offer my organization as a resource to you for future stories …”
-   “Your recent piece on state budget cuts is an important one for our community because it will likely reduce the amount of aid to nonprofit organizations. As you continue to report on this story, I’m happy to put you in touch with some local experts who can add perspective …”
-   “I followed with interest your recent series on Medicaid. Since you’re interested in this topic, I thought I’d pass along a 2016 study by the ABC Institute that includes some projections that might interest you in future reporting …”

IT DOESN’T HAVE TO BE FANCY OR TOO IN-DEPTH. IT SIMPLY NEEDS TO START A CONVERSATION.

Chances are, you’ll get a reply.

AND WITH THAT REPLY WILL COME AN OPPORTUNITY TO TAKE THAT BUDDING RELATIONSHIP TO THE NEXT LEVEL.

It might not pay off immediately, but in time that relationship has the potential to develop into one where you become a trusted resource for that reporter.

Author: Peter Panepento, Media Relations Expert

http://turn-two.co

Peter Panepento is the philanthropic practice leader for Turn Two Communications and Nonprofit Marketing Guide's Media Relations expert.

question: Describe some of the most helpful tips from this article.

answer: Some of the most helpful tips from this article are to identify a reporter who works for a news outlet that reaches a key audience for your nonprofit, to follow and respect their work, and to not pitch a story with your initial outreach.

critique: "and to not pitch a story with your initial outreach" - this isn't quite accurate. The author asks you not to pitch stories with your initial outreach. They are recommending that you don't pitch stories with your initial outreach.  This is more confusing.

critique: The answer should mention the third tip.

critique: The answer should mention that the tips are to start a relationship with a journalist.

critique: The article does not say to follow and respect their work.

critique: It is omitted that you are not looking to simply pitch stories — you want to be a partner.

critique: The article also suggests to be a resource for future reporting.

critique: The article does not say that the reporter should be followed and respected.

question: How can one build a relationship with a reporter?

answer: A reporter can be picked up by a communicator who is looking to start building a relationship. Observation of their coverage of news and events is key. Communicators who would like to expose the nature of their missions and activities, who can also be of help to the reporter, can be contacted to establish a network of contacts.

critique: The answer should include the three signals the author suggests to send to a reporter.

critique: The information about insight is not useful (or accurate/"who wants to expose the nature of their missions and activities"/>, or both.

question: How helpful is this article to other reporters and journalists?

answer: There are a lot of tips on how to get better coverage and how to get started with a relationship with a reporter.

critique: The answer could be more specific about the tips.

critique: The article is not about how to get better coverage, but how to get started with a relationship with a reporter.

critique: Fails to address if this article will help other reporters and journalists

critique: The article is not directed at reporters and journalists.

critique: The article is not written for reporters and journalists.


text:
The DEPARTMENT OF AGRICULTURE was a department in the Government of New Brunswick, Canada. It was responsible for management of the Province's Agriculture industries. The member of the Executive Council responsible for the department was initially called the COMMISSIONER OF AGRICULTURE. The department would become known as the DEPARTMENT OF AGRICULTURE AND RURAL DEVELOPMENT in the late 1990s.

From 1882, the Department of Agriculture was also responsible for fisheries until 1963 when the government of Premier Louis Robichaud created a separate Department of Fisheries. This department would be renamed the DEPARTMENT OF FISHERIES & AQUACULTURE which in 2000 was merged with the Department of Agriculture and Rural Development to become the Department of Agriculture, Fisheries and Aquaculture. This department lasted until October 3, 2006 when Premier Shawn Graham split the departments into the Department of Agriculture and Aquaculture and reestablished the separate Department of Fisheries.

Ministers

  1.     Minister               Term                                     Administration of:
  ------ ---------------------- ---------------------------------------- ----------------------------
  1.     George J. Colter       May 5, 1882 - February 26, 1883          Daniel Lionel Hanington
  2.     William Elder          1883 - 1883                              Andrew George Blair
  3.     James Mitchell         February, 1890–1897                      Andrew George Blair
  4.     Charles H. LaBillois   July 1897 - 1900                         Henry Emmerson
  5.     Lauchlin P. Farris     September 1, 1900 - March 20, 1908       Tweedie/ Pugsley/Robinson
  6.     David V. Landry        1908–1914                                J. D. Hazen/J. K. Flemming
  7.     James A. Murray        January 22, 1914 – 1917                  George J. Clarke
  8.     J. F. Tweedale         April 4, 1917 - December 21, 1920        Walter Foster
  9.     D. W. Mersereau        December 21, 1920 - September 20, 1925   Foster/Veniot
  10.    Lewis Smith            September 20, 1925 - 12 July 1935        Baxter/Richards/Tilley
  11.    Austin C. Taylor       July 16, 1935 - October 8, 1952          A. Dysart/J. B. McNair
  12.    Cyril B. Sherwood      October 8, 1952 - July 12, 1960          Hugh John Flemming
  13.    J. Adrien Levesque     July 12, 1960 - November 12, 1970        Louis Robichaud
  14.    A. Edison Stairs       November 12, 1970 - July 18, 1972        Richard Hatfield
  15.    J. Stewart Brooks      July 18, 1972 - February 21, 1973        Richard Hatfield
  16.    George E. Horton       February 21, 1973 - December 3, 1974     Richard Hatfield
  17.    Malcolm MacLeod        December 3, 1974 - February 13, 1985     Richard Hatfield
  18.    Hazen Myers            October 3, 1985 - October 27, 1987       Richard Hatfield
  19.    Alan R. Graham         October 27, 1987 - October 9, 1991       Frank McKenna
  20.    Gérald Clavette        October 9, 1991 - April 25, 1994         Frank McKenna
  21.    Doug Tyler             April 28, 1994 - May 14, 1998            Ray Frenette
  22.    Stuart Jamieson        May 14, 1998 - June 21, 1999             Camille Thériault
  23.    Milton Sherwood        June 21, 1999 - March 23, 2000           Bernard Lord

Category:Defunct New Brunswick government departments and agencies New Brunswick Category:Ministries established in 1882

title: Department of Agriculture (New Brunswick)

question: What does the article say about the history of the name of the Department of Agriculture in the Government of New Brunswick?

answer: Initially, the department was called the "Commissioner of Agriculture". In the 1990s, it became known as the "Department of Agriculture and Rural Development". Then, in 2006, it split into the "Department of Agriculture" and "Department of Fisheries". Finally, in 2006, it the "Department of Fisheries" was re-established as a separate department.

critique: The department was split into the "Department of Agriculture" and "Department of Fisheries" in 2006, not in 2006.

critique: It is misnamed that the department split into the "Department of Agriculture" and "Department of Fisheries".

critique: The input specifically says that the first change was in the 1990s, so the input should reflect that the first change happened in the 1990s.

critique: Doesn't mention that in between the Department of Fisheries & Agriculture merged in 2000, and then the Department of Agriculture, Fisheries, and Aquaculture was formed. Finally it split into the Department of Agriculture, the Department of Fisheries, and the re-formed Department of Aquaculture.

critique: "Department of Agriculture IN 2006" is inaccurate and does not clarify what the 2006 split was.

critique: The department was renamed the Department of Agriculture and Rural Development in the late 1990s and not the Department of Agriculture and Rural Development.

critique: The answer is not clear and needs to be rewritten.

critique: The answer contains extraneous information.

critique: The answer is incorrect with regards to the name of the department in 2006 and the year it was split.

critique: "Department of Fisheries" was not re-established as a separate department, it was merged with the "Department of Agriculture and Rural Development" to become the "Department of Agriculture, Fisheries and Aquaculture"

critique: The answer is not clear and needs to be re-written.

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

critique: The answer omits the department's history of being called the Department of Fisheries and Aquaculture.

critique: The article says the department became known as the Department of Agriculture and Rural Development, not Agriculture and Rural Development.


text:
BLASCO DE GARAY (1500–1552) was a Spanish navy captain and inventor.

De Garay was a captain in the Spanish navy in the reign of the Holy Roman Emperor, Charles V. He made several important inventions, including diving apparatus, and introduced the paddle wheel as a substitute for oars. In the nineteenth century, a Spanish archivist claimed to have discovered documents that showed that de Garay had tested a steam-powered ship in 1543.[1] However, these claims have been discredited by the Spanish authorities.[2]

Biography

There is no record of Blasco de Garay's birth or of his familial connections except for the mention in his memorial of an older brother, a Diego de Alarcon, who lost his life as an army captain in Italy. At the time there were several people of the Garay name who distinguished themselves in letters and in the military service who seem to have been from the minor nobility in the Castilian city of Toledo. That his brother's name was in the Castilian form “Diego” (James) supports a Castilian origin. The most plausible account is that he was an impoverished minor nobleman, educated in letters, who out of necessity went into the King's service but, as he wrote, dedicated himself to the sciences and invention.

Inventions

Garay himself sent the emperor a document setting out eight inventions which included:[3]

1.  A way to recover vessels underwater, even if they were submerged a hundred fathoms deep, with only the aid of two men.
2.  An apparatus by which anyone could be submerged under water indefinitely
3.  Another device to detect objects on the seabed with the naked eye.
4.  A way to keep a light burning underwater.
5.  A way to sweeten brackish water.

Steamship controversy

The attribution to Blasco de Garay of the testing of a steam engine made on a boat in the port of Barcelona was claimed in 1825 by Tomás González, director of the royal archives of Simancas, to the distinguished historian Martín Fernández Navarrete. González stated that in a file he had found, there is documentation endorsing a test conducted June 17, 1543[4] by the Naval Captain and Engineer of the navy of Charles V of a navigation system with no sails or oars containing a _large copper of boiling water_. Navarrete published González's account in 1826 in _Baron de Zach's Astronomical Correspondence_.[5] The letter from González to Martín Fernández Navarrete is as follows:

    "Blasco de Garay, a captain in the navy, proposed in 1543, to the Emperor and King, Charles the Fifth, a machine to propel large boats and ships, even in calm weather, without oars or sails. In spite of the impediments and the opposition which this project met with, the Emperor ordered a trial to be made of it in the port of Barcelona, which in fact took place on the 17th on the month of June, of the said year 1543. Garay would not explain the particulars of his discovery: it was evident however during the experiment that it consisted in a large copper of boiling water, and in moving wheels attached to either side of the ship. The experiment was tried on a ship of two hundred tons, called the _Trinidad_, which came from Colibre to discharge a cargo of corn at Barcelona, of which Peter de Scarza was captain. By order of Charles V, Don Henry de Toledo the governor, Don Pedro de Cordova the treasurer Ravago, and the vice chancellor, and intendant of Catalonia witnessed the experiment. In the reports made to the emperor and to the prince, this ingenious invention was generally approved, particularly on account of the promptness and facility with which the ship was made to go about.
    The treasurer Ravago, an enemy to the project, said that the vessel could be propelled two leagues in three hours that the machine was complicated and expensive and that there would be an exposure to danger in case the boiler should burst. The other commissioners affirmed that the vessel tacked with the same rapidity as a galley maneuvered in the ordinary way, and went at least a league an hour.
    "As soon as the experiment was made Garay took the whole machine with which he had furnished the vessel, leaving only the wooden part in the arsenal at Barcelona, and keeping all the rest for himself.
    “In spite of Ravago's opposition, the invention was approved, and if the expedition in which Charles the Vth was then engaged had not prevented, he would no doubt have encouraged it. Nevertheless, the emperor promoted the inventor one grade, made him a present of two hundred thousand maravedis, and ordered the expense to be paid out of the treasury, and granted him besides many other favors.”[6][7][8]

    “This account is derived from the documents and original registers kept in the Royal Archives of Simancas, among the commercial papers of Catalonia, and from those of the military and naval departments for the said year, 1543.” Simancas, August 27, 1825, .[9][10]

Steamboats were in fact not introduced to Spain until 1817.[11] _Real Fernando_, launched in 1817 and which plied the Guadalquivir River from Sevilla to Sanlucar, was probably the first steamboat built in Spain. She was joined by PS _Hope_, built at Bristol in 1813.[12]

The belated claims made on behalf of Blasco de Garay have since been discredited by the Spanish authorities.[13]

The failure to find documentation confirming that letter led to a controversy between French and Spanish scholars.[14] The issue gained such popularity that Honoré de Balzac wrote a comedy, made of five acts,[15] with the theme as an argument entitled _Les Ressources de Quinola_[16] which premiered in Paris on March 19, 1842 and which tended to be sympathetic to the Spanish claim.[17][18]

[1]

[2] Museo Naval, Catálogo guia del Museo Naval de Madrid, IX edición, Madrid, 1945, page 128.

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11] M.M.del Marmol. “Idea de los Barcos de vapor”, Sanlucar, 1817.

[12] G.E.Farr,“West Country Passenger Steamers”, London, 1956, page 14.

[13]

[14]

[15]

[16]

[17]

[18]

title: Blasco de Garay

question: What are the greatest accomplishments of Blasco de Garay?

answer: Blasco de Garay was a captain in the Spanish navy. He made several important inventions, including diving apparatus, and introduced the paddle wheel as a substitute for oars. He was also the first to introduce steamboats to Spain in 1817.

critique: While this is all accurate, including steamboats as a great accomplishment is odd, since this accomplishment was not, as the phrasing says, great.

critique: The answer omits that Garay was an inventor.

critique: The answer should mention his diving apparatus.

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

critique: The answer should mention that his greatest accomplishment is the claim that he tested a steam-powered ship in 1543.

critique: The response includes irrelevant information.

text: The answer says Garay introduced steamboats centuries after his lifetime. Not only the date is wrong, but the claim is also explained to have no support in the article.