Q: here's a story.  i encountered my friend at the pool. she wasn't holding any children. i was: exactly one child. my friend asked me, who's that? i said, my south-asian child that i birthed. she laughed, and said, no, really. who is it. i said, there's no trick to make me say something else. it's my south-asian child.  there are several arts about this story that i would like you to evaluate.  [several - 2]. saying something provocative that applies both in character and out of character: this applies to the last item of dialogue. if it is, in fact, my child (or i am ardently trying to project that image) then i am saying, nothing you can say will change the truth. if it is not my child, and i am briefly setting down the notion that it is my child, then i am telling my friend that there is nothing that she can say that will make me break character. isn't that neat? how arty is it, maybe out of 10?  [several - 1]. it is clear in this story that there is some armada of reasons that it is unlikely that this is actually my child. the one that is intuitive to me is some race disparityÑafter all, i said that i, specifically, birthed it. however, the reader is left to decide these reasons for herself. is this ambiguity a good thing in storytelling? out of 10 is fine again but numbers are usually different than ideas, and concepts  [several]. what do you think about having a different way to process quotes than the next guy? should i sacrifice ease of reading simply for the purpose of, yes, i am definitely reading a different thing than that other thing.  thanx!
A: 2. i don't understand what you are asking