YuITC/NarrativeQA-Dataset-Restructured huggingface dataset:
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What does the story's female protagonist believe is the cause of the damage in the mansion's nursery?
Answer: children
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: Why does the narrator's sister-in-law spend the summer with her?
Answer: Jennie serves as the housekeeper at the mansion
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: Where does John's wife document her thoughts about the nursery's wallpaper?
Answer: in her journal
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: When do the narrator and her family go on summer vacation?
Answer: after she has a child
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: How does the narrator plan to rescue the woman trapped in pattern?
Answer: by removing all of the remaining wallpaper
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: When does the wallpaper seem to change the most?
Answer: when moonlight shines on it
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: When during their family vacation did John faint?
Answer: on the last day of summer
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: Why does John's wife think that children damaged the nursery?
Answer: because all of the wallpaper's damage is at the level where children's hands can reach
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What feature made the mansion's upstairs bedroom the best space for John's wife?
Answer: all the windows
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What happen's to Jennie's sister-in-law over the course of the story?
Answer: she goes crazy
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What is the main character's husband's name?
Answer: John.
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What major life event happened to the couple before the summer?
Answer: They had their first child.
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What is the style of the mansion they stay at?
Answer: Colonial.
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What do the couple assume the room they stay in used to be used for?
Answer: A nursery.
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: How is Jennie related to the family?
Answer: She is John's sister.
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What aspect of the couple's room do they find peculiar?
Answer: The wallpaper.
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What color is the wallpaper in the couple's room?
Answer: Yellow.
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What does the main character believe she sees in the wallpaper?
Answer: A woman.
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: Why does the main character strip off the wallpaper?
Answer: She believes she must free the woman trapped inside.
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after the birth of their child. The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery, having it serve as their bedroom due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, the reader is left unsure as to the source of the room's damage.
The narrator devotes many journal entries to describing the wallpaper in the room â its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.
On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She exclaims, "I've got out at last,...in spite of you and Jane", and her husband faints as she continues to circle the room, stepping over his inert body each time she passes.

Question: What is on the windows in the room?
Answer: Bars.
"Where Love Is, God Is" is a short story about a shoemaker named Martin Avdeitch. The story begins with a background on Martin's life. He was a fine cobbler as he did his work well and never promised to do something that he could not do. He stayed busy with his work in his basement that had only one window. Through this window he could see only the feet of people. He was still able to recognize most people by their shoes as he had worked with most of the shoes at least once. He had a wife, but she died, and all their children had died in their infancy except a three-year-old son.
After he thought about sending him off to live with his sister he decided to care for the child himself. Martin however, was not destined to have a child as his son died a few years later with a fever. In grief, he denied God, wondering how He could allow such a thing to happen to him. One day a missionary visited Martin and Martin told him of his hardships. This missionary told Martin that he should live his life for God and not deny Him because God's will is the ultimate deciding factor and as humans we cannot question that. The missionary's words sank deep into Martin. After this encounter Martin went out and bought a large print Testament.
He began to read the Bible, at first only on holidays, but as he read more and more it became daily. His life became full with peace and joy. After his day of work he would sit down with a lamp and read. One night Martin read a passage about a Pharisee had invited Jesus into his house, and in the house a woman anointed and washed Jesus' feet with her tears. Martin thought of himself as the Pharisee in that story as he was only living for himself. As Martin slept he thought he heard the voice of God telling him that He would visit him the next day.
The next morning Martin skeptically watched out his window for God. While he was searching for God he saw Stepanitch shoveling away snow. Martin invited him in for a warm drink and they talked for a while. Martin told Stepanitch about Jesus' and the Pharisee and Stepanitch was moved to tears. Stepanitch later left and thanked Martin for the food, both for the soul and body.
Martin later saw a young woman outside with a baby not properly dressed for the cold. He invited her in for some food and gave her warmer clothes and money. Martin also told her about Jesus and she thanked him and left. Then he saw a young boy stealing from an older lady. He went outside and settled their argument as he extended love and compassion towards the both of them.
That night while Martin wondered why God had not visited him three figures appeared in his home, the three people he had showed hospitality to that day. They said that when he helped them he was helping God. Martin then realized that God had indeed visited him, and he accepted Him well.
Shoemaker Martin (1997), a children's book by Brigitte Hanhart, is based on this story.

Question: What is Martin's Avdeitch's occupation?
Answer: cobbler