gaussalgo/Canard_Wiki-augmented huggingface dataset:
T. E. Lawrence

Context: The chief elements of the Arab strategy, developed chiefly by Faisal and Lawrence, were firstly to avoid capturing Medina, and secondly to extend northwards through Maan and Deraa to Damascus and beyond. The Emir Faisal wanted to lead regular attacks against the Ottomans, which Lawrence persuaded him to drop. Lawrence wrote about the Bedouin as a fighting force:  "The value of the tribes is defensive only and their real sphere is guerilla warfare. They are intelligent, and very lively, almost reckless, but too individualistic to endure commands, or fight in line, or to help each other. It would, I think, be possible to make an organized force out of them...The Hejaz war is one of dervishes against regular forces-and we are on the side of the dervishes. Our text-books do not apply to its conditions at all".  Medina was an attractive target for the revolt as Islam's second-holiest site, and because its Ottoman garrison was weakened by disease and isolation. It became clear that it was advantageous to leave it there rather than try to capture it, while continually attacking, but not permanently breaking, the Hejaz railway south from Damascus. This prevented the Ottomans from making effective use of their troops at Medina, and forced them to dedicate many resources to defending and repairing the railway line.  The movement north to Damascus and eventually Aleppo is interesting in the context of the Sykes-Picot agreement. While it is not known when Lawrence learned the details of Sykes-Picot, nor if or when he briefed Faisal on what he knew, there is good reason to think that both these things happened, and earlier rather than later. In particular, the Arab strategy of northward extension makes perfect sense given the Sykes-Picot language that spoke of an independent Arab entity in Syria, which would only be granted if the Arabs liberated the territory themselves. The French, and some of their British Liaison officers, were specifically uncomfortable about the northward movement, as it would weaken French colonial claims. CANNOTANSWER

Question: Why did Faisal's and T. E. Lawrence's enemies want to capture Medina?
Answer: The Emir Faisal wanted to lead regular attacks against the Ottomans,
T. E. Lawrence

Context: The chief elements of the Arab strategy, developed chiefly by Faisal and Lawrence, were firstly to avoid capturing Medina, and secondly to extend northwards through Maan and Deraa to Damascus and beyond. The Emir Faisal wanted to lead regular attacks against the Ottomans, which Lawrence persuaded him to drop. Lawrence wrote about the Bedouin as a fighting force:  "The value of the tribes is defensive only and their real sphere is guerilla warfare. They are intelligent, and very lively, almost reckless, but too individualistic to endure commands, or fight in line, or to help each other. It would, I think, be possible to make an organized force out of them...The Hejaz war is one of dervishes against regular forces-and we are on the side of the dervishes. Our text-books do not apply to its conditions at all".  Medina was an attractive target for the revolt as Islam's second-holiest site, and because its Ottoman garrison was weakened by disease and isolation. It became clear that it was advantageous to leave it there rather than try to capture it, while continually attacking, but not permanently breaking, the Hejaz railway south from Damascus. This prevented the Ottomans from making effective use of their troops at Medina, and forced them to dedicate many resources to defending and repairing the railway line.  The movement north to Damascus and eventually Aleppo is interesting in the context of the Sykes-Picot agreement. While it is not known when Lawrence learned the details of Sykes-Picot, nor if or when he briefed Faisal on what he knew, there is good reason to think that both these things happened, and earlier rather than later. In particular, the Arab strategy of northward extension makes perfect sense given the Sykes-Picot language that spoke of an independent Arab entity in Syria, which would only be granted if the Arabs liberated the territory themselves. The French, and some of their British Liaison officers, were specifically uncomfortable about the northward movement, as it would weaken French colonial claims. CANNOTANSWER

Question: Did Emir Faisal go through with leading the attacks against the Ottomans?
Answer: CANNOTANSWER
T. E. Lawrence

Context: The chief elements of the Arab strategy, developed chiefly by Faisal and Lawrence, were firstly to avoid capturing Medina, and secondly to extend northwards through Maan and Deraa to Damascus and beyond. The Emir Faisal wanted to lead regular attacks against the Ottomans, which Lawrence persuaded him to drop. Lawrence wrote about the Bedouin as a fighting force:  "The value of the tribes is defensive only and their real sphere is guerilla warfare. They are intelligent, and very lively, almost reckless, but too individualistic to endure commands, or fight in line, or to help each other. It would, I think, be possible to make an organized force out of them...The Hejaz war is one of dervishes against regular forces-and we are on the side of the dervishes. Our text-books do not apply to its conditions at all".  Medina was an attractive target for the revolt as Islam's second-holiest site, and because its Ottoman garrison was weakened by disease and isolation. It became clear that it was advantageous to leave it there rather than try to capture it, while continually attacking, but not permanently breaking, the Hejaz railway south from Damascus. This prevented the Ottomans from making effective use of their troops at Medina, and forced them to dedicate many resources to defending and repairing the railway line.  The movement north to Damascus and eventually Aleppo is interesting in the context of the Sykes-Picot agreement. While it is not known when Lawrence learned the details of Sykes-Picot, nor if or when he briefed Faisal on what he knew, there is good reason to think that both these things happened, and earlier rather than later. In particular, the Arab strategy of northward extension makes perfect sense given the Sykes-Picot language that spoke of an independent Arab entity in Syria, which would only be granted if the Arabs liberated the territory themselves. The French, and some of their British Liaison officers, were specifically uncomfortable about the northward movement, as it would weaken French colonial claims. CANNOTANSWER

Question: Other than to avoid capturing Medina, was there any other strategy T. E. Lawrence and Emir Faisal applied?
Answer: The Emir Faisal wanted to lead regular attacks against the Ottomans, which Lawrence persuaded him to drop.
T. E. Lawrence

Context: The chief elements of the Arab strategy, developed chiefly by Faisal and Lawrence, were firstly to avoid capturing Medina, and secondly to extend northwards through Maan and Deraa to Damascus and beyond. The Emir Faisal wanted to lead regular attacks against the Ottomans, which Lawrence persuaded him to drop. Lawrence wrote about the Bedouin as a fighting force:  "The value of the tribes is defensive only and their real sphere is guerilla warfare. They are intelligent, and very lively, almost reckless, but too individualistic to endure commands, or fight in line, or to help each other. It would, I think, be possible to make an organized force out of them...The Hejaz war is one of dervishes against regular forces-and we are on the side of the dervishes. Our text-books do not apply to its conditions at all".  Medina was an attractive target for the revolt as Islam's second-holiest site, and because its Ottoman garrison was weakened by disease and isolation. It became clear that it was advantageous to leave it there rather than try to capture it, while continually attacking, but not permanently breaking, the Hejaz railway south from Damascus. This prevented the Ottomans from making effective use of their troops at Medina, and forced them to dedicate many resources to defending and repairing the railway line.  The movement north to Damascus and eventually Aleppo is interesting in the context of the Sykes-Picot agreement. While it is not known when Lawrence learned the details of Sykes-Picot, nor if or when he briefed Faisal on what he knew, there is good reason to think that both these things happened, and earlier rather than later. In particular, the Arab strategy of northward extension makes perfect sense given the Sykes-Picot language that spoke of an independent Arab entity in Syria, which would only be granted if the Arabs liberated the territory themselves. The French, and some of their British Liaison officers, were specifically uncomfortable about the northward movement, as it would weaken French colonial claims. CANNOTANSWER

Question: What did T. E. Lawrence think of the enemy?
Answer: The Emir Faisal wanted to lead regular attacks against the Ottomans, which Lawrence persuaded him to drop. Lawrence wrote about the Bedouin as a fighting force:
T. E. Lawrence

Context: The chief elements of the Arab strategy, developed chiefly by Faisal and Lawrence, were firstly to avoid capturing Medina, and secondly to extend northwards through Maan and Deraa to Damascus and beyond. The Emir Faisal wanted to lead regular attacks against the Ottomans, which Lawrence persuaded him to drop. Lawrence wrote about the Bedouin as a fighting force:  "The value of the tribes is defensive only and their real sphere is guerilla warfare. They are intelligent, and very lively, almost reckless, but too individualistic to endure commands, or fight in line, or to help each other. It would, I think, be possible to make an organized force out of them...The Hejaz war is one of dervishes against regular forces-and we are on the side of the dervishes. Our text-books do not apply to its conditions at all".  Medina was an attractive target for the revolt as Islam's second-holiest site, and because its Ottoman garrison was weakened by disease and isolation. It became clear that it was advantageous to leave it there rather than try to capture it, while continually attacking, but not permanently breaking, the Hejaz railway south from Damascus. This prevented the Ottomans from making effective use of their troops at Medina, and forced them to dedicate many resources to defending and repairing the railway line.  The movement north to Damascus and eventually Aleppo is interesting in the context of the Sykes-Picot agreement. While it is not known when Lawrence learned the details of Sykes-Picot, nor if or when he briefed Faisal on what he knew, there is good reason to think that both these things happened, and earlier rather than later. In particular, the Arab strategy of northward extension makes perfect sense given the Sykes-Picot language that spoke of an independent Arab entity in Syria, which would only be granted if the Arabs liberated the territory themselves. The French, and some of their British Liaison officers, were specifically uncomfortable about the northward movement, as it would weaken French colonial claims. CANNOTANSWER

Question: What did T. E. Lawrence write about the Ottomans?
Answer: The value of the tribes is defensive only and their real sphere is guerilla warfare. They are intelligent, and very lively, almost reckless,
Dorothy Day

Context: Dorothy Day was born on November 8, 1897, in the Brooklyn Heights neighborhood of Brooklyn, New York. She was born into a family described by one biographer as "solid, patriotic, and middle class". Her father, John Day, was a Tennessee native of Irish heritage, while her mother, Grace Satterlee, a native of upstate New York, was of English ancestry. Her parents were married in an Episcopal church in Greenwich Village. She had three brothers and a sister. In 1904, her father, who was a sports writer devoted to horse racing, took a position with a newspaper in San Francisco. The family lived in Oakland, California, until the San Francisco Earthquake of 1906 destroyed the newspaper's facilities and her father lost his job. From the spontaneous response to the earthquake's devastation, the self-sacrifice of neighbors in a time of crisis, Day drew a lesson about individual action and Christian community. The family relocated to Chicago.  Day's parents were nominal Christians who rarely attended church. As a young child, she showed a marked religious streak, reading the Bible frequently. When she was ten she started to attend Church of Our Saviour, an Episcopal church in the Lincoln Park neighborhood of Chicago, after its rector convinced her mother to let Day's brothers join the church choir. She was taken with the liturgy and its music. She studied the catechism and was baptized and confirmed in that church in 1911.  Day was an avid reader in her teens, particularly fond of Upton Sinclair's The Jungle. She worked from one book to another, noting Jack London's mention of Herbert Spencer in Martin Eden, and then from Spencer to Darwin and Huxley. She learned about anarchy and extreme poverty from Peter Kropotkin, who promoted a belief in cooperation in contrast to Darwin's competition for survival. She also enjoyed Russian literature in university, especially Dostoevsky, Tolstoy, and Gorky. Day read a lot of socially conscious work, which gave her a background for her future; it helped bolster her support for and involvement in social activism.  In 1914, Day attended the University of Illinois at Urbana-Champaign on a scholarship. She was a reluctant scholar. Her reading was chiefly in a Christian radical social direction. She avoided campus social life and supported herself rather than rely on money from her father, buying all her clothing and shoes from discount stores. She left the university after two years and moved to New York City. CANNOTANSWER

Question: When was Dorothy Day born?
Answer: Dorothy Day was born on November 8, 1897,
Dorothy Day

Context: Dorothy Day was born on November 8, 1897, in the Brooklyn Heights neighborhood of Brooklyn, New York. She was born into a family described by one biographer as "solid, patriotic, and middle class". Her father, John Day, was a Tennessee native of Irish heritage, while her mother, Grace Satterlee, a native of upstate New York, was of English ancestry. Her parents were married in an Episcopal church in Greenwich Village. She had three brothers and a sister. In 1904, her father, who was a sports writer devoted to horse racing, took a position with a newspaper in San Francisco. The family lived in Oakland, California, until the San Francisco Earthquake of 1906 destroyed the newspaper's facilities and her father lost his job. From the spontaneous response to the earthquake's devastation, the self-sacrifice of neighbors in a time of crisis, Day drew a lesson about individual action and Christian community. The family relocated to Chicago.  Day's parents were nominal Christians who rarely attended church. As a young child, she showed a marked religious streak, reading the Bible frequently. When she was ten she started to attend Church of Our Saviour, an Episcopal church in the Lincoln Park neighborhood of Chicago, after its rector convinced her mother to let Day's brothers join the church choir. She was taken with the liturgy and its music. She studied the catechism and was baptized and confirmed in that church in 1911.  Day was an avid reader in her teens, particularly fond of Upton Sinclair's The Jungle. She worked from one book to another, noting Jack London's mention of Herbert Spencer in Martin Eden, and then from Spencer to Darwin and Huxley. She learned about anarchy and extreme poverty from Peter Kropotkin, who promoted a belief in cooperation in contrast to Darwin's competition for survival. She also enjoyed Russian literature in university, especially Dostoevsky, Tolstoy, and Gorky. Day read a lot of socially conscious work, which gave her a background for her future; it helped bolster her support for and involvement in social activism.  In 1914, Day attended the University of Illinois at Urbana-Champaign on a scholarship. She was a reluctant scholar. Her reading was chiefly in a Christian radical social direction. She avoided campus social life and supported herself rather than rely on money from her father, buying all her clothing and shoes from discount stores. She left the university after two years and moved to New York City. CANNOTANSWER

Question: where was Dorothy Day born?
Answer: in the Brooklyn Heights neighborhood of Brooklyn, New York.
Dorothy Day

Context: Dorothy Day was born on November 8, 1897, in the Brooklyn Heights neighborhood of Brooklyn, New York. She was born into a family described by one biographer as "solid, patriotic, and middle class". Her father, John Day, was a Tennessee native of Irish heritage, while her mother, Grace Satterlee, a native of upstate New York, was of English ancestry. Her parents were married in an Episcopal church in Greenwich Village. She had three brothers and a sister. In 1904, her father, who was a sports writer devoted to horse racing, took a position with a newspaper in San Francisco. The family lived in Oakland, California, until the San Francisco Earthquake of 1906 destroyed the newspaper's facilities and her father lost his job. From the spontaneous response to the earthquake's devastation, the self-sacrifice of neighbors in a time of crisis, Day drew a lesson about individual action and Christian community. The family relocated to Chicago.  Day's parents were nominal Christians who rarely attended church. As a young child, she showed a marked religious streak, reading the Bible frequently. When she was ten she started to attend Church of Our Saviour, an Episcopal church in the Lincoln Park neighborhood of Chicago, after its rector convinced her mother to let Day's brothers join the church choir. She was taken with the liturgy and its music. She studied the catechism and was baptized and confirmed in that church in 1911.  Day was an avid reader in her teens, particularly fond of Upton Sinclair's The Jungle. She worked from one book to another, noting Jack London's mention of Herbert Spencer in Martin Eden, and then from Spencer to Darwin and Huxley. She learned about anarchy and extreme poverty from Peter Kropotkin, who promoted a belief in cooperation in contrast to Darwin's competition for survival. She also enjoyed Russian literature in university, especially Dostoevsky, Tolstoy, and Gorky. Day read a lot of socially conscious work, which gave her a background for her future; it helped bolster her support for and involvement in social activism.  In 1914, Day attended the University of Illinois at Urbana-Champaign on a scholarship. She was a reluctant scholar. Her reading was chiefly in a Christian radical social direction. She avoided campus social life and supported herself rather than rely on money from her father, buying all her clothing and shoes from discount stores. She left the university after two years and moved to New York City. CANNOTANSWER

Question: who were Dorothy Day's parents?
Answer: Her father, John Day, was a Tennessee native of Irish heritage, while her mother, Grace Satterlee, a native of upstate New York,
Dorothy Day

Context: Dorothy Day was born on November 8, 1897, in the Brooklyn Heights neighborhood of Brooklyn, New York. She was born into a family described by one biographer as "solid, patriotic, and middle class". Her father, John Day, was a Tennessee native of Irish heritage, while her mother, Grace Satterlee, a native of upstate New York, was of English ancestry. Her parents were married in an Episcopal church in Greenwich Village. She had three brothers and a sister. In 1904, her father, who was a sports writer devoted to horse racing, took a position with a newspaper in San Francisco. The family lived in Oakland, California, until the San Francisco Earthquake of 1906 destroyed the newspaper's facilities and her father lost his job. From the spontaneous response to the earthquake's devastation, the self-sacrifice of neighbors in a time of crisis, Day drew a lesson about individual action and Christian community. The family relocated to Chicago.  Day's parents were nominal Christians who rarely attended church. As a young child, she showed a marked religious streak, reading the Bible frequently. When she was ten she started to attend Church of Our Saviour, an Episcopal church in the Lincoln Park neighborhood of Chicago, after its rector convinced her mother to let Day's brothers join the church choir. She was taken with the liturgy and its music. She studied the catechism and was baptized and confirmed in that church in 1911.  Day was an avid reader in her teens, particularly fond of Upton Sinclair's The Jungle. She worked from one book to another, noting Jack London's mention of Herbert Spencer in Martin Eden, and then from Spencer to Darwin and Huxley. She learned about anarchy and extreme poverty from Peter Kropotkin, who promoted a belief in cooperation in contrast to Darwin's competition for survival. She also enjoyed Russian literature in university, especially Dostoevsky, Tolstoy, and Gorky. Day read a lot of socially conscious work, which gave her a background for her future; it helped bolster her support for and involvement in social activism.  In 1914, Day attended the University of Illinois at Urbana-Champaign on a scholarship. She was a reluctant scholar. Her reading was chiefly in a Christian radical social direction. She avoided campus social life and supported herself rather than rely on money from her father, buying all her clothing and shoes from discount stores. She left the university after two years and moved to New York City. CANNOTANSWER

Question: did Dorothy Day have any siblings?
Answer: She had three brothers and a sister.
Dorothy Day

Context: Dorothy Day was born on November 8, 1897, in the Brooklyn Heights neighborhood of Brooklyn, New York. She was born into a family described by one biographer as "solid, patriotic, and middle class". Her father, John Day, was a Tennessee native of Irish heritage, while her mother, Grace Satterlee, a native of upstate New York, was of English ancestry. Her parents were married in an Episcopal church in Greenwich Village. She had three brothers and a sister. In 1904, her father, who was a sports writer devoted to horse racing, took a position with a newspaper in San Francisco. The family lived in Oakland, California, until the San Francisco Earthquake of 1906 destroyed the newspaper's facilities and her father lost his job. From the spontaneous response to the earthquake's devastation, the self-sacrifice of neighbors in a time of crisis, Day drew a lesson about individual action and Christian community. The family relocated to Chicago.  Day's parents were nominal Christians who rarely attended church. As a young child, she showed a marked religious streak, reading the Bible frequently. When she was ten she started to attend Church of Our Saviour, an Episcopal church in the Lincoln Park neighborhood of Chicago, after its rector convinced her mother to let Day's brothers join the church choir. She was taken with the liturgy and its music. She studied the catechism and was baptized and confirmed in that church in 1911.  Day was an avid reader in her teens, particularly fond of Upton Sinclair's The Jungle. She worked from one book to another, noting Jack London's mention of Herbert Spencer in Martin Eden, and then from Spencer to Darwin and Huxley. She learned about anarchy and extreme poverty from Peter Kropotkin, who promoted a belief in cooperation in contrast to Darwin's competition for survival. She also enjoyed Russian literature in university, especially Dostoevsky, Tolstoy, and Gorky. Day read a lot of socially conscious work, which gave her a background for her future; it helped bolster her support for and involvement in social activism.  In 1914, Day attended the University of Illinois at Urbana-Champaign on a scholarship. She was a reluctant scholar. Her reading was chiefly in a Christian radical social direction. She avoided campus social life and supported herself rather than rely on money from her father, buying all her clothing and shoes from discount stores. She left the university after two years and moved to New York City. CANNOTANSWER

Question: where did Dorothy Day go to school?
Answer: In 1914, Day attended the University of Illinois at Urbana-Champaign on a scholarship.
Dorothy Day

Context: Dorothy Day was born on November 8, 1897, in the Brooklyn Heights neighborhood of Brooklyn, New York. She was born into a family described by one biographer as "solid, patriotic, and middle class". Her father, John Day, was a Tennessee native of Irish heritage, while her mother, Grace Satterlee, a native of upstate New York, was of English ancestry. Her parents were married in an Episcopal church in Greenwich Village. She had three brothers and a sister. In 1904, her father, who was a sports writer devoted to horse racing, took a position with a newspaper in San Francisco. The family lived in Oakland, California, until the San Francisco Earthquake of 1906 destroyed the newspaper's facilities and her father lost his job. From the spontaneous response to the earthquake's devastation, the self-sacrifice of neighbors in a time of crisis, Day drew a lesson about individual action and Christian community. The family relocated to Chicago.  Day's parents were nominal Christians who rarely attended church. As a young child, she showed a marked religious streak, reading the Bible frequently. When she was ten she started to attend Church of Our Saviour, an Episcopal church in the Lincoln Park neighborhood of Chicago, after its rector convinced her mother to let Day's brothers join the church choir. She was taken with the liturgy and its music. She studied the catechism and was baptized and confirmed in that church in 1911.  Day was an avid reader in her teens, particularly fond of Upton Sinclair's The Jungle. She worked from one book to another, noting Jack London's mention of Herbert Spencer in Martin Eden, and then from Spencer to Darwin and Huxley. She learned about anarchy and extreme poverty from Peter Kropotkin, who promoted a belief in cooperation in contrast to Darwin's competition for survival. She also enjoyed Russian literature in university, especially Dostoevsky, Tolstoy, and Gorky. Day read a lot of socially conscious work, which gave her a background for her future; it helped bolster her support for and involvement in social activism.  In 1914, Day attended the University of Illinois at Urbana-Champaign on a scholarship. She was a reluctant scholar. Her reading was chiefly in a Christian radical social direction. She avoided campus social life and supported herself rather than rely on money from her father, buying all her clothing and shoes from discount stores. She left the university after two years and moved to New York City. CANNOTANSWER

Question: what did Dorothy Day study?
Answer: CANNOTANSWER
Sue Townsend

Context: Her new partner encouraged her to join a writers' group at the Phoenix Theatre, Leicester, in 1978, when she was in her early thirties. Initially too shy to speak, she did not write anything for six weeks, but was then given a fortnight to write a play. This became the thirty-minute drama Womberang (1979), set in the waiting room of a gynaecology department. At the Phoenix, she became the writer-in-residence.  During this time she was mentored by several theatre directors including Ian Giles and principally Sue Pomeroy who commissioned and directed a number of her plays including Womberang, Dayroom, Groping for Words and subsequently Ear, Nose and Throat. She was also introduced to William Ash, then chairman of the Soho Poly (now Soho Theatre), who likewise played a significant part in shaping her early career. She met writer-director Carole Hayman on the stairs of the Soho Poly theatre and went on to develop many theatre pieces with her for the Royal Court and Joint Stock, including Bazarre and Rummage and The Great Celestial Cow. They later co-wrote two television series, The Refuge and The Spinney.  At the time of writing the first Adrian Mole book, Townsend was living on the Eyres Monsell Estate, near the house in which playwright Joe Orton was brought up. Mole "came into my head when my eldest son said 'Why don't we go to safari parks like other families do?' That's the only real line of dialogue from my family that's in any of the Mole books. It's in because it triggered it. I remembered that kind of whiny, adolescent self-pity, that 'surely these are not my parents.'" CANNOTANSWER

Question: When did Sue Townsend transition to a writing career?
Answer: Her new partner encouraged her to join a writers' group at the Phoenix Theatre, Leicester, in 1978,
Sue Townsend

Context: Her new partner encouraged her to join a writers' group at the Phoenix Theatre, Leicester, in 1978, when she was in her early thirties. Initially too shy to speak, she did not write anything for six weeks, but was then given a fortnight to write a play. This became the thirty-minute drama Womberang (1979), set in the waiting room of a gynaecology department. At the Phoenix, she became the writer-in-residence.  During this time she was mentored by several theatre directors including Ian Giles and principally Sue Pomeroy who commissioned and directed a number of her plays including Womberang, Dayroom, Groping for Words and subsequently Ear, Nose and Throat. She was also introduced to William Ash, then chairman of the Soho Poly (now Soho Theatre), who likewise played a significant part in shaping her early career. She met writer-director Carole Hayman on the stairs of the Soho Poly theatre and went on to develop many theatre pieces with her for the Royal Court and Joint Stock, including Bazarre and Rummage and The Great Celestial Cow. They later co-wrote two television series, The Refuge and The Spinney.  At the time of writing the first Adrian Mole book, Townsend was living on the Eyres Monsell Estate, near the house in which playwright Joe Orton was brought up. Mole "came into my head when my eldest son said 'Why don't we go to safari parks like other families do?' That's the only real line of dialogue from my family that's in any of the Mole books. It's in because it triggered it. I remembered that kind of whiny, adolescent self-pity, that 'surely these are not my parents.'" CANNOTANSWER

Question: Was transitioning to a writing career a good experience for Sue Townsend?
Answer: Initially too shy to speak, she did not write anything for six weeks, but was then given a fortnight to write a play.
Sue Townsend

Context: Her new partner encouraged her to join a writers' group at the Phoenix Theatre, Leicester, in 1978, when she was in her early thirties. Initially too shy to speak, she did not write anything for six weeks, but was then given a fortnight to write a play. This became the thirty-minute drama Womberang (1979), set in the waiting room of a gynaecology department. At the Phoenix, she became the writer-in-residence.  During this time she was mentored by several theatre directors including Ian Giles and principally Sue Pomeroy who commissioned and directed a number of her plays including Womberang, Dayroom, Groping for Words and subsequently Ear, Nose and Throat. She was also introduced to William Ash, then chairman of the Soho Poly (now Soho Theatre), who likewise played a significant part in shaping her early career. She met writer-director Carole Hayman on the stairs of the Soho Poly theatre and went on to develop many theatre pieces with her for the Royal Court and Joint Stock, including Bazarre and Rummage and The Great Celestial Cow. They later co-wrote two television series, The Refuge and The Spinney.  At the time of writing the first Adrian Mole book, Townsend was living on the Eyres Monsell Estate, near the house in which playwright Joe Orton was brought up. Mole "came into my head when my eldest son said 'Why don't we go to safari parks like other families do?' That's the only real line of dialogue from my family that's in any of the Mole books. It's in because it triggered it. I remembered that kind of whiny, adolescent self-pity, that 'surely these are not my parents.'" CANNOTANSWER

Question: Did Sue Townsend write a play during the fortnight?
Answer: This became the thirty-minute drama Womberang (1979),
Sue Townsend

Context: Her new partner encouraged her to join a writers' group at the Phoenix Theatre, Leicester, in 1978, when she was in her early thirties. Initially too shy to speak, she did not write anything for six weeks, but was then given a fortnight to write a play. This became the thirty-minute drama Womberang (1979), set in the waiting room of a gynaecology department. At the Phoenix, she became the writer-in-residence.  During this time she was mentored by several theatre directors including Ian Giles and principally Sue Pomeroy who commissioned and directed a number of her plays including Womberang, Dayroom, Groping for Words and subsequently Ear, Nose and Throat. She was also introduced to William Ash, then chairman of the Soho Poly (now Soho Theatre), who likewise played a significant part in shaping her early career. She met writer-director Carole Hayman on the stairs of the Soho Poly theatre and went on to develop many theatre pieces with her for the Royal Court and Joint Stock, including Bazarre and Rummage and The Great Celestial Cow. They later co-wrote two television series, The Refuge and The Spinney.  At the time of writing the first Adrian Mole book, Townsend was living on the Eyres Monsell Estate, near the house in which playwright Joe Orton was brought up. Mole "came into my head when my eldest son said 'Why don't we go to safari parks like other families do?' That's the only real line of dialogue from my family that's in any of the Mole books. It's in because it triggered it. I remembered that kind of whiny, adolescent self-pity, that 'surely these are not my parents.'" CANNOTANSWER

Question: Was Womberang one of Sue Townsend's most popular writings?
Answer: CANNOTANSWER
Sue Townsend

Context: Her new partner encouraged her to join a writers' group at the Phoenix Theatre, Leicester, in 1978, when she was in her early thirties. Initially too shy to speak, she did not write anything for six weeks, but was then given a fortnight to write a play. This became the thirty-minute drama Womberang (1979), set in the waiting room of a gynaecology department. At the Phoenix, she became the writer-in-residence.  During this time she was mentored by several theatre directors including Ian Giles and principally Sue Pomeroy who commissioned and directed a number of her plays including Womberang, Dayroom, Groping for Words and subsequently Ear, Nose and Throat. She was also introduced to William Ash, then chairman of the Soho Poly (now Soho Theatre), who likewise played a significant part in shaping her early career. She met writer-director Carole Hayman on the stairs of the Soho Poly theatre and went on to develop many theatre pieces with her for the Royal Court and Joint Stock, including Bazarre and Rummage and The Great Celestial Cow. They later co-wrote two television series, The Refuge and The Spinney.  At the time of writing the first Adrian Mole book, Townsend was living on the Eyres Monsell Estate, near the house in which playwright Joe Orton was brought up. Mole "came into my head when my eldest son said 'Why don't we go to safari parks like other families do?' That's the only real line of dialogue from my family that's in any of the Mole books. It's in because it triggered it. I remembered that kind of whiny, adolescent self-pity, that 'surely these are not my parents.'" CANNOTANSWER

Question: When did Sue Townsend start writing full-time?
Answer: 1979
Sue Townsend

Context: Her new partner encouraged her to join a writers' group at the Phoenix Theatre, Leicester, in 1978, when she was in her early thirties. Initially too shy to speak, she did not write anything for six weeks, but was then given a fortnight to write a play. This became the thirty-minute drama Womberang (1979), set in the waiting room of a gynaecology department. At the Phoenix, she became the writer-in-residence.  During this time she was mentored by several theatre directors including Ian Giles and principally Sue Pomeroy who commissioned and directed a number of her plays including Womberang, Dayroom, Groping for Words and subsequently Ear, Nose and Throat. She was also introduced to William Ash, then chairman of the Soho Poly (now Soho Theatre), who likewise played a significant part in shaping her early career. She met writer-director Carole Hayman on the stairs of the Soho Poly theatre and went on to develop many theatre pieces with her for the Royal Court and Joint Stock, including Bazarre and Rummage and The Great Celestial Cow. They later co-wrote two television series, The Refuge and The Spinney.  At the time of writing the first Adrian Mole book, Townsend was living on the Eyres Monsell Estate, near the house in which playwright Joe Orton was brought up. Mole "came into my head when my eldest son said 'Why don't we go to safari parks like other families do?' That's the only real line of dialogue from my family that's in any of the Mole books. It's in because it triggered it. I remembered that kind of whiny, adolescent self-pity, that 'surely these are not my parents.'" CANNOTANSWER

Question: Did Sue Townsend do well financially?
Answer: CANNOTANSWER
Sue Townsend

Context: Her new partner encouraged her to join a writers' group at the Phoenix Theatre, Leicester, in 1978, when she was in her early thirties. Initially too shy to speak, she did not write anything for six weeks, but was then given a fortnight to write a play. This became the thirty-minute drama Womberang (1979), set in the waiting room of a gynaecology department. At the Phoenix, she became the writer-in-residence.  During this time she was mentored by several theatre directors including Ian Giles and principally Sue Pomeroy who commissioned and directed a number of her plays including Womberang, Dayroom, Groping for Words and subsequently Ear, Nose and Throat. She was also introduced to William Ash, then chairman of the Soho Poly (now Soho Theatre), who likewise played a significant part in shaping her early career. She met writer-director Carole Hayman on the stairs of the Soho Poly theatre and went on to develop many theatre pieces with her for the Royal Court and Joint Stock, including Bazarre and Rummage and The Great Celestial Cow. They later co-wrote two television series, The Refuge and The Spinney.  At the time of writing the first Adrian Mole book, Townsend was living on the Eyres Monsell Estate, near the house in which playwright Joe Orton was brought up. Mole "came into my head when my eldest son said 'Why don't we go to safari parks like other families do?' That's the only real line of dialogue from my family that's in any of the Mole books. It's in because it triggered it. I remembered that kind of whiny, adolescent self-pity, that 'surely these are not my parents.'" CANNOTANSWER

Question: Aside from Sue Townsend's transition to a writing career, are there any other interesting aspects about this article?
Answer: she was mentored by several theatre directors including Ian Giles and principally Sue Pomeroy who commissioned and directed a number of her plays
Sue Townsend

Context: Her new partner encouraged her to join a writers' group at the Phoenix Theatre, Leicester, in 1978, when she was in her early thirties. Initially too shy to speak, she did not write anything for six weeks, but was then given a fortnight to write a play. This became the thirty-minute drama Womberang (1979), set in the waiting room of a gynaecology department. At the Phoenix, she became the writer-in-residence.  During this time she was mentored by several theatre directors including Ian Giles and principally Sue Pomeroy who commissioned and directed a number of her plays including Womberang, Dayroom, Groping for Words and subsequently Ear, Nose and Throat. She was also introduced to William Ash, then chairman of the Soho Poly (now Soho Theatre), who likewise played a significant part in shaping her early career. She met writer-director Carole Hayman on the stairs of the Soho Poly theatre and went on to develop many theatre pieces with her for the Royal Court and Joint Stock, including Bazarre and Rummage and The Great Celestial Cow. They later co-wrote two television series, The Refuge and The Spinney.  At the time of writing the first Adrian Mole book, Townsend was living on the Eyres Monsell Estate, near the house in which playwright Joe Orton was brought up. Mole "came into my head when my eldest son said 'Why don't we go to safari parks like other families do?' That's the only real line of dialogue from my family that's in any of the Mole books. It's in because it triggered it. I remembered that kind of whiny, adolescent self-pity, that 'surely these are not my parents.'" CANNOTANSWER

Question: Other than Womberang, what other plays did Sue Townsend write?
Answer: Womberang, Dayroom, Groping for Words and subsequently Ear, Nose and Throat.
Sue Townsend

Context: Her new partner encouraged her to join a writers' group at the Phoenix Theatre, Leicester, in 1978, when she was in her early thirties. Initially too shy to speak, she did not write anything for six weeks, but was then given a fortnight to write a play. This became the thirty-minute drama Womberang (1979), set in the waiting room of a gynaecology department. At the Phoenix, she became the writer-in-residence.  During this time she was mentored by several theatre directors including Ian Giles and principally Sue Pomeroy who commissioned and directed a number of her plays including Womberang, Dayroom, Groping for Words and subsequently Ear, Nose and Throat. She was also introduced to William Ash, then chairman of the Soho Poly (now Soho Theatre), who likewise played a significant part in shaping her early career. She met writer-director Carole Hayman on the stairs of the Soho Poly theatre and went on to develop many theatre pieces with her for the Royal Court and Joint Stock, including Bazarre and Rummage and The Great Celestial Cow. They later co-wrote two television series, The Refuge and The Spinney.  At the time of writing the first Adrian Mole book, Townsend was living on the Eyres Monsell Estate, near the house in which playwright Joe Orton was brought up. Mole "came into my head when my eldest son said 'Why don't we go to safari parks like other families do?' That's the only real line of dialogue from my family that's in any of the Mole books. It's in because it triggered it. I remembered that kind of whiny, adolescent self-pity, that 'surely these are not my parents.'" CANNOTANSWER

Question: Were the productions of Sue Townsend's plays sold out?
Answer: CANNOTANSWER
Red Auerbach

Context: Auerbach died of a heart attack on October 28, 2006 at the age of 89. NBA commissioner David Stern said, "the void caused by his death will never be filled" and players Bill Russell, K.C. Jones, John Havlicek and Larry Bird, as well as contemporaries like Jerry West, Pat Riley, and Wayne Embry universally hailed Auerbach as one of the greatest personalities in NBA history. Bird stated "Red shared our passion for the game, our commitment to excellence, and our desire to do whatever it takes to win." Auerbach was survived by his two daughters, Nancy and Randy. Auerbach was interred in Falls Church, Virginia at King David Memorial Gardens within National Memorial Park on October 31, 2006. Attendees included basketball dignitaries Bill Russell, Kevin McHale, Danny Ainge, and David Stern.  During the 2006-07 NBA season, NBA TV and NBA.com aired reruns of Auerbach's four-minute instructional videos known as "Red on Roundball" previously aired during NBA on CBS halftime shows in the 1970s and 1980s, and as a testament to his importance in the Boston sports world, the Boston Red Sox honored Auerbach at their April 20, 2007 game against the New York Yankees by wearing green uniforms and by hanging replicated Celtics championship banners on the "Green Monster" at Fenway Park. Boston won 7-6.  Prior to Boston's season opener against the Wizards, his signature was officially placed on the parquet floor near center court, thereby naming the court as "Red Auerbach Parquet Floor." The ceremony was attended by his daughter Randy and some of the Celtics legends. The signature replaced the Red Auerbach memorial logo used during the 2007 season. CANNOTANSWER

Question: When was Red Auerbac's death?
Answer: October 28, 2006
Red Auerbach

Context: Auerbach died of a heart attack on October 28, 2006 at the age of 89. NBA commissioner David Stern said, "the void caused by his death will never be filled" and players Bill Russell, K.C. Jones, John Havlicek and Larry Bird, as well as contemporaries like Jerry West, Pat Riley, and Wayne Embry universally hailed Auerbach as one of the greatest personalities in NBA history. Bird stated "Red shared our passion for the game, our commitment to excellence, and our desire to do whatever it takes to win." Auerbach was survived by his two daughters, Nancy and Randy. Auerbach was interred in Falls Church, Virginia at King David Memorial Gardens within National Memorial Park on October 31, 2006. Attendees included basketball dignitaries Bill Russell, Kevin McHale, Danny Ainge, and David Stern.  During the 2006-07 NBA season, NBA TV and NBA.com aired reruns of Auerbach's four-minute instructional videos known as "Red on Roundball" previously aired during NBA on CBS halftime shows in the 1970s and 1980s, and as a testament to his importance in the Boston sports world, the Boston Red Sox honored Auerbach at their April 20, 2007 game against the New York Yankees by wearing green uniforms and by hanging replicated Celtics championship banners on the "Green Monster" at Fenway Park. Boston won 7-6.  Prior to Boston's season opener against the Wizards, his signature was officially placed on the parquet floor near center court, thereby naming the court as "Red Auerbach Parquet Floor." The ceremony was attended by his daughter Randy and some of the Celtics legends. The signature replaced the Red Auerbach memorial logo used during the 2007 season. CANNOTANSWER

Question: How did Red Auerbac die?
Answer: heart attack
Red Auerbach

Context: Auerbach died of a heart attack on October 28, 2006 at the age of 89. NBA commissioner David Stern said, "the void caused by his death will never be filled" and players Bill Russell, K.C. Jones, John Havlicek and Larry Bird, as well as contemporaries like Jerry West, Pat Riley, and Wayne Embry universally hailed Auerbach as one of the greatest personalities in NBA history. Bird stated "Red shared our passion for the game, our commitment to excellence, and our desire to do whatever it takes to win." Auerbach was survived by his two daughters, Nancy and Randy. Auerbach was interred in Falls Church, Virginia at King David Memorial Gardens within National Memorial Park on October 31, 2006. Attendees included basketball dignitaries Bill Russell, Kevin McHale, Danny Ainge, and David Stern.  During the 2006-07 NBA season, NBA TV and NBA.com aired reruns of Auerbach's four-minute instructional videos known as "Red on Roundball" previously aired during NBA on CBS halftime shows in the 1970s and 1980s, and as a testament to his importance in the Boston sports world, the Boston Red Sox honored Auerbach at their April 20, 2007 game against the New York Yankees by wearing green uniforms and by hanging replicated Celtics championship banners on the "Green Monster" at Fenway Park. Boston won 7-6.  Prior to Boston's season opener against the Wizards, his signature was officially placed on the parquet floor near center court, thereby naming the court as "Red Auerbach Parquet Floor." The ceremony was attended by his daughter Randy and some of the Celtics legends. The signature replaced the Red Auerbach memorial logo used during the 2007 season. CANNOTANSWER

Question: Are there any other interesting aspects about Red Auerbac's death other than when Red died and how Red died?
Answer: NBA commissioner David Stern said, "the void caused by his death will never be filled"