In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.
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Question: Passage: After their HIV positive mother's death, Derick and Margaret collect wood and construct a human-length box with wheels. Then, they journey with it from Kampala to Kasangombe in a heartbreaking bid to overcome poverty and experience hope. The journey throws them dangerous experiences on unpredictable Ugandan roads. Their mother's dying wish had set them off on a seemingly impossible journey to find a relative they do not even know.
Before her death, she leaves them an envelope addressed to her sister (their auntie) who is married to a hard-working man living in a distant village called Kasangombe with their kids. Ingeniously, Derick creates a coffin using wood he collected from a rubbish dump and adds luggage bag rollers brought by Margaret. On their journey from Kampala City to their aunt's place, they are offered a lift by a seemingly kind man (played by Joel Okuyo Atiku) in a truck who is amazed by their "box". He introduces them to a kid he had taken under his wings relaxing at the back and shows them a photo of a house they can possess if they work for him. At night though, Margaret sees a scary dream where their helper is not exactly as kind as he seemed so she runs out of the truck. Derick follows and the boy throws out their coffin before waving. They walk the rest of the distance.
Initially, their uncle (played by Isaac Muwawu) did not want them in his house because he thought they were HIV-infected. Derick overheard him quarrel with his aunt at night and shook Margaret in the morning from another dream (this time beautiful, where both siblings were smiling and enjoying a picnic in a glorious garden with their aunt, uncle, cousins, dead parents and some whites). Derick convinced her to walk away from the home with him but without a reason. 
Question: How do the pair of siblings finish the last leg of their journey?

Answer: They walk.


Question: Passage: Oviri (Tahitian for savage or wild) is an 1894 ceramic sculpture by the French artist Paul Gauguin. In Tahitian mythology, Oviri was the goddess of mourning. She is shown with long pale hair, and wild eyes, smothering a wolf with her feet, while clutching a cub in her arms. Art historians have presented multiple interpretations—usually that Gauguin intended it as an epithet to reinforce his self-image as a "civilised savage". Tahitian goddesses of her era had passed from folk memory by 1894, yet Gauguin romanticises the island's past as he reaches towards more ancient sources, including an Assyrian relief of a "master of animals" type, and Majapahit mummies. Other possible influences include preserved skulls from the Marquesas Islands, figures found at Borobudur, and a 9th-century Mahayana Buddhist temple in central Java.
Gauguin made three casts, each in partially glazed stoneware, and while several copies exist in plaster or bronze, the original cast is in the Musée d'Orsay.  His sales of the casts were not successful, and at a low financial and personal ebb he asked for one to be placed on his grave. There are only three other surviving comments of his on the figure: he described the figure as a strange and cruel enigma on an 1895 presentation mount of two impressions of a woodcut of Oviri for Stéphane Mallarmé; he referred to it as La Tueuse ("The Murderess") in an 1897 letter to Ambroise Vollard; and he appended an inscription referencing Honoré de Balzac's novel Séraphîta in a c. 1899 drawing. Oviri was exhibited at the 1906 Salon d'Automne (no. 57) where it influenced Pablo Picasso, who based one of the figures in Les Demoiselles d'Avignon on it. 
Question: What is the first name of the person who romanticises the island's past as he reaches towards more ancient sources?

Answer: Paul.


Question: Passage: Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone".
In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980. Citing its absence from the NME's best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris said that its lack of critical favour in the UK was such that it had become "the most underrated album of all time", adding:
Though by no means universally degraded ... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul, it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. 
Question: What is the name of the album Marcus views as "strangled on its own conceits"?

Answer:
Sgt. Pepper.