Question: what did Mr Lapointe and his associates behave like?

“When the market is pricing assets that low, you should worry,” he said. Mutual fund analysts say that the Third Avenue fund is perhaps the riskiest of the many high-yield funds that investors have been piling into in recent years. Mr. Lapointe and his team of analysts acted more like private equity investors, taking large stakes in companies that were either already bankrupt or emerging from bankruptcy. Unlike most funds that hold bonds that can be bought and sold, albeit with some difficulty, private equity funds are not required to pay back investors on demand — it is a must for mutual funds.

Answer: private equity investors

“When the market is pricing assets that low, you should worry,” he said. Mutual fund analysts say that the Third Avenue fund is perhaps the riskiest of the many high-yield funds that investors have been piling into in recent years. <hl> Mr. Lapointe and his team of analysts acted more like private equity investors , taking large stakes in companies that were either already bankrupt or emerging from bankruptcy. <hl> Unlike most funds that hold bonds that can be bought and sold, albeit with some difficulty, private equity funds are not required to pay back investors on demand — it is a must for mutual funds.

“When the market is pricing assets that low, you should worry,” he said. Mutual fund analysts say that the Third Avenue fund is perhaps the riskiest of the many high-yield funds that investors have been piling into in recent years. Mr. Lapointe and his team of analysts acted more like <hl> private equity investors <hl>, taking large stakes in companies that were either already bankrupt or emerging from bankruptcy. Unlike most funds that hold bonds that can be bought and sold, albeit with some difficulty, private equity funds are not required to pay back investors on demand — it is a must for mutual funds.

Mr. Lapointe and his team of analysts acted more like <hl> private equity investors <hl> , taking large stakes in companies that were either already bankrupt or emerging from bankruptcy.


Question: what are private equity funds no obligate to do?

Answer: to pay back investors on demand

“When the market is pricing assets that low, you should worry,” he said. Mutual fund analysts say that the Third Avenue fund is perhaps the riskiest of the many high-yield funds that investors have been piling into in recent years. Mr. Lapointe and his team of analysts acted more like private equity investors, taking large stakes in companies that were either already bankrupt or emerging from bankruptcy. <hl> Unlike most funds that hold bonds that can be bought and sold, albeit with some difficulty, private equity funds are not required to pay back investors on demand — it is a must for mutual funds. <hl>

“When the market is pricing assets that low, you should worry,” he said. Mutual fund analysts say that the Third Avenue fund is perhaps the riskiest of the many high-yield funds that investors have been piling into in recent years. Mr. Lapointe and his team of analysts acted more like private equity investors, taking large stakes in companies that were either already bankrupt or emerging from bankruptcy. Unlike most funds that hold bonds that can be bought and sold, albeit with some difficulty, private equity funds are not required <hl> to pay back investors on demand <hl> — it is a must for mutual funds.


Question: do mutual funds have to immediately fulfill redemptions?

Answer: it is a must for mutual funds

“When the market is pricing assets that low, you should worry,” he said. Mutual fund analysts say that the Third Avenue fund is perhaps the riskiest of the many high-yield funds that investors have been piling into in recent years. Mr. Lapointe and his team of analysts acted more like private equity investors, taking large stakes in companies that were either already bankrupt or emerging from bankruptcy. <hl> Unlike most funds that hold bonds that can be bought and sold, albeit with some difficulty, private equity funds are not required to pay back investors on demand — it is a must for mutual funds . <hl>

“When the market is pricing assets that low, you should worry,” he said. Mutual fund analysts say that the Third Avenue fund is perhaps the riskiest of the many high-yield funds that investors have been piling into in recent years. Mr. Lapointe and his team of analysts acted more like private equity investors, taking large stakes in companies that were either already bankrupt or emerging from bankruptcy. Unlike most funds that hold bonds that can be bought and sold, albeit with some difficulty, private equity funds are not required to pay back investors on demand — <hl> it is a must for mutual funds <hl>.

Unlike most funds that hold bonds that can be bought and sold, albeit with some difficulty, private equity funds are not required to pay back investors on demand — <hl> it is a must for mutual funds <hl> .


Question: Who wrote "Reporting Always?"

Ross has said she writes only about people she likes. In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ ” Ross’s respect and fondness for her subjects does not drain her profiles of acuity. A default tone of light irony offers a built-in distance. And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. Hemingway loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick.

Answer: Ross

<hl> Ross has said she writes only about people she likes. <hl> In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ ” Ross’s respect and fondness for her subjects does not drain her profiles of acuity. A default tone of light irony offers a built-in distance. And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. Hemingway loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick.

<hl> Ross <hl> has said she writes only about people she likes. In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ ” Ross’s respect and fondness for her subjects does not drain her profiles of acuity. A default tone of light irony offers a built-in distance. And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. Hemingway loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick.


Question: Who is quoted as saying "I have never wanted to write about anybody who did not want to be written about?"

Answer: Ross

<hl> Ross has said she writes only about people she likes. <hl> In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ ” Ross’s respect and fondness for her subjects does not drain her profiles of acuity. A default tone of light irony offers a built-in distance. And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. Hemingway loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick.

<hl> Ross <hl> has said she writes only about people she likes. In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ ” Ross’s respect and fondness for her subjects does not drain her profiles of acuity. A default tone of light irony offers a built-in distance. And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. Hemingway loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick.


Question: What is Ross's default tone of writing?

Answer: light irony

Ross has said she writes only about people she likes. In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ ” Ross’s respect and fondness for her subjects does not drain her profiles of acuity. <hl> A default tone of light irony offers a built-in distance. <hl> And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. Hemingway loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick.

Ross has said she writes only about people she likes. In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ ” Ross’s respect and fondness for her subjects does not drain her profiles of acuity. A default tone of <hl> light irony <hl> offers a built-in distance. And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. Hemingway loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick.


Question: What does Ross have a lot of with regard to her subjects?

Answer: respect and fondness

Ross has said she writes only about people she likes. In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ <hl> ” Ross’s respect and fondness for her subjects does not drain her profiles of acuity. <hl> A default tone of light irony offers a built-in distance. And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. Hemingway loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick.

Ross has said she writes only about people she likes. In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ ” Ross’s <hl> respect and fondness <hl> for her subjects does not drain her profiles of acuity. A default tone of light irony offers a built-in distance. And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. Hemingway loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick.


Question: What famous author did Ross write an article about?

Answer: Hemingway

Ross has said she writes only about people she likes. In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ ” Ross’s respect and fondness for her subjects does not drain her profiles of acuity. A default tone of light irony offers a built-in distance. And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. <hl> Hemingway loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick. <hl>

Ross has said she writes only about people she likes. In her introduction to “Reporting Always,” she elaborates on this reportorial ethos: “I have never wanted to write about anybody who did not want to be written about.” She writes “only what can be observed, what I see and hear and never what the subject might be ‘thinking.’ ” Ross’s respect and fondness for her subjects does not drain her profiles of acuity. A default tone of light irony offers a built-in distance. And naturally a point of view is implicit in Ross’s choice of focus and her selection of details. She has a knack for locating the peripheral actor — the bartender at a gathering of Beat writers, the balloon salesman at a society function — who makes a tableau snap into focus. But where exactly Ross stands in relation to her material is generally impossible to confirm. <hl> Hemingway <hl> loved her article on him, even though others told him he ought to have been offended by the way Ross captured his stagy sportsman’s shtick.


Question: What style of writing ages quickly?

Parody ages fast, as its targets drop from public view. So do reviews of long-forgotten plays and movies. Gibbs was a critic temperamentally, not just when he was at the theater. Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by Thomas Vinciguerra. Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”

Answer: Parody

<hl> Parody ages fast, as its targets drop from public view. <hl> So do reviews of long-forgotten plays and movies. Gibbs was a critic temperamentally, not just when he was at the theater. Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by Thomas Vinciguerra. Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”

<hl> Parody <hl> ages fast, as its targets drop from public view. So do reviews of long-forgotten plays and movies. Gibbs was a critic temperamentally, not just when he was at the theater. Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by Thomas Vinciguerra. Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”


Question: Which critic often showed up drunk to performances?

Answer: Gibbs

Parody ages fast, as its targets drop from public view. So do reviews of long-forgotten plays and movies. <hl> Gibbs was a critic temperamentally, not just when he was at the theater. <hl> Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by Thomas Vinciguerra. Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”

Parody ages fast, as its targets drop from public view. So do reviews of long-forgotten plays and movies. <hl> Gibbs <hl> was a critic temperamentally, not just when he was at the theater. Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by Thomas Vinciguerra. Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”


Question: What year was "Backward Ran Sentences" released?

Answer: 2011

Parody ages fast, as its targets drop from public view. So do reviews of long-forgotten plays and movies. Gibbs was a critic temperamentally, not just when he was at the theater. Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in <hl> a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by Thomas Vinciguerra. <hl> Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”

Parody ages fast, as its targets drop from public view. So do reviews of long-forgotten plays and movies. Gibbs was a critic temperamentally, not just when he was at the theater. Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a <hl> 2011 <hl> collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by Thomas Vinciguerra. Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”


Question: Who edited "Backward Ran Sentences?"

Answer: Thomas Vinciguerra

Parody ages fast, as its targets drop from public view. So do reviews of long-forgotten plays and movies. Gibbs was a critic temperamentally, not just when he was at the theater. Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. <hl> Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by Thomas Vinciguerra . <hl> Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”

Parody ages fast, as its targets drop from public view. So do reviews of long-forgotten plays and movies. Gibbs was a critic temperamentally, not just when he was at the theater. Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by <hl> Thomas Vinciguerra <hl>. Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”

Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by <hl> Thomas Vinciguerra <hl> .


Question: Which critic was considered incredibly hard to impress?

Answer: Gibbs

Parody ages fast, as its targets drop from public view. So do reviews of long-forgotten plays and movies. <hl> Gibbs was a critic temperamentally, not just when he was at the theater. <hl> Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by Thomas Vinciguerra. Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”

Parody ages fast, as its targets drop from public view. So do reviews of long-forgotten plays and movies. <hl> Gibbs <hl> was a critic temperamentally, not just when he was at the theater. Dour, melancholic, he was considered impossible to please. He committed offenses against basic fairness by showing up drunk to performances or leaving well before they ended. The reviews he wrote are undeniably droll. Many can be found, along with his short stories, Talk of the Town pieces and other occasional work in a 2011 collection of his New Yorker writings called “Backward Ran Sentences” (the title is pulled from the Time parody), edited by Thomas Vinciguerra. Page after page of lively, witty, lean prose demonstrates why Gibbs was so appealing to readers. He took down pretensions and uncannily mimicked the great voices of his era. His critique of film reviewers’ lazy vocabulary (“luminous,” “taut,” “haunting”) still stands as a rebuke today (and can equally be applied to book reviewers). Gibbs did in fact respond to quality in the theater, writing at least partial appreciations of “A Streetcar Named Desire,” “Death of a Salesman” and “Long Day’s Journey Into Night,” although he despised “Waiting for Godot.” While his praise was far rarer than his condemnation, one can’t help feeling affection for a critic who sent the following form reply to readers who wrote in to quarrel with his views: “Dear Sir [or Madam]: You may be right. Sincerely, Wolcott Gibbs.”


Question: Which writer had freedom to choose their subject matter?

As talented as Gibbs was, his work was perhaps not destined to last. He did not, like Lillian Ross, have the freedom regularly to choose his subject matter. He was temperamentally a naysayer. By contrast, Ross, now in her 90s (there is some disagreement about her age), still maintains a sunny disposition and an interest in the youthful and the new. It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.

Answer: Lillian Ross

As talented as Gibbs was, his work was perhaps not destined to last. <hl> He did not, like Lillian Ross , have the freedom regularly to choose his subject matter. <hl> He was temperamentally a naysayer. By contrast, Ross, now in her 90s (there is some disagreement about her age), still maintains a sunny disposition and an interest in the youthful and the new. It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.

As talented as Gibbs was, his work was perhaps not destined to last. He did not, like <hl> Lillian Ross <hl>, have the freedom regularly to choose his subject matter. He was temperamentally a naysayer. By contrast, Ross, now in her 90s (there is some disagreement about her age), still maintains a sunny disposition and an interest in the youthful and the new. It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.

He did not, like <hl> Lillian Ross <hl> , have the freedom regularly to choose his subject matter.


Question: Which writer didn't have freedom to choose their subject matter?

Answer: Gibbs

<hl> As talented as Gibbs was, his work was perhaps not destined to last. <hl> He did not, like Lillian Ross, have the freedom regularly to choose his subject matter. He was temperamentally a naysayer. By contrast, Ross, now in her 90s (there is some disagreement about her age), still maintains a sunny disposition and an interest in the youthful and the new. It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.

As talented as <hl> Gibbs <hl> was, his work was perhaps not destined to last. He did not, like Lillian Ross, have the freedom regularly to choose his subject matter. He was temperamentally a naysayer. By contrast, Ross, now in her 90s (there is some disagreement about her age), still maintains a sunny disposition and an interest in the youthful and the new. It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.


Question: Which author is considered a naysayer?

Answer: Gibbs

<hl> As talented as Gibbs was, his work was perhaps not destined to last. <hl> He did not, like Lillian Ross, have the freedom regularly to choose his subject matter. He was temperamentally a naysayer. By contrast, Ross, now in her 90s (there is some disagreement about her age), still maintains a sunny disposition and an interest in the youthful and the new. It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.

As talented as <hl> Gibbs <hl> was, his work was perhaps not destined to last. He did not, like Lillian Ross, have the freedom regularly to choose his subject matter. He was temperamentally a naysayer. By contrast, Ross, now in her 90s (there is some disagreement about her age), still maintains a sunny disposition and an interest in the youthful and the new. It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.


Question: Whose work is expected to be relevant longer?

Answer: Lillian Ross

As talented as Gibbs was, his work was perhaps not destined to last. <hl> He did not, like Lillian Ross , have the freedom regularly to choose his subject matter. <hl> He was temperamentally a naysayer. By contrast, Ross, now in her 90s (there is some disagreement about her age), still maintains a sunny disposition and an interest in the youthful and the new. It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.

As talented as Gibbs was, his work was perhaps not destined to last. He did not, like <hl> Lillian Ross <hl>, have the freedom regularly to choose his subject matter. He was temperamentally a naysayer. By contrast, Ross, now in her 90s (there is some disagreement about her age), still maintains a sunny disposition and an interest in the youthful and the new. It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.

He did not, like <hl> Lillian Ross <hl> , have the freedom regularly to choose his subject matter.


Question: There is disagreement about what fact about Lillian Ross?

Answer: her age

As talented as Gibbs was, his work was perhaps not destined to last. He did not, like Lillian Ross, have the freedom regularly to choose his subject matter. He was temperamentally a naysayer. <hl> By contrast, Ross, now in her 90s (there is some disagreement about her age ), still maintains a sunny disposition and an interest in the youthful and the new. <hl> It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.

As talented as Gibbs was, his work was perhaps not destined to last. He did not, like Lillian Ross, have the freedom regularly to choose his subject matter. He was temperamentally a naysayer. By contrast, Ross, now in her 90s (there is some disagreement about <hl> her age <hl>), still maintains a sunny disposition and an interest in the youthful and the new. It is no disrespect to Gibbs to speculate that curiosity, a studied neutrality tinged with affection and facts carefully culled so as to capture the world in a moment of time may remain relevant longer than barbed, if canny and delightful, attitude.

By contrast, Ross, now in her 90s (there is some disagreement about <hl> her age <hl> ), still maintains a sunny disposition and an interest in the youthful and the new.


Question: Who are the world powers?

Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait more than a few months for the lifting of sanctions, which have crippled Iran’s economy. Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” In the coming weeks, Iran and the world powers — the United States, Russia, France, Britain, China and Germany — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the talks should continue beyond the June 30 deadline.

Answer: United States, Russia, France, Britain, China and Germany

Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait more than a few months for the lifting of sanctions, which have crippled Iran’s economy. Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” <hl> In the coming weeks, Iran and the world powers — the United States, Russia, France, Britain, China and Germany — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. <hl> In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the talks should continue beyond the June 30 deadline.

Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait more than a few months for the lifting of sanctions, which have crippled Iran’s economy. Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” In the coming weeks, Iran and the world powers — the <hl> United States, Russia, France, Britain, China and Germany <hl> — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the talks should continue beyond the June 30 deadline.


Question: What does Iran think should happen if they need more time to reach a deal?

Answer: talks should continue beyond the June 30 deadline

Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait more than a few months for the lifting of sanctions, which have crippled Iran’s economy. Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” In the coming weeks, Iran and the world powers — the United States, Russia, France, Britain, China and Germany — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. <hl> In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the talks should continue beyond the June 30 deadline . <hl>

Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait more than a few months for the lifting of sanctions, which have crippled Iran’s economy. Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” In the coming weeks, Iran and the world powers — the United States, Russia, France, Britain, China and Germany — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the <hl> talks should continue beyond the June 30 deadline <hl>.

In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the <hl> talks should continue beyond the June 30 deadline <hl> .


Question: What crippled the economy in Iran?

Answer: sanctions

<hl> Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait more than a few months for the lifting of sanctions , which have crippled Iran’s economy. <hl> Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” In the coming weeks, Iran and the world powers — the United States, Russia, France, Britain, China and Germany — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the talks should continue beyond the June 30 deadline.

Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait more than a few months for the lifting of <hl> sanctions <hl>, which have crippled Iran’s economy. Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” In the coming weeks, Iran and the world powers — the United States, Russia, France, Britain, China and Germany — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the talks should continue beyond the June 30 deadline.

Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait more than a few months for the lifting of <hl> sanctions <hl> , which have crippled Iran’s economy.


Question: According to reports, how many months will Iranians have to wait before the sanctions are lifted?

Answer: more than a few months

<hl> Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait more than a few months for the lifting of sanctions, which have crippled Iran’s economy. <hl> Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” In the coming weeks, Iran and the world powers — the United States, Russia, France, Britain, China and Germany — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the talks should continue beyond the June 30 deadline.

Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait <hl> more than a few months <hl> for the lifting of sanctions, which have crippled Iran’s economy. Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” In the coming weeks, Iran and the world powers — the United States, Russia, France, Britain, China and Germany — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the talks should continue beyond the June 30 deadline.


Question: Who is Iran's leader?

Answer: Mr. Rouhani

<hl> Speaking at a news conference to recognize the second anniversary of his election, Mr. Rouhani dismissed reports that Iranians would have to wait more than a few months for the lifting of sanctions, which have crippled Iran’s economy. <hl> Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” In the coming weeks, Iran and the world powers — the United States, Russia, France, Britain, China and Germany — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the talks should continue beyond the June 30 deadline.

Speaking at a news conference to recognize the second anniversary of his election, <hl> Mr. Rouhani <hl> dismissed reports that Iranians would have to wait more than a few months for the lifting of sanctions, which have crippled Iran’s economy. Asked whether the wait for relief could be as long as a year, he said, “A one-year difference is totally untrue.” “It might be one month,” he added. “We are still discussing.” In the coming weeks, Iran and the world powers — the United States, Russia, France, Britain, China and Germany — will intensify talks that can lead either to a breakthrough deal on Iran’s nuclear program or a more remote possibility, the end of negotiations. In recent months, Iranian leaders have insisted that if they need more time to reach a deal, the talks should continue beyond the June 30 deadline.


Question: what did the star pianist present on his solo recital?

On Tuesday evening, this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music. On Friday he will repeat the program. Mr. Kissin is the first pianist at Carnegie since Vladimir Horowitz in 1979 to double up like this on a solo recital, and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry.

Answer: Beethoven’s “Appassionata” Sonata and selections of Spanish music

<hl> On Tuesday evening, this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music . <hl> On Friday he will repeat the program. Mr. Kissin is the first pianist at Carnegie since Vladimir Horowitz in 1979 to double up like this on a solo recital, and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry.

On Tuesday evening, this star pianist presented an uncommonly introspective solo recital built around <hl> Beethoven’s “Appassionata” Sonata and selections of Spanish music <hl>. On Friday he will repeat the program. Mr. Kissin is the first pianist at Carnegie since Vladimir Horowitz in 1979 to double up like this on a solo recital, and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry.

On Tuesday evening, this star pianist presented an uncommonly introspective solo recital built around <hl> Beethoven’s “Appassionata” Sonata and selections of Spanish music <hl> .


Question: When did the star pianist present Appassionata?

Answer: On Tuesday evening

<hl> On Tuesday evening , this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music. <hl> On Friday he will repeat the program. Mr. Kissin is the first pianist at Carnegie since Vladimir Horowitz in 1979 to double up like this on a solo recital, and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry.

<hl> On Tuesday evening <hl>, this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music. On Friday he will repeat the program. Mr. Kissin is the first pianist at Carnegie since Vladimir Horowitz in 1979 to double up like this on a solo recital, and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry.

<hl> On Tuesday evening <hl> , this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music.


Question: Who is the first pianist to double up on a solo recital since Vladimir Horowitz?

Answer: Mr. Kissin

On Tuesday evening, this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music. On Friday he will repeat the program. <hl> Mr. Kissin is the first pianist at Carnegie since Vladimir Horowitz in 1979 to double up like this on a solo recital, and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry. <hl>

On Tuesday evening, this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music. On Friday he will repeat the program. <hl> Mr. Kissin <hl> is the first pianist at Carnegie since Vladimir Horowitz in 1979 to double up like this on a solo recital, and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry.


Question: When will Mr. Kissin repeat his program played on Tuesday evening?

Answer: Vladimir Horowitz in 1979 to double up like this on a solo recital

On Tuesday evening, this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music. On Friday he will repeat the program. <hl> Mr. Kissin is the first pianist at Carnegie since Vladimir Horowitz in 1979 to double up like this on a solo recital , and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry. <hl>

On Tuesday evening, this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music. On Friday he will repeat the program. Mr. Kissin is the first pianist at Carnegie since <hl> Vladimir Horowitz in 1979 to double up like this on a solo recital <hl>, and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry.

Mr. Kissin is the first pianist at Carnegie since <hl> Vladimir Horowitz in 1979 to double up like this on a solo recital <hl> , and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry.


Question: In what year, did Vladimir Horowitz double up on a solo recital?

Answer: 1979

On Tuesday evening, this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music. On Friday he will repeat the program. <hl> Mr. Kissin is the first pianist at Carnegie since Vladimir Horowitz in 1979 to double up like this on a solo recital, and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry. <hl>

On Tuesday evening, this star pianist presented an uncommonly introspective solo recital built around Beethoven’s “Appassionata” Sonata and selections of Spanish music. On Friday he will repeat the program. Mr. Kissin is the first pianist at Carnegie since Vladimir Horowitz in <hl> 1979 <hl> to double up like this on a solo recital, and his ability to draw big crowds, with additional seats set up behind him onstage, proves the depth of the public’s craving for his blend of technical mastery and eloquent artistry.


Question: What words did Brahms use to described his Three Intermezzos?

Brahms described his Three Intermezzos (Op. 117) as “lullabies to my sorrows.” Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. In “Granada,” from Albéniz’s “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. Three other city portraits by Albéniz and the dazzling “Viva Navarra!” by Larregla followed, showcases for Mr. Kissin’s refined play of colors.

Answer: lullabies to my sorrows

as “ lullabies to my sorrows .”

Brahms described his Three Intermezzos (Op. 117) <hl> as “ lullabies to my sorrows .” <hl> Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. In “Granada,” from Albéniz’s “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. Three other city portraits by Albéniz and the dazzling “Viva Navarra!” by Larregla followed, showcases for Mr. Kissin’s refined play of colors.

Brahms described his Three Intermezzos (Op. 117) as “<hl> lullabies to my sorrows <hl>.” Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. In “Granada,” from Albéniz’s “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. Three other city portraits by Albéniz and the dazzling “Viva Navarra!” by Larregla followed, showcases for Mr. Kissin’s refined play of colors.

as “ <hl> lullabies to my sorrows <hl> .”


Question: Who composed the Granada?

Answer: Albéniz’s

Brahms described his Three Intermezzos (Op. 117) as “lullabies to my sorrows.” Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. <hl> In “Granada,” from Albéniz’s “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. <hl> Three other city portraits by Albéniz and the dazzling “Viva Navarra!” by Larregla followed, showcases for Mr. Kissin’s refined play of colors.

Brahms described his Three Intermezzos (Op. 117) as “lullabies to my sorrows.” Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. In “Granada,” from <hl> Albéniz’s <hl> “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. Three other city portraits by Albéniz and the dazzling “Viva Navarra!” by Larregla followed, showcases for Mr. Kissin’s refined play of colors.


Question: In what composition did Mr. Kissin echoed the same melancholy but made it sound warmer and more sensual?

Answer: In “Granada,”

Brahms described his Three Intermezzos (Op. 117) as “lullabies to my sorrows.” Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. <hl> In “Granada,” from Albéniz’s “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. <hl> Three other city portraits by Albéniz and the dazzling “Viva Navarra!” by Larregla followed, showcases for Mr. Kissin’s refined play of colors.

Brahms described his Three Intermezzos (Op. 117) as “lullabies to my sorrows.” Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. <hl> In “Granada,” <hl> from Albéniz’s “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. Three other city portraits by Albéniz and the dazzling “Viva Navarra!” by Larregla followed, showcases for Mr. Kissin’s refined play of colors.


Question: What other pieces did Mr. Kissin played?

Answer: Three other city portraits by Albéniz and the dazzling “Viva Navarra!”

Brahms described his Three Intermezzos (Op. 117) as “lullabies to my sorrows.” Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. In “Granada,” from Albéniz’s “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. <hl> Three other city portraits by Albéniz and the dazzling “Viva Navarra!” by Larregla followed, showcases for Mr. Kissin’s refined play of colors. <hl>

Brahms described his Three Intermezzos (Op. 117) as “lullabies to my sorrows.” Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. In “Granada,” from Albéniz’s “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. <hl> Three other city portraits by Albéniz and the dazzling “Viva Navarra!” <hl> by Larregla followed, showcases for Mr. Kissin’s refined play of colors.


Question: Who compose Viva Navarra?

Answer: Larregla

Brahms described his Three Intermezzos (Op. 117) as “lullabies to my sorrows.” Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. In “Granada,” from Albéniz’s “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. Three other city portraits by Albéniz and the dazzling “Viva Navarra!” <hl> by Larregla followed, showcases for Mr. Kissin’s refined play of colors. <hl>

Brahms described his Three Intermezzos (Op. 117) as “lullabies to my sorrows.” Mr. Kissin played them with deep empathy, allowing the notes of the first to cling to one another in a show of quiet, poignant reluctance. In “Granada,” from Albéniz’s “Suite Española,” Mr. Kissin echoed some of the same melancholy but transposed it into a warmer, more sensual sound world. Three other city portraits by Albéniz and the dazzling “Viva Navarra!” by <hl> Larregla <hl> followed, showcases for Mr. Kissin’s refined play of colors.


Question: What does the author say to the woman he pulls close to him?

“It isn’t him, though,” I said gently. “I was mistaken.” I immediately regretted saying anything. I wrapped my arm around her shoulder and pulled her close. She nestled into me, her head still turned in his direction. I longed to give her the world. The man packed up his minivan and drove off, and my alternate reality went right along with him. We climbed into the car and I pulled out. All the talks my daughter and I had had over the years about her father’s absence swirled around us, filling the car like plumes of smoke from a freshly lit fire. I had always chosen my words carefully, conscious that one person’s perception can so easily be woven into another person’s foundation, forever obscuring an impartial truth.

Answer: “I was mistaken.”

“It isn’t him, though,” I said gently. <hl> “I was mistaken.” I immediately regretted saying anything. <hl> I wrapped my arm around her shoulder and pulled her close. She nestled into me, her head still turned in his direction. I longed to give her the world. The man packed up his minivan and drove off, and my alternate reality went right along with him. We climbed into the car and I pulled out. All the talks my daughter and I had had over the years about her father’s absence swirled around us, filling the car like plumes of smoke from a freshly lit fire. I had always chosen my words carefully, conscious that one person’s perception can so easily be woven into another person’s foundation, forever obscuring an impartial truth.

“It isn’t him, though,” I said gently. <hl> “I was mistaken.” <hl> I immediately regretted saying anything. I wrapped my arm around her shoulder and pulled her close. She nestled into me, her head still turned in his direction. I longed to give her the world. The man packed up his minivan and drove off, and my alternate reality went right along with him. We climbed into the car and I pulled out. All the talks my daughter and I had had over the years about her father’s absence swirled around us, filling the car like plumes of smoke from a freshly lit fire. I had always chosen my words carefully, conscious that one person’s perception can so easily be woven into another person’s foundation, forever obscuring an impartial truth.


Question: Who was part of the discussion about the father's absence?

Answer: daughter

“It isn’t him, though,” I said gently. “I was mistaken.” I immediately regretted saying anything. I wrapped my arm around her shoulder and pulled her close. She nestled into me, her head still turned in his direction. I longed to give her the world. The man packed up his minivan and drove off, and my alternate reality went right along with him. We climbed into the car and I pulled out. <hl> All the talks my daughter and I had had over the years about her father’s absence swirled around us, filling the car like plumes of smoke from a freshly lit fire. <hl> I had always chosen my words carefully, conscious that one person’s perception can so easily be woven into another person’s foundation, forever obscuring an impartial truth.

“It isn’t him, though,” I said gently. “I was mistaken.” I immediately regretted saying anything. I wrapped my arm around her shoulder and pulled her close. She nestled into me, her head still turned in his direction. I longed to give her the world. The man packed up his minivan and drove off, and my alternate reality went right along with him. We climbed into the car and I pulled out. All the talks my <hl> daughter <hl> and I had had over the years about her father’s absence swirled around us, filling the car like plumes of smoke from a freshly lit fire. I had always chosen my words carefully, conscious that one person’s perception can so easily be woven into another person’s foundation, forever obscuring an impartial truth.


Question: What did the man pack up and drive away in?

Answer: minivan

“It isn’t him, though,” I said gently. “I was mistaken.” I immediately regretted saying anything. I wrapped my arm around her shoulder and pulled her close. She nestled into me, her head still turned in his direction. I longed to give her the world. <hl> The man packed up his minivan and drove off, and my alternate reality went right along with him. <hl> We climbed into the car and I pulled out. All the talks my daughter and I had had over the years about her father’s absence swirled around us, filling the car like plumes of smoke from a freshly lit fire. I had always chosen my words carefully, conscious that one person’s perception can so easily be woven into another person’s foundation, forever obscuring an impartial truth.

“It isn’t him, though,” I said gently. “I was mistaken.” I immediately regretted saying anything. I wrapped my arm around her shoulder and pulled her close. She nestled into me, her head still turned in his direction. I longed to give her the world. The man packed up his <hl> minivan <hl> and drove off, and my alternate reality went right along with him. We climbed into the car and I pulled out. All the talks my daughter and I had had over the years about her father’s absence swirled around us, filling the car like plumes of smoke from a freshly lit fire. I had always chosen my words carefully, conscious that one person’s perception can so easily be woven into another person’s foundation, forever obscuring an impartial truth.


Question: What can one person's perception be easily woven into?

Answer: another person’s foundation

“It isn’t him, though,” I said gently. “I was mistaken.” I immediately regretted saying anything. I wrapped my arm around her shoulder and pulled her close. She nestled into me, her head still turned in his direction. I longed to give her the world. The man packed up his minivan and drove off, and my alternate reality went right along with him. We climbed into the car and I pulled out. All the talks my daughter and I had had over the years about her father’s absence swirled around us, filling the car like plumes of smoke from a freshly lit fire. <hl> I had always chosen my words carefully, conscious that one person’s perception can so easily be woven into another person’s foundation , forever obscuring an impartial truth. <hl>

“It isn’t him, though,” I said gently. “I was mistaken.” I immediately regretted saying anything. I wrapped my arm around her shoulder and pulled her close. She nestled into me, her head still turned in his direction. I longed to give her the world. The man packed up his minivan and drove off, and my alternate reality went right along with him. We climbed into the car and I pulled out. All the talks my daughter and I had had over the years about her father’s absence swirled around us, filling the car like plumes of smoke from a freshly lit fire. I had always chosen my words carefully, conscious that one person’s perception can so easily be woven into <hl> another person’s foundation <hl>, forever obscuring an impartial truth.

I had always chosen my words carefully, conscious that one person’s perception can so easily be woven into <hl> another person’s foundation <hl> , forever obscuring an impartial truth.


Question: As the man's car disappeared from view, what did the author realize?

I could not change her father’s decision, but I could bring love and honesty into our dialogue about it. I presented digestible facts and hoped they would suffice. But in that moment, as the man’s car disappeared from view, a fact I never considered came to light and took precedence over all others: My alternate reality was mine alone. My daughter didn’t reflect on her absent father at every dance recital and parent-teacher conference, as I did. She simply experienced the moment. It hadn’t occurred to me that I could follow suit. I had taken refuge in what could’ve been, but my task was not to try to restore a life that had slipped away. My job was to be fully present in the life before us, and to see this road not as an alternate route, but as a worthy, viable path — one we could trust.

Answer: My alternate reality was mine alone

I could not change her father’s decision, but I could bring love and honesty into our dialogue about it. I presented digestible facts and hoped they would suffice. <hl> But in that moment, as the man’s car disappeared from view, a fact I never considered came to light and took precedence over all others: My alternate reality was mine alone . <hl> My daughter didn’t reflect on her absent father at every dance recital and parent-teacher conference, as I did. She simply experienced the moment. It hadn’t occurred to me that I could follow suit. I had taken refuge in what could’ve been, but my task was not to try to restore a life that had slipped away. My job was to be fully present in the life before us, and to see this road not as an alternate route, but as a worthy, viable path — one we could trust.

I could not change her father’s decision, but I could bring love and honesty into our dialogue about it. I presented digestible facts and hoped they would suffice. But in that moment, as the man’s car disappeared from view, a fact I never considered came to light and took precedence over all others: <hl> My alternate reality was mine alone <hl>. My daughter didn’t reflect on her absent father at every dance recital and parent-teacher conference, as I did. She simply experienced the moment. It hadn’t occurred to me that I could follow suit. I had taken refuge in what could’ve been, but my task was not to try to restore a life that had slipped away. My job was to be fully present in the life before us, and to see this road not as an alternate route, but as a worthy, viable path — one we could trust.

But in that moment, as the man’s car disappeared from view, a fact I never considered came to light and took precedence over all others: <hl> My alternate reality was mine alone <hl> .


Question: Who was absent from every dance recital?

Answer: her father

<hl> I could not change her father ’s decision, but I could bring love and honesty into our dialogue about it. <hl> I presented digestible facts and hoped they would suffice. But in that moment, as the man’s car disappeared from view, a fact I never considered came to light and took precedence over all others: My alternate reality was mine alone. My daughter didn’t reflect on her absent father at every dance recital and parent-teacher conference, as I did. She simply experienced the moment. It hadn’t occurred to me that I could follow suit. I had taken refuge in what could’ve been, but my task was not to try to restore a life that had slipped away. My job was to be fully present in the life before us, and to see this road not as an alternate route, but as a worthy, viable path — one we could trust.

I could not change <hl> her father <hl>’s decision, but I could bring love and honesty into our dialogue about it. I presented digestible facts and hoped they would suffice. But in that moment, as the man’s car disappeared from view, a fact I never considered came to light and took precedence over all others: My alternate reality was mine alone. My daughter didn’t reflect on her absent father at every dance recital and parent-teacher conference, as I did. She simply experienced the moment. It hadn’t occurred to me that I could follow suit. I had taken refuge in what could’ve been, but my task was not to try to restore a life that had slipped away. My job was to be fully present in the life before us, and to see this road not as an alternate route, but as a worthy, viable path — one we could trust.

I could not change <hl> her father <hl> ’s decision, but I could bring love and honesty into our dialogue about it.


Question: What was the author's desire toward his daughter?

Answer: to be fully present

I could not change her father’s decision, but I could bring love and honesty into our dialogue about it. I presented digestible facts and hoped they would suffice. But in that moment, as the man’s car disappeared from view, a fact I never considered came to light and took precedence over all others: My alternate reality was mine alone. My daughter didn’t reflect on her absent father at every dance recital and parent-teacher conference, as I did. She simply experienced the moment. It hadn’t occurred to me that I could follow suit. I had taken refuge in what could’ve been, but my task was not to try to restore a life that had slipped away. <hl> My job was to be fully present in the life before us, and to see this road not as an alternate route, but as a worthy, viable path — one we could trust. <hl>

I could not change her father’s decision, but I could bring love and honesty into our dialogue about it. I presented digestible facts and hoped they would suffice. But in that moment, as the man’s car disappeared from view, a fact I never considered came to light and took precedence over all others: My alternate reality was mine alone. My daughter didn’t reflect on her absent father at every dance recital and parent-teacher conference, as I did. She simply experienced the moment. It hadn’t occurred to me that I could follow suit. I had taken refuge in what could’ve been, but my task was not to try to restore a life that had slipped away. My job was <hl> to be fully present <hl> in the life before us, and to see this road not as an alternate route, but as a worthy, viable path — one we could trust.


Question: What was the author taking refuge in, instead of being present?

Answer: what could’ve been

I could not change her father’s decision, but I could bring love and honesty into our dialogue about it. I presented digestible facts and hoped they would suffice. But in that moment, as the man’s car disappeared from view, a fact I never considered came to light and took precedence over all others: My alternate reality was mine alone. My daughter didn’t reflect on her absent father at every dance recital and parent-teacher conference, as I did. She simply experienced the moment. It hadn’t occurred to me that I could follow suit. <hl> I had taken refuge in what could’ve been , but my task was not to try to restore a life that had slipped away. <hl> My job was to be fully present in the life before us, and to see this road not as an alternate route, but as a worthy, viable path — one we could trust.

I could not change her father’s decision, but I could bring love and honesty into our dialogue about it. I presented digestible facts and hoped they would suffice. But in that moment, as the man’s car disappeared from view, a fact I never considered came to light and took precedence over all others: My alternate reality was mine alone. My daughter didn’t reflect on her absent father at every dance recital and parent-teacher conference, as I did. She simply experienced the moment. It hadn’t occurred to me that I could follow suit. I had taken refuge in <hl> what could’ve been <hl>, but my task was not to try to restore a life that had slipped away. My job was to be fully present in the life before us, and to see this road not as an alternate route, but as a worthy, viable path — one we could trust.

I had taken refuge in <hl> what could’ve been <hl> , but my task was not to try to restore a life that had slipped away.


Question: Where is the Pope's family located?

Imagine a day in the life of the Pope family at Hill-Stead, their 33,000-square-foot, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler, Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt. Maybe they retired to the drawing room, where, surrounded by Impressionist masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.

Answer: Hill-Stead

<hl> Imagine a day in the life of the Pope family at Hill-Stead , their 33,000-square-foot, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. <hl> Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler, Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt. Maybe they retired to the drawing room, where, surrounded by Impressionist masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.

Imagine a day in the life of the Pope family at <hl> Hill-Stead <hl>, their 33,000-square-foot, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler, Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt. Maybe they retired to the drawing room, where, surrounded by Impressionist masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.

Imagine a day in the life of the Pope family at <hl> Hill-Stead <hl> , their 33,000-square-foot, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington.


Question: What is the size of the white clapboard Colonial Revival-style?

Answer: 33,000-square-foot

<hl> Imagine a day in the life of the Pope family at Hill-Stead, their 33,000-square-foot , white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. <hl> Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler, Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt. Maybe they retired to the drawing room, where, surrounded by Impressionist masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.

Imagine a day in the life of the Pope family at Hill-Stead, their <hl> 33,000-square-foot <hl>, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler, Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt. Maybe they retired to the drawing room, where, surrounded by Impressionist masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.

Imagine a day in the life of the Pope family at Hill-Stead, their <hl> 33,000-square-foot <hl> , white clapboard, Colonial Revival-style home perched on a hilltop in Farmington.


Question: which friends were at the social gathering?

Answer: James McNeill Whistler

Imagine a day in the life of the Pope family at Hill-Stead, their 33,000-square-foot, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. <hl> Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler , Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt. <hl> Maybe they retired to the drawing room, where, surrounded by Impressionist masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.

Imagine a day in the life of the Pope family at Hill-Stead, their 33,000-square-foot, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. Perhaps they served lunch in their expansive dining room to a gathering of friends that included <hl> James McNeill Whistler <hl>, Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt. Maybe they retired to the drawing room, where, surrounded by Impressionist masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.

Perhaps they served lunch in their expansive dining room to a gathering of friends that included <hl> James McNeill Whistler <hl> , Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt.


Question: What is the name of the president at the social gathering?

Answer: Theodore Roosevelt

Imagine a day in the life of the Pope family at Hill-Stead, their 33,000-square-foot, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. <hl> Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler, Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt . <hl> Maybe they retired to the drawing room, where, surrounded by Impressionist masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.

Imagine a day in the life of the Pope family at Hill-Stead, their 33,000-square-foot, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler, Mary Cassatt, Henry James, Edith Wharton and President <hl> Theodore Roosevelt <hl>. Maybe they retired to the drawing room, where, surrounded by Impressionist masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.

Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler, Mary Cassatt, Henry James, Edith Wharton and President <hl> Theodore Roosevelt <hl> .


Question: what drawing styles were present in the room?

Answer: Impressionist

Imagine a day in the life of the Pope family at Hill-Stead, their 33,000-square-foot, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler, Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt. <hl> Maybe they retired to the drawing room, where, surrounded by Impressionist masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. <hl> After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.

Imagine a day in the life of the Pope family at Hill-Stead, their 33,000-square-foot, white clapboard, Colonial Revival-style home perched on a hilltop in Farmington. Perhaps they served lunch in their expansive dining room to a gathering of friends that included James McNeill Whistler, Mary Cassatt, Henry James, Edith Wharton and President Theodore Roosevelt. Maybe they retired to the drawing room, where, surrounded by <hl> Impressionist <hl> masterpieces, they enjoyed a concert performed on a custom-designed, six-legged Steinway grand piano. After that, they might have headed out for a round of golf on the six-hole course on the grounds, or taken a stroll along one of the paths that meandered through the picturesque farmland and vistas of the Litchfield Hills.


Question: What settings was the art collection staged?

“One of the most interesting, significant and unique things is that the art collection, which is fabulous in and of itself, is in a domestic setting, so you see how it was juxtaposed with all the other things that Mr. Pope collected,” Ms. Bourbeau said. “This is where he lived with it, where he enjoyed it himself, where he shared it with family and friends. That was his motivation for collecting in the first place. He wasn’t buying for investment purposes. It was because he loved the stuff.”

Answer: domestic setting

<hl> “One of the most interesting, significant and unique things is that the art collection, which is fabulous in and of itself, is in a domestic setting , so you see how it was juxtaposed with all the other things that Mr. Pope collected,” Ms. Bourbeau said. <hl> “This is where he lived with it, where he enjoyed it himself, where he shared it with family and friends. That was his motivation for collecting in the first place. He wasn’t buying for investment purposes. It was because he loved the stuff.”

“One of the most interesting, significant and unique things is that the art collection, which is fabulous in and of itself, is in a <hl> domestic setting <hl>, so you see how it was juxtaposed with all the other things that Mr. Pope collected,” Ms. Bourbeau said. “This is where he lived with it, where he enjoyed it himself, where he shared it with family and friends. That was his motivation for collecting in the first place. He wasn’t buying for investment purposes. It was because he loved the stuff.”

“One of the most interesting, significant and unique things is that the art collection, which is fabulous in and of itself, is in a <hl> domestic setting <hl> , so you see how it was juxtaposed with all the other things that Mr. Pope collected,” Ms. Bourbeau said.


Question: who reported about Mr. Pope and his collections?

Answer: Ms. Bourbeau

<hl> “One of the most interesting, significant and unique things is that the art collection, which is fabulous in and of itself, is in a domestic setting, so you see how it was juxtaposed with all the other things that Mr. Pope collected,” Ms. Bourbeau said. <hl> “This is where he lived with it, where he enjoyed it himself, where he shared it with family and friends. That was his motivation for collecting in the first place. He wasn’t buying for investment purposes. It was because he loved the stuff.”

“One of the most interesting, significant and unique things is that the art collection, which is fabulous in and of itself, is in a domestic setting, so you see how it was juxtaposed with all the other things that Mr. Pope collected,” <hl> Ms. Bourbeau <hl> said. “This is where he lived with it, where he enjoyed it himself, where he shared it with family and friends. That was his motivation for collecting in the first place. He wasn’t buying for investment purposes. It was because he loved the stuff.”


Question: Who collected things that was juxtaposed?

Answer: Mr. Pope

<hl> “One of the most interesting, significant and unique things is that the art collection, which is fabulous in and of itself, is in a domestic setting, so you see how it was juxtaposed with all the other things that Mr. Pope collected,” Ms. Bourbeau said. <hl> “This is where he lived with it, where he enjoyed it himself, where he shared it with family and friends. That was his motivation for collecting in the first place. He wasn’t buying for investment purposes. It was because he loved the stuff.”

“One of the most interesting, significant and unique things is that the art collection, which is fabulous in and of itself, is in a domestic setting, so you see how it was juxtaposed with all the other things that <hl> Mr. Pope <hl> collected,” Ms. Bourbeau said. “This is where he lived with it, where he enjoyed it himself, where he shared it with family and friends. That was his motivation for collecting in the first place. He wasn’t buying for investment purposes. It was because he loved the stuff.”


Question: What two individuals are to be married Sunday evening?

Cheryl Yvette Dawson and Madifing Kaba are to be married Sunday evening at the Alger House, an event space in Manhattan. The Rev. Jill Flowers, who was ordained by the One Spirit Interfaith Seminary, is to officiate. Mrs. Kaba, 33, works in Manhattan as a senior manager specializing in small-merchants pricing strategy for American Express. She graduated from Duke and received an M.B.A. from Columbia. She is a daughter of Annette I. Dawson and Michael Dawson of Hollis, Queens. The bride’s father retired as a mechanic who worked on trains for Metro-North in Manhattan. Her mother retired as an executive assistant at the Manhattan law firm Sidley Austin. Mr. Kaba, 42, is a management consultant in the banking and capital markets advisory group of PricewaterhouseCoopers in Manhattan. He graduated from the University of Illinois and received an M.B.A. and a master's in public policy from Carnegie Mellon University.

Answer: Cheryl Yvette Dawson and Madifing Kaba

<hl> Cheryl Yvette Dawson and Madifing Kaba are to be married Sunday evening at the Alger House, an event space in Manhattan. <hl> The Rev. Jill Flowers, who was ordained by the One Spirit Interfaith Seminary, is to officiate. Mrs. Kaba, 33, works in Manhattan as a senior manager specializing in small-merchants pricing strategy for American Express. She graduated from Duke and received an M.B.A. from Columbia. She is a daughter of Annette I. Dawson and Michael Dawson of Hollis, Queens. The bride’s father retired as a mechanic who worked on trains for Metro-North in Manhattan. Her mother retired as an executive assistant at the Manhattan law firm Sidley Austin. Mr. Kaba, 42, is a management consultant in the banking and capital markets advisory group of PricewaterhouseCoopers in Manhattan. He graduated from the University of Illinois and received an M.B.A. and a master's in public policy from Carnegie Mellon University.

<hl> Cheryl Yvette Dawson and Madifing Kaba <hl> are to be married Sunday evening at the Alger House, an event space in Manhattan. The Rev. Jill Flowers, who was ordained by the One Spirit Interfaith Seminary, is to officiate. Mrs. Kaba, 33, works in Manhattan as a senior manager specializing in small-merchants pricing strategy for American Express. She graduated from Duke and received an M.B.A. from Columbia. She is a daughter of Annette I. Dawson and Michael Dawson of Hollis, Queens. The bride’s father retired as a mechanic who worked on trains for Metro-North in Manhattan. Her mother retired as an executive assistant at the Manhattan law firm Sidley Austin. Mr. Kaba, 42, is a management consultant in the banking and capital markets advisory group of PricewaterhouseCoopers in Manhattan. He graduated from the University of Illinois and received an M.B.A. and a master's in public policy from Carnegie Mellon University.


Question: Where are Chryl and Madifing getting married?

Answer: Alger House

<hl> Cheryl Yvette Dawson and Madifing Kaba are to be married Sunday evening at the Alger House , an event space in Manhattan. <hl> The Rev. Jill Flowers, who was ordained by the One Spirit Interfaith Seminary, is to officiate. Mrs. Kaba, 33, works in Manhattan as a senior manager specializing in small-merchants pricing strategy for American Express. She graduated from Duke and received an M.B.A. from Columbia. She is a daughter of Annette I. Dawson and Michael Dawson of Hollis, Queens. The bride’s father retired as a mechanic who worked on trains for Metro-North in Manhattan. Her mother retired as an executive assistant at the Manhattan law firm Sidley Austin. Mr. Kaba, 42, is a management consultant in the banking and capital markets advisory group of PricewaterhouseCoopers in Manhattan. He graduated from the University of Illinois and received an M.B.A. and a master's in public policy from Carnegie Mellon University.

Cheryl Yvette Dawson and Madifing Kaba are to be married Sunday evening at the <hl> Alger House <hl>, an event space in Manhattan. The Rev. Jill Flowers, who was ordained by the One Spirit Interfaith Seminary, is to officiate. Mrs. Kaba, 33, works in Manhattan as a senior manager specializing in small-merchants pricing strategy for American Express. She graduated from Duke and received an M.B.A. from Columbia. She is a daughter of Annette I. Dawson and Michael Dawson of Hollis, Queens. The bride’s father retired as a mechanic who worked on trains for Metro-North in Manhattan. Her mother retired as an executive assistant at the Manhattan law firm Sidley Austin. Mr. Kaba, 42, is a management consultant in the banking and capital markets advisory group of PricewaterhouseCoopers in Manhattan. He graduated from the University of Illinois and received an M.B.A. and a master's in public policy from Carnegie Mellon University.

Cheryl Yvette Dawson and Madifing Kaba are to be married Sunday evening at the <hl> Alger House <hl> , an event space in Manhattan.