niryuu/sni-each-converted huggingface dataset:
In the first part of the book, Jakob Beer is a 7 year old child of a Jewish family living in Poland. His house is stormed by Nazis; he escapes the fate of his parents and his sister, Bella, by hiding behind the wallpaper in a cabinet. He hides in the forest, burying himself up to the neck in soil. After some time, he runs into an archaeologist, Athos Roussos, working on Biskupin. Athos secretly takes him to Zakynthos in Greece. Athos is also a geologist, and is fascinated with ancient wood and stones. Jakob learns Greek and English, but finds that learning new languages erases his memory of the past. After the war, Athos and Jakob move to Toronto, where after several years Jakob meets Alexandra in a music library. Alex is a fast-paced, outspokenly philosophical master of wordplay. Jakob and Alex fall in love and marry, but the relationship fails because Alex expects Jakob to change too fast and abandon his past. Jakob dwells constantly on his memories of Bella, especially her piano-playing, and they end up divorcing. Jakob meets and marries Michaela, a much younger woman but one who seems to understand him, and with Michaela's help he is able to let go of Bella. Together they move to Greece into the former home of several generations of the Roussos family.
The second part of the book is told from the perspective of Ben, a Canadian professor of Jewish descent who was born in Canada to survivors of the Holocaust. In 1954 the family home in Weston, Ontario is destroyed by Hurricane Hazel. Ben becomes an expert on the history of weather, and marries a girl named Naomi. He is a big admirer of Jakob's poetry and respects the way he deals with the Holocaust, when Ben himself has trouble coping with the horrors his parents must have endured. At the end of the novel, Ben is sent to retrieve Jakob's journals from his home in Greece, where Ben spends hours swimming in Jakob's past.
Output: Where do Athos and Jakob move to after the war?
In the first part of the book, Jakob Beer is a 7 year old child of a Jewish family living in Poland. His house is stormed by Nazis; he escapes the fate of his parents and his sister, Bella, by hiding behind the wallpaper in a cabinet. He hides in the forest, burying himself up to the neck in soil. After some time, he runs into an archaeologist, Athos Roussos, working on Biskupin. Athos secretly takes him to Zakynthos in Greece. Athos is also a geologist, and is fascinated with ancient wood and stones. Jakob learns Greek and English, but finds that learning new languages erases his memory of the past. After the war, Athos and Jakob move to Toronto, where after several years Jakob meets Alexandra in a music library. Alex is a fast-paced, outspokenly philosophical master of wordplay. Jakob and Alex fall in love and marry, but the relationship fails because Alex expects Jakob to change too fast and abandon his past. Jakob dwells constantly on his memories of Bella, especially her piano-playing, and they end up divorcing. Jakob meets and marries Michaela, a much younger woman but one who seems to understand him, and with Michaela's help he is able to let go of Bella. Together they move to Greece into the former home of several generations of the Roussos family.
The second part of the book is told from the perspective of Ben, a Canadian professor of Jewish descent who was born in Canada to survivors of the Holocaust. In 1954 the family home in Weston, Ontario is destroyed by Hurricane Hazel. Ben becomes an expert on the history of weather, and marries a girl named Naomi. He is a big admirer of Jakob's poetry and respects the way he deals with the Holocaust, when Ben himself has trouble coping with the horrors his parents must have endured. At the end of the novel, Ben is sent to retrieve Jakob's journals from his home in Greece, where Ben spends hours swimming in Jakob's past.
Output: When does Hurricane Hazel destroy the home?
In the first part of the book, Jakob Beer is a 7 year old child of a Jewish family living in Poland. His house is stormed by Nazis; he escapes the fate of his parents and his sister, Bella, by hiding behind the wallpaper in a cabinet. He hides in the forest, burying himself up to the neck in soil. After some time, he runs into an archaeologist, Athos Roussos, working on Biskupin. Athos secretly takes him to Zakynthos in Greece. Athos is also a geologist, and is fascinated with ancient wood and stones. Jakob learns Greek and English, but finds that learning new languages erases his memory of the past. After the war, Athos and Jakob move to Toronto, where after several years Jakob meets Alexandra in a music library. Alex is a fast-paced, outspokenly philosophical master of wordplay. Jakob and Alex fall in love and marry, but the relationship fails because Alex expects Jakob to change too fast and abandon his past. Jakob dwells constantly on his memories of Bella, especially her piano-playing, and they end up divorcing. Jakob meets and marries Michaela, a much younger woman but one who seems to understand him, and with Michaela's help he is able to let go of Bella. Together they move to Greece into the former home of several generations of the Roussos family.
The second part of the book is told from the perspective of Ben, a Canadian professor of Jewish descent who was born in Canada to survivors of the Holocaust. In 1954 the family home in Weston, Ontario is destroyed by Hurricane Hazel. Ben becomes an expert on the history of weather, and marries a girl named Naomi. He is a big admirer of Jakob's poetry and respects the way he deals with the Holocaust, when Ben himself has trouble coping with the horrors his parents must have endured. At the end of the novel, Ben is sent to retrieve Jakob's journals from his home in Greece, where Ben spends hours swimming in Jakob's past.
Output: Which two things does Ben admire most about Jakob?
In the first part of the book, Jakob Beer is a 7 year old child of a Jewish family living in Poland. His house is stormed by Nazis; he escapes the fate of his parents and his sister, Bella, by hiding behind the wallpaper in a cabinet. He hides in the forest, burying himself up to the neck in soil. After some time, he runs into an archaeologist, Athos Roussos, working on Biskupin. Athos secretly takes him to Zakynthos in Greece. Athos is also a geologist, and is fascinated with ancient wood and stones. Jakob learns Greek and English, but finds that learning new languages erases his memory of the past. After the war, Athos and Jakob move to Toronto, where after several years Jakob meets Alexandra in a music library. Alex is a fast-paced, outspokenly philosophical master of wordplay. Jakob and Alex fall in love and marry, but the relationship fails because Alex expects Jakob to change too fast and abandon his past. Jakob dwells constantly on his memories of Bella, especially her piano-playing, and they end up divorcing. Jakob meets and marries Michaela, a much younger woman but one who seems to understand him, and with Michaela's help he is able to let go of Bella. Together they move to Greece into the former home of several generations of the Roussos family.
The second part of the book is told from the perspective of Ben, a Canadian professor of Jewish descent who was born in Canada to survivors of the Holocaust. In 1954 the family home in Weston, Ontario is destroyed by Hurricane Hazel. Ben becomes an expert on the history of weather, and marries a girl named Naomi. He is a big admirer of Jakob's poetry and respects the way he deals with the Holocaust, when Ben himself has trouble coping with the horrors his parents must have endured. At the end of the novel, Ben is sent to retrieve Jakob's journals from his home in Greece, where Ben spends hours swimming in Jakob's past.
Output: What are Athos Roussos' two professions?
In the first part of the book, Jakob Beer is a 7 year old child of a Jewish family living in Poland. His house is stormed by Nazis; he escapes the fate of his parents and his sister, Bella, by hiding behind the wallpaper in a cabinet. He hides in the forest, burying himself up to the neck in soil. After some time, he runs into an archaeologist, Athos Roussos, working on Biskupin. Athos secretly takes him to Zakynthos in Greece. Athos is also a geologist, and is fascinated with ancient wood and stones. Jakob learns Greek and English, but finds that learning new languages erases his memory of the past. After the war, Athos and Jakob move to Toronto, where after several years Jakob meets Alexandra in a music library. Alex is a fast-paced, outspokenly philosophical master of wordplay. Jakob and Alex fall in love and marry, but the relationship fails because Alex expects Jakob to change too fast and abandon his past. Jakob dwells constantly on his memories of Bella, especially her piano-playing, and they end up divorcing. Jakob meets and marries Michaela, a much younger woman but one who seems to understand him, and with Michaela's help he is able to let go of Bella. Together they move to Greece into the former home of several generations of the Roussos family.
The second part of the book is told from the perspective of Ben, a Canadian professor of Jewish descent who was born in Canada to survivors of the Holocaust. In 1954 the family home in Weston, Ontario is destroyed by Hurricane Hazel. Ben becomes an expert on the history of weather, and marries a girl named Naomi. He is a big admirer of Jakob's poetry and respects the way he deals with the Holocaust, when Ben himself has trouble coping with the horrors his parents must have endured. At the end of the novel, Ben is sent to retrieve Jakob's journals from his home in Greece, where Ben spends hours swimming in Jakob's past.
Output: What religion did Jakob and his family believe in?
In the first part of the book, Jakob Beer is a 7 year old child of a Jewish family living in Poland. His house is stormed by Nazis; he escapes the fate of his parents and his sister, Bella, by hiding behind the wallpaper in a cabinet. He hides in the forest, burying himself up to the neck in soil. After some time, he runs into an archaeologist, Athos Roussos, working on Biskupin. Athos secretly takes him to Zakynthos in Greece. Athos is also a geologist, and is fascinated with ancient wood and stones. Jakob learns Greek and English, but finds that learning new languages erases his memory of the past. After the war, Athos and Jakob move to Toronto, where after several years Jakob meets Alexandra in a music library. Alex is a fast-paced, outspokenly philosophical master of wordplay. Jakob and Alex fall in love and marry, but the relationship fails because Alex expects Jakob to change too fast and abandon his past. Jakob dwells constantly on his memories of Bella, especially her piano-playing, and they end up divorcing. Jakob meets and marries Michaela, a much younger woman but one who seems to understand him, and with Michaela's help he is able to let go of Bella. Together they move to Greece into the former home of several generations of the Roussos family.
The second part of the book is told from the perspective of Ben, a Canadian professor of Jewish descent who was born in Canada to survivors of the Holocaust. In 1954 the family home in Weston, Ontario is destroyed by Hurricane Hazel. Ben becomes an expert on the history of weather, and marries a girl named Naomi. He is a big admirer of Jakob's poetry and respects the way he deals with the Holocaust, when Ben himself has trouble coping with the horrors his parents must have endured. At the end of the novel, Ben is sent to retrieve Jakob's journals from his home in Greece, where Ben spends hours swimming in Jakob's past.
Output: Where do Athos Roussos and Jakob Beer move after the war?
In the first part of the book, Jakob Beer is a 7 year old child of a Jewish family living in Poland. His house is stormed by Nazis; he escapes the fate of his parents and his sister, Bella, by hiding behind the wallpaper in a cabinet. He hides in the forest, burying himself up to the neck in soil. After some time, he runs into an archaeologist, Athos Roussos, working on Biskupin. Athos secretly takes him to Zakynthos in Greece. Athos is also a geologist, and is fascinated with ancient wood and stones. Jakob learns Greek and English, but finds that learning new languages erases his memory of the past. After the war, Athos and Jakob move to Toronto, where after several years Jakob meets Alexandra in a music library. Alex is a fast-paced, outspokenly philosophical master of wordplay. Jakob and Alex fall in love and marry, but the relationship fails because Alex expects Jakob to change too fast and abandon his past. Jakob dwells constantly on his memories of Bella, especially her piano-playing, and they end up divorcing. Jakob meets and marries Michaela, a much younger woman but one who seems to understand him, and with Michaela's help he is able to let go of Bella. Together they move to Greece into the former home of several generations of the Roussos family.
The second part of the book is told from the perspective of Ben, a Canadian professor of Jewish descent who was born in Canada to survivors of the Holocaust. In 1954 the family home in Weston, Ontario is destroyed by Hurricane Hazel. Ben becomes an expert on the history of weather, and marries a girl named Naomi. He is a big admirer of Jakob's poetry and respects the way he deals with the Holocaust, when Ben himself has trouble coping with the horrors his parents must have endured. At the end of the novel, Ben is sent to retrieve Jakob's journals from his home in Greece, where Ben spends hours swimming in Jakob's past.
Output: How does Jakob hide from the Nazis who stormed his home?
In the first part of the book, Jakob Beer is a 7 year old child of a Jewish family living in Poland. His house is stormed by Nazis; he escapes the fate of his parents and his sister, Bella, by hiding behind the wallpaper in a cabinet. He hides in the forest, burying himself up to the neck in soil. After some time, he runs into an archaeologist, Athos Roussos, working on Biskupin. Athos secretly takes him to Zakynthos in Greece. Athos is also a geologist, and is fascinated with ancient wood and stones. Jakob learns Greek and English, but finds that learning new languages erases his memory of the past. After the war, Athos and Jakob move to Toronto, where after several years Jakob meets Alexandra in a music library. Alex is a fast-paced, outspokenly philosophical master of wordplay. Jakob and Alex fall in love and marry, but the relationship fails because Alex expects Jakob to change too fast and abandon his past. Jakob dwells constantly on his memories of Bella, especially her piano-playing, and they end up divorcing. Jakob meets and marries Michaela, a much younger woman but one who seems to understand him, and with Michaela's help he is able to let go of Bella. Together they move to Greece into the former home of several generations of the Roussos family.
The second part of the book is told from the perspective of Ben, a Canadian professor of Jewish descent who was born in Canada to survivors of the Holocaust. In 1954 the family home in Weston, Ontario is destroyed by Hurricane Hazel. Ben becomes an expert on the history of weather, and marries a girl named Naomi. He is a big admirer of Jakob's poetry and respects the way he deals with the Holocaust, when Ben himself has trouble coping with the horrors his parents must have endured. At the end of the novel, Ben is sent to retrieve Jakob's journals from his home in Greece, where Ben spends hours swimming in Jakob's past.
Output: What nationality is Jacob's family?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What does a Henry James character never do at an election?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Where was Boon's papers kept?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What does a Henry James character never do while playing poker?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Boon open with a introduction by whom?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Who is Hallery?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What were the two humorous symbolic tales entitled?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Where does the fictional character Hallery's conference take place?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What is the name of the Principal text by Boon?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Who is Reginald Bliss?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Who was the literacy character created by Wells?