input: The Wind-Up Bird Chronicle (1995) is a novel that fuses the realistic and fantastic, and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of his harshest former critics, Kenzaburo Oe, winner of the Nobel Prize for Literature in 1994. The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection after the quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system. Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history." English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese. Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works which appeared in German turned out to be translations from English rather than from Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.

Answer this question "Did he work with any other authors?"
output: Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.

input: In 1953, Crewe met and partnered professionally with Frank Slay Jr., a young pianist from Texas. Their collaboration created several hit songs (as well as a small record label, XYZ), for which Crewe performed as the demo singer. Crewe and Slay's 1957 recording session with the Rays for XYZ (picked up nationally by Cameo Records) produced two major hit songs. "Silhouettes", produced by Crewe, became a doo-wop anthem of the era. Climbing to #3 on the Billboard Hot 100 in 1957, "Silhouettes" displayed the flair for story-driven lyrics, innovative musical hooks, and final lyrical twists that were to become known as Crewe trademarks. In 1965, with a slightly faster tempo, "Silhouettes" again became a hit, this time for the British group Herman's Hermits, reaching #5 on the Billboard Hot 100. Bob Dylan recorded "Silhouettes" during his legendary Basement Tapes sessions of the late 1960s, although his version was not released until 2014. "Daddy Cool" was the B-side of the Rays' "Silhouettes" single. Written and produced by Crewe and Slay at the same 1957 session, it achieved considerable note. Both "Daddy Cool" and "Silhouettes" were covered the same year by the Canadian group the Diamonds, whose version of "Daddy Cool" reached #10 on the Billboard charts. In 1961, Guy "Daddy Cool" Darrell released another single version on the Warwick label, and in 1977, the UK band Darts made the song their first-ever studio recording, scoring a #6 hit. Crewe and Slay built on their success by signing a deal with new, Philadelphia-based Swan Records. Sessions with Billy and Lillie (singers Billy Ford and Lillie Bryant) produced the 1958 hit "Lah Dee Dah", which reached the #9 position on the Billboard Hot 100; the following year, Billy and Lillie's recording of "Lucky Ladybug" hit #14. Crewe and Slay also wrote two Top 10 hits - "Tallahassee Lassie" and "Okefenokee" - for Swan's rising star Freddy Cannon.

Answer this question "What were the names of the hit songs?"
output: Daddy Cool" and "Silhouettes

input: In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her.

Answer this question "what happened after the final appearance?"
output:
She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause,"