Allan crouched over his desk once more, pen in hand and mind blank. He contemplated a story, an outline he had laboriously constructed some time ago. He had filled his pen and raised it, the nib descending towards the paper, before the sound came: the gentle, persistent tapping of the gnarled, primeval willow touching the window with long, insistent fingers. His eyes awoke with a passionate, determined flame, though the only light came from the glutted moon. Allan filled page after page, the words escaping from his mind onto the paper. Where before they had marched in regiments, practiced in ranks and followed their leaders' commands, the words now escaped in their true forms, unhindered by any stricture. He continued long into the night, until the eldritch orb had sunk into the waiting hands of the willow, raised perpetually skyward. Arthur looked up from the results of a night's frenzied labors and looked Allan in the eye. "What is this?" he queried, indicating the pages he held in his left hand. "I decided that since I wasn't having much success with more traditional stories, I might see what sort of work I produced if I let my imagination go freely," Allan replied, somewhat less self-assured than he had been the previous night. "What in G-d's name could have possessed you to do such a thing," cried Arthur, nearly raising his voice. "After all I said the day before, why have you abandoned centuries of literary progress for some self-indulgent fantasy?" He shook the papers at Allan, raising them like a belt above the head of a disobedient son. "This is nothing but a glorified Grimm's tale, a miscarried child of Stoker, a creation less fit to be published than to be told around an open fire at the hovel of some peasant!" He spoke the last word with such heavy intonation that Allan shrank back before the physical wave of sound emanating from Arthur's throat. "Do you hate the modern system of literature? Do you personally despise the works the Enlightenment or the progress made since Shakespeare?" For a moment, Allan could hardly do more than shake his head. "No, of course not I " "Then why," Arthur barreled on, "do you disregard them all and return to this superstitious babble, this morbid, paganistic drivel?
What question would one ask from this paragraph?

QUESTION: What does Arthur think of Allan's non-traditional stories?

On his return to Nuremberg in 1495, Durer opened his own workshop (being married was a requirement for this). Over the next five years his style increasingly integrated Italian influences into underlying Northern forms. Durer's father died in 1502, and his mother died in 1513. His best works in the first years of the workshop were his woodcut prints, mostly religious, but including secular scenes such as The Men's Bath House (ca. 1496). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition. It is now thought unlikely that Durer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Durer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block.
What question would one ask from this paragraph?

QUESTION: How long after opening his workshop did Durer did he create The Men's Bath House?

Adrienne Saunders is happily married to her art dealer husband , Jack . They have a daughter named Mary . Adrienne hears from a friend that she thought she saw Jack in town when he claimed to be on an out of town business trip . Adrienne confronts him , but he denies being in town , and their lives continue . Soon after a museum curator is mysteriously murdered , and a relic that Jack bought for the museum is revealed to be a fake . Jack is placed under suspicion , and then Adrienne receives word from the police that Jack perished in a car accident . In trying to wrap up Jack 's affairs , Adrienne begins to suspect that her husband had switched identities with a high school classmate , Frank Sullivan . When she sees a high school yearbook picture of her husband attributed to Sullivan , she is convinced . She tracks down a relative of Saunders , who confirms that Frank and Jack were inseparable in high school . After Jack died , the relative never saw Frank again . She explained that Frank 's father was an alcoholic and that his mother worked as a toll booth operator . She directs Adrienne to Frank 's mother , who lives in a rundown apartment in Brooklyn . Frank 's mother bitterly receives the news that she has a granddaughter , telling Adrienne that Frank was always selfish and that he never looked in on her . A stalker lurks at Adrienne 's loft . He comes in to Adrienne 's bed while she is asleep and caresses her . He watches Mary , who is spooked by the man in her room at night .
What question would one ask from this paragraph?

QUESTION: Which of Frank's family members is mentioned?

Animated history of the US. Of course the cartoon is highly oversimplified, and most critics consider it one of the weakest parts of the film. But it makes a valid claim which you ignore entirely: That the strategy to promote "gun rights" for white people and to outlaw gun possession by black people was a way to uphold racism without letting an openly terrorist organization like the KKK flourish. Did the 19th century NRA in the southern states promote gun rights for black people? I highly doubt it. But if they didn't, one of their functions was to continue the racism of the KKK. This is the key message of this part of the animation, which is again being ignored by its critics. Buell shooting in Flint. You write: "Fact: The little boy was the class thug, already suspended from school for stabbing another kid with a pencil, and had fought with Kayla the day before". This characterization of a six-year-old as a pencil-stabbing thug is exactly the kind of hysteria that Moore's film warns against. It is the typical right-wing reaction which looks for simple answers that do not contradict the Republican mindset. The kid was a little bastard, and the parents were involved in drugs -- case closed. But why do people deal with drugs? Because it's so much fun to do so? It is by now well documented that the CIA tolerated crack sales in US cities to fund the operation of South American "contras" It is equally well known that the so-called "war on drugs" begun under the Nixon administration is a failure which has cost hundreds of billions and made America the world leader in prison population (both in relative and absolute numbers).
What question would one ask from this paragraph?

QUESTION:
How old was the little boy who had fought Kayla?