Tuesday, September 11, 2001, dawned temperate and nearly cloudless in the eastern United States. Millions of men and women readied themselves for work. Some made their way to the Twin Towers, the signature structures of the World Trade Center complex in New York City. Others went to Arlington, Virginia, to the Pentagon. Across the Potomac River, the United States Congress was back in session. At the other end of Pennsylvania Avenue, people began to line up for a White House tour. In Sarasota, Florida, President George W. Bush went for an early morning run. For those heading to an airport, weather conditions could not have been better for a safe and pleasant journey. Among the travelers were Mohamed Atta and Abdul Aziz al Omari, who arrived at the airport in Portland, Maine. Boston: American 11 and United 175. Atta and Omari boarded a 6:00 A.M. flight from Portland to Boston's Logan International Airport. When he checked in for his flight to Boston, Atta was selected by a computerized prescreening system known as CAPPS (Computer Assisted Passenger Prescreening System), created to identify passengers who should be subject to special security measures. Under security rules in place at the time, the only consequence of Atta's selection by CAPPS was that his checked bags were held off the plane until it was confirmed that he had boarded the aircraft. This did not hinder Atta's plans. Atta and Omari arrived in Boston at 6:45. Seven minutes later, Atta apparently took a call from Marwan al Shehhi, a longtime colleague who was at another terminal at Logan Airport. They spoke for three minutes. It would be their final conversation.
What question would one ask from this paragraph?
Answer: What were the targets of their attack?

His famous series of sixteen great designs for the Apocalypse is dated 1498, as is his engraving of St. Michael Fighting the Dragon. He made the first seven scenes of the Great Passion in the same year, and a little later, a series of eleven on the Holy Family and saints. The Seven Sorrows Polyptych, commissioned by Frederick III of Saxony in 1496, was executed by Durer and his assistants c. Around 1503-1505 he produced the first seventeen of a set illustrating the Life of the Virgin, which he did not finish for some years. Neither these, nor the Great Passion, were published as sets until several years later, but prints were sold individually in considerable numbers. During the same period Durer trained himself in the difficult art of using the burin to make engravings. It is possible he had begun learning this skill during his early training with his father, as it was also an essential skill of the goldsmith. In 1496 he executed the Prodigal Son, which the Italian Renaissance art historian Giorgio Vasari singled out for praise some decades later, noting its Germanic quality. He was soon producing some spectacular and original images, notably Nemesis (1502), The Sea Monster (1498), and Saint Eustace (c. 1501), with a highly detailed landscape background and animals. His landscapes of this period, such as Pond in the Woods and Willow Mill, are quite different from his earlier watercolours. There is a much greater emphasis on capturing atmosphere, rather than depicting topography. He made a number of Madonnas, single religious figures, and small scenes with comic peasant figures. Prints are highly portable and these works made Durer famous throughout the main artistic centres of Europe within a very few years.
What question would one ask from this paragraph?
Answer: When did Durer first produce a set of seventeen prints illustrating the Life of the Virgin that was sold individually for several years?

Representing yourself in court can be a tricky endeavor. There are confusing legal terms to learn, strict procedures to follow and volumes of case law that often need to be understood to prepare a case. Lake County officials and a private agency that assists indigent litigants in Illinois want to make the practice easier by creating a self-help center for people who choose to represent themselves in legal matters. The center, which will be housed in the law library at the main courthouse in Waukegan, could open later this summer. "I think it's going to be extremely helpful," Court Administrator Bob Zastany said. "There is a population out there that will take advantage of this resource." The self-help center will be the only one of its kind in the county. Only a few operate nationwide, officials said. The project is the work of Lake County circuit court officials and Prairie State Legal Services, a statewide agency with an office in Waukegan that provides information and legal assistance to poor and elderly Illinois residents. The organization has received a $25,000 grant from the Illinois Equal Justice Foundation, a nonprofit group that funds programs designed to increase access to legal information and assistance, to help pay for the effort. Prairie State will share the money with the county. The county's law library is on the first floor of the governmental center at 18 N. County St. The new self-help center will be designed to help litigants find the information they need to properly represent themselves in court, an undertaking that can be complicated and confusing. "Some people can do OK on their own, and some people can do OK with some help," said Linda Rothnagel, the managing attorney for Prairie State Legal Services. "But other people can't do it. It's not always easy." Self-representation is a right affirmed by the U.S. Supreme Court. The practice is far more common in civil matters than in criminal cases. In fact, self-represented litigants - formally called "pro se" in Latin, or "for oneself" - in criminal defenses are so rare that statistics about the practice generally are not kept, legal experts say.
What question would one ask from this paragraph?
Answer: What will be the purpose of the center that will be housed in the law library at the main courthouse in Waukegan?

I had drunk too much, I confess, though we all had. Somehow, Tasha and I began to argue the worth of Solevgrad jazz, as inconsequential a topic as I can imagine. She had studied it in school, so she thought herself as an expert. I once had a neighbor who played it constantly, loudly, and badly, so I thought I knew it better. Malaquez tried to mediate, but I saw him as siding with Tasha. So, I think, did she. The subject shifted from music to Tasha's obsession with fame, undoubtedly by a leap that I made. She had no choice but to follow. (I do not remember any of this well, just now, nor do I care to. Those who are truly curious may look at the last act of "Captured Moments.") I remember suggesting, with characteristic tact, that she add Emil to her small list of major accomplishments. Malaquez glanced away, embarrassed. Tasha looked at me as if to say, "I will." She said, "I feel sorry for you, Nardo. I'll see Emil home." "Yes," I said, "Do that," and did not care what she did, or why. Emil asked, "You're all right?" I muttered something he must have interpreted as assent. They both walked up to Emil's home while I watched the scarlet moonlight ripple on distant waves. Disgusted with Tasha but more disgusted with myself, I finally realized she would not return that night and went into The Sleeping Flamingo to drink myself to sleep. She had not come home when I woke in mid-morning.
What question would one ask from this paragraph?
Answer:
Why does the narrator state that she does "not remember any of this well"?