Input: ATLANTA, Georgia (CNN) -- On a plot of soil, nestled against the backdrop of skyscrapers in downtown Atlanta, Georgia, a group of residents are turning a lack of access to fresh produce into a revival of old traditions and self-empowerment. Urban farming is a way for African-Americans to connect with the earth, says Cashawn Myers of HABESHA. HABESHA Gardens is one of many urban gardens sprouting up around the country. Fruits and vegetables are thriving in this community garden located in an economically depressed area of the city known as Mechanicsville. But the garden serves an even greater purpose. The harvest helps feed some of the neediest members of the neighborhood. "It's a reawakening going on. It's almost like it's a renaissance," says Cashawn Myers, director of HABESHA Inc. "There's a Ghanaian proverb that says Sankofa. Sankofa means return to your past so you can move forward. Even if you look at coming over here during our enslavement, we were brought here to cultivate the land because that's something we did on the continent. So really, that's what many of the people are doing now," he said. Myers believes urban farming is a way for many African-Americans to reconnect with their past. iReport.com: Show us your urban farm "They are going through a process of Sankofa and going to what they traditionally did, which is connect to the Earth so they can move forward and grow," he says. But HABESHA Gardens isn't unique. Former pro basketball player Will Allen, who is considered to be one of the nation's leading urban farmers and founder of Growing Power Inc., estimates that there are hundreds of thousands of urban gardens in inner cities across America. Urban farms help feed people, sustain neighorhoods " "It's beyond a movement at this point. Its more like a revolution," says Allen.
"How are African Americans in Atlanta are empowering themselves in the wake of limited access to fresh produce?" is "They are reconnecting to the earth and growing their own produce"?
Output: yes
Input: Literary career During the war Camus joined the French Resistance cell Combat, which published an underground newspaper of the same name. This group worked against the Nazis, and in it Camus assumed the nom de guerre Beauchard. Camus became the paper's editor in 1943. He first met Sartre at the dress rehearsal of Sartre's play, The Flies, in June 1943. When the Ailies liberated Paris in August 1944, Camus witnessed and reported the last of the fighting. Soon after the event on 6 August 1945, he was one of the few French editors to publicly express opposition and disgust to the United States' dropping the atomic bomb in Hiroshima. He resigned from Combat in 1947 when it became a commercial paper. After the war, Camus began frequenting the Cafe de Flore on the Boulevard Saint-Germain in Paris with Sartre and others. He also toured the United States to lecture about French thought. Although he leaned left, politically, his strong criticisms of Communist doctrine did not win him any friends in the Communist parties and eventually alienated Sartre. In 1949, his tuberculosis returned, whereupon he lived in seclusion for two years. In 1951, he published The Rebel, a philosophical analysis of rebellion and revolution which expressed his rejection of communism. Upsetting many of his colleagues and contemporaries in France, the book brought about the final split with Sartre. The dour reception depressed Camus; he began to translate plays. Camus's first significant contribution to philosophy was his idea of the absurd. He saw it as the result of our desire for clarity and meaning within a world and condition that offers neither, which he expressed in The Myth of Sisyphus and incorporated into many of his other works, such as The Stranger and The Plague. Despite his split from his "study partner", Sartre, Camus was still categorized as an Existentialist. He specifically rejected that label in his essay "Enigma" and elsewhere.
"What brought about the final split with Sartre?" is "The philosophical analysis of rebellion"?
Output: yes
Input: Do not look for the Danteum in the Eternal City. In true Dantean form, politics stood in the way of its construction in 1938. Ironically this literature-inspired building can itself most easily be found in book form. Reading this book I remembered Goethe's quote about frozen music. Did Terragni try to freeze Dante's medieval miracle of song? Certainly a cold-poem seems artistically repulsive. Unflattering comparisons to the lake of Cocytus spring to mind too. While I cannot read Italian, I can read some German. After locating the original quotation I discovered that 'frozen' is a problematic (though common) translation of Goethe's original 'erstarrte.' The verb 'erstarren' more properly means 'to solidify' or 'to stiffen.' This suggests a chemical reaction in which the art does not necessarily chill in the transformation. Nor can simple thawing yield the original work. Like a chemical reaction it requires an artistic catalyst, a muse. Indeed the Danteum is not a physical translation of the Poem. Terragni thought it inappropriate to translate the Comedy literally into a non-literary work. The Danteum would not be a stage set, rather Terragni generated his design from the Comedy's structure, not its finishes.
"Goethe's original "erstarrte" is better translated into what?" is "Frozen"?
Output:
yes