Input: Charlie Mershone had no difficulty in securing his release when Parker came on duty at six o'clock. He called up a cab and went at once to his rooms at the Bruxtelle; and Fogerty followed him. While he discarded his dress-coat, took a bath and donned his walking suit Mershone was in a brown study. Hours ago Louise had been safely landed at the East Orange house and placed in the care of old Madame Cerise, who would guard her like an ogre. There was no immediate need of his hastening after her, and his arrest and the discovery of half his plot had seriously disturbed him. This young man was no novice in intrigue, nor even in crime. Arguing from his own stand-point he realized that the friends of Louise were by this time using every endeavor to locate her. They would not succeed in this, he was positive. His plot had been so audacious and all clews so cleverly destroyed or covered up that the most skillful detective, knowing he had abducted the girl; would be completely baffled in an attempt to find her.
"Who did Charlie believe were trying and failing to find Louise?" is "A skillful detective"?
Output: no
Input: Taliban and American aid. After the September 11 attacks, it was necessary for conservatives to somehow explain away the fact that the US government gave 245 million dollars to the new evildoers du jour. Never mind the fact that authors such as Robert Scheer warned of aiding the Taliban as early as in May 2001. Never mind that they did so not out of some humanitarian motivation, but because of the Taliban's violent enforcement of the ban on opium poppies. Never mind that in a regime that is controlled by warlords, it does not matter who is authorized to distribute the aid -- the ruling regional warlords will seize control of it and use it to their own advantage. Never mind that this very argument has been used by hawks in opposition to sending humanitarian aid to Iraq's Saddam Hussein. Never mind that the Taliban continued selling opium in spite of the deal. Never mind that this is all documented on Michael Moore's website about the film. Gun homicides. Statistics are Moore's weakest point, and it is surprising that his critics don't dwell on them longer. That's because they know all too well that Moore is correct: The United States have a far greater homicide rate (both gun- and non-gun) than most other first world countries. His main mistake is that he does not use population corrected data, his second mistake is that he does not cite his sources (and, as you correctly point out, he probably uses different reporting methods for the different countries). A good comparison of international homicide rates can be found on the relatively neutral guncite.com website.
"What was the $245 Million in aid to the Taliban intended to be used for?" is "Coping with Taliban's violent actions."?
Output: no
Input: Modern criticism of Pope focuses on the man, his circumstances and motivations, prompted by theoretical perspectives such as Marxism, feminism and other forms of post-structuralism. Brean Hammond focuses on Pope's singular achievement in making an independent living solely from his writing. Laura Brown (1985) adopts a Marxist approach and accuses Pope of being an apologist for the oppressive upper classes. Hammond (1986) has studied Pope's work from the perspectives of cultural materialism and new historicism. Along Hammond's lines, Raymond Williams explains art as a set of practices influenced by broad cultural factors rather than simply the vague ideas of genius alone. Hayden Carruth, wrote that it was "Pope's rationalism and pandeism with which he wrote the greatest mock-epic in English literature." In Politics and Poetics of Transgression (1985) Peter Stallybrass and Allon White charge that Pope drew upon the low culture which he despised in order to produce his own "high art". They assert Pope was implicated in the very material he was attempting to exclude, not dissimilar to observations made in Pope's time. Colin Nicholson reads the poetry in terms of the Financial Revolution, showing how Pope responded to the corruption of the traditional 'landed interest' by the newly dominant 'moneyed interest'. Feminists have also criticised Pope's works. Ellen Pollak's The Poetics of Sexual Myth (1985) argues that Pope followed an anti-feminist tradition, that regarded women as inferior to men both intellectually and physically. Carolyn Williams contends that a crisis in the male role during the 18th century in Britain impacted Pope and his writing.
"Who are Pope's critics?" is "Laura Brown and Ellen Pollak,"?
Output:
yes