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 was Allan's reasoning to Arthur for his paper?

"Femme" is an apt description of the depiction of Madame White Snake and all her incarnations. It refers to a woman who is dangerously attractive, and lures men to their downfall with her sexual attractiveness. In both incarnations of Madame White snake, the authors depict her as bewitchingly beautiful. Toyoo, her human lover in "Lust of the White Serpant" cannot shake the image of her beauty from his mind and dreams of her, and finds himself "disturbed and agitated" by her "ethereal beauty". In "Eternal Prisoner," Madame White Snake's bewitching beauty follows her lover Hsu into his dreams, and the next morning "he was so distracted that he could not concentrate on doing business." Both of these stories align negative connotations with her beauty, suggesting that her sexuality is the cause of their distraction. In addition to distracting sexuality, the irregular characterization of Madame White Snake might be another trait her character has in common with the archetypical noir femme fatale. In her essay analyzing the noir film from a feminist perspective, Christine Gledhill writes "Not only is the hero frequently not sure whether the woman is honest or a deceiver, but the heroine's characterisation is itself fractured so that it is not evident to the audience whether she fills the [femme fatale] stereotype or not".
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QUESTION: What does Madame White Snake use to distract and deceive?

Grande dame of cooking still going strong at 90: Julia Child celebrates in San Francisco. How does it feel to turn 90 and have attained the status of an icon, a living legend? "It feels just like it felt before," Julia Child says with the throaty laugh familiar to millions who cut their culinary teeth on her "French Chef" television series. The show, along with her seminal book, "Mastering the Art of French Cooking" (1961), revolutionized the way America cooks and eats. While making light of the difference a day -- or another decade -- makes, Child intends to enjoy her birthday thoroughly. First, there will be all the public observances, including a sold-out dinner Thursday at San Francisco's tony Fifth Floor restaurant, which -- like dinners that night at 19 other venues across the country -- will benefit the scholarship fund of the International Association of Culinary Professionals (which Child co-founded). Friday to Sunday, the action moves to Napa, with both members-only and public events at COPIA: The American Center for Wine, Food and the Arts, of which she is an honorary board member. Aug. 15, her actual birthday, will see her in Maine at an annual gathering of nieces, nephews, their offspring and friends, who for many years have rolled a joined birthday celebration for several members of the group into a jolly reunion. The schedule Child and her assistant of 14 years, former pastry chef Stephanie Hersh, have laid out is not exactly a senior-citizen routine, even though Child has always been candid about her age and realistic in assessing her own capabilities. When the Pasadena native moved back to California from her long-time home in the Boston area last year, she also made the move from a condominium she and her late husband, Paul, had purchased many years ago to a progressive retirement home. She is in the most active of the four levels available, but should the need arise, she can move on to assisted living facilities within the same complex.
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QUESTION: Where did Julia Child live before moving back to California?

While this process moved along, diplomacy continued its rounds. Direct pressure on the Taliban had proved unsuccessful. As one NSC staff note put it, "Under the Taliban, Afghanistan is not so much a state sponsor of terrorism as it is a state sponsored by terrorists." In early 2000, the United States began a high-level effort to persuade Pakistan to use its influence over the Taliban. In January 2000, Assistant Secretary of State Karl Inderfurth and the State Department's counterterrorism coordinator, Michael Sheehan, met with General Musharraf in Islamabad, dangling before him the possibility of a presidential visit in March as a reward for Pakistani cooperation. Such a visit was coveted by Musharraf, partly as a sign of his government's legitimacy. He told the two envoys that he would meet with Mullah Omar and press him on Bin Laden. They left, however, reporting to Washington that Pakistan was unlikely in fact to do anything," given what it sees as the benefits of Taliban control of Afghanistan." President Clinton was scheduled to travel to India. The State Department felt that he should not visit India without also visiting Pakistan. The Secret Service and the CIA, however, warned in the strongest terms that visiting Pakistan would risk the President's life. Counterterrorism officials also argued that Pakistan had not done enough to merit a presidential visit. But President Clinton insisted on including Pakistan in the itinerary for his trip to South Asia. His one-day stopover on March 25, 2000, was the first time a U.S. president had been there since 1969. At his meeting with Musharraf and others, President Clinton concentrated on tensions between Pakistan and India and the dangers of nuclear proliferation, but also discussed Bin Laden. President Clinton told us that when he pulled Musharraf aside for a brief, one-on-one meeting, he pleaded with the general for help regarding Bin Laden." I offered him the moon when I went to see him, in terms of better relations with the United States, if he'd help us get Bin Laden and deal with another issue or two." The U.S. effort continued.
What question would one ask from this paragraph?

QUESTION:
On what subject did the State Department disagree with the Secret Service and the CIA?