Background: Pinhead is a fictional character from the Hellraiser series, first appearing as an unnamed figure in the Clive Barker novella The Hellbound Heart. The name "Pinhead" is derived from a sobriquet given to him by the crew of the first Hellraiser film; he is first credited as such in Hellbound: Hellraiser II. Nearly thirty years after The Hellbound Heart was published, the character was given the designations the Hell Priest and the Cold Man in the sequels that followed, The Scarlet Gospels and Hellraiser: The Toll. Pinhead is one of the leaders of the Cenobites, formerly humans but transformed into creatures which reside in an extradimensional realm, who travel to Earth through a puzzle box called the Lament Configuration in order to harvest human souls.
Context: Described by Doug Bradley as stronger than Jason Voorhees and Michael Myers, Pinhead is an extremely powerful being, and as such, has several supernatural abilities. His preferred method of attack is by summoning hooks and chains to mutilate victims, often pulling said victims in several directions to tear them apart. These chains are subject to his total mental control and he may direct them at will. The chains may even change shape after having attached to a victim. Pinhead is highly resistant to damage and direct assault, being able to resist both gunshots and futuristic energy weapons. His magic is also used for creating objects out of thin air, teleporting, creating explosions at distances and deceiving opponents with illusions. He is capable of creating other cenobites from both living and dead victims. In order to act in the physical world, Pinhead needs to have been purposely summoned through the Lament Configuration, though this in itself is not usually enough for Pinhead to target the puzzle-solver: in Hellbound: Hellraiser II, Pinhead stops the Cenobites from torturing an emotionally traumatised girl who was manipulated as a proxy into opening the Configuration, remarking "...it is not hands that call us, it is desire." In Hell on Earth, he temporarily eliminates these restraints when he is separated from the part of him that is Elliot Spencer, wreaking havoc indiscriminately upon every human subject he encounters until he is finally defeated when Spencer willingly merges with Pinhead once again, the combination binding Pinhead as Spencer keeps his extremes in check. During this incident his powers were apparently expanded beyond their normal limits allowing him to physically warp reality to his will. Pinhead at first has no memory of his human past, though is reminded of it in Hellbound: Hellraiser II, which results in what screenwriter Peter Atkins described as him being "spiritually weakened" and subsequently killed by the Chanard Cenobite.
Question: What are some of these abilities?
Answer: His preferred method of attack is by summoning hooks and chains to mutilate victims,

Background: Toni Morrison (born Chloe Ardelia Wofford; February 18, 1931) is an American novelist, essayist, editor, teacher, and professor emeritus at Princeton University. Morrison won the Pulitzer Prize and the American Book Award in 1988 for Beloved. The novel was adapted into a film of the same name (starring Oprah Winfrey and Danny Glover) in 1998. Morrison was awarded the Nobel Prize in Literature in 1993.
Context: In 1949 she enrolled at the historically black Howard University, seeking the company of fellow black intellectuals. The school is in Washington, D.C., where she encountered racially segregated restaurants and buses for the first time. She graduated in 1953 with a B.A. in English and went on to earn a Master of Arts from Cornell University in 1955. Her Master's thesis was Virginia Woolf's and William Faulkner's Treatment of the Alienated. She taught English, first at Texas Southern University in Houston for two years, then at Howard for seven years. While teaching at Howard, she met Harold Morrison, a Jamaican architect, whom she married in 1958. She was pregnant with their second son when she and Harold divorced in 1964. After the breakup of her marriage, she began working as an editor in 1965 for L. W. Singer, a textbook division of Random House, in Syracuse, New York. Two years later she transferred to Random House in New York City, where she became their first black woman senior editor in the fiction department. In that capacity, Morrison played a vital role in bringing black literature into the mainstream. One of the first books she worked on was the groundbreaking Contemporary African Literature (1972), a collection that included work by Nigerian writers Wole Soyinka and Chinua Achebe and South African playwright Athol Fugard. She fostered a new generation of African-American authors, including Toni Cade Bambara, Angela Davis, and Gayl Jones, whose writing Morrison discovered, and she brought out the autobiography of boxer Muhammad Ali, The Greatest. She also published and publicized the work of Henry Dumas, a little-known novelist and poet who was shot to death by a transit officer in the New York City subway in 1968. Among other books Morrison developed and edited is The Black Book (1974), an anthology of photographs, illustrations, essays, and other documents of black life in the United States from the time of slavery to the 1970s. Random House had been uncertain about the project, but it got good reviews. Alvin Beam reviewed it for the Cleveland Plain Dealer, writing, "Editors, like novelists, have brain children--books they think up and bring to life without putting their own names on the title page. Mrs. Morrison has one of these in the stores now, and magazines and newsletters in the publishing trade are ecstatic, saying it will go like hotcakes."
Question: Did she enjoy being an editor?
Answer:
Two years later she transferred to Random House in New York City, where she became their first black woman senior editor in the fiction department.