conversations.from: human
conversations.value: the first two paragraphs for a book with the title 'Invitation to a Beheading'. Start with the sentence 'Invitation to a Beheading
  The light would move along the wall'.
conversations.from: assistant
conversations.value: Invitation to a Beheading
  The light would move along the wall. Rodion would appear with what he called frühstück. Again a butterfly wing would slide between his fingers, leaving colored powder on them.
  In anticipation of the usual heartburn he lay down on the cot and, turning toward the wall, for a long, long time helped patterns form on it, from tiny blobs of the glossy paint and their round little shadows; he would discover, for example, a diminutive profile with a large mouselike ear; then he would lose it and was unable to reconstruct it. This cold ochre smelled of the grave, it was pimply and horrible, yet his gaze still persisted in selecting and correlating the necessary little protuberances—so starved he was for even a vague semblance of a human face. Finally he turned over, lay on his back and, with the same attention began to examine the shadows and cracks on the ceiling.
conversations.from: human
conversations.value: five more paragraphs
conversations.from: assistant
conversations.value: Cincinnatus looked under the table. M'sieur Pierre for some reason lost countenance, began to fidget and cast a sidelong glance down. The director, lifting a corner of the oilcloth, also looked down and then glanced suspiciously at Cincinnatus. The lawyer, in his turn, made a dive, then looked around at everybody and resumed writing. Cincinnatus straightened up. (Nothing special—he had dropped his little ball of tinfoil.)
  The director hastily put on his glasses, examined a slip of paper, and in a megaphone voice addressed Cincinnatus:
  Rodrig Ivanovich began to slap at various parts of his cotton-padded body, rolling his eyes and for some reason getting up. At last the list was found.
  Tradition required that on the eve of the execution its passive and active participants together make a brief farewell visit to each of the chief officials; however, in order to shorten the ritual, it was decided that those persons would assemble at the suburban house of the deputy city manager (the manager himself, who was the deputy's nephew, was away, visiting friends in Pritomsk) and that Cincinnatus and M'sieur Pierre would drop in for an informal supper.
  It was a dark night, and a strong warm wind was blowing when, dressed in identical capes, on foot, escorted by six soldiers carrying halberds and lanterns, they crossed the bridge and entered the sleeping city where, avoiding the main streets, they began to climb a flinty path between rustling gardens.
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: Cincinnatus looked under the table. M'sieur Pierre for some reason lost countenance, began to fidget and cast a sidelong glance down. The director, lifting a corner of the oilcloth, also looked down and then glanced suspiciously at Cincinnatus. The lawyer, in his turn, made a dive, then looked around at everybody and resumed writing. Cincinnatus straightened up. (Nothing special—he had dropped his little ball of tinfoil.)
  The director hastily put on his glasses, examined a slip of paper, and in a megaphone voice addressed Cincinnatus:
  Rodrig Ivanovich began to slap at various parts of his cotton-padded body, rolling his eyes and for some reason getting up. At last the list was found.
  Tradition required that on the eve of the execution its passive and active participants together make a brief farewell visit to each of the chief officials; however, in order to shorten the ritual, it was decided that those persons would assemble at the suburban house of the deputy city manager (the manager himself, who was the deputy's nephew, was away, visiting friends in Pritomsk) and that Cincinnatus and M'sieur Pierre would drop in for an informal supper.
conversations.from: human
conversations.value: the last three paragraphs
conversations.from: assistant
conversations.value: As a young boy, Luzhin is unattractive, distracted, withdrawn, sullen—an enigma to his parents and an object of ridicule to his classmates. He takes up chess as a refuge, and rises to the rank of grandmaster, but at a cost: in Luzhin's obsessive mind, the game of chess gradually supplants reality.
  Pnin is a professor of Russian at an American college who takes the wrong train to deliver a lecture in a language he cannot master. Pnin is the focal point of subtle academic conspiracies he cannot begin to comprehend, yet he stages a faculty party to end all faculty parties forever.
  Many knew of Sebastian Knight, distinguished novelist, but few knew of the two love affairs that so profoundly influenced his career. After Knight's death, his half brother sets out to penetrate the enigma of his life, starting with clues found in the novelist's private papers.
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: As a young boy, Luzhin is unattractive, distracted, withdrawn, sullen—an enigma to his parents and an object of ridicule to his classmates. He takes up chess as a refuge, and rises to the rank of grandmaster, but at a cost: in Luzhin's obsessive mind, the game of chess gradually supplants reality.
  Pnin is a professor of Russian at an American college who takes the wrong train to deliver a lecture in a language he cannot master. Pnin is the focal point of subtle academic conspiracies he cannot begin to comprehend, yet he stages a faculty party to end all faculty parties forever.
  Many knew of Sebastian Knight, distinguished novelist, but few knew of the two love affairs that so profoundly influenced his career.