conversations.from: human
conversations.value: Provide a plot for a book about Beyond, Wall, short entitled Beyond the Wall.
conversations.from: assistant
conversations.value: Beyond the Wall (short story): The narrator visits his strange friend in San Francisco.\nThey have dinner up in the tower within the house.\nAs they are eating, there is a knocking on the wall that disturbs the narrator.\nThe friend tells him to explore it.\nThey discover there is only the outside behind the wall from which he had heard the sound.\nThe friend explains that he has heard this knocking before and that he was happy the narrator also witnessed it.\nThe friend then goes into a tale about his earlier days.\nHe was exiting his apartment when he met a young beautiful woman.\nHe fell in love with this woman and found pretexts to visit her.\nHe also discovered that they shared an adjacent wall.\nHowever, he never entirely moved forward with pursuing the young woman because they were not of equal class.\nThe man began to knock on the wall and she reciprocated.\nThis continued for a time until she stopped knocking.\nThe man grew disappointed and even resentful.\nWhen he did hear a knocking some time later, he chose to ignore it.\nThe next morning, he discovered that the woman had been bedridden with illness and in her last night on earth demanded to have her bed moved to the other side so she could knock on the wall.\nThe man finishes the story and the narrator wishes him good night.\nHe adds that his friend died that very night: "Alone with his sorrow and remorse, he passed into the Unknown".
conversations.from: human
conversations.value: Delete the first sentence.
conversations.from: assistant
conversations.value: \nThey have dinner up in the tower within the house.\nAs they are eating, there is a knocking on the wall that disturbs the narrator.\nThe friend tells him to explore it.\nThey discover there is only the outside behind the wall from which he had heard the sound.\nThe friend explains that he has heard this knocking before and that he was happy the narrator also witnessed it.\nThe friend then goes into a tale about his earlier days.\nHe was exiting his apartment when he met a young beautiful woman.\nHe fell in love with this woman and found pretexts to visit her.\nHe also discovered that they shared an adjacent wall.\nHowever, he never entirely moved forward with pursuing the young woman because they were not of equal class.\nThe man began to knock on the wall and she reciprocated.\nThis continued for a time until she stopped knocking.\nThe man grew disappointed and even resentful.\nWhen he did hear a knocking some time later, he chose to ignore it.\nThe next morning, he discovered that the woman had been bedridden with illness and in her last night on earth demanded to have her bed moved to the other side so she could knock on the wall.\nThe man finishes the story and the narrator wishes him good night.\nHe adds that his friend died that very night: "Alone with his sorrow and remorse, he passed into the Unknown".
conversations.from: human
conversations.value: Provide the first four paragraphs for this book.. Start with the sentence 'Beyond the Wall
  It would be difficult to form a collection of the limiteds at this late date'.
conversations.from: assistant
conversations.value: Beyond the Wall
  It would be difficult to form a collection of the limiteds at this late date. Current owners of these volumes are proving quite loyal to the series and are either unwilling to sell their copies or, if willing, believe almost universally that the market will go nowhere but up.
  The only Meisha Merlin/Subterranean Press limited editions currently on the market are a complete set of the first four titles. The set is from the numbered release (#38) and is described as "as new." The asking price is $10,000.
  If collecting the early limited editions seems impossible at this time, there is always the first editions to fall back on. Ice and Fire has had remarkable success throughout the world, so you may be interested in acquiring the first edition in your native language, but the very popularity of the series, which has appeared in dozens of countries in almost every major language around the world, makes it impossible to examine non-English editions in any detail.
  Primacy is thus established for the Bantam (American) edition for the first volume, the HarperCollins (British) editions for the next three, with the fifth having co-firsts. Given the essential impossibility of collecting the British editions, many collectors, especially Americans, have been content to target the Bantam editions as firsts. Of course, they are obviously the American firsts.
conversations.from: human
conversations.value: Provide another paragraph.
conversations.from: assistant
conversations.value: Imagination was a dangerous force in nineteenth-century Europe. Polite people were not supposed to imagine too much, lest they suffer like two causalities of earlier skirmishes in the genre wars: Madame Bovary, who read too many romance novels, or Don Quixote, who read too many knight's tales. Real literature was supposed to be set in the real world, where real-world people navigated real-world problems. As Rousseau argued in 1762: "The real world has its limits, the imaginary world is infinite. Unable to enlarge the one, let us restrict the other."
conversations.from: human
conversations.value: Swap the first and the last sentence.
conversations.from: assistant
conversations.value: ". Polite people were not supposed to imagine too much, lest they suffer like two causalities of earlier skirmishes in the genre wars: Madame Bovary, who read too many romance novels, or Don Quixote, who read too many knight's tales. Real literature was supposed to be set in the real world, where real-world people navigated real-world problems. As Rousseau argued in 1762: "The real world has its limits, the imaginary world is infinite. Unable to enlarge the one, let us restrict the other.Imagination was a dangerous force in nineteenth-century Europe.
conversations.from: human
conversations.value: Provide the last four paragraphs.
conversations.from: assistant
conversations.value: Yet the success of scientific romance did not sway critics, who accused it of being juvenile, having undeveloped characters, and not engaging the problems of the real world. Luckily for them, they soon had a more specific ghetto to place it in: "science fiction & fantasy."
  But in the genre wars, Martin is sitting pretty. His twisting of expectations has silenced some genre-haters and won over the culture mavens—and his industrious pacifism honors his genre roots. He's like Bill Hicks's pot smokers sitting in trees during the War on Drugs: "Are they fighting us? We're not even in that fucking field!" It's a brilliant strategy worthy of his characters.
  Since Stevenson, responding to Henry James, genre writers have been on the defensive, trying to stick up for their work as if there were something wrong with it to begin with. In a 2007 interview on Pat's Fantasy Hotlist, Martin declared: "None of us wants to be consigned to the playpen, or have our work dismissed as unworthy of serious consideration as literature because of the label on the spine. Myself, I think a story is a story is a story, and the only thing worth writing about is the human heart in conflict with itself."
  That would seem like a statement all critics can get behind, genre and literary alike. For my own foray into fantasy, I don't need a blurb from George R.R. Martin to approve of what I'm doing. He's lifted all the boats with A Song of Ice and Fire, making it okay for people like me—and those with much more literary credibility—to get in touch with our inner fantasy lover, while at the same time challenging us to do better with the quality of his work.