conversations.from: human
conversations.value: Give me a plot for a story about Wright, Mamah, Mamah's entitled Loving Frank.
conversations.from: assistant
conversations.value: Loving Frank: The story opens to notes written by Mamah Borthwick, reminiscing on her life and expressing her longing to tell her views of what happened.\nThe story begins with an account of Mamah's attendance, with great trepidation, at a public talk given by Frank Lloyd Wright, the famous architect of the School of Chicago.\nThe author tells us that some years earlier, Wright had designed Mamah's house at the insistence of her husband Edwin Cheney.\nWe learn of the already tumultuous and intermittent affair between Wright and Mamah, which began with their working together on the architectural plans for the house.\nThe novel is an intricate analysis of Mamah's emotional torments as an intellectual in her own right, wife, mother, friend, and member of society.\nIt also touches on the human aspects of Wright in addition to his artistic talent and eccentricities.\nThroughout the novel, Mamah explains the artistic or philosophical underpinnings of Wright's extravagant views.\nWe experience the poignancy of both of their family situations and internal conflicts.\nThe novel allows the reader to see Wright through the prism of Mamah's deep admiration.\nThe Swedish feminist Ellen Key rightfully unnerves the female protagonist when she declares that Mamah may have cowardly followed Wright in order to bask in his brilliance rather than accomplishing anything she can claim her own.\nA talented writer and novelist, Nancy Horan spins an intricate web of themes in her novel.\nOne of the main themes is that of guilt and judgment of others and society in general.\nAnother is the role of the artist in society.\nThe novel also explores the development of the feminist movement in the United States and Europe.\nWe are told that in America, the focus is on the woman's right to vote and equal pay whereas the European woman is more concerned about her right to live her life free from the ties of marriage.\nMamah's and Wright's travels in Europe are described as a form of escape from the constraints experienced at home.\nThey soon realize, however, that the fantasy is short lived and they are inevitably called back to face reality.\nIt is the more conformist and more guilt ridden Mamah who stands her ground and resists the urge to return to her family obligations.\nShe struggles between the ties to her family and her invisible bond to Wright.\nShe chooses the latter but inevitably realizes that her passion for Wright often brings her to abandon her own intellectual aspirations.\nEven Wright, the self-proclaimed free spirit, succumbs to some of society's pressures in the end.\nThe novel also explores some deeper aspects of love.\nIt is the intellectual inclinations and natural independence of Mamah which piqued Wright's interest.\nYet, while the two travel through Europe together where they can pass as husband and wife, Wright vehemently asks that Mamah play the role of the traditional woman expected to give up her pursuits to follow him where his career takes him.\nMamah keenly reminds him that his views are contradictory, which Wright concedes reluctantly.\nThe novel depicts some very positive aspects to the relationship between Mamah and Wright.\nAlthough Mamah is recorded to have said that she was not Wright's muse and that nature was, it is obvious that she and Wright inspired each other.\nThey had a deep understanding of each other's needs and longings, which brought their lives together to another level.\nTheir inherent idiosyncrasies since childhood had isolated both from many of their contemporaries.\nThe feeling of loneliness is evident in the case of Mamah particularly.\nTheir story ends tragically.\nFrank Lloyd Wright eventually decides to rebuild Taliesin (studio) located in Wisconsin.
conversations.from: human
conversations.value: Swap the first and the last sentence.
conversations.from: assistant
conversations.value: \nFrank Lloyd Wright eventually decides to rebuild Taliesin (studio) located in Wisconsin.\nThe story begins with an account of Mamah's attendance, with great trepidation, at a public talk given by Frank Lloyd Wright, the famous architect of the School of Chicago.\nThe author tells us that some years earlier, Wright had designed Mamah's house at the insistence of her husband Edwin Cheney.\nWe learn of the already tumultuous and intermittent affair between Wright and Mamah, which began with their working together on the architectural plans for the house.\nThe novel is an intricate analysis of Mamah's emotional torments as an intellectual in her own right, wife, mother, friend, and member of society.\nIt also touches on the human aspects of Wright in addition to his artistic talent and eccentricities.\nThroughout the novel, Mamah explains the artistic or philosophical underpinnings of Wright's extravagant views.\nWe experience the poignancy of both of their family situations and internal conflicts.\nThe novel allows the reader to see Wright through the prism of Mamah's deep admiration.\nThe Swedish feminist Ellen Key rightfully unnerves the female protagonist when she declares that Mamah may have cowardly followed Wright in order to bask in his brilliance rather than accomplishing anything she can claim her own.\nA talented writer and novelist, Nancy Horan spins an intricate web of themes in her novel.\nOne of the main themes is that of guilt and judgment of others and society in general.\nAnother is the role of the artist in society.\nThe novel also explores the development of the feminist movement in the United States and Europe.\nWe are told that in America, the focus is on the woman's right to vote and equal pay whereas the European woman is more concerned about her right to live her life free from the ties of marriage.\nMamah's and Wright's travels in Europe are described as a form of escape from the constraints experienced at home.\nThey soon realize, however, that the fantasy is short lived and they are inevitably called back to face reality.\nIt is the more conformist and more guilt ridden Mamah who stands her ground and resists the urge to return to her family obligations.\nShe struggles between the ties to her family and her invisible bond to Wright.\nShe chooses the latter but inevitably realizes that her passion for Wright often brings her to abandon her own intellectual aspirations.\nEven Wright, the self-proclaimed free spirit, succumbs to some of society's pressures in the end.\nThe novel also explores some deeper aspects of love.\nIt is the intellectual inclinations and natural independence of Mamah which piqued Wright's interest.\nYet, while the two travel through Europe together where they can pass as husband and wife, Wright vehemently asks that Mamah play the role of the traditional woman expected to give up her pursuits to follow him where his career takes him.\nMamah keenly reminds him that his views are contradictory, which Wright concedes reluctantly.\nThe novel depicts some very positive aspects to the relationship between Mamah and Wright.\nAlthough Mamah is recorded to have said that she was not Wright's muse and that nature was, it is obvious that she and Wright inspired each other.\nThey had a deep understanding of each other's needs and longings, which brought their lives together to another level.\nTheir inherent idiosyncrasies since childhood had isolated both from many of their contemporaries.\nThe feeling of loneliness is evident in the case of Mamah particularly.\nTheir story ends tragically.Loving Frank: The story opens to notes written by Mamah Borthwick, reminiscing on her life and expressing her longing to tell her views of what happened.
conversations.from: human
conversations.value: Give me the first five paragraphs for this story.
conversations.from: assistant
conversations.value: Loving Frank
  Fanny Osbourne stood at the boat's rail, holding an umbrella against the August drizzle. Her feet were planted apart, and each of her boys leaned against a leg. Around them, a forest of masts creaked in the dark harbor. She searched the distance for the shape of a city. Here and there smudges of light promised Antwerp was waiting, just beyond the pier.
  Lanterns illuminated the other passengers, whose weary faces reflected her own fatigue. After a ten-day Atlantic crossing, she and the children had transferred to this paddleboat for the tail end of their journey, across the English Channel to Antwerp. Now they huddled on deck among the others—mostly American and English businessmen—waiting for some sign that they could disembark.
  Fanny had begun spinning stories about the famous cart-pulling dogs of Antwerp soon after they boarded the ship in New York. As her sons' patience waned during the long trip, the dogs' feats became increasingly more fantastic. They swam out to sea to rescue the drowning, dug through the mud to unearth gold, gripped trousers in their teeth and pulled old men out of burning buildings. When they weren't busy delivering milk around town, the dogs carried children through the cobblestone streets, calling upon bakers who handed out sugar-dusted cakes and apple fritters. Now, moored a few yards away from the great port city, Fanny hoped that the dogcart was not a thing of the past in Antwerp these days.
  The doctor had been kind to Fanny from the moment she'd met him at dinner the first evening of the voyage. "Why, art!" she responded when he asked what had prompted her journey. "Culture. Isn't that the reason Americans travel to Europe?" The man had stared intently at her across the table, as if deciding whether she was mad or heroic for bringing her three children abroad for an entire year.
  She had watched him maneuver a forkful of peas into his mouth and wondered when he had time to work. He was a bachelor and quite rich, judging from his itinerary and impeccable clothes. His soft black ringlets framed an unlined forehead, round pink cheeks, and the lips of a cherub. She had glanced at Sammy next to her, pushing his peas onto a spoon with his left thumb. "Watch how Mr. Hendricks does it," she whispered in the boy's ear.
conversations.from: human
conversations.value: Give me four more paragraphs.
conversations.from: assistant
conversations.value: She had watched him maneuver a forkful of peas into his mouth and wondered when he had time to work. He was a bachelor and quite rich, judging from his itinerary and impeccable clothes. His soft black ringlets framed an unlined forehead, round pink cheeks, and the lips of a cherub. She had glanced at Sammy next to her, pushing his peas onto a spoon with his left thumb. "Watch how Mr. Hendricks does it," she whispered in the boy's ear.
  Hendricks emitted a worried hum. "If the Old World is to work its magic you'll need to learn the language. Flemish is spoken in Belgium, but French is a close second. If you plan to travel at all, that's the better language."
  Having determined the fastest route to the mother's affections, the surgeon smilingly made his offer. "I would be happy to teach you a few phrases." Every afternoon for the remainder of the journey, he had conducted language lessons for her and the children in the ship's library.
  NOW SHE TOLD Hendricks, "Don't ask about the sleeping accommodations quite yet. Give me a few moments."
conversations.from: human
conversations.value: Swap the first and the last sentence.
conversations.from: assistant
conversations.value: ". He was a bachelor and quite rich, judging from his itinerary and impeccable clothes. His soft black ringlets framed an unlined forehead, round pink cheeks, and the lips of a cherub. She had glanced at Sammy next to her, pushing his peas onto a spoon with his left thumb. "Watch how Mr. Hendricks does it," she whispered in the boy's ear.
  Hendricks emitted a worried hum. "If the Old World is to work its magic you'll need to learn the language. Flemish is spoken in Belgium, but French is a close second. If you plan to travel at all, that's the better language."
  Having determined the fastest route to the mother's affections, the surgeon smilingly made his offer. "I would be happy to teach you a few phrases." Every afternoon for the remainder of the journey, he had conducted language lessons for her and the children in the ship's library.
  NOW SHE TOLD Hendricks, "Don't ask about the sleeping accommodations quite yet. Give me a few moments.She had watched him maneuver a forkful of peas into his mouth and wondered when he had time to work.
conversations.from: human
conversations.value: Give me the last four paragraphs.
conversations.from: assistant
conversations.value: LESS THAN AN hour later, ensconced in the only available room of the hotel, she stepped behind a screen, untied her corset, and groaned with relief as it dropped to the floor, money pouch and all. She threw a nightgown over her head and climbed into bed between her slumbering boys. In the narrow bed an arm's length away, Belle's head protruded from one end of the sheet, while Miss Kate's open mouth sent up a snore from the other.
  Fanny leaned against the headboard, eyes open. It had been a harrowing monthlong journey to get to this bed. Twelve days' travel on one rock-hard train seat after another from California to Indianapolis. A few days' respite at her parents' house, followed by a mad dash by wagon across flooded rivers to catch the train to New York before their tickets expired.
  Six thousand miles lay between Fanny and her husband. Whether he would send her money, as he had promised, was uncertain. Tomorrow she would think about that. Tomorrow she would enroll herself and Belle at the art academy and wangle a ride on a dogcart for the boys. Tomorrow she would find a cheap apartment and begin a new life.
  She got out of bed and went to the window. Across the square, Notre Dame Cathedral soared above the other night shapes of Antwerp. The rain had stopped, and the unclouded moon poured white light through the lacy stone cutwork of the church spire. When the cathedral bells rang out midnight, she caught her breath. She had believed in signs since she was a girl. The clanging, loud and joyful as Christmas matins, hit her marrow and set loose a month's worth of tears.