conversations.from: human
conversations.value: Provide a description for a book titled Twenty Questions for Gloria about Gloria, Uman, UpGloria with the genre: Teen & Young Adult, Literature & Fiction.. End with the sentence 'Evelyn Khoo Schwartz, Georgetown Day School, Washington, DC'.
conversations.from: assistant
conversations.value: Gr 7 UpGloria Jade Ellis, aka Glo-jay, is a typical British teenager at Litchbury Highshe hangs out with her best friend, the pretty and popular Tierney, after school, gets hot chocolate with marshmallows at Cafe Nero, and watches rom-coms. It isn't until the mysterious new boy at school shows up that Gloria realizes how much she would like things to change. Uman Padeem, the new boy with the dress code-flaunting bangles on his wrist, posh accent, and Kerouac-quoting view of life inspires Gloria to break the school and social rules of her previously routine existence in pursuit of meaning and adventure. But Uman has secrets of his own, and Gloria will have to find out how fantasy and reality can coexist in the new life she is trying to create for herself. The novel's narrative framework takes the form of a police interview, with Gloria responding to questions with blunt responses and longer first-person chapters written in her voice that delineate her and Uman's growing relationship. The witty banter between the pair will appeal to teens who love books with quirky dialogue and zingy one-liners, which also provide a refreshing and authentic counterpoint to the darker themes that run through the story. Young fans of police procedurals will enjoy the suspenseful, rapid-fire pace, cinematic dialogue and believable characters (the adults in Gloria's life, in particular, have smaller roles but are sympathetic and true-to-life) of the author's latest novel. VERDICT For fans of Rainbow Rowell's Eleanor &amp; Park (St. Martin's, 2013).Evelyn Khoo Schwartz, Georgetown Day School, Washington, DC
conversations.from: human
conversations.value: Provide the first five paragraphs for this book.
conversations.from: assistant
conversations.value: Twenty Questions for Gloria
  Summary: Gloria is a bored teenaged girl who meets a mysterious new boy, Uman Padeem, who is confident and charismatic—everything Gloria wishes to be—but when they disappear together for fifteen days she learns he is not all he seems, and soon truths about him and his secrets are revealed.
  This interview is being audio- and video-recorded, with parental consent and the agreement of the interviewee. We are in interview suite one at Litchbury Police Station on the fourteenth of June. Time, 10:12 a.m. The interview is being conducted by myself, Detective Inspector Katharine Ryan, of the West Yorkshire Police Service. Also present, for the purposes of interview support of a juvenile, is the interviewee's mother. Can you state your name, please?
  Right. Okay, as I've explained, Gloria, this is an interview, not an interrogation. You're here of your own volition, your own free will, to—
  I didn't mean to be patronizing, I just want to make sure there are no misunderstandings about the nature of what we're doing today. So, as I say, you're here of your own volition to help us figure out what's been happening. That's all. Are we okay with that?
  No, Gloria's right—we should cut the crap and get on with it. Get you out of here and back with your family as soon as possible.
conversations.from: human
conversations.value: Provide five more paragraphs.. End with the sentence ' We cut again and they said west.'.
conversations.from: assistant
conversations.value: I dialed almost all of the number of the home landline before hanging up. Clumsily, banging the phone too hard in its cradle, so it popped out and swung on the end of the cord and I had to replace it properly.
  Outside, Uman was doing his tightrope-walker impression along the curb. I frowned through the glass at him to stop but he kept right on.
  On a regular morning, Mum and Dad would already have been at work by that time. But this wasn't a regular morning. With me missing, they'd have stayed at home, wouldn't they? Waiting for the phone to ring. I imagined one of them—Mum, probably—grabbing the handset as soon as it did and saying my name before I'd even had a chance to speak.
  I retrieved the coins, picked up the handset. Dialed again. Only, this time I called the "office" phone in Dad's study in the loft conversion. They'd hear it ringing—just about—from two floors below (I pictured them in the living room, or kitchen), but if I was quick, there was no way either of them could reach the phone in time to pick up before I'd finished my message. Unless Dad was sitting at his desk.
  In a quiet corner of the station concourse, we shuffled the pack. We cut. The cards said train. We cut again and they said west.
conversations.from: human
conversations.value: Provide the last four paragraphs.
conversations.from: assistant
conversations.value: The photo on the front shows a sheer-sided gorge with a narrow path winding its way along the rock face, and a ribbon of white-water river far, far below. In the strip of clear blue sky at the top of the picture, the text says:
  I only saw his handwriting once—on the "happy places" slips he showed me after we'd drawn Bryher—but I'd recognize it anywhere.
  My heartfelt thanks also go to my agent in the UK, Stephanie Thwaites, for steering this novel back on course when I'd taken it walkabout, and to my London editor, Mara Bergman, and my New York editors, Wendy Lamb and Dana Carey, for their incisive notes during redrafting.
  Finally, and most importantly, I am grateful to the two people who read this novel before anyone else and told me what they thought of it: my wife, Damaris, and my daughter, Polly.
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: The photo on the front shows a sheer-sided gorge with a narrow path winding its way along the rock face, and a ribbon of white-water river far, far below. In the strip of clear blue sky at the top of the picture, the text says:
  I only saw his handwriting once—on the "happy places" slips he showed me after we'd drawn Bryher—but I'd recognize it anywhere.
  My heartfelt thanks also go to my agent in the UK, Stephanie Thwaites, for steering this novel back on course when I'd taken it walkabout, and to my London editor, Mara Bergman, and my New York editors, Wendy Lamb and Dana Carey, for their incisive notes during redrafting.