conversations.from: human
conversations.value: Give me the first five paragraphs for a book with the title 'The Bone Clocks'.. End with the sentence '"'.
conversations.from: assistant
conversations.value: The Bone Clocks
  GOING DOWNSTAIRS, I make way for a dozen teenagers trooping up. Where do Juno and Anaïs go on their school trips in Montreal? Not knowing saddens me. What a long-distance, part-time father I am. These twenty-first-century children of Iceland are plugged into headsets but still exude that Nordic confidence and sense of wellbeing, even the two African Icelanders and a girl in a Muslim headdress. All have a 2 in front of their birth year and need barely scroll down an inch when finding it on an online form. They carry a fragrance of hair conditioner and fabric conditioner. Their consciences are as undented as cars in a dealership showroom, and all are bound for the world's center stage, where they'll challenge, outperform, and patronize us old farts at our retirement parties, as we did when we looked that beautiful. Their teacher brings up the rear and smiles his thanks at me, and as he passes, a rather fine mirror is revealed on the Laxness stairway. From its deep square well of grays peers out a haggard look-alike of Anthony Hershey. Look at that. My metamorphosis into Dad is complete. Did some evil spirit at Ásbyrgi suck out the last of my youth? My hair's thinner, my skin's tired, my eyes bloodshot; my neck's going all saggy and turkey-like... I summon a Tagore quote, for consolation: "Youth is a horse, and maturity a charioteer." Dad's aging lips twitch into a sneer and speak: "I see no charioteer. I see a sociology lecturer at a third-rate university who just learned that his department's being axed because nobody except future sociology lecturers studies sociology anymore. You're a joke, boy. Do you hear me? A joke."
  TRUDGING DOWN TO the Mitsubishi waiting in Gljúfrasteinn's small car park, I check the time on my phone—and find a message from Carmen Salvat. It is not the message I might have wished to receive.
  After pressing send I wish I'd taken more care to sound less petulant and/or self-pitying. Suddenly the river's annoyingly clattery: How did Laxness get any work done, for buggery's sake? The gathering clouds are lead-lined gray, not Zen gray. The aging day's intersecting meanings form a crossword that defeats me, not inspires me, like it used to. I'm not as good a writer as Halldór Laxness. I'm not even as good a writer as the younger Crispin Hershey. I'm just as shit and uncommitted a dad as Dad, only his films will survive longer than my overregarded novels. My clothes are crumpled. My lecture's at seven-thirty. My heart is still crusty with emotional scabs, and I don't want them pulled off by a Spanish ex-partner.
  Either the audience is listening, or else they're merely snoozing with eyes open. I turn over my notes.
  I STIR, STIR, stir until the mint leaves are bright green minnows in a whirlpool. "The nail in the coffin of Carmen and me," I tell Holly, "was Venice. If I never see the place again, I'll die happy."
conversations.from: human
conversations.value: Give me five more paragraphs.
conversations.from: assistant
conversations.value: ONE BY ONE, we slip through the dark Aperture onto the round floor of rock ten paces across. The unflickering, paper-white Candle of the Dial stands as tall as a child. I'd forgotten the dual claustrophobia and agoraphobia, the smell of locked spaces, and the thin air. Residual color and light from the gallery filters in through the Aperture, held open like a drape by D'Arnoq now for Holly, now for Sadaqat, with his explosive backpack. Sadaqat's face is a study of nervous awe, while Ōshima, the last to enter, is a study of sulky nonchalance. "This isn't the Chapel, is it?" Holly mutters. "And why's my voice so quiet?"
  I know the missing word. "If you'd cured Henry the Seventh's TB with a course of ethambutol, or given Isaac Newton an hour's access to the Hubble telescope, or shown an off-the-shelf 3-D printer to the regulars at the Captain Marlow in the 1980s, you would have had the M-word thrown your way, too. Some magic is merely normality that you're not yet used to."
  ELIJAH D'ARNOQ GOES first, I follow, then Holly, Arkady, Unalaq, and Sadaqat, with ten kilos of N9D in his bag, and last Ōshima as our rear guard. On the fifth or sixth stone I look back over my companions' heads, but the Dial is already out of view. Even the Way of Stones' irregularity is irregular. There are stretches where the steps twist upward, sharp and steep, a stairway in a spire. There are stretches where long slabs of stone form a gently climbing road. There are even places where the climber must jump across from slab to slab, like stepping stones in a river. Better to ignore thoughts of slipping. Soon I work up a sweat. Visibility is poor, akin to climbing a narrow mountain track at night, in grainy fog. The stones glow with a pale light, like that of the Candle of the Dial, but only as we approach, creating an illusion that the Way is building itself as we make our ascent. The darkness all around is oppressive, and seems to conjure up voices from my metalife. I hear my birth father, explaining in vernacular late Latin how to feed a dormouse to a kestrel. Now it's Sholeetsa, an herbalist of the Duwamish tribe, scolding me for overboiling a root. Now the corvine cackle of Arie Grote, a warehouseman on Dejima. Their bodies were compost long ago, their souls passed to the Last Sea. We Horologists agreed not to subspeak, for fear of being overheard, but I wonder if the others also hear voices from their past lives. I don't ask in case I distract them from where they're putting their feet. Who falls off the Way of Stones falls into nothing.
  WE ARRIVE AT the only triangular slab on the whole climb. It is concave in its center and large enough for all six of us to stand on. "Welcome to the Halfway Station," says D'Arnoq, and I recall Immaculée Constantin naming it in the same way to Jacko on the First Mission. "I think we've found our lookout point for you, Sadaqat," says Ōshima. "The line of sight looking down is as good it gets. Lie in this hollow, here in the middle, and you'll see any visitors before they see you." Sadaqat nods, looks at me and I nod back. "Very good, Mr. Ōshima." With due diligence, Sadaqat sits down and takes from his backpack a heavily adapted iCube and a thin metallic cylinder. He places the iCube towards the "downhill" corner of the slab.
  WE KEEP CLIMBING, stone after stone after stone, but it's difficult to track how high or how far we've come since the Dial of the Way, or how many minutes have gone by since we left Sadaqat on sentry duty at the Halfway Station. We left our devices and watches at 119A. Time exists here but it isn't easily measured, even in an Horologist's mind. My resolve to count the steps has been sidelined by the voices of the long-dead. So I just follow Elijah D'Arnoq's back, staying as alert as I can until at last we come to a second circular slab of stone, identical in most features to the Dial at the base of the climb. "The Summit, we call this one," says D'Arnoq, visibly nervous. "We're here."
conversations.from: human
conversations.value: Give me the last three paragraphs.. End with the sentence ' On any other evening there'd be skiffs and dinghies taking a closer look at the incredible steel visitor, but today people're still too occupied with, and too traumatized by, the aftermath of the violence in Kilcrannog, so the Icelandic vessel sits there undisturbed.'.
conversations.from: assistant
conversations.value: Rafiq's head appeared between the banisters. " 'Scuse me, Mr. Marinus? Do you have toothbrushes in Iceland?"
  THE BLUR'S OVER. We're on the pier as dusk dims the Dunmanus Bay, Lorelei, Rafiq, Marinus, six Icelanders, Zimbra, and me, and it's actually happening. We had to leave Mo up at my gate 'cause the path down's too crumbled away for her ankle. Her brave face and the kids' gasps and tears have given me a taster of my own very near future. "Wrap up well," Mo had told them. "And wave at Dooneen Cottage as the ship leaves the bay. I'll be waving back."
  The patrol vessel's half hidden against the darkening mass of Mizen Head. Only a few spots of light mark its position. On any other evening there'd be skiffs and dinghies taking a closer look at the incredible steel visitor, but today people're still too occupied with, and too traumatized by, the aftermath of the violence in Kilcrannog, so the Icelandic vessel sits there undisturbed.