[Q]: Given the below context:  Jeff Gerber lives in an average suburban neighborhood with his seemingly liberal housewife Althea, who tolerates her husband's character flaws out of love. Every morning when Jeff wakes up, he spends some time under a tanning machine, hits the speedbag, drinks a health drink, and races the bus to work on foot. Jeff presents himself as happy-go-lucky and quite a joker, but others tend to see him as obnoxious and boorish. Althea, who watches the race riots every night on TV with great interest, chastises Jeff for not having sympathy for the problems of black Americans. One morning, Jeff wakes up to find that his pigment has changed. He tries to fall back asleep, thinking that it is a dream, but to no avail. He tries taking a shower to wash the "black" off him, but finds it does not work, when Althea walks into the bathroom, and screams. He explains to her that the "Negro in the bathroom" is him. At first, Jeff believes this to be the result of spending too much time under the tanning machine. He spends almost the entire day at home, afraid to go out of the house, only going out once to venture into the "colored part of town" in order to find a pharmacy to buy "the stuff they use in order to make themselves look white." His attempts to change his skin color fail. The next day, he is persuaded to get up and go to work. Things start out well at first, until Jeff is accused of robbery while running alongside the bus to work. The policeman assumes that, since he is a black man, he must have stolen something. During his lunch break, he makes an appointment with his doctor who cannot explain Jeff's condition either. After several calls, the doctor suggests that Jeff might be more comfortable with a black doctor.  Guess a valid title for it!
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[A]: Watermelon Man (film)


[Q]: Given the below context:  Ashton Pelham-Martyn is the son of a British botanist travelling through India, who is born on the road shortly before the Sepoy uprising of 1857. His mother dies from childbed fever shortly after his birth and his father dies of cholera a few years later. He is entrusted to his Hindu ayah (nanny) Sita to be brought to his English relatives in the city of Mardan. After discovering that all English feringhis have been killed during the uprising, Sita adopts the dark-skinned Ash and takes him in search of safety. They eventually find refuge in the kingdom of Gulkote where Ashton, now going by the name Ashok, forgets his English parentage and grows up as a native Indian boy. While working as a servant for Lalji, the young yuveraj (crown prince) of Gulkote, Ashton befriends the neglected princess Anjuli, in addition to the master of stables, Koda Dad, and his son Zarin. At the age of 11, Ashton uncovers a murderous conspiracy against Lalji and learns he himself will be killed for interfering with the plot. Promising Anjuli he will return for her one-day, he and Sita escape the palace with assistance from friends Sita and Ashok have made within the palace over the years, and flee from Gulkote. The ailing Sita dies en route, but not before revealing to Ash his true parentage and entrusting him with the letters and money his father gave her before his death. Ashok makes his way to the military division Sita instructed him about, and they recognise him; now known by his English name, Ashton is turned over to English authorities and sent to England for a formal education and military training. At age 19, Ashton returns to India as an officer in the Corps of Guides with Zarin on the Northern Frontier. He quickly finds that his sense of place is torn between his new-found status as Ashton, an English "sahib", and Ashok, the native Indian boy he once believed he was.  Guess a valid title for it!
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[A]: The Far Pavilions


[Q]: Given the below context:  Stanford wrote of Bennett: He maintained his British characteristics throughout his life ...The English take a kind of pride in concealing their feelings and emotions, and this is reflected in their folk-song. The Thames has no rapids and no falls; it winds along under its woods in a gentle stream, never dry and never halting; it is the type of the spirit of English folkmusic ... England is as remote from Keltic fire and agony, as the Thames is from the Spey. Bennett was a typical specimen of this English characteristic. He was a poet, but of the school of Wordsworth rather than of Byron and Shelley. W. B. Squire wrote in 1885: His sense of form was so strong, and his refined nature so abhorred any mere seeking after effect, that his music sometimes gives the impression of being produced under restraint. He seldom, if ever, gave rein to his unbridled fancy; everything is justly proportioned, clearly defined, and kept within the limits which the conscientiousness of his self-criticism would not let him overstep. It is this which makes him, as has been said, so peculiarly a musician's composer: the broad effects and bold contrasts which an uneducated public admires are absent; it takes an educated audience to appreciate to the full the exquisitely refined and delicate nature of his genius. Temperley suggests that, despite his reverence for Mendelssohn, Bennett took Mozart as his model. Geoffrey Bush agrees that "[h]is best work, like his piano playing, was full of passion none the less powerful for being Mozartian (that is to say, perfectly controlled)", and characterizes him as "essentially a composer for the piano, a composer of the range (not necessarily the stature) of Chopin".  Guess a valid title for it!
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[A]:
William Sterndale Bennett