Problem: Jose Raul Capablanca y Graupera (19 November 1888 - 8 March 1942) was a Cuban chess player who was world chess champion from 1921 to 1927. A chess prodigy, he is considered by many as one of the greatest players of all time, widely renowned for his exceptional endgame skill and speed of play. Born in Havana, he beat Cuban champion Juan Corzo in a match two days before his thirteenth birthday on 17 November 1901.

Capablanca's skill in rapid chess lent itself to simultaneous exhibitions, and his increasing reputation in these events led to a US-wide tour in 1909. Playing 602 games in 27 cities, he scored 96.4% - a much higher percentage than, for example, Geza Maroczy's 88% and Frank Marshall's 86% in 1906. This performance gained him sponsorship for an exhibition match that year against Marshall, the US champion, who had won the 1904 Cambridge Springs tournament ahead of World Champion Emanuel Lasker and Dawid Janowski, and whom Chessmetrics ranks as one of the world's top three players at his peak. Capablanca beat Marshall by 15-8 (8 wins, 1 loss, 14 draws) - a margin comparable to what Emanuel Lasker achieved against Marshall (8 wins, no losses, 7 draws) in winning his 1907 World Championship match. After the match, Capablanca said that he had never opened a book on chess openings. Following this match, Chessmetrics rates Capablanca the world's third strongest player for most of the period from 1909 through 1912.  Capablanca won six games and drew one in the 1910 New York State Championship. Both Capablanca and Charles Jaffe won their four games in the knock-out preliminaries and met in a match to decide the winner, who would be the first to win two games. The first game was drawn and Capablanca won the second and third game. After another gruelling series of simultaneous exhibitions, Capablanca placed second, with 9 1/2  out of 12, in the 1911 National Tournament at New York, half a point behind Marshall, and half a point ahead of Charles Jaffe and Oscar Chajes. Marshall, invited to play in a tournament at San Sebastian, Spain, in 1911, insisted that Capablanca also be allowed to play.  According to David Hooper and Ken Whyld, San Sebastian 1911 was "one of the strongest five tournaments held up to that time", as all the world's leading players competed except the World Champion, Lasker. At the beginning of the tournament, Ossip Bernstein and Aron Nimzowitsch objected to Capablanca's participation because he had not fulfilled the entry condition of winning at least third prize in two master tournaments. Capablanca won brilliantly against Bernstein in the very first round, more simply against Nimzowitsch, and astounded the chess world by taking first place, with a score of six wins, one loss and seven draws, ahead of Akiba Rubinstein, Milan Vidmar, Marshall, Carl Schlechter and Siegbert Tarrasch, et al. His loss, against Rubinstein, was one of the most brilliant achievements of the latter's career. Some European critics grumbled that Capablanca's style was rather cautious, though he conceded fewer draws than any of the next six finishers in the event. Capablanca was now recognized as a serious contender for the world championship.

Where was that tournament held?

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Problem: Theodor Seuss Geisel ( ( listen); March 2, 1904 - September 24, 1991) was an American author, political cartoonist, poet, animator, book publisher, and artist, best known for authoring more than 60 children's books under the pen name Doctor Seuss (abbreviated Dr. Seuss) (). His work includes several of the most popular children's books of all time, selling over 600 million copies and being translated into more than 20 languages by the time of his death. Geisel adopted the name "Dr. Seuss" as an undergraduate at Dartmouth College and a graduate student at the University of Oxford. He left Oxford in 1927 to begin his career as an illustrator and cartoonist for Vanity Fair, Life, and various other publications.

Geisel's early artwork often employed the shaded texture of pencil drawings or watercolors, but in his children's books of the postwar period, he generally made use of a starker medium--pen and ink--normally using just black, white, and one or two colors. His later books, such as The Lorax, used more colors.  Geisel's style was unique - his figures are often "rounded" and somewhat droopy. This is true, for instance, of the faces of the Grinch and the Cat in the Hat. Almost all his buildings and machinery were devoid of straight lines when they were drawn, even when he was representing real objects. For example, If I Ran the Circus shows a droopy hoisting crane and a droopy steam calliope.  Geisel evidently enjoyed drawing architecturally elaborate objects. His endlessly varied but never rectilinear palaces, ramps, platforms, and free-standing stairways are among his most evocative creations. Geisel also drew complex imaginary machines, such as the Audio-Telly-O-Tally-O-Count, from Dr. Seuss's Sleep Book, or the "most peculiar machine" of Sylvester McMonkey McBean in The Sneetches. Geisel also liked drawing outlandish arrangements of feathers or fur: for example, the 500th hat of Bartholomew Cubbins, the tail of Gertrude McFuzz, and the pet for girls who like to brush and comb, in One Fish, Two Fish, Red Fish, Blue Fish.  Geisel's illustrations often convey motion vividly. He was fond of a sort of "voila" gesture in which the hand flips outward and the fingers spread slightly backward with the thumb up. This motion is done by Ish in One Fish, Two Fish, Red Fish, Blue Fish when he creates fish (who perform the gesture with their fins), in the introduction of the various acts of If I Ran the Circus, and in the introduction of the "Little Cats" in The Cat in the Hat Comes Back. He was also fond of drawing hands with interlocked fingers, making it look as though his characters were twiddling their thumbs.  Geisel also follows the cartoon tradition of showing motion with lines, like in the sweeping lines that accompany Sneelock's final dive in If I Ran the Circus. Cartoon lines are also used to illustrate the action of the senses--sight, smell, and hearing--in The Big Brag, and lines even illustrate "thought", as in the moment when the Grinch conceives his awful plan to ruin Christmas.

lines that accompany what?

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that accompany Sneelock's final dive in If I Ran the Circus.