In chapter 1, what does George tell Lennie that he never forgets?

George wants Lennie to remember several things in chapter one, most notably that when they go to the ranch to apply for jobs the next day, Lennie has to be very quiet and let George do all the talking. But George tells Lennie that the thing he never forgets is their dream of owning their own farm. When Lennie asks George to again tell him about the farm they will someday buy, George says:

You got it by heart. You can do it yourself.

Nevertheless, George begins to recite the familiar story. Lennie shows he remembers it by breaking in with familiar refrains, such as that they are going to

live off the fatta the lan’ . . .

The dream of owning their own place sustains the two of them in their uncertain life, in which they travel from job to job. Being together and repeating the story of the farm gives them hope that one day this dream might come true.

I need to write a teaser with NO spoilers in order to capture peoples attention for them to want to read these 2 short stories. It has to be 2 separate teasers.

The question mentions two stories; however, I only see reference to Shirley Jackson's "The Lottery." I can help with a teaser about that particular story.
I am not sure how long your teaser needs to be. It does make a difference, because some educators think "teaser" and "tagline" are essentially the same thing. I do not consider those two terms interchangeable. A "tagline" is one sentence that is intended to peak audience attention. A tagline is often very vague. "Just when you thought it was safe to go back in the water" is the tagline from Jaws 2. It's an interesting line, but it doesn't really tell anything specific.
For your teaser, I think that you are being asked to write a brief paragraph about "The Lottery." It would be similar to something that you would read on the back cover of a book or the back of a DVD movie box. "The Lottery" starts in a fairly happy and cheery way. A town of people is gathering in a town square for some kind of traditional festivity. The story ends in a horribly graphic way. One of the townspeople is stoned to death because of an archaic tradition. That's where you want to lead your reader with your teaser. I can't write your teaser for you, but perhaps you could start it off like the following:
"In a village that harbors strange traditions, people gather at the town square. A box is placed in front of the gathering crowd, and names are called one by one. As each name is read, a mixture of relief and apprehension slowly makes its way through the crowd."

How does Mr. Bennet treat Mrs. Bennet in Pride and Prejudice?

In Jane Austen’s Pride and Prejudice, Mr. and Mrs. Bennet are well known for their roles in intervening (or not) in their children’s marital prospects, but they also serve as a cautionary tale in what can happen when an unsuitable marriage choice is made.
Throughout the novel, Mr. Bennet makes it clear that he has no respect for his wife. He treats her with disdain and ridicule and implies that enduring marriage to her is a trial. His disdain and disregard for her feelings are sometimes obvious to everyone but her, but sometimes even his feelings are clear even to her, as in his response to her accusation that he does not care about her “poor nerves”: “You mistake me, my dear. I have a high respect for your nerves. They are my old friends. I have heard you mention them with consideration these twenty years at least” (p. 2).
He not only seems to care little for all the things that cause her distress but also seems to take delight in being the cause of her distress. For example, in the beginning of the novel, he deliberately withholds information about visiting Charles Bingley even though he knows it would immediately put his wife’s mind at ease.
Perhaps the most startling display of disrespect for his wife comes after Elizabeth rejects Mr. Collins’ proposal and he defies Mrs. Bennet’s demand for Elizabeth to reconsider: “An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to one of your parents. Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do” (p. 83). Such words not only demonstrate the lack of any real respect for his wife but also forewarn of the unhappy result of making a poor choice of spouse.

In the book, Mr. Bennet treats Mrs. Bennet with resigned acceptance. He is aware that his wife is his intellectual inferior and possesses poor judgment in many matters. However, being a faithful husband, Mr. Bennet has elected to stay married to his wife. That said, many of the couple's interactions center on Mrs. Bennet's daily irritants and her all-consuming goal of marrying off their daughters.
Knowing that he has little choice but to listen to his wife's complaints, Mr. Bennet relies on sarcastic humor to divert Mrs. Bennet. The text tells us that Mrs. Bennet is a woman of "mean understanding, little information, and uncertain temper." Knowing that Mrs. Bennet is incapable of deep introspection, Mr. Bennet uses humor to reduce marital friction between them.
For instance, when Mrs. Bennet chides her husband for refusing to visit Mr. Bingley in Chapter One, Mr. Bennet asks how his visiting the bachelor can affect their daughters' futures. Upon hearing this, Mrs. Bennet indignantly suggests that he's deliberately being obtuse. Certainly, she's thinking of Mr. Bingley marrying one of their daughters. Here's the rest of the conversation:

"I see no occasion for that. You and the girls may go, or you may send them by themselves, which perhaps will be still better, for as you are as handsome as any of them, Mr. Bingley may like you the best of the party."
"My dear, you flatter me. I certainly have had my share of beauty, but I do not pretend to be anything extraordinary now. When a woman has five grown-up daughters, she ought to give over thinking of her own beauty."
"In such cases, a woman has not often much beauty to think of."

From the above passage, we can see that Mr. Bennet skilfully wields sarcastic humor to divert Mrs. Bennet's attention. He may be resigned to living with her, but that doesn't mean he won't indulge in a bit of fun at her expense sometimes.

What is the conflict in the story "Miss Esther's Guest" by Sarah Orne Jewett?

The conflict in a story is the element in the narrative which presents a struggle or challenge to the protagonist. This is a very gentle story, but it certainly has a conflict. Miss Esther Porley, the protagonist, has resolved at the beginning of the story to open up her house to a fellow lodger. It has been too long since her mother died and she feels that she is not being sufficiently generous with what she has: she wants to open up her house for the use of someone who lives in the city and might have need of country air. She specifically states that she would not like a "girl" or a rowdy young man, and expresses a preference for an older person—meaning an old lady. This message is passed along to the Committee in town, but unfortunately, this committee does not know Miss Esther, and they do not interpret her wishes as she had expected.
The conflict in the story, then, comes when Miss Esther Porley arrives at the station, expecting an old lady, and finds nobody there but "one clean-faced, bent old man with a bird-cage in one hand." This immediately fills Esther with apprehension. She had not expected a man, and indeed she is anxious about what others on the platform will think of her if she approaches this old man unaccompanied. The story is set in a time period where men and women did not generally mix without chaperones unless they were married, so the presence of Mr. Rill instead of the expected old lady presents Miss Esther with a considerable challenge; indeed, she is "enraged with the Country Week Committee."
Ultimately, however, although Esther has not had a man in her house for "fifteen years, at least," she decides to give Mr. Rill a chance and invite him into her house. The result of this decision on her part proves to be momentous, as she finds him to be not at all like "other men," and when the time comes for him to leave, neither party is at all happy about it. At the end of the story, Miss Esther confides that Mr. Rill has determined to come back to live with her permanently–and has left his bird at the house as if as a promise.

In what way is the poem "The Darkling Thrush" an attempt by the speaker or poet to search for meaning in the world?

The speaker in the poem is melancholic and "fervourless." He "leans upon a coppice gate" as the sun sets ("The weakening eye of day") and ponders the century that's almost over, as well as the century that's about to begin. The poem was first published in 1900. He is also surrounded by the "dregs" of Winter and images of death (described with the words "haunted," "corpse," and "death-lament") pervade the poem. He metaphorically describes the previous century as a "corpse." The implication is that the speaker has no hope for the coming century and sees no meaning in life.
In the third stanza, however, he hears and then sees an "aged thrush" and this thrush gives him some hope, and seems to offer some meaning. The thrush sings "full-hearted" and "fling(s) his soul / Upon the dying gloom" even though he is "aged" and "frail." This offers the speaker some "blessed Hope," and meaning seems to lie in that hope. The speaker is "unaware" as to where the thrush derives this hope from, but the fact that he has it seems enough to at least temporarily appease the speaker's melancholic mood. The thrush's hope suggests to the speaker that there may be some meaning after all, even if he is "unaware" of what it is.

What did Tiger go to the road construction company to do in A Brighter Sun?

In the novel A Brighter Sun, Tiger goes looking for a job at the road construction company. Having tired of working as a planter and, more importantly, tired of poverty, he decides that he has a greater calling for his life and resolves to change his status. Thus, he joins a road construction company when the Americans come through around wartime and need roads built.
Because of his knowledge—slightly higher than those around him, as he is able to partially read and write—he is given a position with some status at the construction company. He is a surveyor and has some limited authority over the others in his position. This job begins to give him some of the respect and higher income he felt he needed to achieve a better status.

How does Mary Shelley get us to sympathize with a monster? Where does she succeed and fail? Why does she do this?

Mary Shelley's Frankenstein creates moral tension between the two central characters: Victor Frankenstein, a young Genoese science student who has assembled and animated a creature using dead bodies, and the unnamed creature he creates. While the opening of the novel builds considerable animosity toward the character of the creature through the eyes of Victor, the creature's own description of his struggle to join humanity and his mistreatment at the hands of his creator and others leads to a more complicated portrait of his emotional landscape and moral choices. While the novel does not suggest that all his actions are defensible (for example, his murder of Victor’s younger brother is not excused), it does raise the question of the extent to which the trauma he has endured can make us sympathetic to the deep sorrows he expresses and the rage with which he responds.
Frankenstein is an epistolary novel (a novel told through letter writing) in which the stories of individual characters are often told through retellings by other characters in and beyond the letters of Captain Walton to his sister. When Walton first encounters Victor Frankenstein in the icy waters through which Walton hopes to discover passage to the North Pole, Frankenstein's own story comes to dominate the novel, and the frame narrative of Walton's expedition moves to the sidelines. As a result, the early descriptions of the "monster" Victor has created are told only by Victor himself, whose disgust with the creature becomes the reader's first emotional barometer for evaluating the character.
This changes dramatically in chapter 10, in which Victor encounters his creation. While Victor expresses rage at the murders the creature has committed, the creature, in turn, demands that Victor hold himself accountable for his choice to abandon his own creation upon first sight. In a directly stated allegory for human paternal abandonment, the creature tells the story of his own confused and terrified quasi-infancy, in which, without his creator, he fumbles into the nearby forest alone:

It was dark when I awoke; I felt cold also, and half frightened, as it were, instinctively, finding myself so desolate. . . . I was a poor, helpless, miserable wretch; I knew, and could distinguish, nothing; but feeling pain invade me on all sides, I sat down and wept.

Upon encountering this, the novel's reader—perhaps for the first time—is asked to evaluate the impact of Victor's abandonment on his vulnerable pseudo-child.
The novel further makes room for sympathy for the creature as he discovers the dangerous way humans respond to his physical body, whereupon he hides in the cottage of a French family: a brother and sister named Felix and Agatha; their aging father; and, later, Felix's wife. As he slowly learns language by eavesdropping on their conversations, the creature develops a strong attachment to the family. He begins to crave acceptance from them, and fantasizes that he can earn—through hard study—a place in their hearts:

My thoughts now became more active, and I longed to discover the motives and feelings of these lovely creatures; I was inquisitive to know why Felix appeared so miserable and Agatha so sad. I thought (foolish wretch!) that it might be in my power to restore happiness to these deserving people. . . . I formed in my imagination a thousand pictures of presenting myself to them, and their reception of me. I imagined that they would be disgusted, until, by my gentle demeanour and conciliating words, I should first win their favour and afterwards their love.

This combination of intellectual maturation and deep affection for the family introduces to the reader a level of emotional complexity in the creature which contradicts the earlier portrayals of him as wholly demonic. In chapter 15, when the creature is attacked by the family during his attempt to bond with them, his initial pain at being abandoned by Victor is redoubled. Using the notebook he found among Victor's possessions in his first hours of life, the creature begins to plan systematic and murderous revenge against his creator.
This turn toward violence, while not exonerated by the novel, merits evaluation in the context of the creature's fuller emotional landscape. The novel ends with the creature, in the wake of Frankenstein's death, expressing deep remorse for his actions and entangled in his complicated love for Victor and anger toward himself:

But it is true that I am a wretch. I have murdered the lovely and the helpless; I have strangled the innocent as they slept and grasped to death his throat who never injured me or any other living thing. I have devoted my creator, the select specimen of all that is worthy of love and admiration among men, to misery; I have pursued him even to that irremediable ruin. There he lies, white and cold in death. You hate me, but your abhorrence cannot equal that with which I regard myself. I look on the hands which executed the deed; I think on the heart in which the imagination of it was conceived and long for the moment when these hands will meet my eyes, when that imagination will haunt my thoughts no more.

The novel does not neatly tie up the moral conclusion of this complicated relationship. Both characters leave the story in the novel's final moments (one through death and one through self-imposed exile), unable to undo the choices they have made and anguished by the consequences of those choices. In this way, in both their sympathetic attributes and their unforgivable ones, Victor and the creature end the novel most closely resembling one another.