Discuss the two powers that you found most intriguing in the Scott Russell Sanders essay "The Most Human Art."

The two most intriguing powers to me are the third, “Stories help us to see through the eyes of other people,” and the fifth, “to educate our desires.”
The magic of stories lies in that third power. We can see other times and places and worlds long past and worlds and people who never were. We can experience multitudes of existences and adventures, problems and solutions, celebrations and heartaches. Stories let us live things we would never otherwise have the chance to know about.
Even more important, though, is the fifth power that says that stories help us educate our desires. Stories can turn our desires to things more wholesome and good, away from greed and hatred. In stories, we can see the outcomes of negative feelings and actions, and we also get to see the triumph of goodness in a lot of stories; this leads us to long for that same goodness.
So, the third and fifth powers are the most intriguing to me. But beyond that, I would say the most important one is probably the ninth power: “Stories teach us how to be human.”

Can theatrical experience replicate the experience of dreaming?

Yes, Breton thought theatrical experience could replicate the experience of dreaming.
Breton was a surrealist. Surrealism leaned heavily on the work of Freud, and especially his belief that dreams have meanings that reflect a structured and universal subconscious. In other words, though they seem random, dreams in fact use symbols and motifs that are common to everybody.
The surrealists, including Breton, wanted to capture the feeling and the symbolism of dreaming in the arts. They primarily focused on painting but also made forays into theater. Such theater replicated the dream state with vague settings, experimentation, characters acting in strange ways, the use of masks, and absurd plot developments. Everything in such a play is a little off-kilter, and illogical events occur, just as in a dream.
Breton liked the work of Guillaume Apollinaire, who wrote the dreamlike surrealist play The Breasts of Tiresias.

Who is responsible for the consequences that happen?

The responsibility for the events is primarily on Mr. White, but some can be attributed to his wife and son as well as to Sergeant Major Morris.
Although Morris knows that two people have had bad experiences with the paw and the wishes it granted, he passes it along. Instead of destroying it on his own, he brings it to White's house to destroy it there. For that reason the fault is partly his.
White proves unable to resist the idea of three wishes, even after hearing the major's creepy tale. He pulls it out of the fire and uses it despite the possible danger. He continues to use it after things start to go awry. Therefore, he is responsible for what happens.
Herbert suggests that his father wish for money, which he seems uncomfortable with, but does so anyway. That puts some weight on the son.
The mother begs White to wish for their son to come back to life but doesn't specify, as he was before the accident. The final horror can thus be partly laid on her.

Anglo Saxons highly valued the warrior’s relationship to his lord. Explain how this is important to appreciating “The Wanderer”?

An understanding of this aspect of Anglo-Saxon society is absolutely fundamental to appreciating the plight of the speaker in this poem. Taken out of context, the idea of being a "wanderer" doesn't sound like such a terrible thing, but it is clear that the speaker in this poem is actually in isolation. In a society focused around vassalage, kinsmen and the loyalty between a warrior and his lord, this man is in an extremely unenviable position because he is alone.
A lord would have provided many things to his loyal retainer. The speaker describes many of them here: he feels that he has nobody to whom he can confide his innermost thoughts, and he explains precisely why. Years ago, he "hid" his lord ("goldwine minne") in the "darkness of the earth." What the Wanderer is saying here is that he has outlived his lord, and that is a very terrible thing for a warrior. A warrior is expected to die in defense of his lord. A warrior who does not, who remains alive when all his kinsmen are dead, is an exile, dishonorable, without a hall to belong to or a "giver of treasure" to provide him with material wealth or emotional sustenance. The strength of the emotional bond between warrior and lord is clear in the Wanderer's remembrances of how he would "clyppe ond cysse," hold and kiss his lord and lay his head on his lord's knees. The Wanderer, in his lonely exile, seems to miss most keenly not the material wealth he enjoyed when he was part of a clan and attached to a lord, but the emotional wealth this afforded him. He is now friendless, a warrior without a lord, effectively a man without any reason to live.

How do Jackson and Johnson’s experiences pursuing an education contribute to readers understanding of the effects of discrimination in Hidden Figures?

Education is supposed to give people a better life. Many are encouraged to pursue a higher education in the hopes that it will further their careers. Mary Jackson, however, finds setbacks at work despite her high education:

Compared to the white girls, she came to the lab with as much education, if not more . . . But to be confronted with the prejudice so blatantly, there in that temple to intellectual excellence and rational thought, by something so mundane, so ridiculous, so universal as having to go to the bathroom . . . In the moment when the white women laughed at her, Mary had been demoted from professional mathematician to a second-class human being.

Mary's education does not protect her from discrimination.
Katherine Coleman Johnson is able to pursue a higher education only because of integration. West Virginia integrated, and she was accepted to West Virginia University in 1940. Katherine studies hard so she has the opportunity to pursue a master's degree, but she ends up leaving school to start a family. This shows how women, especially black women, were expected to be housewives and prioritize family over careers. Katherine is able to return to her career later in life, but she has to put aside her master's degree for a time due to societal discrimination.

Why can't the poet rub strangeness from his sight in "After Apple-Picking"?

Essence of winter sleep is on the night,
The scent of apples: I am drowsing off.
I cannot rub the strangeness from my sight
I got from looking through a pane of glass
I skimmed this morning from the drinking trough
And held against the world of hoary grass.

The speaker of Robert Frost's poem, "After Apple-Picking" refers to a mysterious, abstract quality of "strangeness" that he initially picked up by peering through a pane of glass. The poem depicts the moment at which, while he is falling asleep, he realizes that the "strangeness" he picked up earlier in the day is still with him. In this passage, "strangeness" is at once the remembered scent of apples and a quality of vision.
Notably, the idiom of rubbing the strangeness from his sight plays off of the vernacular notion of rubbing the sleep out of one's eyes in the morning. But here, the "strangeness" is not of the night but rather from the day: it is like sleep in that it is hard to rub off of one's eyes but also like wakefulness, too, as it affords a peculiar sharpness to perception, as filtered through sense memory. Since the poem's central concern is with what it means to fall asleep—and less explicitly, by extension, what it means to be "awake" to the pleasures of life itself (as exemplified by the scent of apples)—we must take the slightly obscure poetic diction of the line "I cannot rub the strangeness from my sight," as being somewhat ironic.
Sleep is overcoming the speaker and presumably the strangeness of the day's perception will be lost to him: losing it is not a question of his own effort or lack of effort. What the speaker cannot "rub" from his inner sight is his tendency to think he can control sleep and wakefulness, which in this poem are akin to two dimensions of life that overcome the mind's eye, apart from human effort. Indeed, even the speaker's hazy perception of his own state of mind is "strange," caught as it is between the day and night.

Describe in detail how the ghost speaks of the Garden of Death and how he explain the verse on the library window.

The Canterville ghost describes the Garden of Death to Virginia as follows:

There the grass grows long and deep, there are the great white stars of the hemlock flower, there the nightingale sings all night long. All night long he sings, and the cold crystal moon looks down, and the yew-tree spreads out its giant arms over the sleepers.

The description of this garden contains many reminders of death. The hemlock flower is poisonous, while the yew tree is a symbol of death because it is associated with Hectate, the Greek goddess of witchcraft and death. Night is also associated with death, and the ghost speaks of the nightingale, a bird that sings at night, as well as the moon shining coldly on this garden.
The ghost explains that the verses on the library window mean that he needs someone sweet, gentle, good, pure, and faith-filled like Virginia to intercede for him so that he can die and go to his final rest. She needs to pray for him to die because he himself has no faith. If she prays hard enough, the angel of death will hear her prayers and be merciful, releasing him to death. The ghost also explains that the forces of hell will come and try to frighten her, but that her purity will win out over them. He says:

"They [the verses] mean," he said, sadly, "that you must weep with me for my sins, because I have no tears, and pray with me for my soul, because I have no faith, and then, if you have always been sweet, and good, and gentle, the angel of death will have mercy on me. You will see fearful shapes in darkness, and wicked voices will whisper in your ear, but they will not harm you, for against the purity of a little child the powers of Hell cannot prevail.

The ghost is tired of wandering the earth and scaring people, and he finds in Virginia a sympathetic person who will help him achieve his goal of finally dying for good.