2018 Literature Written examination - vcaa.vic.edu.au · from the same category will receive a...

LITERATUREWritten examination

Monday 12 November 2018 Reading time: 11.45 am to 12.00 noon (15 minutes) Writing time: 12.00 noon to 2.00 pm (2 hours)

TASK BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A 30 1 20B 30 1 20

Total 40

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaper,correctionfluid/tapeanddictionaries.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Taskbookof68pages,includingassessment criteriaonpage68• Oneormoreanswerbooks

The task• Youarerequiredtocompletetwopiecesofwriting:oneforSectionAandoneforSectionB.• Eachpieceofwritingmustbebasedonatextselectedfromthelistonpages2and3ofthistaskbook.• Eachselectedtextmustbefromadifferentcategory(novels,plays,shortstories,otherliterature,

poetry).Youmustnotwriteontwotextsfromthesamecategory.Studentswhowriteontwotextsfromthesamecategorywillreceiveascoreofzeroforoneoftheirresponses.

Instructions• Writeyourstudent numberinthespaceprovidedonthefrontcover(s)oftheanswerbook(s).• Intheanswerbook(s),indicatewhichsectionyouarerespondingtoandthetextnumberofyour

selectedtext.• AllwrittenresponsesmustbeinEnglish.

At the end of the examination• Placeallotherusedanswerbooksinsidethefrontcoverofthefirstanswerbook.• Youmaykeepthistaskbook.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2018

Victorian Certificate of Education 2018

2018LITERATUREEXAM 2

Table of contents

Novels Page

Text number Section A Section B

1. RobynCadwallader The Anchoress 4 8–9

2. ItaloCalvino Baron in the Trees 4 10–11

3. JosephConrad Heart of Darkness 4 12–13

4. ElizabethGaskell North and South 4 14–15

5. KimScott That Deadman Dance 4 16–17

6. ChristinaStead The Man Who Loved Children 4 18–19

7. GiuseppeTomasi diLampedusa

The Leopard 4 20–21

8. JuanGabrielVásquez The Sound of Things Falling 4 22–23

9. JeanetteWinterson The Passion 4 24–25

Plays

Text number

10. Aeschylus Agamemnon 5 26–27

11. ShelaghDelaney A Taste of Honey 5 28–29

12. EugèneIonesco Rhinoceros 5 30–31

13. YasminaReza Art 5 32–33

14. WilliamShakespeare Coriolanus 5 34–35

15. WilliamShakespeare Twelfth Night 5 36–37

16. SamShepard Buried Child 5 38–39

17. TennesseeWilliams Cat on a Hot Tin Roof 5 40–41

Short stories

Text number

18. MaxineBenebaClarke Foreign Soil 5 42–43

19. CeridwenDovey Only the Animals 5 44–45

20. NikolayGogol The Diary of a Madman, The Government Inspector and Selected Stories

5 46–47

3 2018LITERATUREEXAM

TURN OVER

Other literature Page

Text number Section A Section B

21. SheilaFitzpatrick My Father’s Daughter: Memories of an Australian Childhood

6 48–49

22. WEHStanner The Dreaming & Other Essays 6 50–51

23. Voltaire Candide, or Optimism 6 52–53

24. VirginiaWoolf A Room of One’s Own 6 54–55

Poetry

Text number

25. RobertBrowning Selected Poems 6 56–57

26. TinaChang, NathalieHandaland RaviShankar(eds)

Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond

6 58–59

27. RosemaryDobson Collected 6 60–61

28. SylviaPlath Ariel 6 62–63

29. ChrisWallace-Crabbe New and Selected Poems 6 64–65

30. SamuelWaganWatson Smoke Encrypted Whispers 6 66–67

Assessment criteria 68


SECTION A – continued

SECTION A – Literary perspectives

Instructions for Section AYouarerequiredtocompleteonepieceofwritinginresponsetothetopicsetforonetext.Yourselectedtextmustbeusedasthebasisforyourresponsetothetopic.Youarerequiredtoproduceaninterpretationofthetextusingoneliteraryperspectivetoinformyourview.YourselectedtextforSectionAmustbefromadifferentcategorythanyourselectedtextforSectionB.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionAisworth20marks.

Novels

1. Robyn Cadwallader, The Anchoress ThelivesofthecharactersinThe Anchoress areshapedbyaneedforpower.Towhatextentdoyou

agree?

2. Italo Calvino, Baron in the Trees ThroughhisdepictionofCosimo’slifeinBaron in the Trees,Calvinoasksustoreconsiderwhatit

meanstobehuman.Discuss.

3. Joseph Conrad, Heart of Darkness InConrad’sHeart of Darkness,theEuropeanintrusionintoAfricadamagesallthoseinvolved.Towhat

extentdoyouagree?

4. Elizabeth Gaskell, North and South InGaskell’sNorth and South,newkindsofrelationshipsaremadepossiblebynewsocialandeconomic

conditions.Discuss.

5. Kim Scott, That Deadman Dance Considerthepropositionthat, inScott’sThat Deadman Dance, thecollisionofculturalexpectationshas

tragicconsequences.

6. Christina Stead, The Man Who Loved Children ThroughthecharactersandtheirrelationshipsinThe Man Who Loved Children, Steaddemonstratesthe

poweroflanguage.Discuss.

7. Giuseppe Tomasi di Lampedusa, The Leopard InThe Leopard, Lampedusa reflectsontheinevitabilityofsocialchangeandhowindividualsrespond.

Discuss.

8. Juan Gabriel Vásquez, The Sound of Things Falling ReflectontheideathatVásquez’sThe Sound of Things Falling showshowweareshapedbythestories

wetellourselvesandbythosewehearfromothers.

9. Jeanette Winterson, The Passion Winterson’snovel,The Passion,suggeststhatpassionisadangerousanddisempoweringforce.Towhat

extentdoyouagree?


SECTION A – continuedTURN OVER

Plays

10. Aeschylus, Agamemnon ConsiderthepropositionthatAeschylus’sAgamemnonhasthepowertodisturb anaudience’sideasof

justice.

11. Shelagh Delaney, A Taste of Honey InA Taste of Honey,Delaney’sstrugglingcharacterschallengethevaluesoftheirsociety.Discuss.

12. Eugène Ionesco, Rhinoceros ReflectontheideathatIonesco’sRhinocerosexplorestheconflictbetweenfreewillandsocial

conformity.

13. Yasmina Reza, Art ThecharactersinReza’sArt strivetofindmeaninginaworldfullofuncertainty.Discuss.

14. William Shakespeare, Coriolanus ThecharactersinShakespeare’sCoriolanusaredrivenbyahungerforpower.Towhatextentdoyou

agree?

15. William Shakespeare, Twelfth Night InShakespeare’sTwelfth Night,anyescapefromsocialrolesandstructuresistemporary.Discuss.

16. Sam Shepard, Buried Child Considerthepropositionthat,inShepard’sBuried Child, nohappyendingispossibleforthecharacters.

17. Tennessee Williams, Cat on a Hot Tin Roof TheAmericanfamilyinWilliams’sCat on a Hot Tin Roof reflectsaculturethatdemandstoomuchof

individuals.Towhatextentdoyouagree?

Short stories

18. Maxine Beneba Clarke, Foreign Soil ThestoriesinClarke’sForeign Soilexpress thepainandfrustrationfeltbyindividualswhoareseenas

differentfromthemainstreamcommunity.Discuss.

19. Ceridwen Dovey, Only the Animals UsingtheviewpointsofanimalsinOnly the Animals,Doveyexploresthedarkeraspectsofhuman

natureandbehaviour.Discuss.

20. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories ConsiderthepropositionthatGogol’sstoriesinThe Diary of a Madman, The Government Inspector

and Selected Storiesfindhumourinthepainofillusionsandmiscommunication.


END OF SECTION A

Other literature

21. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood ReflectontheideathatFitzpatrick’smemoirisaportrayalofherownjourneymorethanitisaportrait

ofherfather.

22. WEH Stanner, The Dreaming & Other Essays Considerthepropositionthat,inThe Dreaming & Other Essays,Stannerarguespowerfullyagainst‘the

greatAustraliansilence’.

23. Voltaire, Candide, or Optimism InCandide, or Optimism,Voltairesuggeststhatitisfoolishtobeoptimistic.Discuss.

24. Virginia Woolf, A Room of One’s Own Woolf’sA Room of One’s Own depictsacultureinwhichchoicesaremorelimitedforsomeindividuals

thanforothers.Towhatextentdoyouagree?

Poetry

25. Robert Browning, Selected Poems ConsiderthepropositionthatBrowning’spoetryinSelected Poemsasksustoquestionourviewsof

romanticloveandthebeautyofnature.

26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond

ThepoemsinLanguage for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyondsuggestthatdifferencesandothernesscanbecauseforbothanxietyandcelebration.Discuss.

27. Rosemary Dobson, Collected Considerthepropositionthat,inCollected,Dobsonusesordinarythingstodemonstratetherichnessand

complexityoflife.

28. Sylvia Plath, Ariel ReflectontheideathatthepoemsinPlath’sAriel aremorecomplexthansimplythe‘confession’ofher

life.

29. Chris Wallace-Crabbe, New and Selected Poems InNew and Selected Poems,Wallace-CrabbeusesordinaryAustralianexperiencestoaskcomplex

questions.

30. Samuel Wagan Watson, Smoke Encrypted Whispers Reflectontheideathat,inSmoke Encrypted Whispers,Watson’spoetrydepictstwoculturesthat

struggletocoexist.


SECTION B – continuedTURN OVER

SECTION B – Close analysis

Instructions for Section BYouarerequiredtocompleteonepieceofwritingbasedononetextinresponsetothetaskset.Threepassageshavebeensetforeverytext.Thesetpassagesarepresentedintheorderinwhichtheyappearinthenominatedversionofthetext.Thesetpassagesarealsoreproducedastheyappearinthenominatedversionofthetext.Youmustusetwo or moreofthesetpassagesasthebasisforadiscussionabouttheselectedtext.Inyourresponse,referindetailtothesetpassagesandtheselectedtext.Youmayincludeminorreferencestoothertexts.YourselectedtextforSectionBmustbefromadifferentcategorythanyourselectedtextforSectionA.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionBisworth20marks.


SECTION B – continued

Novels

1. Robyn Cadwallader, The Anchoress

Use two or more of the set passages as the basis for a discussion of The Anchoress.

1.

Iclosedtheshutters,bentdown,brushedthestrawawayfrombeneathmysquintandpressedmyhandsonthehard,baresoil.Agnes,wisewoman,buriedhereinmycell,showmehowtobeananchoress.Makemeholy. Mykneesprickled,thegroundscratchedatmyskin,andashudderranthroughmyhandsandupintomyarms.Iflinched,felltooneside,pulledmyselfovertomydeskandontothechair.Thesoundofscrapingbonefollowedme. I shivered and touchedmyRule.Looking for comfort, IturnedtoapageIoftenread,towordsIknewalmostbyheart.

True anchoresses are like birds, for they leave the earth — that is, the love of all that is worldly — and, as a result of their hearts’ desire for heavenly things, fly upwards toward heaven. And though they fly high with a high and holy life, yet they hold their heads low in mild humility, as a bird in flight bows its head, and they consider all their good actions to be worthless.

Swallowhadflownlikeabird,hisarmsstretchedwideandhislegsstraight,thentuckedin,totumbleintheair.Hisclotheshadflashedredandgrey,thestripesspinning,hisheadcurledintohisbody.Iwantedtoflylikehim,likeanangel,toletgoofmybodyandthelongingthatheldmetotheground. Thestewedmeatsmelledrich;thefragrancewoundaroundmyhead and sank intomy clothes.Mybelly twistedwithhunger.Ishutmyeyes,refusedit,andthoughtofSwallow’sleap.Foramoment,itfeltasifmynarrowcellopenedtothesky.

FatherPetervisitedafewdays later.Hewasmyconfessor,andIhadbeenhopinghewouldvisittoseethatallwaswell. Thescrapeofthestool,andhegruntedashesatdown.‘SisterSarah?Godblessyou,mychild.Areyouwell,Sister?’ ‘Yes,Father,thankyou.’ ‘I’mgladtohearit.Youseemedweakatyourenclosure,though,ofcourse,itdemandedmuch.’ Hisvoicemademethinkoftheriverwhereitrunsdeepest,thesilkensoundofitssloweddies,butthatseemedfanciful.HisfacehadfrightenedmewhenImethimbeforemyenclosure:thefilamentsinhiswateryeyes,foggywhiteringsontheblue,theredblotchesonhissaggingcheeks.He’dseemedweary,likeathickrugworndown.ButhehadsmiledmorequicklythanI’dexpectedandtherehadbeenagentleconcerninhiseyes.ThatwasthelasttimeIwouldseehisface;fromnowon,itwouldbeonlyhisvoiceontheothersideofthecurtain.

* * *

2.

Onebyonethewomendroppedby:Maud,Avice,Winifred,Jocelyn,Lizzie,andothers,totellastoryortobringsomethingsmall forme to eat— a pie, a piece of cheese, a honeycake. I thanked them, thoughIwouldnoteat the foodand,rememberingtheleper,putitontheledgeofthemaids’windowtogivetootherswhoneededit.EvenafewwomenwhohadnotpreviouslycomeforcounselopenedthedoortoquicklywishmehappyMayDay. IhadmadeitmyhabittokeepthecurtainclosedwhenIspoketothewomenwhocametome,butthatdayIopenedittotakethefoodtheyoffered.Wewomenlookedatoneanother,smiledawkwardly,eachseeingafaceunveiledinthedimnessofmyparlour.FromthesoundoftheirvoicesIhadgiveneachwomanbehindmycurtainaface,butthatdayIfoundIhadtochangethem.Winifredwasbig,asIhadexpected,butherhairwasfineandfair,notblack,andhergreeneyeswerenotboldbutalittleuncertain.IhadthoughtofLizziewithabrownfaceandlongbrownhair,butherpaleskinwascoveredwithfreckles,andasshepulledbackherhairInoticedherfingerstaperedlongandfine,thoughtheywerestainedwiththepowdersandunguentsofhertrade.Shesatforatime,seemingcontent,asIwas,withoursilence. AshortwhilelaterwhenIheardJocelyn’squietcallfromtheparlourdoorway,Ilookedup,afraidtomeethereyes.HerhairwaslankasIhadimagined,herfaceworn,butshelookedstraightatmewithclearblueeyesandanervoussmile,almostlikeachild,gratefulforanykindness.AndMaud,whohadtoldmesomuchaboutherlife:Ihadalwaysthoughtofherinthefields,strongandcapable,soIwassurprisedthatshewassmallandwiry,notevenastallasme.HerfacewasasbrownandlinedasI’dthoughtitwouldbe,hersmilewarm,andIwaspleasedtoseeher,abovealltheothers.ShetoldmeaboutthedancesandherFulke:‘Brawnyladasheis,hecanstilldanceenoughtopleasethegirls.’ AndfinallyAvice,hervoicequietandthoughtful,asifsuitedtoreadingandlearning,wasasIhadthought:eventhroughtheworryaroundhermouthandeyes,shewasbeautifulinthewaythatIthinkaqueenmustbe—herfacefine,herlipsred.WhensheleftIwonderedatthestrangenessoftheworld,andwhethershechafedatthenarrownessofherlife.

* * *

WithpermissionofHarperCollinsPublishersAustraliaPtyLtd



Novels

1. Robyn Cadwallader, The Anchoress

3.

Ranaulf stood at thegate.Thewoodwasworn,butsolid—andwithoutahandleontheoutside.Hethoughtaboutthefirstdayhehadvisitedtheanchorholdandpeeredaroundthesideoftheparlourtothedankshadedgrassandthestonesofthecell.Thenewwallwouldnotchangethat,buthecouldseethatsomesunwouldfallinsidethegarden,atleastinspringandsummer. Hemovedtotheparlourdoor,pulledatitashealwaysdid,andalmostfellbackwardswhenitopenedeasily.Rogerhadfixedit,heremembered,thoughhefeltuneasy,unsettledbyallthechanges.Hisreactionmadenosense,heknew;hehadcomplainedofthedoor,hadarguedforSarah’sgarden,andallhadbeenmadegood.Still,thiswasnottheanchorhold—northeanchoress—hehadvisitedthatcoldwinter’sdayalittlemorethanayearpast.Hehadneverseeninsidethecellandhewouldnotseethegarden,thatsecondspacewhereshewoulddwell.Irritatedathisownlackofreason,hewalkedintotheparlourandclosedthedoorbehindhim. ‘Godblessyou,SisterSarah.Goodmorning.’ ‘FatherRanaulf.Godbewithyou.’ Hervoicewasfamiliar,soothing.Hefelthimselfrelax.‘Iseethatyourgateisfinished.Yourgardeniscomplete.’ ‘Yes,RogerandBillcameearlierthismorning.’ ‘Ihadhopedtolookatthegardenbeforeitwassealed.Toseeitdoneatlast.’Hepausedbuttherewasnoresponsefrombehindthe curtain. ‘Forgiveme,Sister. It’s yourgarden. I supposebecauseIarrangedforthestoneandthemen,IhopedImightviewit.Ofcourse,wecouldn’tstandinthegardentogether,orseeeachother,butifyouopenedthegate,perhaps—’ ‘Father.’ Itwastheoldsilence,butnowtheyunderstoodeachother. ‘You’reright.Ididnomorethanwasneeded.Ipraythatthegardenwillblessyou,Sarah.’Thewordcamesoeasily.Sarah.

* * *

WithpermissionofHarperCollinsPublishersAustraliaPtyLtd



Novels

2. Italo Calvino, Baron in the Trees

Use two or more of the set passages as the basis for a discussion of Baron in the Trees.

1.

InthosedaysCosimo…‘DoyouintendtogrowuplikeanAmericansavage?’

ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998

pp.130and131

Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.

2.

Theprisonwasasmalltower…Andhehimselfkickedawaytheladderandsowasstrangled.


pp.167and168




Novels

2. Italo Calvino, Baron in the Trees

3.

Cosimodidnotreply…thatcanbeprolongedbeyondlife.


pp.219and220




Novels

3. Joseph Conrad, Heart of Darkness

Use two or more of the set passages as the basis for a discussion of Heart of Darkness.

1.

Thesea-reachoftheThames…broodingoveracrowdofmen.

JosephConrad,Heart of Darkness, PenguinClassics,2007

p.34


2.

“[...]Hehadkickedhimselfloose…rapid,breathlessutterance.[...]”


pp.82–84




Novels

3. Joseph Conrad, Heart of Darkness

3.

“Sheputoutherarms…theheartofanimmensedarkness.


pp.95and96




2.

‘Whydoyoustrike?’…Yo’llsee,it’llbedifferentthistime.’

ElizabethGaskell,North and South, PenguinClassics,2003

pp.132and133


1.

‘Oh,Dixon!Ididnothearyoucomeintotheroom!’…ruledbyapowerfulanddecidednature.


pp.48and49


Novels

4. Elizabeth Gaskell, North and South

Use two or more of the set passages as the basis for a discussion of North and South.



3.

Butthetruthwas…characterandstronghumanfeeling.


pp.408and409


Novels

4. Elizabeth Gaskell, North and South



Novels

5. Kim Scott, That Deadman Dance

Use two or more of the set passages as the basis for a discussion of That Deadman Dance.

1.

Butsomethinghadchanged. Acollectionofobjectslayinapilebesidetheiroldcampfireand,evencoatedwithash, their smooth surfaces screamed.Suchhardandbrightthings—Bobbywouldlearnthewords,weallwould:beads, mirror, nail, knife—werepassedaroundastherestofthefamilyarrived.Look,feel,smellthem;andohthesharptasteofsteel.Somesaidtheyrememberedthem,fromthetimeofthedance.Andthefootprintswithouttoes. Therehadalwaysbeenaparticularrhythmtotheirvisits,andnowthisnewpulse,atfirstfeeble,beganitsaccompaniment.More sailswere noted, andmore things detected: a cairnofstones, for instance,andwithin it—once thestonesweredismantled—somemarkingson thinbark insideacontainerofglass.Smokeroseontheislands,asifasignalbysomeoneapproaching. Inlateryearsitwouldbehorseshoes,theremainsofsaddles,arevolver,buriedfoodandbodies...Butallthatisforthefuture.Bobby’sfamilyknewonestoryofthisplace,andasdeepasit is, itcanacceptsuchvariations.Gifts?theywondered.Then,thesevisitors?Wheretheyfrom?Wheretheygone? Thewind,blowingtothehorizonandback. Theydancedlikedeadmen,cruelbrutalmen. Buttheywereneverdead. BobbyWabalanginybelievedhewasababythen,andstillonlyaveryyoungboywhenyetanothershipcamecloseandspilledpeopleupontheshore.Bobbyspokeasifithadjustcometohimandwasonthecuspofmemory,insidethefaceofawaveofrecollectionabouttobreak. WasitreallyBobby?Nomatterwho,itwasaveryyoung,barelyformedconsciousness,andwatchingfromsomesafeplacesomewhereelse. Thesemenhadyetanotherstrangetongue,oui,andBobbyWabalanginymust’vegoneontheirboatwithhisspecialUncleWunyeran—orperhapsitwasWooralorMenakorsomeotherofthoseoldpeople—becauseherememberedthatfirstsensationofthedeckshiftingunderhisfeet,rollingwiththeswell.AndBobbymadethatadance, too,asmallsteppingshuffleoneway,thentheother,toandfro.Notquitethedanceofstrangers,notquiteadanceofthiscountry,peoplewouldsmileastheyshuffledandswayedtoBobby’sstrangetune. Some of his extended family learned seasickness fromanother ship’svisit, and somethingof its speed:howhomecouldrecede,andrushbackatyouagain.

* * *

2.

Intruth,Manit’sverypresencechallengedandconfrontedJakTar.Nothing in his experience had prepared him forcooperatingwithanelderly,mostlynakedwomanwhoteasedandmockedhimso.Hisfirstinstinctwastodismissher,buthecouldnotdismissBobby’sobviousrespectforher,andJakTarwastrulygratefultohimforthehelphe’dprovided.Soheperseveredlongerthanhemighthaveotherwise. The oldwomanknewwhere animalswould be and JakrealiseditwasbesttoletBobbyhandletherifle,andnotonlybecausehehad suchagoodeye.On theirfirsthunting triptogetherJakhadassumedcommandofthegun—hewastheman,hewaswhite.Manit,throughBobby,toldhimwheretowaitandwhere thekangaroowould rush,and thensheandBobbywenttofrightentheanimalstowardhim.JakTartwistedhisheadassheunexpectedlyreturned,andatthesameinstantamobofwallabiessprangfromthebushes infrontofhim.Tammar!Heheardtheyellandswungthebarrel,fired,missed.InonemotionManitslappedhim,grabbedthegun,swungitlikeaclubandknockedonetardytammarsenseless. Wide-eyedJakTarhadonehandonhischeek.Manitlaughedandsqueezedhisnarrownosebetweenherfingerandthumb.Hewasshockedspeechless.Hiseyeswatered.Hewasagentleman,JakTar,andnotaccustomedtobeingbossedlikethisbyanoldwoman. Whenhewasachild,hisAuntyusedtobringdrippingfromthekitchenswhere sheworked.Cooked for theQueen, shetoldhim,andmadehimmemorisethenamesofalltheroyalfamily.Whenshecould,shetookhimtoseethemwherevertheyparadedinpublic. Inthebush,thisarseendoftheworld,JakTarcametothinkofthehalf-nakedandbarefootwomanasQueenManit.Itwasclearshewasaccustomedtocommand.Nojewellery,though,atmostafewfeathersandsomewovenpossumfur;norougeonhercheeks,thoughtheremightbefishoilandochre;nobustlingskirtssupportedbywhalebonecorsets,thoughsheknewwelltherightwhalefromwhosethroatthosecorsetscame.

* * *

WithpermissionofPanMacmillanAustraliaPtyLtd;©KimScott



Novels

5. Kim Scott, That Deadman Dance

3.

Baabaablacksheep,haveyouanywool...Bobbywaswalkingalone,aswashisway,andwalkingbesideoneofthecreeksfeeding into the river ofKepalup.Already thewaterswereslowing, the level dropping.The coarse, soft sandbetweentheshrinkingpoolswascriss-crossedwiththeprintsofmanybeings,andBobbymovedquicklyalongit,shelteredfromsunandwindbythetreesoneitherside.Hecamedowntherockyslopeofwaterholes,andstayedtoclearsomeofthemofreeds,andlayacarpetofleavesnotfarfromtheeagle’snest.Theoldbirdstudiedhisefforts. Notmuchfurtherandthecreekjoinedtheriver,andBobbykepttotheoldpathalongtheriverbankuntilhereachedthetinybubblingspringthatfedit,andthatlittlestonewallSkellyhadbuiltsothatcomesummeritmightbeclosedoffforChaine’ssheep.Ononebanktheirfootprintshadcutawayalltheearth.Chaine’shorseswoulddrinkhere,too.Hishuntingdogsandhisworkers.ButwhataboutNoongarpeople? The old trees still leaned over the riverbank. Furtherupstreamhesawtheeaglewatchingfromitsbough.Amalleehenemergedfromthedenseforestofjamtreetheothersideof the river, and returnedhisgaze forwhat seemeda long,cheekytimebeforeitretraceditssteps,disappearingintothecloseranksoftrees.Bobbyturnedupthebankandagainpausedasafamilyofemustudiedhim,andthen—itseemedalittleresentfully—strodeoffandvanishedintothetrees.Sohewasknownherestill, in thisplacewherehispeoplehadalwayswalked.Notsoalonethen. Butwhataboutthosepeopleupinthefarmhousehe’dknownprettywellallhislife?Didtheystillwanttoknowhim? NeitherWilliamSkellynorthemanhelpinghimsawBobbyuntilhewaswithinafewsteps.Itwasaverylargehuttheywerebuilding;thestonewallsrosetwoormoretimestheheightofevenatallman.Skelly’scompaniontappedhimrapidlyontheshoulder,pointing. Nigger,hesaid. Skelly’sheavybodyturnedslowly,hisheadevenlowerinhisshouldersthanBobbyremembered,sothatwhentheireyesmetSkellyseemedagloweringbullock. MrSkelly,Bobbysaid.ButMrWilliamSkellydidnotholdouthishand. Bobby,saidMrSkelly.Thethirdmanwatchedthemclosely. AreMrsChaineandChristineathome,MrSkelly? I’mnottoosure,Bobby.Butthey’llnotbewantingtoseeyounekkidlikethat,boy.

* * *

WithpermissionofPanMacmillanAustraliaPtyLtd;©KimScott


SECTION B–continued

Novels

6. Christina Stead, The Man Who Loved Children

Use two or more of the set passages as the basis for a discussion of The Man Who Loved Children.

1.

Louieknewshewastheuglyduckling.Butwhenaswanshewouldnever come sailingback into their villagepond; shewouldbe somewhereaway,unheardof,on the lily-rimmedoceansoftheworld.Thiswashersecret.Butshehadmanyother intimationsofdestiny, like thenightrider thatnooneheardbutherself.Withhersecrets,shewasabletogooutfromnearlyeveryoneofthethousanddomesticclashesoftheyearand,asifgoingthroughadoorintoanotherworld,forgetaboutthementirely.Theywerethedoingsofbeingsofaweakersort. Hennywasannoyedtoseethetribebowbeforeherselfintheroleofvirago;shehadnotbeenbroughtuptothinkthatshewould succeedbecauseof ameandisposition.Shehadbeennurturedintheideathatshewastobeagreatlady,liketheold-timebeautiesoftheSouth.Sonowshehurriedtodressherselfandgetoutofahousewhereallherhopeshadbeenruinedandwhereshewasforcedbycircumstancestoslurandsmutherselftoherself.Shewasrestless,fullofspite,contempt,andunhappiness—whataspinelesscrowd,aBaltimoreslumbreed,thespawnofamanwhohadbegunbytakingthekicksandordersofsomerestaurantkeeperorfishhandlerattheageoftwelveandsohadneverlearnedindependence!Theworstwasthattheylookeduponherasanheiress,andshehadn’tanickelinherpurseandwasforcedtogointodebttokeepthebreedalive.ShehadnocarshecoulduseandwasforcedonaSunday(Funday!)torattledowntowninastreetcar,hungryandwithout a clean blouse. She supposed she could haveforcedsomemoneyoutofhim,butshehadn’tthepatienceortheinteresttocarryonhervictory.Shewassunkforlife.OldDavidCollyerwouldnevertakeherback,andwhatothermanseriouslywantedawomanwithfivechildreneveniftheCollyerestatewasfreeofdebt?Shedidnotcaretwotickswhethershewonvictoriesoversuchcowardsornot:theyhadwonthefinalvictoryoverher.

* * *

2.

Itwas a beautiful summer Sam hoped still that “truthcrushedtoearthwouldriseagain”(hemeanthiscasewouldsucceed).Hefoundathousandtheoriestojustifyhischangingthechildren’sfoodfrombuttertomargarine,andfrommeat,to beans, spaghetti, andfish.He superintended the cookinghimself, reproaching his Little-Womanwith her clumsyattemptsatcookingandhimself instructingherbecausehermotherwouldnot.Heknewanoblewoman,itappeared,intheConservationDepartment,whoputoutpamphletsoncooking,andSamwasalwayschattingabouther recipesandalwaystryingthemout.Heimportedgallonsofoil,ofallkinds,himselfmakingexperimentsinthekitchen,peanutoil,cornoil,fishoil,andeverykindofoil,whichfilledthewoodenhousewitharoof-liftingstenchandmadeSamverygayindeed.HeragedagainstHenny’sodors,butforhimself,inhisownuniverse,concocted suchpowerful,world-conqueringodors as couldbesmelledacrossSpaCreekandupanddowntheforeshores.Waitingforhiscasetobedecided,hewasabletoforgettheworldandbehappy. “What a pity,” he said a thousand times, grinning at hischildren,“thattheLawforcesyoutogotoschool.Childrenwithafatherlikeyouhaveneednoschool.SeewhatIwoulddo!Youwouldlearneverythingbyprojects:youwouldlearntobuildhouses,plaster,repair—youalldoknowthatnow—youwouldbebricklayers,carpenters;thewomenfolkwouldbe good cooks, seamstresses;wewould get the best,mostmodernmachines, have every household process done bymodernmachinery,andwewouldhavenoneofthearchaic,anachronistic,dirt,filth,anduntidinesswhichHennystrewsaboutbecauseshecomesfromthestupidoldworld.Baltimore,mynativeheath,usedtobefamousintheworld,forcommerce,yes,evenforbanking(thoughyouknowwhatIthinkoftheGreedy,theMoney-Powerful)—BrownBrothershadagreatreputationasfarawayaswickedoldLondon,thatcapitalofevil.But there is a secondary strain in dirtyoldBaltimore,andthatisashamefulloveofvice.Notonlydidallthesesilk-skirted‘greatladies’(astheylikedtocallthemselves,thoughtheyweresillylittlechits)breedslavesandsellthemdowntohorrorandhell,buttheywerethemselvesbredformarriagetowealthymenfromabroadandfromhometoo,Iamsorrytosay.Baltimorelovesotherthingsmuchworse,arealunderworldof vice,which is, strange to say (youkidswill understandthis later), considered the upperworld, society—awickedconventionwhichhasimposeditselfonasillyworld,fullofdrinking,cardplaying,andracing.Baltimorehasbeauties,butwhatcorruptiondoestheuglyoldgirlhideunderherparasoltoo?Butletusleavethis.BaltimoreissweetbecausesheisbetweenthegreatpotholeofNatureandthewonderfulBlueRidge.Thatsavesher.” Thechildrenlistenedtoeverywordhesaid,havingbeentrained tohimfrom thecradle.OnlyLouie,whohadmuchto think about (nothing to dowith Sam at home),would

CourtesyofMelbourneUniversityPublishing;©ChristinaStead(Estate)



Novels

6. Christina Stead, The Man Who Loved Children

always seep away from the group, linger deceptively for amomentroundthedoor,andafewsecondslaterwouldbeseenshiningonthebrinkoftheslope,orwouldhavecompletelydisappeared,andbemooningandhummingonthebeach.

* * *

3.

“Allright!Allright!YourememberwhenyouusedtotakemetoseetheLincolnMemorial,walkingalongtheReflectingPoolfromyourofficeonSaturdays.Ilearnedfromhim,notfromyou.Youusedtosayyourheartalwaysbeatwhenyouweregoingtowardsit;myheartusedtobeat,butyoualwaysthoughtaboutyourself.WhenIwasatHarpersFerry,IonlythoughtaboutJohnBrown.IalwaysthoughtIsraelBakenwasjustlikehim—mygrandfather.NotaPollit,thankgoodness,notoneofyou.” “Thatmeanoldvicioussuperstitiousman!”Samejaculated.“Yes,youarelikehim,Iamsorrytosay.Yourmotherhadnoneofthat.” “Whatdoyouknowaboutmymother?Shewasawoman.Ifoundaletterfromherintheoldredwoodbox.Someonewhodiedsentitbacktoherwhentheyknewtheyweredying.Itwasjustafteryouweremarried.Shesaid,‘Samuelisaveryyoungman. I amvery sickor Iwouldnot bewriting suchfoolishthings,Iamsure.Buthedoesnotunderstandwomenorchildren.Heissuchagoodyoungman,heistoogoodtounderstandpeopleatall.’” Samsaiddreamily,“Yes,Iwasaverygoodyoungman.Ineverallowedabreathofscandaloroffoolishsmalltalktobespokeninmypresence;andyourmotherunderstoodme.Shewasreadytosacrificeeverythingforme.PerhapsshelovedmeevenbetterthanIlovedher.ButIwasveryyoung:IdidnotseethingsasIseethemnow.Shelovedyoutoodearly,‘littleDucky,’asshecalledyou.Itisapityyouneverhadamother.” “Well,I’mmyownmother,”Louiesaid,withoutemotion.“AndIcanlookaftermyself.Iwantyoutoletmegoaway.Youcan’twantmetoliveinthehousewithyouafterwhatIwasgoingtodo.” “IfyouthinkIbelievethatcock-and-bullnonsenseyoumadeupoutofyoursoft,addledmelodramaticbean,”hesaidwithroughgoodhumor,“youhaveanotherthunkcoming,mygirl.Youaregoingtostayherewithmeuntilyougetoutofthisstupidadolescentcrisis,andthat’sallthereistoit.” “Thenyoudon’tbelieveme?” “Ofcoursenot.DoyouthinkI’mgoingtobetakeninbyasillygirl’sfancies?Youmustthinkmeanitwit,Looloo,afterall.”Helaughedandputhisarmonhershoulder,“Foolish,poorlittleLooloo.” Sheshookhimoffandsaidnothing.Samwentontalkingtohergently,chidingly,lovingly.Whentheyreachedhome,shemadehimanothercupofcoffeeandwentupstairs.Outoftheoldredwoodboxshetookanold-fashionedbagmadeofgrassandraffia,andembroideredinbeadsbyhermother,atonetime.IntothissheputafewclothesandadollarbillthatoneofthevisitorshadgivenherafterHenny’sdeath.Shehardlysleptatall,butwhensheheardSambeginhiswhistlingearlythenextmorning,shegotupanddressedquicklyandquietly.

* * *

CourtesyofMelbourneUniversityPublishing;©ChristinaStead(Estate)



2.

DonFabrizio,stilllyingonhisback…WhatdidTancredimatter...orevenConcetta...?

GiuseppeTomasidiLampedusa,The Leopard, Vintage,2007

pp.74and75


1.

Theraysofthewesteringsun…savouritsratheruncertaincalm.


pp.3and4


Novels

7. Giuseppe Tomasi di Lampedusa, The Leopard

Use two or more of the set passages as the basis for a discussion of The Leopard.



3.

Butdopleaseexcuseme…He’sthemanforyou.[...]”


pp.139and140


Novels

7. Giuseppe Tomasi di Lampedusa, The Leopard



Novels

8. Juan Gabriel Vásquez, The Sound of Things Falling

Use two or more of the set passages as the basis for a discussion of The Sound of Things Falling.

1.

IshoutedtoLaverde,butnotbecauseIalreadyknewwhatwasgoingtohappentohim,notbecauseIwantedtowarnhimofanything:atthatmomentmyonlyambitionwastocatchuptohim,askhimifhewasallright,perhapsoffermyhelp.ButLaverdedidn’thearme.Istartedtotakebiggersteps,avoidingpeoplewalkingalongthenarrowpavement,whichatthatpointisalmostknee-high,steppingdownontotheroadifnecessarytowalkfaster,andthinkingunthinkingly:And they were one single long shadow,orrathertoleratingthelinelikeajinglewecan’tgetoutofourhead.Atthecornerof4thAvenue,thedenseafternoontrafficprogressedslowlyinasinglelane,towardstheexitontoJiménez.Ifoundaspacetocrossthestreetinfrontofagreenbus,whoseheadlights,justturnedon,hadbroughttolifethedustofthestreet,thefumesfromanexhaustpipe,an incipient drizzle.That’swhat Iwas thinking about, therainI’dhavetoprotectmyselffrominalittlewhile,whenIcaughtuptoLaverde,orratherIgotsoclosetohimIcouldseehowtherainwasdarkeningtheshouldersofhisovercoat.‘Everything’sgoingtobeallright,’Isaid:astupidthingtosay,becauseIdidn’tknowwhateverythingwas,much lesswhetherornotitwasgoingtobeallright.Ricardolookedatmewithhisfacecontortedinpain.‘Elenawasthere,’hetoldme.‘Waswhere?’Iasked.‘Ontheplane.’heanswered.IthinkinabriefmomentofconfusionAurahadthenameElena,orIimaginedElenawithAura’sfaceandpregnantbody,andIthinkatthatmomentIexperiencedanewfeelingthatcouldn’thavebeenfear,notyet,butwasquitesimilartoit.ThenIsawthemotorbikedroppingdownonto the road like a buckinghorse,sawitacceleratetoapproachlikeatouristlookingforanaddress,andattheprecisemomentwhenIgrabbedLaverde’sarm,whenmyhandclutchedatthesleeveofhiscoatbyhisleftelbow,Isawthefacelessheadslookingatusandthepistolpointedtowardsusasnaturallyasametalprosthesis,andsawtwoshots,andheardtheexplosionsandfeltthesuddentremorintheair.Irememberhavingraisedmyarmtoprotectmyselfjustbeforefeelingthesuddenweightofmybody.Mylegsnolongerheldmeup.LaverdefelltothegroundandIfellwithhim, twobodiesfallingwithoutasound,andpeoplestartedto shout and a continuous buzzing appeared inmy ears.AmancameovertoLaverde’sbodytotrytolifthimup,andIrememberthesurpriseIfeltwhenanothercameovertohelpme.I’m fine,Isaidorrememberhavingsaid,there’s nothing wrong with me.

* * *

2.

AndnowElainewasholdingontoRicardo(herheadgluedtohischest,herhandsclenchedaroundhiselbows)everytimeagustofwindshookthecabinonitscableandthetouristsallgaspedatthesametime.Andoverthecourseoftheafternoon,suspendedintheairorsittinginthepewsofthechurch,wanderingincirclesaroundthegardensofthesanctuaryorseeingBogotáfromanaltitudeof3,000metres,Elainebegantolistentothestoryofanaerialexhibitioninayearasdistantas1938,sheheardtalkofpilotsandacrobaticsandofanaccidentandthehalfahundreddeadtheaccidentleft.Andwhenshewokeupthenextmorningapackagewaswaitingforhernexttoherrecentlyservedbreakfast.ElainetoreoffthewrappingpaperandfoundamagazineinSpanishwithaleatherbookmarkstuckbetweenthepages.Shestartedtothinkthebookmarkwasthegift,butthensheopenedthemagazineandsawthesurnameofherhostsandanotefromRicardo:So you’ll understand. Elainedevotedherselftounderstanding.SheaskedquestionsandRicardoansweredthem.Hisfather’sburntface,Ricardoexplainedoverthecourseofseveralconversations,thatmapofskindarkerandrougherandmorejaggedthanthedesertofVilladeLeyva,hadformedpartofthelandscapethatsurroundedhimhiswholelife;butnotevenasachild,whenoneaskseverythingandassumesnothing,didRicardoLaverdetakeaninterestinthecausesofwhathesaw,thedifferencebetweenhisfather’sfaceandeveryoneelse’s.Althoughitwasalsopossible(Laverdesaid)thathisfamilyhadn’tevengivenhimtimetofeelthatcuriosity,forthetaleoftheaccidentatSantaAnahadfloatedamongthemeversinceithappenedandneverevaporated,beingrepeatedinthemostdiversesituationsandthankstothewidestrangeofnarrators,andLaverderememberedversionsheardatChristmasnovenas,versionsfromFriday-afternoonteapartiesandothersonSundaysatthefootballstadium,versionsonthewaytobedintheeveningandothersonthewaytoschoolinthemornings.Theytalkedabouttheaccident,yes,andtheydidsoineverytoneofvoiceandwithallsortsofintentions,to demonstrate that planeswere dangerous, unpredictablethingslikerabiddogs(accordingtohisfather),orthatplaneswerelikeGreekgods,alwaysputtingpeopleintheirplaceandnevertoleratingmen’sarrogance(accordingtohisgrandfather).Andmanyyearslaterhe,RicardoLaverde,wouldtelloftheaccidentaswell,adorningandadulteratingituntilherealizedthat itwasn’t necessary.At school, for example, telling theoriginsofhisfather’sburntfacewasthebestwaytocapturehisclassmates’attention.‘I triedwithmygrandfather’swarexploits,’saidLaverde.‘ThenIrealizednoonewantstohearheroic stories,but everyone likes tobe toldabout someoneelse’smisery.’

* * *

©JuanGabrielVásquez,2012;MethuenDrama,animprintofBloomsburyPublishingPlc



Novels

8. Juan Gabriel Vásquez, The Sound of Things Falling

3.

Mayawaslookingatme,waiting,hadn’tforgottenherquestion. ‘No,’Isaid,‘Idon’t.Itmustbeverystrange,havingkids.Ican’timagineiteither.’ Idon’tknowwhyIdidthat.Maybebecauseitwastoolateto start talkingabout the family thatwaswaiting forme inBogotá;thosearethingsyoumentioninthefirstmomentsofafriendship,whenyouintroduceyourselfandhandovertwoorthreepiecesofinformationtogivetheillusionofintimacy.One introducesoneself: thewordmustcomefromthat,notpronouncingone’sownnameandhearingtheother’snameandshakinghands,notfromkissingacheekortwoorbowing,butfromthosefirstminutesinwhichcertaininsubstantialpiecesofinformationareexchanged,certainunimportantgeneralities,togive theother thesensation theyknowus, thatwe’renolongerstrangers.Wespeakofournationality;wespeakofourprofession,whatwedotomakealiving,becausethewaywemakeour living iseloquent, itdefinesus, structuresus;wetalkaboutourfamily.Wellanyway,thatmomentwasalreadylongpastwithMaya, and to start talking about thewomanI livedwithandourdaughter twodaysafterhavingarrivedatLasAcaciaswouldhaveraisedunnecessarysuspicionsorrequiredlongexplanationsorstupidjustifications,orsimplyseemedodd,andafterallitwouldn’tbewithoutconsequences:Mayawouldlosethetrustshe’dfeltuntilnow,orIwouldlosethegroundI’dgainedsofar,andshewouldstoptalkingandRicardoLaverde’spastwouldgobacktobeingthepast,wouldgobacktohidinginotherpeople’smemories.Icouldn’tallowthat. Orperhapstherewasanotherreason. Because keepingAura andLeticia out of LasAcacias,remote fromMayaFritts and her tale and her documents,distant thereforefromthetruthaboutRicardoLaverde,wastoprotecttheirpurity,orratheravoidtheircontamination,thecontaminationthatI’dsufferedoneafternoonin1996thecausesofwhichI’dbarelybeguntounderstandnow,theunsuspectedintensityofwhichwasjustnowbeginningtoemergelikeanobjectfallingfromthesky.Mycontaminatedlifewasminealone:myfamilywasstillsafe:safefromtheplagueofmycountry,fromitsafflictedrecenthistory:safefromwhathadhuntedmedownalongwithsomanyofmygeneration(andothers,too,yes,butmostofallmine,thegenerationthatwasbornwithplanes,with theflightsfullofbagsofmarijuana,thegenerationthatwasbornwiththeWaronDrugsandlaterexperiencedtheconsequences).ThisworldthathadcomebacktolifeinthewordsanddocumentsofMayaFrittscouldstaythere,Ithought,couldstaythereinLasAcacias,couldstayinLaDorada,couldstayintheMagdalenaValley,couldstayafour-hourdrive fromBogotá, far from theapartmentwheremywifeanddaughterwerewaitingforme,perhapswithsomeconcern,yes,perhapswithworriedexpressionsontheirfaces,butpure, uncontaminated, freeofourparticularColombianstory,andIwouldn’tbeagoodfatheroragoodhusbandifIbroughtthisstorytothem,orallowedthemtoenterthisstory[...].

* * *©JuanGabrielVásquez,2012;MethuenDrama,animprintofBloomsburyPublishingPlc



2.

Loveisafashionthesedays…Shelovedherhusband.

JeanetteWinterson,The Passion, Vintage,1996(firstpublished1987)

pp.95and96


1.

Bonaparte,theCorsican…I’mtellingyoustories.Trustme.


pp.12and13


Novels

9. Jeanette Winterson, The Passion

Use two or more of the set passages as the basis for a discussion of The Passion.



3.

Whenpassioncomeslateinlife…theobjectofyourloveunworthy?


pp.145–147


Novels

9. Jeanette Winterson, The Passion



Plays

10. Aeschylus, Agamemnon

Use two or more of the set passages as the basis for a discussion of Agamemnon.

1.

agamemnon enters in his chariot, […]

andwhobetrayedthecity.

Aeschylus,‘Agamemnon’,inThe Oresteia, RobertFagles(trans.),PenguinClassics,1979

p.132


2.

cassandra:Ai,thewedding,weddingofParis,[…]

thatlivewithinthishouse.


pp.149and150




Plays

10. Aeschylus, Agamemnon

3.

clytaemnestra: […] Hethoughtnomoreofitthankillingabeast,

[…]

chorus:[…]angelofwar,angelofagony,lightingmentodeath.


pp.162–164




2.

helen:Youhaven’tknownhimfiveminutes.Hashereallyaskedyoutomarryhim?

jo:Yes.helen:Well,thankGodforthedivorcecourts!Isupposejust

becauseI’mgettingmarriedyouthinkyoushould.jo:Haveyougotthemonopoly?helen:You stupid little devil!What sort of awife doyou

thinkyou’dmake?You’reuseless.Ittakesyouallyourtimetolookafteryourself.Isupposeyouthinkyou’reinlove.Anybodycanfallinlove,doyouknowthat?Butwhatdoyouknowabouttherestofit?

jo:Askyourself.helen:Youknowwherethatringshouldbe?Intheashcanwith

everythingelse.Oh!Icouldkillher,Icouldreally.jo:Youdon’thalfknockmeabout.Ihopeyousufferforit.helen:I’vedonemyshareofsufferingifIneverdoanymore.

OhJo,you’reonlyakid.Whydon’tyou learn frommymistakes?Ittakeshalfyourlifetolearnfromyourown.

jo:Youleavemealone.CanIhavemyringback,please?helen:WhatathingtohappenjustwhenI’mgoingtoenjoy

myselfforachange.jo:Nobody’sstoppingyou.helen:Yes,andassoonasmyback’sturnedyou’llbeoffwith

thissailorboyandruinyourselfforgood.jo:I’malreadyruined.helen:Yes,it’sjustthesortofthingyou’ddo.Youmakeme

sick.jo:You’venoneedtoworry,Helen.He’sgoneaway.Hemay

bebackinsixmonths,butthereagain,hemay...helen:Look,you’reonlyyoung.Enjoyyourlife.Don’tget

trapped.Marriagecanbeahellforakid.jo:CanIhaveyourhankyback?helen:Wheredidyouputit?jo:Thisisyourfaulttoo.helen:Everything’smyfault.Showmeyourtongue.jo:Breathingyour’flubugsalloverme.helen:Yes,andyourneck’sredwhereIpulledthatstring.jo:Willyougetmeadrinkofwater,Helen?helen:No,haveadoseofthis[Offering whisky].It’lldoyou

moregood.ImightaswellhaveonemyselfwhileI’matit,mightn’tI?

jo:You’veemptiedmorebottlesdownyourthroatinthelastfewweeksthanIwouldhavethoughtpossible.Ityoudon’twatchit,you’llendupanolddown-and-outboozerknockingbackthemeths.

helen:It’llnevercometothat.Thedevillooksafterhisown,theysay.

jo:Hecertainlytakesgoodcareofyou.Youlookmarvellous,considering.

helen:Consideringwhat?jo:Thewearandtearonyoursoul.

* * *

1.

jo:Canyousmellthatriver?helen:Ican’tsmellathing!I’vegotsuchacold.jo:What’sthatbigplaceoverthere?helen:Theslaughterhouse.Whereallthecows,sheepandpigs

goinandallthebeef,porkandmuttoncomesout.jo:Iwonderwhatit’llbelikehereinthesummer.Ibetit’ll

smell.helen:Thiswholecitysmells.Eee,there’saterribledraught

inhere.Where’sitcomingfrom?Lookatthat!Whatadamnsillyplacetoputawindow.Thisplaceiscoldenough,isn’tit,withoutgivingsheltertothefourwinds.

jo:Helen,stopsniffing.Itsoundsawful.helen:Ican’thelpit.You’dsniffifyouhadacoldlikethis.

She’snotgotabitofconsiderationinher.It’sselfallthetime.jo:I’mgoingtounpackmybulbs.IwonderwhereIcanput

them.helen:Icouldtellyou.jo:They’resupposedtobeleftinacool,darkplace.helen:That’swhereweallendupsoonerorlater.Still,it’sno

useworrying,isit?jo:Ihopetheybloom.AlwaysbeforewhenI’vetriedtofixup

awindowboxnothin’severgrowninit.helen:Whydoyoubother?jo:It’snicetoseeafewflowers,isn’tit?helen:Wheredidyougetthosebulbs?jo:ThePark.Thegardenerhadjustplantedabouttwohundred.

Ididn’tthinkhe’dmisshalfadozen.helen:That’sthewaytodothings.Ifyouseesomethingyou

want,takeit.That’smydaughterforyou.Ifyouspenthalfasmuch timeonme as youdoon themfiddlingbits ofgreeneryI’dbeadamnsightbetteroff.Goandseeifthatkettle’sboiling.

jo:Seeyourself.I’vegottofindsomewhereformybulbs.helen: See yourself!Do everything yourself.That’swhat

happens.Youbring’emupandtheyturnroundandtalktoyoulikethat.IwouldneverhavedaredtalktomymotherlikethatwhenIwasherage.She’dhaveknockedmeintothemiddleofnextweek.Oh!myhead.WheneverIwalk,youknowhowitis!Whatajourney!Ineverrealizedthiscitywassobig.Havewegotanyaspirinsleft,Jo?

jo:No.Idreamtaboutyoulastnight,Helen.helen:You’regoingtohaveashockingjourneytoschooleach

day,aren’tyou?Itmustbemilesandmiles.jo:Notformuchlonger.helen:Why,areyoustillsetonleavingschoolatChristmas?jo:Yes.helen:Whatareyougoingtodo?jo:GetoutofyoursightassoonasIcangetabitofmoney

inmypocket.helen:Verywise too.But how are you going to get your

moneyinthefirstplace?Afterall,you’renotveryfondofwork,areyou?

jo:No.Itakeafteryou.

* * *

Plays

11. Shelagh Delaney, A Taste of Honey

Use two or more of the set passages as the basis for a discussion of A Taste of Honey.

©ShelaghDelaney,2008;MethuenDrama,animprintofBloomsburyPublishingPlc



3.

jo:What’sintheoven,Geoffrey?geof:Youwhat?jo:What’scooking?geof:Acake.jo:Mm,you’rewonderful,aren’tyou?geof:Prettygood.jo:Iknow,youmakeeverythingwork.Thestovegoes,now

weeat.You’vereformedme,someofthetimeatanyrate.[geoffrey shifts the sofa. There is old rubbish and dirt under it.]

geof:Oh,Jo!jo:Iwonderedwherethathadgotto.geof:Nowyouknow.It’sdisgusting,itreallyis.jo:OhGeof,thebulbsIbroughtwithme!geof:Haven’tyoushiftedthesofasincethen?jo:Theynevergrew.geof:No,I’mnotsurprised.jo:They’redead.Itmakesyouthink,doesn’tit?geof:Whatdoes?jo:Youknow,somepeopleliketotakeoutaninsurancepolicy,

don’tthey?geof:I’mabityoungforyoutotakeoutoneonme.jo:No.Youknow,theyliketopraytotheAlmightyjustincase

heturnsouttoexistwhentheysnuffit.geof [brushing under the sofa]:Well,Ineverthinkaboutit.

Youcome,yougo,it’ssimple.jo:It’snot,it’schaotic—abitoflove,abitoflustandthere

youare.Wedon’taskforlife,wehaveitthrustuponus.geof:What’s frightened you?Have you been reading the

newspapers?jo:No,Ineverdo.Holdmyhand,Geof.geof:Doyoumind?Halfwaythroughthis?jo:Holdmyhand.

[He does.]geof:Hey,Jo.Comeon,sillything,it’sallright.Comeonthere.jo:You’vegotnicehands,hard.YouknowIusedtotryand

holdmymother’shands,butshealwaysusedtopullthemawayfromme.Sosillyreally.Shehadsomuchloveforeveryoneelse,butnoneforme.

geof:Ifyoudon’twatchit,you’llturnoutexactlylikeher.jo:I’mnotlikeheratall.geof:Insomewaysyouarealready,youknow.

[She pushes his hand away.]CanIgonow?

jo:Yes.geof:Thankyouverymuch![He is pushing the couch back

into position.]jo:“Andhetookuphisbedandwalked.”Youcanstayhere

ifyoutellmewhatyoudo.Doyouremember,Geoffrey?I used to think youwere such an interesting, immoralcharacterbeforeIknewyou.Ithoughtyouwerelikethat ...foronething.

[geoffrey chases her with the mop all through this speech.]

Plays

11. Shelagh Delaney, A Taste of Honey

You’rejustlikeanoldwomanreally.Youjustunfoldyourbed,kissmegoodnightandsingmetosleep.Hey,what’sthematter?Don’tyoulikelivingherewithme?

geof:Ithasitslightermoments,butonthewholeit’saprettytryingprospect.

* * *

©ShelaghDelaney,2008;MethuenDrama,animprintofBloomsburyPublishingPlc



2.

berenger [rushing to the stairs]:Porter,porter[…]

[Noises.The bathroom door is on the point of yielding.]

curtain

EugèneIonesco,‘Rhinoceros’,DerekProuse(trans.),inRhinoceros, The Chairs, The Lesson,

PenguinModernClassics,2000

pp.82and83


1.

berenger: Whatareyoudrinking?

[…]

jean [taking the mirror and putting it back in his pocket]: […]cirrhosis,myfriend.



pp.10–12


Plays

12. Eugène Ionesco, Rhinoceros

Use two or more of the set passages as the basis for a discussion of Rhinoceros.



3.

berenger: Idon’tunderstandyou[…]

daisy [to berenger, who turns his back on her. He looks at himself closely in the mirror]: […][She goes out, and is seen slowly descending the stairs.]



pp.120and121


Plays

12. Eugène Ionesco, Rhinoceros



1.

Serge, as if alone.[…]

Marc […]it’sfilledmewithsomeindefinableunease.

YasminaReza,Art,ChristopherHampton(trans.), FaberandFaber,1996

pp.3and4


2.

Yvan I’msorry,Serge[…]

Yvan […]Stopwantingtocontroleverything.


pp.34and35


Plays

13. Yasmina Reza, Art

Use two or more of the set passages as the basis for a discussion of Art.



3.

Serge Thisisveryalarming.[…]

Marc […] goesoffandbuysawhitepainting.

Silence.


pp.52and53


Plays

13. Yasmina Reza, Art



Plays

14. William Shakespeare, Coriolanus

Use two or more of the set passages as the basis for a discussion of Coriolanus.

1.

Enter a company of mutinous Citizens, with staves, clubs, and other weapons.

first citizen Beforeweproceedanyfurther,hearmespeak.all Speak,speak.first citizen You are all resolved rather to die than to

famish?all Resolved,resolved.first citizen First,youknowCaiusMartiusischiefenemy

tothepeople.all Weknow’t,weknow’t.first citizen Letuskillhim,andwe’llhavecornatourown

price.Is’taverdict?all Nomoretalkingon’t!Letitbedone!Away,away!second citizen Oneword,goodcitizens.first citizen Weareaccountedpoorcitizens,thepatricians

good.Whatauthoritysurfeitsonwouldrelieveus.Iftheywouldyieldusbutthesuperfluitywhileitwerewholesome,wemightguesstheyrelievedushumanely,buttheythinkwearetoodear.Theleannessthatafflictsus,theobjectofourmisery,isasaninventorytoparticularizetheirabundance;oursufferanceisagaintothem.Letusrevengethiswithourpikeserewebecomerakes;forthegodsknowIspeakthisinhungerforbread,notinthirstforrevenge.

second citizen WouldyouproceedespeciallyagainstCaiusMartius?

all Againsthimfirst.He’saverydogtothecommonalty.second citizen Consider youwhat services he has done

forhiscountry?first citizen Verywell,andcouldbecontenttogivehim

goodreportfor’t,butthathepayshimselfwithbeingproud.second citizen Nay,butspeaknotmaliciously.first citizen Isayuntoyou,whathehathdonefamously,

hedidittothatend.Though soft-consciencedmencanbecontenttosayitwasforhiscountry,hedidittopleasehismother and to be partly proud,whichhe is, even to thealtitudeofhisvirtue.

second citizen What he cannot help in his nature, youaccountaviceinhim.Youmustinnowaysayheiscovetous.

first citizen If I must not, I need not be barren ofaccusations.Hehathfaults,withsurplus,totireinrepetition.

Shouts within.Whatshoutsarethese?Theothersideo’th’cityisrisen.Whystaywepratinghere?Toth’Capitol!

all Come,come!first citizen Soft,whocomeshere?

Enter Menenius Agrippa.second citizen WorthyMeneniusAgrippa,one thathath

alwayslovedthepeople.first citizen He’sonehonestenough!Wouldall therest

wereso!

* * *

2.

coriolanusItisapurposedthing,andgrowsbyplot,Tocurbthewillofthenobility.Suffer’t,andlivewithsuchascannotruleNoreverwillberuled.

brutus Call’tnotaplot.Thepeoplecryyoumockedthem,andoflate,Whencornwasgiventhemgratis,yourepined,Scandaledthesuppliantsforthepeople,calledthemTime-pleasers,flatterers,foestonobleness.

coriolanusWhy,thiswasknownbefore.

brutus Nottothemall.coriolanus

Haveyouinformedthemsithence?brutus How!Iinformthem!coriolanus

Youareliketodosuchbusiness.brutus Notunlike,

Eachway,tobetteryours.coriolanus

WhythenshouldIbeconsul?Byyondclouds,Letmedeservesoillasyou,andmakemeYourfellowtribune.

sicinius YoushowtoomuchofthatForwhichthepeoplestir.IfyouwillpassTowhereyouarebound,youmustinquireyourway,Whichyouareoutof,withagentlerspirit,Orneverbesonobleasaconsul,Noryokewithhimfortribune.

menenius Let’sbecalm.cominius

Thepeopleareabused,seton.ThispalteringBecomesnotRome,norhasCoriolanusDeservedthissodishonoredrub,laidfalselyI’th’plainwayofhismerit.

coriolanus Tellmeofcorn!Thiswasmyspeech,andIwillspeak’tagain–

meneniusNotnow,notnow.

first senator Notinthisheat,sir,now.coriolanus

Now,asIlive,Iwill.Mynoblerfriends,Icravetheirpardons.Forthemutable,rank-scentedmeiny,LetthemregardmeasIdonotflatter,Andthereinbeholdthemselves.Isayagain,Insoothingthemwenourish’gainstourSenateThecockleofrebellion,insolence,sedition,Whichweourselveshaveplowedfor,sowed,andscatteredByminglingthemwithus,thehonorednumber,Wholacknotvirtue,no,norpower,butthatWhichtheyhavegiventobeggars.

* * *



Plays

14. William Shakespeare, Coriolanus

3.

volumnia Nay,gonotfromusthus.IfitweresothatourrequestdidtendTosavetheRomans,therebytodestroyTheVolsceswhomyouserve,youmightcondemnusAspoisonousofyourhonor.No,oursuitIsthatyoureconcilethemwhiletheVolscesMaysay“Thismercywehaveshowed,”theRomans,“Thiswereceived,”andeachineithersideGivetheall-hailtotheeandcry,“BeblestFormakingupthispeace!”Thouknow’st,greatson,Theendofwar’suncertain,butthiscertain,That,ifthouconquerRome,thebenefitWhichthoushalttherebyreapissuchanameWhoserepetitionwillbedoggedwithcurses,Whosechroniclethuswrit:“Themanwasnoble,Butwithhislastattempthewipeditout,Destroyedhiscountry,andhisnameremainsToth’ensuingageabhorred.”Speaktome,son.Thouhastaffectedthefinestrainsofhonor,Toimitatethegracesofthegods;Totearwiththunderthewidecheekso’th’air,AndyettochangethysulphurwithaboltThatshouldbutriveanoak.Whydostnotspeak?Think’stthouithonorableforanoblemanStilltorememberwrongs?Daughter,speakyou.Hecaresnotforyourweeping.Speakthou,boy.PerhapsthychildishnesswillmovehimmoreThancanourreasons.There’snomanintheworldMoreboundto’smother,yethereheletsmeprateLikeonei’th’stocks.ThouhastneverinthylifeShowedthydearmotheranycourtesy,Whenshe,poorhen,fondofnosecondbrood,Hascluckedtheetothewars,andsafelyhomeLoadenwithhonor.Saymyrequest’sunjust,Andspurnmeback;butifitbenotso,Thouartnothonest,andthegodswillplaguetheeThatthourestrain’stfrommethedutywhichToamother’spartbelongs.Heturnsaway.Down,ladies!Letusshamehimwithourknees.TohissurnameCoriolanus’longsmoreprideThanpitytoourprayers.Down!Anend!Thisisthelast.So,wewillhometoRome,Anddieamongourneighbors.Nay,behold’s!Thisboy,thatcannottellwhathewouldhaveButkneelsandholdsuphandsforfellowship,DoesreasonourpetitionwithmorestrengthThanthouhasttodeny’t.Come,letusgo.ThisfellowhadaVolsciantohismother;HiswifeisinCorioles,andthischildLikehimbychance.Yetgiveusourdispatch.Iamhusheduntilourcitybeafire,AndthenI’llspeakalittle.

[Coriolanus] holds her by the hand, silent.

* * *



Plays

15. William Shakespeare, Twelfth Night

Use two or more of the set passages as the basis for a discussion of Twelfth Night.

1.

olivia Byminehonour,halfdrunk!Whatisheatthegate,cousin?

sir toby Agentleman.olivia Agentleman?Whatgentleman?sir toby ’Tisagentlemanhere–[Hiccuping] aplagueo’these

pickleherring!Hownow,sot?feste GoodSirToby–olivia Cousin,cousin,howhaveyoucomesoearlybythis

lethargy?sir toby Lechery!Idefylechery.There’soneatthegate.olivia Ay,marry,whatishe?sir toby Lethimbethedevilandhewill,Icarenot:give

mefaith,sayI.Well,it’sallone. Exitolivia What’sadrunkenmanlike,fool?feste Likeadrownedman,afool,andamadman:one

draughtaboveheatmakeshimafool,thesecondmadshim,andathirddrownshim.

olivia Go thou and seek the crowner, and let him sito’mycoz,forhe’sinthethirddegreeofdrink:he’sdrowned.Golookafterhim.

feste Heisbutmadyet,madonna,andthefoolshalllooktothemadman. [Exit]

Enter malvolio

malvolio Madam,yondyoungfellowswearshewillspeakwithyou.Itoldhimyouweresick;hetakesonhimtounderstandsomuchandthereforecomestospeakwithyou.Itoldhimyouwereasleep;heseemstohave a foreknowledgeof that too, and thereforecomestospeakwithyou.Whatistobesaidtohim,lady?He’sfortifiedagainstanydenial.

olivia Tellhimheshallnotspeakwithme.malvolio H’asbeentoldso;andhesayshe’llstandatyour

doorlikeasheriff’spost,andbethesupportertoabench,buthe’llspeakwithyou.

olivia Whatkindo’manishe?malvolio Why,ofmankind.olivia Whatmannerofman?malvolio Ofveryillmanner:he’llspeakwithyou,will

youorno.olivia Ofwhatpersonageandyearsishe?malvolio Notyetoldenoughforaman,noryoungenough

foraboy:asasquashisbefore’tisapeascod,oracodlingwhen’tisalmostanapple.’Tiswithhiminstandingwater,betweenboyandman.Heisverywell-favouredandhespeaksveryshrewishly.Onewouldthinkhismother’smilkwerescarceoutofhim.

olivia Lethimapproach.Callinmygentlewoman.malvolio Gentlewoman,myladycalls. Exit

Enter maria

olivia Givememyveil;comethrowito’ermyface. We’lloncemorehearOrsino’sembassy.

* * *

2.

Enter sebastian and feste

feste WillyoumakemebelievethatIamnotsentforyou?

sebastian Goto,goto,thouartafoolishfellow. Letmebeclearofthee.feste Well held out, i’faith!No, I do not know you,

nor I amnot sent toyoubymy lady tobidyoucomespeakwithher;noryournameisnotMasterCesario;northisisnotmynoseneither.Nothingthatissoisso.

sebastian Iprithee,ventthyfollysomewhereelse. Thouknow’stnotme.feste Ventmyfolly!Hehasheardthatwordofsomegreat

manandnowappliesittoafool.Ventmyfolly!Iamafraidthisgreatlubbertheworldwillproveacockney.Ipritheenow,ungirdthystrangenessandtellmewhatIshallventtomylady.ShallIventtoherthatthouartcoming?

sebastian Iprithee,foolishGreek,departfromme. There’smoneyforthee.Ifyoutarrylonger, Ishallgiveworsepayment.feste Bymytroth,thouhastanopenhand.Thesewise

menthatgivefoolsmoneygetthemselvesagoodreport–afterfourteenyears’purchase.

Enter [sir] andrew, [sir] toby, and fabian

sir andrew Now,sir,haveImetyouagain?There’sforyou![Strikes Sebastian]

sebastian Why,there’sforthee,andthere,andthere![Beats Sir Andrew]

Areallthepeoplemad?sir toby Hold,sir,orI’llthrowyourdaggero’erthehouse.feste ThiswillItellmyladystraight;Iwouldnotbein

someofyourcoatsfortwopence. [Exit]sir toby Comeon,sir,hold!sir andrew Nay,lethimalone.I’llgoanotherwaytowork

withhim;I’llhaveanactionofbatteryagainsthim,iftherebeanylawinIllyria.ThoughIstruckhimfirst,yetit’snomatterforthat.

sebastian Letgothyhand!sir toby Come,sir,Iwillnotletyougo.Come,myyoung

soldier,putupyouriron.Youarewellfleshed.Comeon!

sebastian Iwillbefreefromthee.[Draws his sword]What wouldstthounow? Ifthoudar’sttemptmefurther,drawthysword.sir toby What,what!Nay,then,Imusthaveanounceortwo

ofthismalapertbloodfromyou.[Draws]

Enter olivia

olivia Hold,Toby!OnthylifeIchargetheehold!

* * *



Plays

15. William Shakespeare, Twelfth Night

3.

Enter sebastian

sebastian Iamsorry,madam,Ihavehurtyourkinsman.Buthaditbeenthebrotherofmyblood,Imusthavedonenolesswithwitandsafety.Youthrowastrangeregarduponme,andbythatIdoperceiveithathoffendedyou.Pardonme,sweetone,evenforthevowsWemadeeachotherbutsolateago.

orsino Oneface,onevoice,onehabit,andtwopersons– Anaturalperspective,thatisandisnot!sebastian Antonio!OmydearAntonio, Howhavethehoursrackedandtorturedme, SinceIhavelostthee!antonio Sebastianareyou?sebastian Fear’stthouthat,Antonio?antonio Howhaveyoumadedivisionofyourself? Anapplecleftintwoisnotmoretwin Thanthesetwocreatures.WhichisSebastian?olivia Mostwonderful!sebastian DoIstandthere?Ineverhadabrother; Norcantherebethatdeityinmynature Ofhereandeverywhere.Ihadasister, Whomtheblindwavesandsurgeshavedevoured. Ofcharity,whatkinareyoutome? Whatcountryman?Whatname?Whatparentage?viola OfMessaline.Sebastianwasmyfather; SuchaSebastianwasmybrother,too; Sowenthesuitedtohiswat’rytomb. Ifspiritscanassumebothformandsuit, Youcometofrightus.sebastian AspiritIamindeed, Butaminthatdimensiongrosslyclad WhichfromthewombIdidparticipate. Wereyouawoman–astherestgoeseven– Ishouldmytearsletfalluponyourcheek, Andsay,‘Thricewelcome,drownèdViola.’viola Myfatherhadamoleuponhisbrow.sebastian Andsohadmine.viola AnddiedthatdaywhenViolafromherbirth Hadnumberedthirteenyears.sebastian Othatrecordislivelyinmysoul! Hefinishèdindeedhismortalact Thatdaythatmademysisterthirteenyears.viola Ifnothingletstomakeushappyboth, Butthismymasculineusurpedattire, Donotembraceme,tilleachcircumstance, Ofplace,time,fortune,docohereandjump ThatIamViola,whichtoconfirm I’llbringyoutoacaptaininthistown, Whereliemymaidenweeds;bywhosegentlehelp Iwaspreserved–toservethisnoblecount. Alltheoccurrenceofmyfortunesince Hathbeenbetweenthisladyandthislord.

sebastian [To Olivia] So comes it, lady, you have beenmistook.

Butnaturetoherbiasdrewinthat. Youwouldhavebeencontractedtoamaid; Norareyoutherein,bymylife,deceived; Youarebetrothedbothtoamaidandman.orsino Benotamazed,rightnobleishisblood. Ifthisbeso–asyettheglassseemstrue– Ishallhaveshareinthismosthappywreck. [To Viola]Boy,thouhastsaidtomeathousandtimes Thounevershouldstlovewomanliketome.viola AndallthosesayingswillIoverswear, Andallthoseswearingskeepastrueinsoul Asdoththatorbèdcontinentthefire Thatseversdayfromnight.orsino Givemethyhand. Andletmeseetheeinthywoman’sweeds.

* * *



Plays

16. Sam Shepard, Buried Child

Use two or more of the set passages as the basis for a discussion of Buried Child.

1.

halie’s voice: Dodge!(The men sit in silence. dodge lights a cigarette.tilden keeps husking corn, spits tobacco now and then in the spittoon.)Dodge!He’snotdrinkinganything,ishe?Youseetoitthathedoesn’tdrinkanything!You’vegottawatchout for him. It’s our responsibility.He can’tlookafterhimselfanymore,sowehavetodoit.Nobodyelsewilldo it.Wecan’t justsendhimawaysomewhere.Ifwehadlotsofmoneywecouldsendhimaway.Butwedon’t.Weneverwill.That’swhywehavetostayhealthy.Youandme.Nobody’sgoingtolookafterus.Bradleycan’tlookafterus.Bradleycanhardlylookafterhimself.IwasalwayshopingthatTildenwouldlookoutforBradleywhentheygotolder.AfterBradleylosthisleg.Tilden’stheoldest.Ialwaysthoughthe’dbetheonetotakeresponsibility.IhadnoideaintheworldthatTildenwouldbesomuchtrouble.Whowould’vedreamed?TildenwasanAll-American,don’tforget.Don’tforgetthat.Fullback.Orquarterback.Iforgotwhich.

tilden: (To himself.)Halfback.

dodge: Don’tmakeapeep.Justletherbabble.(tilden goes on husking.)

halie’s voice: ThenwhenTildenturnedouttobesomuchtrouble, I put allmy hopes onAnsel.Of courseAnselwasn’tashandsome,buthewassmart.Hewasthesmartestprobably.I thinkheprobablywas.Smarter thanBradley,that’sforsure.Didn’tgoandchophislegoffwithachainsaw.Smartenoughnot togoanddo that. I thinkhewassmarterthanTilden,too.EspeciallyafterTildengotinallthat trouble.Doesn’t take brains to go to jail.Anybodyknowsthat.’CoursethenwhenAnselpassed,thatleftusallalone.Sameasbeingalone.Nodifferent.Sameasifthey’dalldied.Hewasthesmartest.Hecould’veearnedlotsofmoney.Lotsandlotsofmoney.

dodge: Bookoos.(halie enters slowly from the top of the staircase as she continues talking. Just her feet are seen at first as she makes her way down the stairs a step at a time. She appears dressed completely in black, as though in mourning. Black handbag, hat with a veil, and pulling on elbow-length black gloves. She is about sixty-five with pure white hair. She remains absorbed in what she’s saying as she descends the stairs and doesn’t really notice the two men who continue sitting there as they were before she came down, smoking and husking.)

halie: Hewould’vetookcareofus,too.Hewould’veseentoitthatwewererepaid.Hewaslikethat.Hewasahero.Don’tforgetthat.Agenuinehero.Brave.Strong.Andveryintelligent.

tilden: Anselwasahero?

* * *

2.

halie: Roses.Themostincrediblethings,roses!Aren’ttheyincredible,Father?

dewis: Yes.Yestheyare.

halie: Theyalmost cover the stenchof sin in thishouse.Hanky-panky.Justmagnificent!Thesmell.We’llhavetoputsomeat thefootofAnsel’sstatue.Onthedayof theunveiling.(halie finds a silver flask of whiskey in dewis’s vest pocket. She pulls it out.dodge looks on eagerly. halie crosses to dodge, opens the flask, and takes a sip. To dodge.) Ansel’sgettingastatue,Dodge.Didyouknowthat?Notaplaquebutareallivestatue.Afullbronze.Tiptotoe.Abasketballinonehandandarifleintheother.

bradley: (His back to halie.) Heneverplayedbasketball!

halie: You better shut up, Bradley!You shut up aboutAnsel!Ansel playedbasketball better than anyone!Andyouknowit!HewasanAll-American!There’snoreasontotakethegloryawayfromothers.Especiallywhenone’sownshortcomingsaresoapparent.(halie turns away from bradley, crosses back towards dewis, sipping on the flask and smiling.To dewis.) Anselwasagreatbasketballplayer.Makenomistake.Oneofthegreatest.

dewis: IrememberAnsel.Handsomelad.Tallandstrapping.

halie: Of course!You remember.You rememberhowhecouldplay.(She turns toward shelly.)Ofcourse,nowadaystheyplayadifferentbrandofbasketball.Morevicious.Isn’tthatright,dear?

shelly: Idon’tknow.(halie crosses to shelly, sipping on the flask. She stops in front of shelly.)

halie: Much,muchmore vicious.They smash into eachother.Theyknockeachother’steethout.There’sbloodalloverthecourt.Savages.Barbaric,don’tyouthink?(halie takes the cup from shelly and pours whiskey into it.)Theydon’ttrainliketheyusedto.Notatall.Theyallowthemselvestorunamok.Drugsandwomen.Womenmostly.(halie hands the cup of whiskey back to shelly slowly.shelly takes it.)Mostlywomen.Girls.Sad,patheticlittleskinnygirls.(She crosses back to father dewis.) It’sjustareflectionofthetimes,don’tyouthink,Father?Anindicationofwherewestand?

dewis: Isupposeso,yes.I’vebeensobusywiththechoir—

* * *

©1977,1979,1997,2006bySamShepard;usedbypermissionofVintageBooks,animprintoftheKnopfDoubledayPublishingGroup,adivisionofPenguinRandomHouseLLC;allrightsreserved



Plays

16. Sam Shepard, Buried Child

3.

dodge: She thinks she’sgonnasuddenlybringeverythingoutintotheopenafteralltheseyears.

dewis: (To shelly.) Can’tyouseethatthesepeoplewanttobeleftinpeace?Don’tyouhaveanymercy?Theyhaven’tdoneanythingtoyou.

dodge: Shewantstoget tothebottomofit.(To shelly.) That’sit,isn’tit?You’dliketogetrightdowntobedrock?Lookthebeastrightdeadintheeye.Youwantmetotellya?Youwantmetotellyawhathappened?I’lltellya.Imightaswell.Iwouldn’tmindhearingithittheairafteralltheseyearsofsilence.

bradley: No!Don’t listen to him.Hedoesn’t rememberanything!

dodge: I remember thewhole thing fromstart tofinish. Irememberthedayhewasborn.(Pause.)

halie: Dodge,ifyoutellthisthing—ifyoutellthis,you’llbedeadtome.You’llbejustasgoodasdead.

dodge: Thatwon’tbesuchabigchange,Halie.Seethisgirl,thislittlegirlhere,shewantstoknow.Shewantstoknowsomethingmore.AndIgotthisfeelingthatitdoesn’tmakeabitadifference.I’dsoonertellittoastrangerthananybodyelse.I’dsoonertellittothefourwinds.

bradley: (To dodge.) Wemadeapact!Wemadeapactbetweenus!Youcan’tbreakthatnow!

dodge: Idon’trememberanypact.(Silence.)See,wewereawell-established family once.Well-established.All theboysweregrown.The farmwasproducingenoughmilktofillLakeMichigantwiceover.MeandHalieherewerepointedtowardwhatlookedlikethemiddlepartofourlife.Everythingwassettledwithus.Allwehadtodowasrideit out.ThenHalie got pregnant again.Out themiddle anowhere,shegotpregnant.Weweren’tplanningonhavin’anymoreboys.Wehadenoughboysalready.Infact,wehadn’tbeensleepin’inthesamebedforaboutsixyears.

halie: (Moving toward the stairs.)I’mnotlisteningtothis!Idon’thavetolistentothis!

dodge: (Stops halie.) Where are you going?!Upstairs?!You’lljustbelistenin’toitupstairs!Yougooutside,you’llbelistenin’toitoutside.Mightaswellstayhereandlistentoit.(halie stays by the stairs. Pause.)Haliehadthiskid,see.Thisbabyboy.Shehadit.Iletherhaveitonherown.AlltheotherboysIhadhadthebestdoctors,thebestnurses,everything.ThisoneIletherhavebyherself.Thisonehurtrealbad.Almostkilledher,butshehaditanyway.Itlived,see.Itlived.Itwantedtogrowupinthisfamily.Itwantedtobejustlikeus.Itwantedtobepartofus.ItwantedtopretendthatIwasitsfather.Shewantedmetobelieveinit.Evenwheneveryonearoundusknew.Everyone.Allourboysknew.Tildenknew.

halie: Youshutup!Bradley,makehimstop!

bradley: Ican’t.

* * *

©1977,1979,1997,2006bySamShepard;usedbypermissionofVintageBooks,animprintoftheKnopfDoubledayPublishingGroup,adivisionofPenguinRandomHouseLLC;allrightsreserved



Plays

17. Tennessee Williams, Cat on a Hot Tin Roof

Use two or more of the set passages as the basis for a discussion of Cat on a Hot Tin Roof.

1.

margaret: […]Wedranktogetherthatnight[…]

you–lack–goodbreeding...

TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009

pp.27–29


2.

big daddy: HowwasMaggieinbed?

[…]

[Muted ring stops as someone answers phone in a soft, indistinct voice in hall.]


pp.66and67




Plays

17. Tennessee Williams, Cat on a Hot Tin Roof

3.

gooper: –Iguessthatdoctorhasgotalotonhismind[…]

mae: Yes,honey.[She rises and goes out through the hall door.]


pp.80and81




Short stories

18. Maxine Beneba Clarke, Foreign Soil

Use two or more of the set passages as the basis for a discussion of Foreign Soil.

1.

Railton Road

Solomondeliveredhisclosingrhetoric…feltelectricwithit.

MaxineBenebaClarke,Foreign Soil, Hachette,2014

pp.108–110


2.

Gaps in the Hickory

AchesDelores’shearttothinkbout…Seemtomenow’sgoodatimeasany.’


pp.139–141




Short stories

18. Maxine Beneba Clarke, Foreign Soil

3.

The Stilt Fishermen of Kathaluwa

Asankasawaliononce…andyouaretooold.’


pp.218and219




1.

Hundstage

Mypossessivenessgratifiedhim…Iwasgiventooneofhiscloseassociates.

CeridwenDovey,Only the Animals, HamishHamiltonPenguin(Australia),2014

pp.76and77


Short stories

19. Ceridwen Dovey, Only the Animals

Use two or more of the set passages as the basis for a discussion of Only the Animals.



2.

I, The Elephant, Wrote This

‘Suleimanwasborn…withthesoleofhisownslipper.[...]’


pp.157–159


Short stories

19. Ceridwen Dovey, Only the Animals

3.

A Letter to Sylvia Plath

Iturnedtotheanimalpoems…andsometimesashumans?


pp.205and206




Short stories

20. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories

Use two or more of the set passages as the basis for a discussion of The Diary of a Madman, The Government Inspector and Selected Stories.

1.

Ivan Fyodorovich Shponka and His Aunt

After his arrival IvanFyodorovich’s life…But did youknowthatallthatlandisreallyyours?[…]’

NikolayGogol,The Diary of a Madman, The Government Inspector and Selected Stories,

PenguinClassics,2005

pp.14and15


2.

The Nose

In the streethemetMrsPodtochin…Iadmit,but theydohappen.



pp.138and139




Short stories

20. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories

3.

Diary of a Madman

April43rd,2000

Todayisadayofgreattriumph…justashedoeswhentheDirector’sthere.’



pp.189and190




2.

Byadolescence,Iwasmuchlessinterestedintheextendedfamily than I had been as a child, and sawmuch less ofthem,evenIshie.ButItookitforgrantedthattheylovedme,particularlyBarbarandIshieand,inthenextgeneration,BarbieandAlan,andwouldcometomyrescueifIeverneededit,astheyhaddoneformymother.EquallytakenforgrantedwasthefactthatIhadparentswhounderstoodandsympathisedwithmyintellectualconcerns. Ontheintellectualside,Iwasfullofcomplaintsaboutschoolandthelackofintellectualstimulation,completingoverlookingthefactthat,thankstomyparentsandtheculturalskillsIhadinheritedfromthem,Iwasconductingmyownself-educationinliterature,history,musicandpoliticswithgreatenergyandsuccess;infact,itwasprobablythemostexcitingperiodofmyreadingandintellectuallife,buildingupacapitalofknowledgeandideasthatIlivedoffforyearsafterwards. Theothergoodaspectofschoolthatgetsoverlookedinmyusualversionofmylifeissport.OnceIwenttouniversity,Istoppedplayinganysportand,havingbecomeanintellectualsnob,lookeddownonit,especiallyhockey;Isupposethatisthereasonitgotwrittenoutofmylife.ButI,likemyfather,alwaysenjoyedphysicalactivity,including,inmycase,teamgames.IplayedregulartennisdoublesatlunchtimeandafterschoolforyearsonmyfriendRobin’scourt—bygreatgoodluck,shelivednextdoortoLauriston,andweweregivenaspecialdispensationtoleavethegroundsduringschoolhours.Iplayedhockeywithevenmoreenthusiasm,becauseIwasbetteratitthantennis,andgotasmuchofakickoutoftheactualplayingasIdidoutofbeingontheschoolteam.Iwasontheswimmingteamasadiverforawhile,though,asIneverreallymasteredsomersaultsfromthehighboard,Iwasn’tverygood.Incontrasttomanyofmyschoolmates,Ievenenjoyedthecompulsoryphysicaltrainingclassesinthegym. Selectivememory of school retains ‘TheHate SheilaCampaign’inhighrelief,whilesomehowignoringthefactthatIwasnotwithoutfriendsatschool—threeorfourcloseonesinthefinalyears.Sometimes,whenI talktomyoldschoolfriends—stillmyfriends,whichunderlinesthefactthattheremustbeastoryI’mnottellingaboutmyadolescence—theyrecount things that I absolutely don’t remember, though intermsoftimeandplacetheysoundplausible.

* * *

1.

IhadneverreceivedatelegramfromDoffbefore,andcouldn’tconnectitwithhervoice:thetextseemedstilted,unreal,analtogetherimplausibledocument.Itread:

BRIANDIEDINSLEEPSYDNEYFRIDAYLETTERCOMING

Ihadheard of bad newshitting you like a blowbut nevertakenitliterally.That’showthislineoftexthitme.Theblowpropelledmeoutofthelodgeontothestreet,poundingatfullspeedback tomy room, gasping for air, inwardly shoutingthat itwasn’t, couldn’t be, true; the personwho lovedmemost,wholovedmeno matter what,couldn’tbedead.And,incounterpoint,theacceptance,thuddingalongwithmyfeet(he’s dead, he’s dead),andaninsistentquestion:Who is going to watch me now?Itwasnotjustthatthepersonwholovedmeunquestioningly, uncritically,was gone.Gone alsowasmy audience, the applauder from earliest childhood ofmyswimming,diving,tree-climbingandotherexploits(‘Daddy, are you watching? I’m going to jump!’),myviolin-playing,myexamsuccesses,andingeneralofmylife.Andwithoutanaudience,whatwasthepointoftheperformance? Ibecameotherthingsthanmyfather’sdaughter.Evenattheageoftwenty-fourin1965,Iwasnotonlythat.Indeed,ifyou’daskedmeaboutmyfatherinAugust1965,IwouldhavesaidgrandlythathewaspartofthatpastthatIhadirrevocablyrepudiatedwhenIleftAustraliaayearbefore.Infact,hewasthatpartofthepastthatIhadrepudiatedwithparticularvigour(SylviaPlath’sDaddy, you bastard, I’m throughstruckachord);Ihadevenstoppedwritingtohimsixmonthsbefore,topunishhim. So it goes between parents and children in unhappyfamilies.Likeitornot,forthefirsttwenty-fouryearsIwasmoremyfather’sdaughterthananythingelse.Whatfollows(Daddy, are you watching?)ismyfather’sdaughter’sstory.

BrianFitzpatrick,myfather,wasaradicalhistorianandcivillibertiesactivist,acontroversialandevennotoriousfigureinhisday,whichwasthe1940sand1950s.PeoplethoughthewasaCommunist,althoughactuallyhewasfartoomuchofacontrarianandiconoclasttoputupwithanyparty’sdiscipline,andthiswasaproblemintheColdWaryearsinwhichIgrewupinMelbourne.

* * *

Other literature

21. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood

Use two or more of the set passages as the basis for a discussion of My Father’s Daughter: Memories of an Australian Childhood.

WithpermissionofSheilaFitzpatrick



3.

Itwastimetoleave.Ihadgrownupinthepastcoupleofyearsandfeltstrongenough,moreorless,togo.Personally,IfeltIhadgotintoadeadend,andintellectuallytherewasnothingmuchtobelearnedaboutRussianhistorystayinginAustralia.ItooktheconventionalrouteofapplyingforaCommonwealthScholarship;my fatherwas sorry that, as awoman, IwasnoteligibleforaRhodes.CommonwealthScholarshipsonlytookyoutootherplacesintheCommonwealth,sotheUnitedStates—whichwouldhavebeenanobviousplacetogotostudymodernRussianhistory—wasout.But in any case, I can’timaginemyselfat this timechoosing togo to theUS.Thiswasnot just inherited left-winganti-Americanism, thoughIhadsomeofthat,butastatusquestion:thepeoplewithFirstsfromMelbourne normallywent toEngland, preferably toOxfordorCambridge. When theCommonwealth Scholarship came through, IwasofferedachoiceofStAntony’sCollege,Oxford,andtheLondonSchoolofEconomics. Imade thedecision togo toOxfordpartlyonintellectualgrounds:StAntony’swashometosomeofthescholarswhoseworkonSovietliterarypoliticsIhaddiscussedinmy Dissent piece.OxfordalsosoundedgoodtotheHistoryDepartmentandtomyfather.Andinaddition,IrememberthatIwasfrightenedbytheideaofLondon—sobig,sounknown,sounmanageable.HowwouldIfindmywayround,makefriends,findsomewheretolive?BettertogotoOxford,whichwassmaller,withresidentialcolleges(Women’sCollegewasagoodmemory, thoughbynow Iwouldhavedisdained a single-sex institution). So I choseStAntony’s,whichwasareasonabledecisionalthough,asit laterturnedout,abadone.

* * *

Other literature

21. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood

WithpermissionofSheilaFitzpatrick



Other literature

22. WEH Stanner, The Dreaming & Other Essays

Use two or more of the set passages as the basis for a discussion of The Dreaming & Other Essays.

1.

Durmugam: A Nangiomeri

Durmugamwasinitiated,ashesays,‘inthebush’,atatime(about 1913)when a relatively largenumberofAboriginescouldbeassembledandthefullpanoplyofceremonialformscouldbefollowed.Heemergedablackfellowforlife.Hedidnotsimplyreachmanhood:hewasgivenit,wasmadeamanbymenwhostoodforandtaughthimtostandforatraditionin part only revealed.Later, as I have narrated, he learnedthe full tradition,notofhisown,butofneighbourly tribes.Theconditioningwasnotonlythuscompleted,butvivified,bythenewpresenceofKunabibi,andbytherepetitionandintensificationofstimuliconsistentwiththoseofthetraumaofinitiation. Icametobelieve,intheend,thatthe‘hotbelly’andthecalmfaceofthismanwereconsistent.Theinitiationsteachboystobemen:toknowpainandignoreit;tofeelfearandmasterit;towant,buttobearthenecessarycosts;tograspthatoutsidesocietytheyarenothing(intheisolationofinitiationtheyarecalled ‘wilddogs’) and, inside it, themasters; that throughthemTheDreamingis‘followedup’;thatthetraditionis‘theroad’.The vital impulses are not crushed, but steered; thesocialconscienceforecloses thesefieldsonly to leavethoseopen;themaleegoisbeckonedtoadefineddominance.The‘hotbelly’isnotonlyallowable,butpremial,inanAboriginalman.Thecalmness,self-possession,anddignityarethemarksofawell-socialisedAboriginal;andtheAboriginalfollowingupTheDreamingisamanwhohashisfeetonsurety. Theemphasisonrules,forms,norms,andthelike,whichvexes somany anthropologistswho have not encounteredAboriginalculture,andseemstobeabiasoftheanalysts,isnotanerrorofscholars.Itisobjectivelythere.Itissimplyafunctionofaneed,ornecessarycondition,ofAboriginallife:anelaborationofmeansservingendswhichhavecanonisedvalues.Thelifeofthemature,initiatedmaleisthepracticeofthedoctrine. Durmugam’slife,inbroad,seemstometovindicatethisthesis.HecametogoodtermswithEuropeanism,butfounditsaltlessallhisdaysand,attheend,bittertoo.Ithadsomefewgoods—mundanethingswhichwereeithersubstitutesforAboriginalequivalents(axes,knives,houses)oradditionsinnowaycompetingwithanythingin‘theway’—whichhetookandused,sensibly.Butitneverattractedhimemotionally,itdidnotinteresthimintellectually,anditarousedonlyhismaterialdesires. Hemight perhaps be looked on as a study in benigndissociation.At the conscious level he had found awayoflivingwithduality,anoafishEuropeanismandanAboriginalidealism.

* * *

2.

The Dreaming

Theircreative‘drive’tomakesenseandorderoutofthingshasconcentratedonthesocialratherthanonthemetaphysicalorthematerialside.Consequently,therehasbeenanunusuallyrich development ofwhat the anthropologist calls ‘socialstructure’, the network of enduring relations recognisedbetweenpeople.Thisveryintricatesystemisanintellectualandsocialachievementofahighorder.Itisnot,likeaninstinctualresponse,aphenomenonof‘nature’;itisnot,likeartorritual,acomplextypeofbehaviourpassionatelyaddedto‘nature’,inkeepingwithmetaphysicalinsightbutwithoutrationalandintelligiblepurposeswhichcanbeclearlystated;ithastobecompared, I think,withsuchasecularachievementas,say,parliamentarygovernment in aEuropean society. It is trulypositiveknowledge. Onemayseewithinitthreethings:givencustoms,‘ofwhichthememoryofmanrunnethnottothecontrary’;avastbodyofcumulativeknowledgeabouttheeffectsofthesecustomsonasocietyingivencircumstances;andtheuseofthepowerofabstractreasontorationalisetheresultantrelationsintoasystem. But it is somethingmore; their social organisation hasbecomethe source of the dominant mode of Aboriginal thinking. Theblacksusesocialorganisationtogiveabonystructuretopartsoftheworld-outlooksuggestedbyintuitivespeculation.Imeanbythisthattheyhavetakensomeofitsfundamentalprinciplesandrelationsandhaveappliedthemtoverymuchwider sets of phenomena.This tends tohappen if any typeofsystemofthoughtbecomestrulydominant.Itis,broadly,whatEuropeansdidwith‘religion’and‘science’assystems:extendedtheirprinciplesandcategoriestofieldsfarbeyondthecontextsinwhichthesystemsgrew. Thus,theblackshavetakenthemale-femalesocialprincipleandhaveextendedittothenon-humanworld.InonetribeIhave studied, allwomen,without exception, call particularbirdsortreesbythesamekinshiptermswhichtheyapplytoactualrelatives.Inthesameway,allmenwithoutexceptionusecomparabletermsforadifferentsetoftreesorbirds.Fromthisresultswhattheanthropologistcalls‘sextotemism’.Theuseofotherprinciplesresultsinothertypesoftotemism.Anunderstandingofthissimplefactremovesmuchofthesocial,ifnottheritual,mysteryoftotemism.Again,theprincipleofrelatednessitself,relatednessbetweenknownpeoplebyknowndescentthroughknownmarriages,isextendedoverthewholefaceofhumansociety.Thesametermsofkinshipwhichareusedforcloseagnaticandaffinalrelativesareusedforeveryother person anAboriginalmeets in the course of his life:strangers,friends,enemies,andknownkinmayallbecalledby the same termsasoneuses forbrother, father,mother’ssister, father’smother’sbrother, and soon.This iswhatananthropologistmeanswhenhesays‘Aboriginalsociety isasocietyofkinship’.

* * *

©WEHStanner2010;reprintedwithpermissionofBlackInc.



Other literature

22. WEH Stanner, The Dreaming & Other Essays

3.

Aboriginal Humour

MuchofwhatIshallsayamountsintheendtoaroundaboutstatementthattheAboriginesfoundamusingmuchthesamekindofthingswhichwefindamusing.Inotherwords,wearedealingwith humanuniversals. It is therefore, perhaps, aswellformetobeginbysayingthattherewereofcoursemajordifferences. Wefindacertainamusement—kindly,butstillamusement—inmuchAboriginalcustom.Thisisparochialismonourpart,butitiswellmatched:theAboriginefelt(andfeels)muchthesamewayaboutEuropeancustom.Muchofourschemeoflifedoesnot‘makesense’tohim.Aquickhandfulofthingsthatbafflehimaboutus,andforwhichhelaughsatusbehindourbacks,wouldincludeourinexplicablepassionforunremittingwork;thefactthatmenwillinglycarrythingswheretherearewomentocarrythem;thatweactuallythrashsmallchildren;thatwe accumulate, and hold in perpetuity, stupidly largeamountsofgoodsinsteadofdispersingthemtogainreputation;thatwehavenoapparentrulesofmarriage—Icouldgivemanysuch instances to showhow the two schemes of living lieacrosseachother.Itisremarkableinthecircumstances,thattheuniversalsofhumourshowthroughsostrongly.Sometimes,ofcourse,allcommunicationbreaksdown,andblackfellowandEuropean lookhelplesslyateachotheroveranuncrossablefrontier. SeveralyearsagoIwasmakingsomepsychologicaltestswhichrequiredtheAboriginestorepeat,daysandweekslater,astoryIhadtoldthem.Manyoftherecallsbrokedown,theblacksbeingovercomewithlaughteratthesamepoint.Thestorywasabouttwobrotherswhohadquarrelledoveragirl.Astheblacksbegantotellmehowonebrothersneakedupandkilled theotherwithonestrokeofastick, theirself-controlfailedandtheyhootedwithmirth.Somethingabouttheideaseemedtothemquiterisible.Isuspectitmayhavebeentheconnotationofromanticlove.Isawtoolatethatthiskindofthemesuffusedthestory.Sexualpassionofcoursetheyknowandunderstand,butthesensiblethingforAboriginalbrotherstodoiftheylikethesamegirlistoshare herfavours.Thecultofromanticlove,asfarastheycancomprehendit,possiblyseemstothemasortoflunacy,verymuchassomeofuslookontoothavulsion,thecuttingofbodilycicatrices,orwidow-strangling. Youwillappreciatethedifficulties.IhavetoruleoutofmydiscussionacertainamountofAboriginalhumoursinceitrestson—indeed,onlymakessensewithin—thecontextoftheirownoutlookandcustoms.

* * *

©WEHStanner2010;reprintedwithpermissionofBlackInc.



Other literature

23. Voltaire, Candide, or Optimism

Use two or more of the set passages as the basis for a discussion of Candide, or Optimism.

1.

Pangloss taughtmetaphysico-theologico-cosmo-nigology… themostbeautifulanddelightfulofpossiblecastles.

Voltaire,Candide, or Optimism, TheoCuffe(ed.andtrans.), PenguinClassics,2005

pp.4and5


2.

Candide said toCacambo… stillweeping as he enteredSurinam.


pp.51and52




Other literature

23. Voltaire, Candide, or Optimism

3.

Panglossconcededthathehadsufferedhorribly…Atwhichthedervishslammedthedoorintheirfaces.


pp.91and92




2.

Andsinceanovelhasthiscorrespondencetoreallife,itsvaluesaretosomeextentthoseofreallife.Butitisobviousthat thevaluesofwomendiffer veryoften from thevalueswhichhavebeenmadebytheothersex;naturally,thisisso.Yetitisthemasculinevaluesthatprevail.Speakingcrudely,footballandsportare‘important’;theworshipoffashion,thebuyingof clothes ‘trivial’.And these values are inevitablytransferredfromlifetofiction.Thisisanimportantbook,thecriticassumes,becauseitdealswithwar.Thisisaninsignificantbookbecauseitdealswiththefeelingsofwomeninadrawing-room.Asceneinabattlefieldismoreimportantthanasceneinashop–everywhereandmuchmoresubtlythedifferenceofvaluepersists.Thewholestructure,therefore,oftheearlynineteenth-centurynovelwasraised,ifonewasawoman,byamindwhichwasslightlypulledfromthestraight,andmadetoalteritsclearvisionindeferencetoexternalauthority.Onehasonlytoskimthoseoldforgottennovelsandlistentothetoneofvoiceinwhichtheyarewrittentodivinethatthewriterwasmeetingcriticism;shewassayingthisbywayofaggression,or that bywayof conciliation. Shewas admitting that shewas‘onlyawoman’,orprotestingthatshewas‘asgoodasaman’.Shemetthatcriticismashertemperamentdictated,withdocilityanddiffidence,orwithangerandemphasis.Itdoesnotmatterwhichitwas;shewasthinkingofsomethingotherthanthethingitself.Downcomesherbookuponourheads.Therewasaflawinthecentreofit.AndIthoughtofallthewomen’snovelsthatliescattered,likesmallpock-markedapplesinanorchard,aboutthesecond-handbookshopsofLondon.Itwastheflawinthecentrethathadrottedthem.Shehadalteredhervaluesindeferencetotheopinionofothers. Buthowimpossibleitmusthavebeenforthemnottobudgeeithertotherightortotheleft.Whatgenius,whatintegrityitmusthaverequiredinfaceofallthatcriticism,inthemidstofthatpurelypatriarchalsociety,toholdfasttothethingasthey saw itwithout shrinking.Only JaneAustendid it andEmilyBrontë.Itisanotherfeather,perhapsthefinest,intheircaps.Theywroteaswomenwrite,notasmenwrite.Ofallthethousandwomenwhowrotenovelsthen,theyaloneentirelyignoredtheperpetualadmonitionsoftheeternalpedagogue–writethis,thinkthat.

* * *

1.

ItwasawomanEdwardFitzgerald, I think, suggestedwhomade the ballads and the folk-songs, crooning them to herchildren,beguilingherspinningwiththem,or thelengthofthewinter’snight. Thismaybetrueoritmaybefalse–whocansay?–butwhatistrueinit,soitseemedtome,reviewingthestoryofShakespeare’ssisterasIhadmadeit,isthatanywomanbornwithagreatgiftinthesixteenthcenturywouldcertainlyhavegonecrazed,shotherself,orendedherdaysinsomelonelycottageoutsidethevillage,halfwitch,halfwizard,fearedandmockedat.For itneeds littleskill inpsychology tobesurethatahighlygiftedgirlwhohadtriedtousehergiftforpoetrywouldhavebeensothwartedandhinderedbyotherpeople,sotorturedandpulledasunderbyherowncontraryinstincts,that shemusthave lostherhealthandsanity toacertainty.Nogirl could havewalked toLondon and stood at a stagedoorandforcedherwayintothepresenceofactor-managerswithout doing herself a violence and suffering an anguishwhichmayhavebeenirrational–forchastitymaybeafetishinventedbycertainsocietiesforunknownreasons–butwerenonethelessinevitable.Chastityhadthen,ithasevennow,areligiousimportanceinawoman’slife,andhassowrappeditselfroundwithnervesandinstinctsthattocutitfreeandbringittothelightofdaydemandscourageoftherarest.TohavelivedafreelifeinLondoninthesixteenthcenturywouldhavemeantforawomanwhowaspoetandplaywrightanervousstressanddilemmawhichmightwellhavekilledher.Hadshesurvived,whatevershehadwrittenwouldhavebeentwistedanddeformed,issuingfromastrainedandmorbidimagination.Andundoubtedly,Ithought,lookingattheshelfwheretherearenoplaysbywomen,herworkwouldhavegoneunsigned.Thatrefugeshewouldhavesoughtcertainly.Itwastherelicofthesenseofchastitythatdictatedanonymitytowomenevenso lateas thenineteenthcentury.CurrerBell,GeorgeEliot,GeorgeSand,allthevictimsofinnerstrifeastheirwritingsprove, sought ineffectively to veil themselves byusing thenameofaman.

* * *

Other literature

24. Virginia Woolf, A Room of One’s Own

Use two or more of the set passages as the basis for a discussion of A Room of One’s Own.



3.

Intellectual freedomdepends uponmaterial things. Poetrydependsuponintellectualfreedom.Andwomenhavealwaysbeenpoor, not for twohundredyearsmerely, but from thebeginningoftime.WomenhavehadlessintellectualfreedomthanthesonsofAthenianslaves.Women,then,havenothadadog’schanceofwritingpoetry.ThatiswhyIhavelaidsomuchstressonmoneyandaroomofone’sown.However,thankstothetoilsofthoseobscurewomeninthepast,ofwhomIwishwe knewmore, thanks, curiously enough to twowars, theCrimeanwhichletFlorenceNightingaleoutofherdrawing-room,andtheEuropeanWarwhichopenedthedoorstotheaveragewomansomesixtyyearslater,theseevilsareinthewaytobebettered.Otherwiseyouwouldnotbeheretonight,andyourchanceofearningfivehundredpoundsayear,precariousasIamafraidthatitstillis,wouldbeminuteintheextreme. Still,youmayobject,whydoyouattachsomuchimportancetothiswritingofbooksbywomenwhen,accordingtoyou,itrequiressomucheffort,leadsperhapstothemurderofone’saunts,willmakeonealmostcertainlylateforluncheon,andmay bring one into very grave disputeswith certain verygood fellows?Mymotives, letmeadmit,arepartlyselfish.LikemostuneducatedEnglishwomen,Ilikereading–Ilikereadingbooksinthebulk.Latelymydiethasbecomeatriflemonotonous;historyistoomuchaboutwars;biographytoomuchaboutgreatmen;poetryhasshown,Ithink,atendencytosterility,andfiction–butIhavesufficientlyexposedmydisabilitiesasacriticofmodernfictionandwillsaynomoreaboutit.ThereforeIwouldaskyoutowriteallkindsofbooks,hesitatingatnosubjecthowevertrivialorhowevervast.Byhookorbycrook,Ihopethatyouwillpossessyourselvesofmoneyenoughtotravelandtoidle,tocontemplatethefutureorthepastoftheworld,todreamoverbooksandloiteratstreetcornersandletthelineofthoughtdipdeepintothestream.ForIambynomeansconfiningyoutofiction.Ifyouwouldpleaseme–andtherearethousandslikeme–youwouldwritebooksoftravelandadventure,andresearchandscholarship,andhistoryandbiography,andcriticismandphilosophyandscience.Bysodoingyouwillcertainlyprofittheartoffiction.Forbookshaveawayofinfluencingeachother.Fictionwillbemuchthebetterforstandingcheekbyjowlwithpoetryandphilosophy.Moreover,ifyouconsideranygreatfigureofthepast,likeSappho,liketheLadyMurasaki,likeEmilyBrontë,youwillfindthatsheisaninheritoraswellasanoriginator,andhas come into existencebecausewomenhave come tohavethehabitofwritingnaturally;sothatevenasapreludetopoetrysuchactivityonyourpartwouldbeinvaluable.

* * *

Other literature

24. Virginia Woolf, A Room of One’s Own



Poetry

25. Robert Browning, Selected Poems

Use two or more of the set passages as the basis for a discussion of the poetry of Robert Browning.

1.

My Last DuchessFerrara

That’smylastDuchesspaintedonthewall,Lookingasifshewerealive.IcallThatpieceawonder,now:FràPandolf’shandsWorkedbusilyaday,andthereshestands.Will’tpleaseyousitandlookather?Isaid‘FràPandolf’bydesign,forneverreadStrangerslikeyouthatpicturedcountenance,Thedepthandpassionofitsearnestglance,Buttomyselftheyturned(sincenoneputsbyThecurtainIhavedrawnforyou,butI)Andseemedastheywouldaskme,iftheydurst,Howsuchaglancecamethere;so,notthefirstAreyoutoturnandaskthus.Sir,’twasnotHerhusband’spresenceonly,calledthatspotOfjoyintotheDuchess’cheek:perhapsFràPandolfchancedtosay‘HermantlelapsOvermylady’swristtoomuch,’or‘PaintMustneverhopetoreproducethefaintHalf-flushthatdiesalongherthroat’:suchstuffWascourtesy,shethought,andcauseenoughForcallingupthatspotofjoy.ShehadAheart–howshallIsay?–toosoonmadeglad,Tooeasilyimpressed;shelikedwhate’erShelookedon,andherlookswenteverywhere.Sir,’twasallone!Myfavouratherbreast,ThedroppingofthedaylightintheWest,TheboughofcherriessomeofficiousfoolBrokeintheorchardforher,thewhitemuleSherodewithroundtheterrace–allandeachWoulddrawfromheraliketheapprovingspeech,Orblush,atleast.Shethankedmen,–good!butthankedSomehow–Iknownothow–asifsherankedMygiftofanine-hundred-years-oldnameWithanybody’sgift.Who’dstooptoblameThissortoftrifling?EvenhadyouskillInspeech–(whichIhavenot)–tomakeyourwillQuitecleartosuchanone,andsay,‘JustthisOrthatinyoudisgustsme;hereyoumiss,Orthereexceedthemark’–andifsheletHerselfbelessonedso,norplainlysetHerwitstoyours,forsooth,andmadeexcuse,–E’enthenwouldbesomestooping;andIchooseNevertostoop.Ohsir,shesmiled,nodoubt,Whene’erIpassedher;butwhopassedwithoutMuchthesamesmile?Thisgrew;Igavecommands;Thenallsmilesstoppedtogether.ThereshestandsAsifalive.Will’tpleaseyourise?We’llmeetThecompanybelow,then.Irepeat,TheCountyourmaster’sknownmunificenceIsamplewarrantthatnojustpretenceOfminefordowrywillbedisallowed;Thoughhisfairdaughter’sself,asIavowedAtstarting,ismyobject.Nay,we’llgoTogetherdown,sir.NoticeNeptune,though,Tamingasea-horse,thoughtararity,WhichClausofInnsbruckcastinbronzeforme!

* * *

2.

A Toccata of Galuppi’s

iOhGaluppi,Baldassaro,thisisverysadtofind!Icanhardlymisconceiveyou;itwouldprovemedeafandblind;ButalthoughItakeyourmeaning,’tiswithsuchaheavymind!

iiHereyoucomewithyouroldmusic,andhere’sallthegood

itbrings.What, they lived once thus atVenicewhere themerchants

werethekings,WhereSaintMark’sis,wheretheDogesusedtowedthesea

withrings?

iiiAy,becausethesea’sthestreetthere;and’tisarchedby...

whatyoucall...Shylock’sbridgewithhousesonit,wheretheykeptthe

carnival:IwasneveroutofEngland–it’sasifIsawitall.

ivDidyoungpeopletaketheirpleasurewhentheseawaswarm

inMay?Ballsandmasksbegunatmidnight,burningevertomidday,Whentheymadeupfreshadventuresforthemorrow,doyou

say?

vWasaladysuchalady,cheekssoroundandlipssored,–Onherneckthesmallfacebuoyant,likeabell-floweronitsbed,O’erthebreast’ssuperbabundancewhereamanmightbase

hishead?

viWell,anditwasgracefulofthem–they’dbreaktalkoffand

afford–She,tobitehermask’sblackvelvet–he,tofingeronhis

sword,WhileyousatandplayedToccatas,statelyattheclavichord?

viiWhat?Thoselesserthirdssoplaintive,sixthsdiminished,sigh

onsigh,Told themsomething?Thosesuspensions, thosesolutions–

‘Mustwedie?’Thesecommiseratingsevenths–‘Lifemightlast!wecanbut

try!’

viii‘Wereyouhappy?’–‘Yes.’–‘Andareyoustillashappy?’–

‘Yes.Andyou?’– ‘Then,morekisses?’ – ‘Did I stop them,when amillion

seemedsofew?’Hark,thedominant’spersistencetillitmustbeansweredto!



Poetry

25. Robert Browning, Selected Poems

ixSo,anoctavestrucktheanswer.Oh,theypraisedyou,Idare

say!‘BraveGaluppi!thatwasmusic!goodalikeatgraveandgay!IcanalwaysleaveofftalkingwhenIhearamasterplay!’

xThentheyleftyoufortheirpleasure:tillinduetime,onebyone,Somewith lives that came to nothing, somewith deeds as

wellundone,Deathsteppedtacitlyandtookthemwheretheyneverseethe

sun.

xiButwhen I sit down to reason, think to takemy standnor

swerve,WhileItriumpho’erasecretwrungfromnature’sclosereserve,InyoucomewithyourcoldmusictillIcreepthroughevery

nerve.

xiiYes,you,likeaghostlycricket,creakingwhereahousewas

burned:‘Dustandashes,deadanddonewith,VenicespentwhatVenice

earned.The soul, doubtless, is immortal –where a soul can be

discerned.

xiii‘Yoursforinstance:youknowphysics,somethingofgeology,Mathematicsareyourpastime;soulsshallriseintheirdegree;Butterfliesmaydreadextinction,–you’llnotdie,itcannotbe!

xiv‘AsforVeniceandherpeople,merelyborntobloomanddrop,Hereonearth theybore theirfruitage,mirthandfollywere

thecrop:Whatofsoulwasleft,Iwonder,whenthekissinghadtostop?

xv‘Dustandashes!’Soyoucreakit,andIwantthehearttoscold.Deardeadwomen,withsuchhair,too–what’sbecomeofall

thegoldUsedtohangandbrushtheirbosoms?Ifeelchillyandgrown

old.

* * *

3.

Two in the Campagna

viSuchlifehere,throughsuchlengthsofhours, Suchmiraclesperformedinplay,Suchprimalnakedformsofflowers, SuchlettingnaturehaveherwayWhileheavenlooksfromitstowers!

viiHowsayyou?Letus,Omydove, Letusbeunashamedofsoul,Asearthliesbaretoheavenabove! HowisitunderourcontrolToloveornottolove?

viiiIwouldthatyouwerealltome, Youthatarejustsomuch,nomore.Noryoursnormine,norslavenorfree! Wheredoesthefaultlie?WhatthecoreO’thewound,sincewoundmustbe?

ixIwouldIcouldadoptyourwill, Seewithyoureyes,andsetmyheartBeatingbyyours,anddrinkmyfill Atyoursoul’ssprings,–yourpartmypartInlife,forgoodandill.

xNo.Iyearnupward,touchyouclose, Thenstandaway.Ikissyourcheek,Catchyoursoul’swarmth,–Iplucktherose Andloveitmorethantonguecanspeak–Thenthegoodminutegoes.

xiAlreadyhowamIsofar Outofthatminute?MustIgoStilllikethethistle-ball,nobar, Onward,wheneverlightwindsblow,Fixedbynofriendlystar?

xiiJustwhenIseemedabouttolearn! Whereisthethreadnow?Offagain!Theoldtrick!OnlyIdiscern– Infinitepassion,andthepainOffiniteheartsthatyearn.

* * *



2.

Parsed into Colors

Diana Der-Hovanessian

Two Voices

Do you think of yourself as an Armenian? Or an American? Or hyphenated American?

—D.M.Thomas

InwhatlanguagedoIpray?

…

ItspeaksinArmenian.

TinaChang,NathalieHandalandRaviShankar(eds),Language for a New Century: Contemporary Poetry

from the Middle East, Asia, and Beyond, WWNorton&Company,2008

pp.61–63


Poetry


Use two or more of the set passages as the basis for a discussion of the poetry set from this text.

1.

In the Grasp of Childhood Fields

Ha Jin

Homework

Underhispencilalandisunfolding.

…

besiderattlingnukeslikeslingshots.



pp.16and17




Poetry


3.

Slips and Atmospherics

Michael Ondaatje

Proust in the Waters

Swimmingalongthebarofmoon

…

Of the moon bar



p.187




2.

The Tiger

Thetigerpacesupanddown

…

Thesplendiddangerofhisrage!

RosemaryDobson,Collected, UniversityofQueenslandPress,2012

p.87


1.

Painter of Umbria

FrancescoCalvi,Umbrianbybirth

…

AndclimbedafurtherrungupJacob’sladder.


pp.78and79


Poetry

27. Rosemary Dobson, Collected

Use two or more of the set passages as the basis for a discussion of the poetry of Rosemary Dobson.



3.

The Passionate Poet and the Moon

Hiscandle’ssteadyflameburnedon

…

BythatusurpedEndymion.


p.123


Poetry

27. Rosemary Dobson, Collected



2.

The Moon and the Yew Tree

Thisisthelightofthemind,coldandplanetary.

…

And themessageof theyewtree isblackness—blacknessandsilence.

SylviaPlath,Ariel, FaberModernClassics,2015

pp.40and41


Poetry

28. Sylvia Plath, Ariel

Use two or more of the set passages as the basis for a discussion of the poetry of Sylvia Plath.

1.

The Applicant

First,areyouoursortofaperson?

…

Willyoumarryit,marryit,marryit.


pp.6and7




Poetry

28. Sylvia Plath, Ariel

3.

Balloons

SinceChristmastheyhavelivedwithus,

…

Shredinhislittlefist.


pp.75and76




Poetry

29. Chris Wallace-Crabbe, New and Selected Poems

Use two or more of the set passages as the basis for a discussion of the poetry of Chris Wallace-Crabbe.

1.

The Swing

Onaswingatmidnightintheblackpark.Betweenpoplars

…

Unsatisfied,uncertain,Iamswingingagaintonightinthepark.

ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013

p.61


2.

Timber

IVInboyhood,therewasfascinationwithmalleeroots,

…

hemlock,mulga,sandalwood,yew…


pp.151–155




Poetry

29. Chris Wallace-Crabbe, New and Selected Poems

3.

The Rescue Will Not Take Place

Whatdowelivefor?

…

givethemwhatGodwas,andcallitart.


pp.162and163




Poetry

30. Samuel Wagan Watson, Smoke Encrypted Whispers

Use two or more of the set passages as the basis for a discussion of the poetry of Samuel Wagan Watson.

1.

for the wake and skeleton dance

thedreamtimeDostoyevskysmurmurof a recession in the spiritworldtheysay,thenightcreaturesarefeelingthepinchofgrowingdisbeliefandwesternrationalitythattheapparitionsofblackdingosstalkthecitynight,hungrytheirectoplasmonthesidewalkinacocktailofvomitandswillwaitingoutsidethedrinkingholesofthelivingpreyingonthedwindlingsoulsfencedinbyassimilation

thedreamtimeDostoyevskysponderasdarkridersintheskysignalamovementforthewakeandskeletondanceit’spaybacktimeforthebureaucratsinblackskinsandthefratricidetroopersbeforethemwithnoroomtomoveonadeadman’sbed

isitallworthholdingontothesememoriesamidsttheblood-drenchedsands?bettertoforget?

thedreamtimeDostoyevskysfeeltheearlywinterchilledfootstepswalkacrosstheirbacksinthedarkhours,thewhitemandidn’tbringalltheevilsomeofitwasherealreadygestatinglaughingintoxicateduntappedharassingthelivingwelcomingthetallshipleviathansoftwocenturiesagothatcrossedthelinedrawninthesandbytheSerpentspillingdarkhorsesfromtheirbowelsandsomethingcalledtheCovenant,infectingthedreamtimewiththeghostsofamillionlostentitiesmerelyfacesinthecrowdatthefestivalofthedead,thewakeisoverandtotheskeletondancethebonemensmileopenseasononchaostheoryandretirementeternalforthedreamtimeDostoyevsky

* * *

2.

we’re not truckin’ around

uponthediningtableoftheInvadertherewerethosewhothoughtthattheycouldsimplymimiccreationandploughthroughthislandinventivebutblindfolded

—where’d ya get ya license!

andthebitumenvineofwanderingimpetusdroverightthroughthebora-ringandknockedourphoneoffthehookforever

forcingustostandoutontheshoulderoftheroadlookingforalift,eventhoughweweren’treallylustingthat18-wheelerofalifestyledrivingintothenextmillennium

we’vebeentoousedtofeelingakinshipwiththediscardedandshreddedblackpiecesoftrucktireonthefringesofthebigroad

us‘damper-feet’mayjustpullupaseatontheshoulderwatchandobservehowyoulead-footsfendforyourselvesasthesurferstwistbeforethewhitesquallahead

theencroachingabsalombeforeusall anelectronichighway

* * *

©SamuelWaganWatson2004;reprintedwithpermissionofUQP


END OF SECTION BTURN OVER

Poetry

30. Samuel Wagan Watson, Smoke Encrypted Whispers

3.

smoke signals

Irememberconstructioncraneslikeherdsoffrozenpraying-mantis,highonthesteamyBjelke-Petersenplateauaboveabrownsnake-coiledriver.Itwasfromthisview,attheageof4,thatIlearnttoreadthecolumnsofBrisbanecity.Andfromthisview,IcametorecognisethesegregationofSmoke.Black smokedarkenedtheblue-collarsuburbs,coveringtheworkersinburnt-rubbercologne.Blacksmokewassavedforindustrialaccidents,orwhenalower-incomefamilyhadtheirfibro-linedhouse smothered inwinterflames.Butwhite smoke,whitesmoke plumed from chez-nouveau,white-collar fireplaces.White smokebelonged toEuropeanengineswith a smoothchoke.White smoke stayedbehind the construction craneswhereIimaginedalifethatwouldneverdepreciate.Aplacewherechildrenweren’tscaredofthedark.BeyondthewhitesmokewaswhereIthoughtIwoulddiscovertheLucky Country

highrises dictate a crow punctuates the sky clouds await error

* * *

©SamuelWaganWatson2004;reprintedwithpermissionofUQP


Assessment criteriaSectionAwillbeassessedagainstthefollowingcriteria:• developmentofaninformed,relevantandplausibleinterpretationofthetext• understandingandanalysisofthetext,demonstratedthroughtheuseoftextualevidence• analysisandevaluationoftheviewsandvaluesforegroundedinthetopicandunderlyingoneliterary

perspectiveofthetext,andawarenessofhowtheseviewsandvaluesrelatetothetext• expressive,fluentandcoherentuseoflanguageanddevelopmentofideas

SectionBwillbeassessedagainstthefollowingcriteria:• understandingofthetext,demonstratedinarelevantandplausibleinterpretation• abilitytowriteexpressivelyandcoherentlytopresentaninterpretation• understandingofhowviewsandvaluesmaybesuggestedinthetext• analysisofhowkeypassagesand/ormomentsinthetextcontributetoaninterpretation• analysisofthefeaturesofthetextandhowtheycontributetoaninterpretation• analysisandclosereadingoftextualdetailstosupportacoherentanddetailedinterpretationofthetext

END OF TASK BOOK

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