2019 literature written examination · 2020-04-07 · 2019 literature exam 4 section a continued...

LITERATUREWritten examination

Monday 11 November 2019 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.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2019

Victorian Certificate of Education 2019

2019LITERATUREEXAM 2

Table of contents

Novels Page

Text number Section A Section B

1. JaneAusten Northanger Abbey 4 8–9

2. RobynCadwallader The Anchoress 4 10–11

3. ItaloCalvino Baron in the Trees 4 12–13

4. JosephConrad Heart of Darkness 4 14–15

5. ElizabethGaskell North and South 4 16–17

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

7. JuanGabrielVásquez The Sound of Things Falling 4 20–21

8. JeanetteWinterson The Passion 4 22–23

9. AlexisWright Carpentaria 4 24–25

Plays

Text number

10. AndrewBovell Speaking in Tongues 5 26–27

11. ShelaghDelaney A Taste of Honey 5 28–29

12. Euripides Hippolytus 5 30–31

13. ToniMorrison Desdemona 5 32–33

14. YasminaReza Art 5 34–35

15. WilliamShakespeare Othello 5 36–37

16. WilliamShakespeare Twelfth Night 5 38–39

17. SamShepard Buried Child 5 40–41

18. TennesseeWilliams Cat on a Hot Tin Roof 5 42–43

Short stories

Text number

19. MaxineBenebaClarke Foreign Soil 5 44–45

20. CeridwenDovey Only the Animals 5 46–47

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

5 48–49

3 2019LITERATUREEXAM

TURN OVER

Other literature Page

Text number Section A Section B

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

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. SylviaPlath Ariel 6 60–61

28. ChrisWallace-Crabbe New and Selected Poems 6 62–63

29. SamuelWaganWatson Smoke Encrypted Whispers 6 64–65

30. PetraWhite A Hunger 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. Jane Austen, Northanger Abbey Austen’sNorthanger Abbeyusesanunconventionalheroinetoexposesociety’sfocusonappearances.

Discuss.

2. Robyn Cadwallader, The Anchoress Cadwallader’sThe Anchoresssuggeststhatrelationshipsshapepeople.Towhatextentdoyouagree?

3. Italo Calvino, Baron in the Trees InCalvino’sBaron in the Trees,individualfreedomisvaluedmorethanthedemandsofsociety.

Discuss.

4. Joseph Conrad, Heart of Darkness Conrad’sHeart of Darknessisdisturbingbecauseitquestionswhatitmeanstobecivilised.Towhat

extentdoyouagree?

5. Elizabeth Gaskell, North and South ConsiderthepropositionthatGaskell’sNorth and Southpresentschangeaschallengingbutessential.

6. Christina Stead, The Man Who Loved Children InStead’sThe Man Who Loved Children,Sam’swifeandchildrencanonlybethemselveswhenthey

directlyopposehim.Towhatextentdoyouagree?

7. Juan Gabriel Vásquez, The Sound of Things Falling ThecentralcharactersinVásquez’sThe Sound of Things Fallingaredamaged‘innocents’withalackof

controlovertheirlives.Discuss.

8. Jeanette Winterson, The Passion Reflectontheideathat,inWinterson’sThe Passion,nothingiseverquitewhatitseems.

9. Alexis Wright, Carpentaria Wright’sCarpentariashowshowpeople’srivalriescanblindthemtomoresignificantdangers.Towhat

extentdoyouagree?


SECTION A – continuedTURN OVER

Plays

10. Andrew Bovell, Speaking in Tongues InBovell’sSpeaking in Tongues,asenseofuneaseanddissatisfactionisevidentinthelivesofthe

characters.Discuss.

11. Shelagh Delaney, A Taste of Honey InDelaney’sA Taste of Honey,thecharactersareaffectedbyprejudiceasmuchasbypoverty.Towhat

extentdoyouagree?

12. Euripides, Hippolytus ReflectontheideathatthemortalcharactersinEuripides’sHippolytusarevictimsoftheirownchoices.

13. Toni Morrison, Desdemona InMorrison’sDesdemona,thedesireforreconciliationisstrongerthanthesenseofbetrayal.Towhat

extentdoyouagree?

14. Yasmina Reza, Art Reza’sArtsuggeststhatrelationshipscanfallapartbecauseeachpersonhastheirownwayofseeing.

Discuss.

15. William Shakespeare, Othello InShakespeare’sOthello,thetitlecharacter’stragicfallisaresultofhisfailuretounderstandhimself.

Towhatextentdoyouagree?

16. William Shakespeare, Twelfth Night InShakespeare’sTwelfth Night,lovehasthepowertodisrupt.Towhatextentdoyouagree?

17. Sam Shepard, Buried Child Considerthepropositionthat,inShepard’sBuried Child,thefamilyisdestroyedbysecrecy.

18. Tennessee Williams, Cat on a Hot Tin Roof InWilliams’sCat on a Hot Tin Roof,thecharactersareisolatedbytheirfears.Towhatextentdoyou

agree?

Short stories

19. Maxine Beneba Clarke, Foreign Soil InForeign Soil,Clarke’sstoriesexplorehumanrestlessnessandaneedforpeace.Discuss.

20. Ceridwen Dovey, Only the Animals ReflectontheideathatthestoriesinDovey’sOnly the Animalsexposetheflawsinhumanbeings.

21. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories Gogol’sThe Diary of a Madman, The Government Inspector and Selected Storiesshowsreadersthat

appearancescanbemisleading.Towhatextentdoyouagree?


END OF SECTION A

Other literature

22. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood Fitzpatrick’sMy Father’s Daughter: Memories of an Australian Childhoodsuggeststhatpeoplecannot

escapetheinfluenceoftheirparents.Discuss.

23. Voltaire, Candide, or Optimism Voltaire’sCandide, or Optimismsuggeststhat,intimesofadversity,peopleareextremelyresilient.To

whatextentdoyouagree?

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

progress.Discuss.

Poetry

25. Robert Browning, Selected Poems ReflectontheideathatthemisuseofpowerisstronglycondemnedinBrowning’sSelected Poems.

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

InLanguage for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond, identityisshapedbyforcesbeyondtheindividual’scontrol.Discuss.

27. Sylvia Plath, Ariel Considerthepropositionthat,inPlath’sAriel,thespeakerspresentableakandunjustworldwithonly

fleetingmomentsofjoy.

28. Chris Wallace-Crabbe, New and Selected Poems CentraltoWallace-Crabbe’spoetryinNew and Selected Poemsarerelationshipsbetweenpeopleand

connectionswithplaces.Discuss.

29. Samuel Wagan Watson, Smoke Encrypted Whispers InWatson’sSmoke Encrypted Whispers,modernurbancultureispresentedasanuglyandawkward

intrusionuponAustralia.Discuss.

30. Petra White, A Hunger Reflectontheideathatasearchingexaminationofthe‘self’isattheheartofWhite’spoemsin

A Hunger.


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. Jane Austen, Northanger Abbey

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

1.

HeretheywereinterruptedbyarequestfromMrs.ThorpetoMrs.Allen,thatshewouldmovealittletoaccommodateMrs.HughesandMissTilneywithseats,astheyhadagreedtojointheirparty.Thiswasaccordinglydone,Mr.Tilneystillcontinuing standing before them; and after a fewminutesconsideration, he askedCatherine to dancewith him.Thiscompliment,delightfulasitwas,producedseveremortificationtothelady;andingivingherdenial,sheexpressedhersorrowontheoccasionsoverymuchasifshereallyfeltit,thathadThorpe,who joinedher just afterwards,beenhalf aminuteearlier,hemighthavethoughthersufferingsrathertooacute.Theveryeasymannerinwhichhethentoldherthathehadkeptherwaiting,didnotbyanymeansreconcilehermoretoherlot;nordidtheparticularswhichheenteredintowhiletheywerestandingup,ofthehorsesanddogsofthefriendwhomhehadjustleft,andofaproposedexchangeofterriersbetweenthem,interesthersomuchastopreventherlookingveryoftentowardsthatpartoftheroomwhereshehadleftMr.Tilney.OfherdearIsabella,towhomsheparticularlylongedtopointoutthatgentleman,shecouldseenothing.Theywereindifferentsets. Shewas separated fromall her party, and away fromallher acquaintance;—onemortification succeededanother,andfromthewholeshededucedthisusefullesson,thattogopreviously engaged to a ball, does not necessarily increaseeitherthedignityorenjoymentofayounglady.Fromsuchamoralizingstrainasthis,shewassuddenlyrousedbyatouchon the shoulder, and turning round,perceivedMrs.Hughesdirectlybehindher,attendedbyMissTilneyandagentleman.“Ibegyourpardon,MissMorland,”saidshe,“forthisliberty,—butIcannotanyhowgettoMissThorpe,andMrs.Thorpesaidshewassureyouwouldnothavetheleastobjectiontolettinginthisyoungladybyyou.”Mrs.HughescouldnothaveappliedtoanycreatureintheroommorehappytoobligeherthanCatherine.Theyoungladieswereintroducedtoeachother,MissTilneyexpressingapropersenseofsuchgoodness,MissMorlandwiththerealdelicacyofagenerousmindmakinglightoftheobligation;andMrs.Hughes,satisfiedwithhavingsorespectablysettledheryoungcharge,returnedtoherparty. MissTilneyhadagoodfigure, apretty face, andaveryagreeablecountenance;andherair,thoughithadnotallthedecidedpretension,theresolutestilishnessofMissThorpe’s,hadmorerealelegance.Hermannersshewedgoodsenseandgoodbreeding;theywereneithershy,noraffectedlyopen;andsheseemedcapableofbeingyoung,attractive,andataball,withoutwantingtofixtheattentionofeverymannearher,andwithoutexaggeratedfeelingsofextaticdelightorinconceivablevexationoneverylittletriflingoccurrence.Catherine,interestedatoncebyherappearanceandherrelationshiptoMr.Tilney,wasdesirousofbeingacquaintedwithher,andreadilytalkedthereforewhenevershecouldthinkofanythingtosay,andhadcourageandleisureforsayingit.

* * *

2.

“Northanger is notmore than halfmy home; I have anestablishmentatmyownhouseinWoodston,whichisnearlytwentymiles frommy father’s, and some ofmy time isnecessarilyspentthere.” “Howsorryyoumustbeforthat!” “IamalwayssorrytoleaveEleanor.” “Yes;butbesidesyouraffectionforher,youmustbesofondoftheabbey!—Afterbeingusedtosuchahomeastheabbey,anordinaryparsonage-housemustbeverydisagreeable.” Hesmiled,andsaid,“Youhaveformedaveryfavourableideaoftheabbey.” “TobesureIhave.Isnotitafineoldplace,justlikewhatonereadsabout?” “Andareyoupreparedtoencounterallthehorrorsthatabuildingsuchas‘whatonereadsabout’mayproduce?—Haveyouastoutheart?—Nervesfitforslidingpannelsandtapestry?” “Oh! yes—I do not think I should be easily frightened,because therewouldbe somanypeople in thehouse—andbesides, it hasneverbeenuninhabited and left deserted foryears,andthenthefamilycomebacktoitunawares,withoutgivinganynotice,asgenerallyhappens.” “No,certainly.—Weshallnothavetoexploreourwayintoahalldimlylightedbytheexpiringembersofawoodfire—norbeobligedtospreadourbedsonthefloorofaroomwithoutwindows,doors,orfurniture.Butyoumustbeawarethatwhenayoungladyis(bywhatevermeans)introducedintoadwellingofthiskind,sheisalwayslodgedapartfromtherestof thefamily.Whiletheysnuglyrepairtotheirownendofthehouse,sheisformallyconductedbyDorothytheancienthousekeeperupadifferentstaircase,andalongmanygloomypassages,intoanapartmentneverusedsincesomecousinorkindiedinitabouttwentyyearsbefore.Canyoustandsuchaceremonyasthis?Willnotyourmindmisgiveyou,whenyoufindyourselfinthisgloomychamber—tooloftyandextensiveforyou,withonlythefeebleraysofasinglelamptotakeinitssize—itswallshungwithtapestryexhibitingfiguresaslargeaslife,andthebed,ofdarkgreenstufforpurplevelvet,presentingevenafunerealappearance.Willnotyourheartsinkwithinyou?” “Oh!butthiswillnothappentome,Iamsure.”

* * *



Novels

1. Jane Austen, Northanger Abbey

3.

ThenextmorningbroughtthefollowingveryunexpectedletterfromIsabella:—

Bath, April— MydearestCatherine, Ireceivedyourtwokindletterswiththegreatestdelight,andhaveathousandapologiestomakefornotansweringthemsooner.Ireallyamquiteashamedofmyidleness;butinthishorridplaceonecanfindtimefornothing.IhavehadmypeninmyhandtobeginalettertoyoualmosteverydaysinceyouleftBath,buthavealwaysbeenpreventedbysomesillytriflerorother.Praywritetomesoon,anddirecttomyownhome.ThankGod!weleavethisvileplaceto-morrow.Sinceyouwentaway,Ihavehadnopleasureinit—thedustisbeyondanything;andeverybodyonecaresforisgone.IbelieveifIcouldseeyouIshouldnotmindtherest,foryouaredearertomethananybodycanconceive.Iamquiteuneasyaboutyourdearbrother,nothavingheardfromhimsincehewenttoOxford;andamfearfulofsomemisunderstanding.Yourkindofficeswillsetallright:—heistheonlymanIeverdidorcouldlove,andItrustyouwillconvincehimofit.Thespringfashionsarepartlydown;andthehatsthemostfrightfulyoucanimagine.Ihopeyouspendyourtimepleasantly,butamafraidyouneverthinkofme.IwillnotsayallthatIcouldofthefamilyyouarewith,becauseIwouldnotbeungenerous,orsetyouagainstthoseyouesteem;butitisverydifficulttoknowwhomtotrust,andyoungmenneverknowtheirmindstwodaystogether.Irejoicetosay,thattheyoungmanwhom,ofallothers,Iparticularlyabhor,hasleftBath.Youwillknow,fromthisdescription,ImustmeanCaptainTilney,who,asyoumayremember,wasamazinglydisposedtofollowandteaseme,beforeyouwentaway.Afterwardshegotworse,andbecamequitemyshadow.Manygirlsmight have been taken in, for neverwere suchattentions;butIknewtheficklesextoowell.Hewentawaytohisregimenttwodaysago,andItrustIshallneverbeplaguedwithhimagain.HeisthegreatestcoxcombIeversaw,andamazinglydisagreeable.ThelasttwodayshewasalwaysbythesideofCharlotteDavis:Ipitiedhistaste,buttooknonoticeofhim.ThelasttimewemetwasinBath-street,andIturneddirectlyintoashopthathemightnotspeaktome;—Iwouldnotevenlookathim.HewentintothePump-roomafterwards;butIwouldnothavefollowedhimforalltheworld.Suchacontrastbetweenhimandyourbrother!—praysendmesomenewsofthelatter—Iamquiteunhappyabouthim,heseemedsouncomfortablewhenhewentaway,withacold,orsomethingthataffectedhisspirits.Iwouldwritetohimmyself,buthavemislaidhisdirection;and,asIhintedabove,amafraidhetooksomethinginmyconductamiss.Prayexplaineverythingtohissatisfaction;or,ifhestillharboursanydoubt,alinefromhimselftome,oracallatPutneywhennextintown,mightsetalltorights.IhavenotbeentotheRoomsthisage,nortothePlay,exceptgoinginlastnightwiththeHodges’s,forafrolic,athalf-price:theyteasedmeintoit;andIwasdeterminedtheyshouldnotsayIshutmyselfupbecauseTilneywasgone.WehappenedtositbytheMitchells,andtheypretendedtobequitesurprizedtoseemeout.Iknewtheirspite:—atonetimethey

couldnotbeciviltome,butnowtheyareallfriendship;butIamnotsuchafoolastobetakeninbythem.YouknowIhaveaprettygoodspiritofmyown.AnneMitchellhadtriedtoputonaturbanlikemine,asIworeittheweekbeforeattheConcert,butmadewretchedworkofit—ithappenedtobecomemyoddfaceIbelieve,atleastTilneytoldmesoatthetime,andsaideveryeyewasuponme;butheisthelastmanwhosewordIwouldtake.Iwearnothingbutpurplenow:IknowIlookhideousinit,butnomatter—itisyourdearbrother’sfavouritecolour.Losenotime,mydearest,sweetestCatherine,inwritingtohimandtome,

Whoeveram,&c.

SuchastrainofshallowartificecouldnotimposeevenuponCatherine.

* * *



Novels

2. Robyn Cadwallader, The Anchoress

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

1.

Acatjumpedinthroughthemaids’windowasAnnaspoke,struttedthroughmycell,sniffingatthisandthat,andscratchedatthefewdrystrandsofstrawinfrontofthefireplace.Shecircled,laydowninthenestshehadmade,andbeganlickingtherainoffherlegsandpaws. Annalaughedassheturnedaway.‘Sheknowswhere’sliketobedry.’ Iwouldnothaveacatinhere.Howcouldacat,acreatureoftheoutsideworld,stayinthisplace,aplaceofdeathinlife?CarefulofherclawsIpickedherup,hissing‘Scat!’asIdroppedherbackthroughthewindow.AshorttimelaterInoticedherbackbythefireplace,curledupasleep,herdampfurturningtoorangefluff,herheadonherpawsbuttiltedtowardmeasifshehaddozedoffasshewatchedmeread. ‘Scat!’ I threwher out again and again, and always shecameback,throughthemaids’windowortheparlourwindow,whicheverwasopen,orsqueezing tight throughthenarrowsquint.FordaysIfoughtwithher,makingsurethedoorsandwindowswereclosed,evenaskingAnnatobesurethechurchdoorstayedshut,determinedthatnothingwouldcomeinsidemyfourwallstodistractme.Stillthecatfoundaway.Intearsof frustration, I’d throwher out, thenwould lookup fromreadingtoseeherasleepinhernestofstraw. WhenFatherPeternextvisited,thecatjumpedpastmeandontotheledgeoftheparlourwindow,pokingherheadthroughthecurtain,hertailquiveringwithpleasure,orangeagainsttheblackcloth. ‘Iwon’tletthecatstay,Father.I’vetriedandtriedto…’ But,‘Hellopuss,’Iheardthroughthecurtain,andthenthehumofthecat’svictory.‘Youliketopray,doyou?Aholycat,hmmm?Ah,child,acatmightbeagift,andyoumusthavereadinyourRulethatacatispermittedinananchorhold.Theprioryhasafamilyofcatsthatgrowsgreaterinnumbereachyear.Wefeedthemscraps,theyhangaboutthemilkingpails,gobbleupthefishentrails,butmostofalltheycatchthemiceinthelarder.PriorWaltershoosthemfromthechapelbuttheyhavewaysofsneakinginundertheseats.Doesthisonehaveaname?’ HelaughedwhenItoldhimScatsuitedherbest,andshewasusedtoit.Hedoesn’tunderstand,Ithought:theleper,Eleanor,andnowScat.Whetheracatwasallowedornot,Iwantedtokeeptheworldoutofmycell.ButScathadwon.

* * *

2.

Ranaulfthoughtofthevoicebehindthecurtain:tears,anger,contrition,thesharpprickleofherquestioningmind,thedespairheturnedawayfrom.‘WhywouldSirGeoffreyagreetoanotherrecluse,aftersuchafailure?’ Peterturnedhisheadagain.‘IwonderedthatmyselfwhenIheardthestory.Butit’sPriorWalter’sdutytoobeyAbbotWulfrumandtobeastewardofGod’sprovisions;tobuildthepriorytoGod’sglory,ashesays.Soweneedanincome,andtheprior,asyouknow,canbepersuasive.Deathhoversaroundusall,butespeciallythoseofuswhoareold:me,SirGeoffrey…heknewhewasn’twell.Perhapstheurgencytopreparefordeath,tothinkofhissoul,tohavesomeonetoprayforhimeachdaywascompelling.’Hebegantowheeze. ‘Ishouldleaveyou,’Ranaulfsaid,butstayedonhisstool,theearlymorninglightkneadingsomesoftnessintothecoldair,theonlysoundsPeter’sstrainingbreathandashoutortwofromthemenworkingoutside.RanaulfhadheardofSirGeoffrey’ssternwayswhenitcametomoneyandland,butevenpowerful,wealthymen—perhapsthosemenmorethanothers—worriedaboutwhattheycouldn’tseeortouch,especiallywhendeathbegantostalkthem.Theywouldn’thesitatetolavishmoneyonapatronageifitboughtthemalittlereassuranceinmattersofthesoul.Aholywomantoprayforthem,beforeandafterdeath,wouldbeacomfort,andsomenodoubteventhoughtofitasinsurance. ‘Besides,’Peterspokeagain,‘thistimeSirGeoffreyhadlessinvolvement.Youknowallthis,ofcourse.Thecorrodymakestheanchoressentirelyourresponsibility:food,wood,spiritualcare.SirGeoffreywasstillSisterSarah’spatron,butfromadistance.Andnow,ofcourse,SirThomas.Ifanythinggoeswrong,thelandtheprioryreceivedrevertstohim.SirGeoffreynodoubt felt itwasworth it, for the sakeof his soul.Andmaybe,whocansay,hesawthepatronageofanewanchoressaspenanceforthemannerofSisterIsabella’sdeparture.’ ‘Butwasn’titherdecisiontoleave?Nocausetoblamethelord?’ ‘Herdecisionwasherown.Ihearthatshedecidedshewasunsuitedtothelife.Itwasthemanneroftheunsealingofhercell that causedconcern.Thereare stories.’Peterhesitated.‘Thevillagelovedher,butthere’stalkofanger,evenviolenceassheleft.Whoknowswhathappened.’ RanaulfstraightenedonthetinystoolandpeeredatPeter.‘Violence?Towardsananchoress?’ ‘Apparently.Talk ofwhat had happenedwaswhisperedwidelyinthevillageuntilthebishopcameandthreatened.Notexactlythreatened,ofcourse:hementionedtheshamesuchgossipwouldbringtoIsabellaandtothevillage.Wordscanbindusjustasmuchastheycanfreeus.Theywon’ttalknow,inthevillage.’ ‘Violence?’Ranaulfrepeated.‘Butwho?’ ‘NotSirGeoffrey,I’msure.’HelookedintentlyatRanaulf.‘OurMotherChurchprotectsusandherbishopskeeporder,butherangerissevere.Youmustbewiseinthis,FatherRanaulf.Walkcarefullyforthesakeofoursister…andtheyoungmaid.’

* * *ReproducedbypermissionofHarperCollinsPublishersAustraliaPtyLtd



Novels

2. Robyn Cadwallader, The Anchoress

3.

‘WhenIwasalittlebitolderthanyou,Isawajongleuratamarket,andhecouldjumpandtumbleandflythroughtheair.’Iwasstartledatmyself,atthisstoryIknew.‘IcalledhimSwallow,becauseIthoughtthat’swhathelookedlike.Iwantedtobelikehim.’ ‘Swallow,that’sagoodname.Whatelsecouldhedo?’ ‘Hecoulddanceandjuggleandbalanceswords,andhetoldstories,butthethingIlikedbestwaswhenthreemenstoodinalineandtwomenstoodontheirshoulders,andthenSwallowclimbedupontothem,asifhewasclimbingaladder.Hestoodtall,stretchedouthisarmslikethis,lookedupattheskyandjumped,flew,didasomersaultintheair.’ ‘I’dbescaredupthathigh.’ ‘Hewasn’t.Helookedlikehewasflying,likeheneverhadtocomebacktotheground,andhecouldneverfall.That’swhatIloved.’ ‘Sodidheneverfall,then?’ ‘Well,hedidonce,hetoldme,andbrokehisnose.’ ‘Likethatbirdthattriedtoflyandcouldn’t.’ Ididn’tanswer,angryatherquestionsthatmadeitseemsoordinary. Eleanorranherfingerdownafoldinthecurtain,thenpokedatittomakeitbillow,asshealwaysdid,thinking.‘EventhoughyouwantedtobelikeSwallow,theymadeyoucomeandstayhere,inthedark.That’smean.’ ‘No,I’vetoldyouIwantedtocomehere.AndIcanleave,ifIwantto.’ ‘Doyoulikethedarkbest,then?’ ItoldEleanoritwastimeforhertogo,andsatdownonthestrawbeneathmyparlourwindow,ablanketwrappedaroundme.HadIthoughtSwallowcouldneverfall?PerhapswhenIwasten,butIbegantounderstand,asIcrouchedinmycelljustwhythatleaphadmademegasp.Hedaredhimselfintheair,knowinghecouldfall;thatwaswhatIloved.IthoughtIhadcometotheanchorholddaringeverything—tolookattheground,toleapintotheair,tofacemydeathandgoonliving.ButIhadcomelikeabirdtakingfrightandhidinginitsnest,tobesafefrommyownbody.IhadgivenupSwallow’schanceofdying,andwithitthechancetofly. Ilookeddownatthestrawbeneathmyfeet,shuffleditapartuntilIsawthedirtbelow.FatherRanaulf’svoicehunginmymind:Don’t come to God and ask to be safe.Islippedoffmyshoes,curledmytoesintothesoil.

* * *

ReproducedbypermissionofHarperCollinsPublishersAustraliaPtyLtd



Novels

3. 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.

‘WhereIamisn’tlandandisn’tyours!’proclaimedCosimo[…]‘ViolantebuttheycallmeViola.’

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

pp.92and93

Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.

2.

Amongthebookshesentfor[…]andnoCosimowilleverwalkonthetreesagain.


pp.172and173




Novels

3. Italo Calvino, Baron in the Trees

3.

Shehurriedtothehouse,packedherbags[…]thistimeCosimoreallyhadgonemad.


pp.246and247




2.

“[…]Thereachesopenedbeforeusandclosedbehind,asiftheforesthadsteppedleisurelyacrossthewatertobarthewayforourreturn.Wepenetrateddeeperanddeeperintotheheartofdarkness.Itwasveryquietthere.Atnightsometimestherollofdrumsbehindthecurtainoftreeswouldrunuptheriverandremainsustainedfaintly,asifhoveringintheairhighoverourheads,tillthefirstbreakofday.Whetherthismeantwar,peace,orprayerwecouldnottell.Thedawnswereheraldedbythedescentofachillstillness;thewoodcuttersslept,theirfiresburnedlow;thesnappingofatwigwouldmakeyoustart.Wewerewanderersonaprehistoricearth,onanearththatworetheaspectofanunknownplanet.Wecouldhavefanciedourselvesthefirstofmentakingpossessionofanaccursedinheritance,tobesubduedatthecostofprofoundanguishandofexcessivetoil.Butsuddenly,aswestruggledroundabend,therewouldbeaglimpseofrushwalls,ofpeakedgrass-roofs,aburstofyells,awhirlofblacklimbs,amassofhandsclapping,offeetstamping,ofbodiesswaying,ofeyesrolling,underthedroopof heavy andmotionless foliage.The steamer toiled alongslowlyontheedgeofablackandincomprehensiblefrenzy.Theprehistoricmanwascursingus,prayingtous,welcomingus—whocouldtell?Wewerecutofffromthecomprehensionofoursurroundings;weglidedpastlikephantoms,wonderingandsecretlyappalled,assanemenwouldbebeforeanenthusiasticoutbreak inamadhouse.Wecouldnotunderstand,becausewewere too farandcouldnot remember,becauseweweretravellinginthenightoffirstages,ofthoseagesthataregone,leavinghardlyasign—andnomemories. “Theearthseemedunearthly.Weareaccustomedtolookupontheshackledformofaconqueredmonster,butthere—there you could look at a thingmonstrous and free. Itwasunearthly,andthemenwere——No,theywerenotinhuman.Well,youknow,thatwastheworstofit—thissuspicionoftheirnotbeinginhuman.Itwouldcomeslowlytoone.Theyhowled,andleaped,andspun,andmadehorridfaces;butwhatthrilledyouwasjustthethoughtoftheirhumanity—likeyours—thethoughtofyourremotekinshipwiththiswildandpassionateuproar.[…]”

* * *

1.

“[…]‘Afterall,’saidtheboiler-makerinareasonabletone,‘whyshouldn’twegettherivets?’Whynot,indeed!Ididnotknowofanyreasonwhyweshouldn’t.‘They’llcomeinthreeweeks,’Isaid,confidently. “Buttheydidn’t.Insteadofrivetstherecameaninvasion,aninfliction,avisitation.Itcameinsectionsduringthenextthreeweeks,eachsectionheadedbyadonkeycarryingawhitemaninnewclothesandtanshoes,bowingfromthatelevationrightandlefttotheimpressedpilgrims.Aquarrelsomebandoffootsoresulkyniggerstrodontheheelsofthedonkey;alotoftents,camp-stools,tinboxes,whitecases,brownbaleswouldbeshotdowninthecourtyard,andtheairofmysterywoulddeepenalittleoverthemuddleofthestation.Fivesuchinstalments came,with their absurd air of disorderlyflightwiththelootofinnumerableoutfitshopsandprovisionstores,that,onewouldthink,theywerelugging,afteraraid,intothewildernessforequitabledivision.Itwasaninextricablemessofthingsdecentinthemselvesbutthathumanfollymadelooklikethespoilsofthieving. “This devotedband called itself theEldoradoExploringExpedition,andIbelievetheyweresworntosecrecy.Theirtalk,however,wasthetalkofsordidbuccaneers:itwasrecklesswithouthardihood,greedywithoutaudacity,andcruelwithoutcourage; therewas not an atomof foresight or of seriousintentioninthewholebatchofthem,andtheydidnotseemawarethesethingsarewantedfortheworkoftheworld.Totear treasureoutof thebowelsof the landwas theirdesire,withnomoremoralpurposeatthebackofitthanthereisinburglarsbreakingintoasafe.WhopaidtheexpensesofthenobleenterpriseIdon’tknow;buttheuncleofourmanagerwasleaderofthatlot. “Inexteriorheresembledabutcherinapoorneighbourhood,andhiseyeshadalookofsleepycunning.Hecarriedhisfatpaunchwithostentationonhisshortlegs,andduringthetimehisganginfestedthestationspoketonoonebuthisnephew.Youcouldseethesetworoamingaboutalldaylongwiththeirheadsclosetogetherinaneverlastingconfab. “Ihadgivenupworryingmyself about the rivets.One’scapacityforthatkindoffollyismorelimitedthanyouwouldsuppose.IsaidHang!—andletthingsslide.Ihadplentyoftimeformeditation,andnowandthenIwouldgivesomethoughttoKurtz.Iwasn’tveryinterestedinhim.No.Still,Iwascurioustoseewhetherthisman,whohadcomeoutequippedwithmoralideasofsomesort,wouldclimbtothetopafterall,andhowhewouldsetabouthisworkwhenthere.”

* * *

Novels

4. Joseph Conrad, Heart of Darkness

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



3.

“[…]Ididn’tsaytomyself,‘NowIwillneverseehim,’or‘NowIwillnevershakehimbythehand,’but,‘NowIwillneverhearhim.’Themanpresentedhimselfasavoice.NotofcoursethatIdidnotconnecthimwithsomesortofaction.Hadn’tIbeentoldinallthetonesofjealousyandadmirationthathehadcollected,bartered,swindled,orstolenmoreivorythanalltheotheragentstogether.Thatwasnotthepoint.Thepointwasinhisbeingagiftedcreature,andthatofallhisgiftstheonethatstoodoutpre-eminently,thatcarriedwithitasenseofrealpresence,washisabilitytotalk,hiswords—thegiftofexpression,thebewildering,theilluminating,themostexaltedand themostcontemptible, thepulsatingstreamof light,orthedeceitfulflowfromtheheartofanimpenetrabledarkness. “The other shoewent flying unto the devil-god of thatriver.Ithought,ByJove!it’sallover.Wearetoolate;hehasvanished—the gift has vanished, bymeans of some spear,arrow,orclub.Iwillneverhearthatchapspeakafterall—andmysorrowhadastartlingextravaganceofemotion,evensuchasIhadnoticedinthehowlingsorrowofthesesavagesinthebush.Icouldn’thavefeltmoreoflonelydesolationsomehow,hadIbeenrobbedofabelieforhadmissedmydestinyinlife....Whydoyousighinthisbeastlyway,somebody?Absurd?Well,absurd.GoodLord!mustn’tamanever——Here,givemesometobacco.”... Therewas a pause of profound stillness, then amatchflared, andMarlow’s lean face appeared—worn, hollow,withdownwardfoldsanddroppedeyelids,withanaspectofconcentratedattention;andashetookvigorousdrawsathispipe,itseemedtoretreatandadvanceoutofthenightintheregularflickerofthetinyflame.Thematchwentout. “Absurd!”hecried.“Thisistheworstoftryingtotell...Hereyouallare,eachmooredwithtwogoodaddresses,likeahulkwithtwoanchors,abutcherroundonecorner,apolicemanroundanother,excellentappetites,andtemperaturenormal—youhear—normalfromyear’sendtoyear’send.Andyousay,Absurd!Absurdbe—exploded!Absurd!Mydearboys,whatcanyouexpectfromamanwhooutofsheernervousnesshadjustflungoverboardapairofnewshoes.NowIthinkofit,itisamazingIdidnotshedtears.Iam,uponthewhole,proudofmyfortitude.IwascuttothequickattheideaofhavinglosttheinestimableprivilegeoflisteningtothegiftedKurtz.OfcourseIwaswrong.Theprivilegewaswaitingforme.Ohyes,Iheardmorethanenough.AndIwasright,too.Avoice.Hewasverylittlemorethanavoice.AndIheard—him—it—thisvoice—othervoices—allofthemweresolittlemorethanvoices—andthememoryofthattimeitselflingersaroundme,impalpable,likeadyingvibrationofoneimmensejabber,silly,atrocious,sordid,savage,orsimplymean,withoutanykindofsense.Voices,voices—eventhegirlherself—now——” Hewassilentforalongtime. “I laid theghostofhisgiftsat lastwitha lie,”hebegansuddenly.“Girl!What?DidImentionagirl?Oh,sheisoutofit—completely.They—thewomenImean—areoutofit—shouldbeoutofit.Wemusthelpthemtostayinthatbeautifulworldoftheirown,lestoursgetsworse.[…]”

* * *

Novels

4. Joseph Conrad, Heart of Darkness



Novels

5. Elizabeth Gaskell, North and South

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

1.

MrThorntonknewthehouse.Hehadseentheadvertisement,andbeentolookatit,incompliancewitharequestofMrBell’sthathewouldassistMrHaletothebestofhispower:andalsoinstigatedbyhisowninterestinthecaseofaclergymanwhohadgivenuphislivingundercircumstancessuchasthoseofMrHale.MrThorntonhadthoughtthatthehouseinCramptonwasreallyjustthething;butnowthathesawMargaret,withhersuperbwaysofmovingandlooking,hebegantofeelashamedofhavingimaginedthatitwoulddoverywellfortheHales,inspiteofacertainvulgarityinitwhichhadstruckhimatthetimeofhislookingitover. Margaretcouldnothelpherlooks;buttheshortcurledupperlip,theround,massiveup-turnedchin,themannerofcarryingher head, hermovements, full of a soft feminine defiance,alwaysgavestrangerstheimpressionofhaughtiness.Shewastirednow,andwouldratherhaveremainedsilent,andtakentherestherfatherhadplannedforher;but,ofcourse,sheowedit toherself tobeagentlewoman,and tospeakcourteouslyfromtimetotimetothisstranger;notover-brushed,noroverpolished,itmustbeconfessed,afterhisroughencounterwithMiltonstreetsandcrowds.Shewishedthathewouldgo,ashehadoncespokenofdoing,insteadofsittingthere,answeringwithcurtsentencesalltheremarksshemade.Shehadtakenoffhershawl,andhungitoverthebackofherchair.Shesatfacinghimandfacingthelight;herfullbeautymethiseye;herroundwhiteflexilethroatrisingoutofthefull,yetlithefigure;herlips,movingsoslightlyasshespoke,notbreakingthecoldserenelookofherfacewithanyvariationfromtheonelovelyhaughtycurve;hereyes,withtheirsoftgloom,meetinghiswithquietmaidenfreedom.Healmostsaidtohimselfthathedidnotlikeher,beforetheirconversationended;hetriedsotocompensatehimselfforthemortifiedfeeling,thatwhilehelookeduponherwithanadmirationhecouldnotrepress,shelookedathimwithproudindifference,takinghim,hethought,forwhat,inhisirritation,hetoldhimselfhewas–agreatroughfellow,withnotagraceorarefinementabouthim.Herquietcoldnessofdemeanourheinterpretedintocontemptuousness,andresenteditinhishearttothepitchofalmostinclininghimtogetupandgoaway,andhavenothingmoretodowiththeseHales,andtheirsuperciliousness. Just asMargaret had exhausted her last subject ofconversation–andyetconversationthatcouldhardlybecalledwhichconsistedofsofewandsuchshortspeeches–herfathercamein,andwithhispleasantgentlemanlycourteousnessofapology,reinstatedhisnameandfamilyinMrThornton’sgoodopinion.

* * *

2.

MrsThorntonandFannywereinthedining-room;thelatterinaflutterofsmallexultation,asthemaidhelduponeglossymaterialafteranother,totrytheeffectofthewedding-dressesby candlelight.Hermother really tried to sympathizewithher,butcouldnot.Neithertastenordresswereinherlineofsubjects, and she heartilywished that Fanny had acceptedher brother’s offer of having thewedding clothes providedby somefirst-rateLondondressmaker,without the endless,troublesomediscussions,andunsettledwavering, thataroseoutofFanny’sdesire tochooseand superintendeverythingherself.MrThorntonwasonlytoogladtomarkhisgratefulapprobation of any sensibleman,who could be captivatedbyFanny’ssecond-rateairsandgraces,bygivingheramplemeansforprovidingherselfwiththefinery,whichcertainlyrivalled,ifitdidnotexceed,theloverinherestimation.WhenherbrotherandMrBellcamein,Fannyblushedandsimpered,andflutteredoverthesignsofheremployment,inawaywhichcouldnothavefailedtodrawattentionfromanyoneelsebutMrBell.Ifhethoughtaboutherandhersilksandsatinsatall,itwastocompareherandthemwiththepalesorrowhehadleftbehindhim,sittingmotionless,withbentheadandfoldedhands,inaroomwherethestillnesswassogreatthatyoumightalmostfancytherushinyourstrainingearswasoccasionedbythespiritsofthedead,yethoveringroundtheirbeloved.For,whenMrBellhadfirstgoneup-stairs,MrsShawlayasleeponthesofa;andnosoundbrokethesilence. MrsThorntongaveMrBellherformal,hospitablewelcome.Shewasneversograciousaswhenreceivingherson’sfriendsinher son’shouse; and themoreunexpected theywere themorehonourtoheradmirablehousekeepingpreparationsforcomfort. ‘HowisMissHale?’sheasked. ‘Aboutasbrokendownbythislaststrokeasshecanbe.’ ‘Iamsureitisverywellforherthatshehassuchafriendasyou.’ ‘IwishIwereheronlyfriend,madam.Idaresayitsoundsverybrutal;butherehaveIbeendisplaced,andturnedoutofmypostofcomforterandadviserbyafineladyaunt;andtherearecousinsandwhatnotclaimingherinLondon,asifshewerealap-dogbelongingtothem.Andsheistooweakandmiserabletohaveawillofherown.’ ‘Shemust indeedbeweak,’ saidMrsThornton,with animpliedmeaningwhichhersonunderstoodwell.‘Butwhere,’continuedMrsThornton, ‘have these relationsbeenall thistimethatMissHalehasappearedalmostfriendless,andhascertainlyhadagooddealofanxietytobear?’Butshedidnotfeelinterestenoughintheanswertoherquestiontowaitforit.Shelefttheroomtomakeherhouseholdarrangements. ‘Theyhavebeen livingabroad.Theyhave somekindofclaimuponher.Iwilldothemthatjustice.Theauntbroughtherup,andsheandthecousinhavebeenlikesisters.Thethingvexingme,yousee,isthatIwantedtotakeherforachildofmyown;andIamjealousofthesepeople,whodon’tseemtovaluetheprivilegeoftheirright.NowitwouldbedifferentifFrederickclaimedher.’



Novels

5. Elizabeth Gaskell, North and South

‘Frederick!’ exclaimedMrThornton. ‘Who is he?Whatright–?’Hestoppedshortinhisvehementquestion.

* * *

3.

Theparsonagewassoaltered,bothinsideandout,thattherealpainwaslessthanshehadanticipated.Itwasnotlikethesameplace.Thegarden,thegrass-plat,formerlysodaintilytrimthatevenastrayrose-leafseemedlikeafleckonitsexquisitearrangementandpropriety,wasstrewedwithchildren’sthings;abagofmarbleshere,ahoopthere;astraw-hatforceddownupon a rose-tree as on a peg, to the destruction of a longbeautifultenderbranchladenwithflowers,whichinformerdayswouldhavebeentraineduptenderly,asifbeloved.Thelittlesquaremattedhallwasequallyfilledwithsignsofmerryhealthyroughchildhood. ‘Ah!’saidMrsHepworth,‘youmustexcusethisuntidiness,MissHale.Whenthenurseryisfinished,Ishall insistuponalittleorder.Wearebuildinganurseryoutofyourroom,Ibelieve.Howdidyoumanage,MissHale,withoutanursery?’ ‘Wewerebuttwo,’saidMargaret.‘Youhavemanychildren,Ipresume?’ ‘Seven.Lookhere!wearethrowingoutawindowtotheroadonthisside.MrHepworthisspendinganimmensedealofmoneyonthishouse;butreallyitwasscarcelyhabitablewhenwecame–forsolargeafamilyasoursImean,ofcourse.’Everyroominthehousewaschanged,besidestheoneofwhich MrsHepworth spoke, which had beenMrHale’s studyformerly;andwherethegreengloomanddeliciousquietoftheplacehadconduced,ashehadsaid,toahabitofmeditation,but,perhaps,insomedegreetotheformationofacharactermorefittedforthoughtthanaction.Thenewwindowgaveaviewoftheroad,andhadmanyadvantages,asMrsHepworthpointedout. From it thewandering sheepof her husband’sflockmight be seen,who straggled to the tempting beer-house, unobserved as theymight hope, but not unobservedinreality;fortheactiveVicarkepthiseyeontheroad,evenduringthecompositionofhismostorthodoxsermons,andhadahatandstickhangingreadyathandtoseize,beforesallyingoutafterhisparishioners,whohadneedofquicklegsiftheycould take refuge in the ‘JollyForester’ before the teetotalVicarhadarrestedthem.Thewholefamilywerequick,brisk, loud-talking,kind-hearted,andnottroubledwithmuchdelicacyofperception.MargaretfearedthatMrsHepworthwouldfindoutthatMrBellwasplayinguponher,intheadmirationhethoughtfittoexpressforeverythingthatespeciallygratedonhistaste.Butno!shetookitallliterally,andwithsuchgoodfaith,thatMargaretcouldnothelpremonstratingwithhimastheywalkedslowlyawayfromtheparsonagebacktotheirinn. ‘Don’tscold,Margaret.Itwasallbecauseofyou.Ifshehadnotshownyoueverychangewithsuchevidentexultationintheirsuperiorsense,inperceivingwhatanimprovementthisandthatwouldbe,Icouldhavebehavedwell.Butifyoumustgoonpreaching,keepittillafterdinner,whenitwillsendmetosleep,andhelpmydigestion.’ Theywerebothofthemtired,andMargaretherselfsomuchso, thatshewasunwillingtogooutasshehadproposedtodo,andhaveanotherrambleamongthewoodsandfieldssoclosetothehomeofherchildhood.And,somehow,thisvisittoHelstonehadnotbeenall–hadnotbeenexactlywhatshehadexpected.

* * *



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.

“You’reupporingoverabook[…]howcouldIpickoutawomanwhowouldhatemesomuch!”

ChristinaStead,The Man Who Loved Children, TheMiegunyahPress,2011

pp.18and19


2.

Samswamuptothesurfaceoftheriver[…]IamsorrythatthekindoffatherIcanbeislimited.”

ChristinaStead,The Man Who Loved Children, TheMiegunyah,Press2011

pp.209and210




Novels

6. Christina Stead, The Man Who Loved Children

3.

“ClareandIaregoingonawalkingtrip[…]wentcheerfullybacktopokethefireunderthecopper.

ChristinaStead,The Man Who Loved Children, TheMiegunyahPress,2011

pp.470and471




2.

Rightnowthereisachainofcircumstances,ofguiltymistakesor lucky decisions,whose consequences awaitme aroundthe corner; andeven though Iknow it, although Ihave theuncomfortablecertaintythatthosethingsarehappeningandwillaffectme,thereisnowayIcananticipatethem.StrugglingagainsttheireffectsisallIcando:repairthedamage,takebestadvantageofthebenefits.Weknowit,weknowitverywell;nevertheless it’s always somewhat dreadfulwhen someonerevealstousthechainthathasturnedusintowhatweare,it’salwaysdisconcertingtodiscover,whenit’sanotherpersonwhobringsustherevelation,theslightorcompletelackofcontrolwehaveoverourownexperience. That’swhathappenedtomeoverthecourseofthatsecondafternoonatLasAcacias,thepropertyformerlyknownasVillaElena,whosenamenolongersuiteditonefinedayandhadtobeurgentlyreplaced.ThatwaswhathappenedtomeduringthatSaturdaynightwhenMayaandIweretalkingaboutthedocumentsinthewickerchest,abouteveryletterandeveryphoto,abouteverytelegramandeverybill.Theconversationtaughtmeallthatthedocumentshadn’tconfessed,orratherorganizedthecontentsofthedocuments,gaveanorderandameaningandfilledinafewofitsgaps,althoughnotallofthem,withthestoriesthatMayahadinheritedfromhermotherintheyearstheylivedtogether.Andalso,ofcourse,withthestorieshermotherhadmadeup. ‘Madeup?’Isaid. ‘Oh,yeah,’ saidMaya. ‘StartingwithDad.She inventedhimentirely,orrather,hewasaninventionofhers.Anovel,understand?Aflesh-and-blood novel, her novel. She did itbecauseofme,ofcourse,orforme.’ ‘Youmeanyoudidn’tknowthetruth?’Isaid.‘Elainedidn’ttellyou?’ ‘Shemusthavethoughtitwouldbebetterthatway.Andmaybeshewasright,Antonio.Idon’thavechildren.Ican’timaginewhatit’sliketohavechildren.Idon’tknowwhatapersonmightbecapableofdoingforthem.Myimaginationdoesn’tstretchthatfar.Haveyougotkids,Antonio?’ Maya askedme that. Itwas Sundaymorning, that dayChristians call Easter and on which they celebrate orcommemorate theResurrection of Jesus ofNazareth,whohadbeencrucifiedtwodaysbefore(moreorlessatthesametimeasIbeganmyfirstconversationwithRicardoLaverde’sdaughter)andwhofromthismomentonbegantoappeartotheliving:tohismother,totheApostlesandtocertainwomenwellchosenfortheirmerit.‘Haveyougotkids,Antonio?’

* * *

1.

Ialsolearnedthatthehippopotamushadnotescapedalone:atthetimeofhisflighthe’dbeenaccompaniedbyhismateandtheirbaby–orwhat,inthesentimentalversionofthelessscrupulousnewspapers,werehismateandtheirbaby–whosewhereaboutswere nowunknown and the search forwhomimmediatelytookonaflavourofmediatragedy,thepersecutionof innocent creaturesby aheartless system.Andononeofthosedays,while following thehunt in thepapers, I foundmyselfrememberingamanwho’dbeenoutofmythoughtsforalongwhile,inspiteofthefactthattherehadbeenatimewhennothinginterestedmeasmuchasthemysteryofhislife. During theweeks that followed, thememoryofRicardoLaverdewentfrombeingaminorcoincidence,oneofthosedirtytricksourmindsplayonus,tobecomingafaithfulanddevoted,ever-presentghost,standingbymybedwhileIslept,watchingfromafarinthedaylighthours.Onthemorningradioprogrammesandtheeveningnews,intheopinioncolumnsthateverybodyreadandontheblogsthatnobodyread,everyonewasaskingifitwasnecessarytokillthelosthippos,iftheycouldn’troundthemup,anaesthetizethemandsendthembacktoAfrica;inmyapartment,farfromthedebatebutfollowingitwithamixtureoffascinationandrepugnance,Iwasthinkingmore andmore intensely aboutRicardoLaverde, about thedayswhenwe’dknowneachother,aboutthebrevityofouracquaintance and the longevity of its consequences.WhileinthepressandontheTVscreenstheauthoritieslistedthediseases that could be spread by an artiodactyl – and theyused thatword:artiodactyl, new tome – and in the richneighbourhoodsofBogotápeopleworeT-shirtssayingSave the Hippos,inmyapartment,onlongdrizzlynights,orwalkingdown the street towards the city centre, I began to thinkstubbornlyaboutthedayRicardoLaverdedied,andeventoforcemyselftoremembertheprecisedetails.IwassurprisedbyhowlittleeffortittookmetosummonupthewordsIhadspokenorheard, thingsI’dseen,painI’dsufferedandnowovercome;Iwasalsosurprisedbythealacrityanddedicationwedevotetothedamagingexerciseofremembering,whichafterallbringsnothinggoodandservesonlytohinderournormalfunctioning,likethosebagsofsandathletestiearoundtheircalvesfortraining.BitbybitIbegantonotice,notwithoutsomeastonishment, that thedeathof thathippopotamusputanendtoanepisodeofmylifethathadbegunquiteawhileago,moreorlesslikesomeonecominghometocloseadoorcarelesslyleftopen.

* * *

Novels

7. 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.

©JuanGabrielVásquez,The Sound of Things Falling(trans.2012AnneMcLean),London,2012;MethuenDrama,animprintofBloomsburyPublishingPlc.



3.

ThecoolearlymorningfilledupwithMaya’sweeping,softandfine,andalsowiththesingingofthefirstbirds,andalsowiththesoundthatwasthemotherofallsounds,thesoundoflivesdisappearingastheypitchovertheedgeintotheabyss,thesoundmadebyFlight965andallitcontainedastheyfallintotheAndesandthatinsomeabsurdwaywasalsothesoundofLaverde’slife,tiedirremediablytothatofElenaFritts.Andmylife?Didmyownlifenotbegintothrowitselftothegroundatthisveryinstant,wasthatsoundnotthesoundofmyowndownfall,whichbegantherewithoutmyknowledge?‘Soyoufelloutofthesky,too?’theLittlePrinceasksthepilotwhotellsthestory,andIthoughtyes,I’dfallenoutoftheskytoo,buttherewasnopossibletestimonyofmyfall,therewasnoblackboxthatanybodycouldconsult,norwasthereanyblackboxofRicardoLaverde’sfall,humanlivesdon’thavethesetechnologicalluxuriestofallbackon.‘Maya,howisit thatwe’rehearingthis?’Isaid.Shelookedatmeinsilence(hereyesredandflooded,hermouthlookingdevastated).Ithoughtshehadn’tunderstoodme.‘Idon’tmean...WhatIwanttoknowishowthisrecordingcame...’Mayatookadeepbreath.‘Healwayslikedmaps,’shesaid. ‘What?’ ‘Maps,’saidMaya.‘Healwayslikedthem.’ RicardoLaverde had always likedmaps. In school healwaysdidwell(alwaysinthetopthreeofhisclass),buthedidnothingaswellashedrewmaps,thoseexercisesinwhichthestudenthadtodraw,withasoftleadedpenciloraniboradrawingpen,ontracingpaperandsometimesonwaxpaper,thegeographiesofColombia.HelikedthesuddenstraightlineoftheAmazontrapezoid,helikedthetemperedPacificcoastlikeabowwithoutanarrow,hecoulddrawfrommemorythepeninsulaofLaGuajiraandblindfoldedhecouldstickapininasketch,asothersmightpinthetailonthedonkey,withoutasecondthought,toshowtheexactlocationoftheNudodeAlmaguer.InallofRicardo’sscholastichistory,theonlycallsfromthedisciplineprefectcamewhentheyhadtodrawmaps,forRicardowouldfinishhisinhalftheallottedtimeandfortherestoftheclasshe’ddrawhisfriends’mapsinexchangefora50-centavocoin,ifitwasamapofthepoliticaladministrativedivisionofColombia,orapeso, if itwashydrographyoradistributionofthermiclevels. ‘Whyareyoutellingmethis?’Isaid.‘What’sitgottodowith?’ WhenhecamebacktoColombia,afternineteenyearsinprison,andhadtofindwork,themostlogicalthingwastolookwheretherewereplanes.Heknockedonvariousdoors:flyingclubs, aviationacademiesand found themall closed.Then,following a sort of epiphany,went to theAgustínCodazziGeographicalInstitute.Theygavehimacoupleoftests,andtwoweeks later hewas flying a twin-engineCommander690Awhosecrewwascomposedofpilot andco-pilot, twogeographers, two specialized technicians and sophisticated

Novels

7. Juan Gabriel Vásquez, The Sound of Things Falling

aero-photographyequipment.Andthat’swhathewasdoingforthelastmonthsofhislife:takingoffintheearlymorningfromElDoradoAirport, flying overColombian airspacewhile the camera in the back took23by23negatives thatwould eventually, after a long laboratory and classificationprocess,endupintheatlasesfromwhichthousandsofchildrenwouldlearnthetributariesoftheRiverCaucaandwheretheOccidentalCordillerabegins.‘Childrenlikeourchildren,’saidMaya,‘ifeitherofuseverhasanykids.’

* * *

©JuanGabrielVásquez,The Sound of Things Falling(trans.2012AnneMcLean),London,2012;MethuenDrama,animprintofBloomsburyPublishingPlc.



Novels

8. Jeanette Winterson, The Passion

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

1.

Weareonparadetoday[…]pleadingwithustoprovehimright.

JeanetteWinterson,The Passion, Vintage,1996(firstpublished1987)

pp.23–25


2.

Tokisswellonemustkisssolely[…]Iwouldkeephercarduntilsheneededit.


pp.59and60




Novels

8. Jeanette Winterson, The Passion

3.

Love,theysay,enslaves[…]thegeraniummightneverhavecometoFrance.


pp.154and155




2.

AtthispointBruiser,stickingtohisscript,shuthismouth.Helookedintothecrowdwithfeignedinnocenceonhisface.Hesearchedtheeyesfornon-believersoftheChristianfaith.Therehadtobesomeone.Where?Where?Whowasitgoingto be this time? Instead, toValance’s astonishment, peoplestartedbabbling all of their hiddenprayers, praying loudlyforGordie.AndBruiser,whosescarredfaceusuallygavehimtheimpressionofbeingadescendantfromaliens,nowlookeddifferenttoo.Valancewasatalosstounderstandwhathehaddone tohis face.Hebegan toseewhatotherswerealreadyseeing;itwaslikelookingataholyman. ‘Hushnowfolks,’Bruiserfinallyspoke,repeatinghisrequestoverandover,untilheregainedthefullattentionofthemeeting.‘Saveyourprayersforlaterfolks,wehavegotalottahardworktodoherefirst.First,weneedtogetorganisedwithputtingsomementogether,becausewearegoingtoarrestthoselittlepetrolsnifferswhodidthistoGordie,toorightweare.Whosenameswegotcomingnow?’ Theairbristled.EveryoneknewwhatBruiserwasreferringto.ItwasplaineasytoreminiscethekindofyesterdayanticsofWillPhantom:arsonist,stirrer,troublemaker,carsrunningupanddownthestreet inthemiddleofthenight.Somuchtrouble,fightsandwhathaveyou,allbecauseonepersonkepttellingtheworldhedidnotwanttheminetobebuilt.Theverybuildingtheyweresittinginfrontof,thebeautifulnewCounciloffices,hadreplacedtheonetheyallreckonedheburntdown.Someonehadtohavedoneit.Itcouldnothaveburntdownbyitself.Happilyforeveryone,thegoodneighbourminecametotherescue.Ithonoureditsword:saiditwasgoingtodonateabrand-newbuildingwhenitgotthegreenlightonNativetitleproblems.TheyhadWillPhantomtoblameforthattoo.Well!Itlookedasthoughsomethinglikethatwasstirringitsuglyheadaboutracerelationsagain. ‘Yagottanipitinthebudthistime,yahearme,yahonour?’ ‘Wearen’tgonnaputupwith thatsametrouble.Turningeveryoneinsideout.’ ‘No,’Bruiserwasthefirsttoagree.‘JustlikeIsaid.Wewilldoitdifferentlythistime,won’twe?’

* * *

1.

Withtheclockinthebag,shewaspreparingtoleaveherlittleworldofwhitepaperanddecayingfoliage,whensomethingelsecaughthereye.Firstofallshesawthebaseofthestatuewithahandwrittendate–1947.Ithadtobebrokenshethought,asshepushedtherubbishaway,butfounditwasnotevencracked,assheinspectedastatueoftheVirginMary.Thestatuelookedoldandthepaintwaschippedinplaces.AngelthoughtNormmighthavesomesparepaintshecouldusetorepaintthestatue,particularlywherethelinesofgoldandsilverhaddisappearedonthecloak.TheVirginMarywasdressedinawhite-paintedgownandbluecloak.Her righthandwas raised,offeringapermanent blessing,while her left handheldgold-colouredrosarybeads.AngelDaywasbreathless.‘Thisismine,’shewhispered,disbelievingtheluckofherordinarymorning. ‘Thisismine,’sherepeatedherclaimloudlytotheassembledseagullswaitingaroundtheoleanders.Sheknewshecouldnotleavethisbehindeither,otherwisesomeoneelsewouldgetit,andnowshehadtocarrythestatuehome,forsheknewthatwiththeVirginMaryinprideofplace,nobodywouldbeabletointerferewiththepoweroftheblessingsitwouldbestowonherhome.‘Luckwasgoingtochangeforsure,fromthismomentonwards,’shetoldtheseagulls,becauseshe,MrsAngelDay,nowownedtheluckofthewhitepeople. Notonlywouldherfamilybeabletotellthetime,andbeable to tellotherpooroutsiderpeople like themselveswhatthetimewas,buttheywouldalsobeprosperous.TheywouldbecomelikethewhitepeoplewhoprayedandsaidtheywereoftheChristianfaith.ThiswasthedifferencebetweenthepooroldPricklebushpeopleandUptown.Thiswashowwhitepeoplehadbecomerichbysavingupenoughmoney,sotheycouldlookdownonothers,bykeepingstatuesoftheirholyonesintheirhomes.Theirspiritualancestorswouldperformmiraclesiftheysawhowhardsomepeoplewereprayingallthetime,andforthiskindofdevotion,rewardthemwithmoney.Blessedwiththeprophecyofrichness,moneybefallsthem,andthatwasthereasonwhytheyownedallthebusinessesintown. The seagulls, liftingoff all over the dump, in themind-bendingsoundstheymadeseemedtobesingingahymn,Glory! Glory, Magnificat.Theatmospherewashaunting,withsteamrisingfromtheground,hoveringbirdsineverydirection,andshesimplyappearedfromnowhere,walkingoutoftheoleander.

* * *

Novels

9. Alexis Wright, Carpentaria

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

ReproducedbypermissionofGiramondoPublishing



3.

AndWillPhantomwasrighttothinkhewaslucky,leaninghisskinnybodyoutofthebuilding,barelyholdingontothedoorway,andnotcaringifhefell,becauseanysecondheknewhecouldsimplyletgo,withfullcertaintyoffallingstraightintothedestinyhehadprescribedforhimself.Hehadnotfiguredfate,whenthetopfloorunderhisfeetsuddenlymoved.Thefloorboardshadbeenshakensoviolently,hewassentflyingintothefloodwaters.Hehit thewaterhard,wentunderintothebillowingyellowwaters,whereherolledblindlyin vacuo withthedeadofthedeep,beforebeingreturnedinafrenzyofbreathlessnesstothesurface.Somewhere,inallofthatwatersweepinghimtowardsthesea,hewasabletoturntoseewhathadhappenedtohislittleoasis. Hesawnotahotelleftfarbehindbutasmallcastlefortherecreationofspirits.Thisnewrealityhadnothingtodowiththeorderofman.TherewasnotownofDesperance.Itwasgone.Amonsterfollowedhiminstead.Thehouses,theloadingport,theboatsandcars,everybitofeveryso-and-so’sthisorthat,alongwiththeremainsofthepipelinefortheorefromthemine,andeventhebargesandcargosnatchedupbythecyclonehadtravelledinland,andwerecomingback.Everybitofithadbeencrushedintoarollingmountainouswallthatnowincludedthehotelwhereonlymomentsago,WillPhantomhadbeenstanding. It was at this point he realised how history could beobliteratedwhentheGodsmovethecountry.Hesawhistoryrolled,reshaped,undoneandmauledasthegreatcreatorsofthenaturalworldengineeredthebountyofeverythingmanhadeverdoneinthispartoftheworldintosomethingmoreoftheirownmaking.Washeshocked?Buggerthehotel,hethought,itcouldgowiththerest.Thebulwarkofthespiritsrosefromthewaters,andhesawnothingmonstrousorhideousinthisnewcreationtakingshape,moving,rolling,changingappearance,andbeautyinitsstridentcrashingbackintothewater. Thesightofthedevastationwasnothingshortofsalubriousas far as he was concerned. Themacabre constructionresembled a long-helddreamof thewaterworldbelow thegroundwheretheancientspiritsofthecreationperiodrested,whileAboriginalmanwassupposedtocarefortheland.Hewrestledwiththoughtsofthefuture.Whenthewatersrecededwhatmanwouldwalktothesaltmarshtoscratchthesurface?Whatmandiggingunderthesurface,underlayersofsilt,wouldannouncethediscoveryofthedevil’spollutedpalace?Thenhisviewwasgone.

* * *

Novels

9. Alexis Wright, Carpentaria

ReproducedbypermissionofGiramondoPublishing



Plays

10. Andrew Bovell, Speaking in Tongues

Use two or more of the set passages as the basis for a discussion of Speaking in Tongues.

1.

Two bars. The city._________

Music rises… a little sexy. Latin. Two couples are dancing. pete and sonja are in one bar. leon and jane are in the other. The dancing is close… and it’s good, more than a simple shuffle. The dancing is identical. Both couples are like mirrors of the other. The lights fade on the couples dancing.Two rooms. Cheap. Spartan. Faded.sonja and jane enter. They look around the room. pete and leon follow. They look around the room. Each couple holds a stillness for a moment.pete/leon:It’snotmuch.sonja:It’swhat/Iexpected.jane:Iexpected—Idon’tknowwhatIexpected.Itmakesme

feel/cheap.sonja:Cheap.Sordid.pete/leon:Doyouwanttoleave?sonja/jane:No.sonja:Ilikeit./Doyou?jane:Doyou?leon:Wecouldgosomewhereelse.pete:I’mnotsure.jane:We’reherenow.pete:I’msorry.sonja:Why?pete:It’sjustthat/Ihaven’tdonethissortofthingbefore.leon:Ihaven’tdonethissortofthingbefore.sonja/jane:NorhaveI.

leon looks at jane.pete looks at sonja. They both look away. leon and pete each touch their heart.

leon:I’vegotthispainin/mychest.pete:Mychestispounding.sonja/jane:Areyoualright?pete/leon:Yes.sonja/jane:Areyousure?pete:Isaid/I’malright.leon:I’malright.pete:I’msorry.Ididn’tmeantosnap.jane:You’renothaving/aheartattack?sonja:AheartattackissomethingIcouldn’tcopewith/right

now.leon:RightnowIcoulddowith/adrink.pete:Adrinkwouldgodownwell.jane:Do/youwanttogoback?sonja:Youwanttogo/back?leon:Backtothebar?pete:No.jane:Yes.leon:No.pete:We’reherenow.jane:Good.pete:Whatwouldyoudo?jane:BecausenordoI.pete:IfIwashavingaheartattack?

sonja:What?leon:Good.pete:IfIwashavingaheartattack,whatwouldyoudo?sonja:I’dgethelp.pete:It’sjustthat/wehardlyknoweachother.jane:Wehardlyknoweachother.sonja:I’dhelpastranger.pete:Yes.Butitwouldmeanbeingfoundout.Therewouldbe

anambulance,perhapspolice.I’mnotsure,butyouwouldhavetoexplain.

sonja:Butifitwasamatteroflifeanddeath.jane:Ifeelalittleawkward.pete:Yes.Iwasn’tsure.ForamomentIwasn’tsure./I’msorry.leon:I’msorry.sonja/jane:Don’tbe.pete:Itwasastupidthingtoask.

An awkward silence passes between them.sonja/jane:Haveyoureallyneverdonethisbefore?pete/leon:No.jane:That’sreassuring.leon:Why?jane:Idon’tknow.sonja:Iwishyouhad.Iwishjane:Isupposesonja:Youwereanexpert.Thenatleastoneofuswouldknow

wheretostart.jane:It’sreassuringtoknowthatI’mnotoneofmany.leon:Thatyou’respecial?jane:Yes.leon:Youare.jane:Thankyou.

* * *

ReproducedbypermissionofCurrencyPress



Plays

10. Andrew Bovell, Speaking in Tongues

2.

sarah:HesaysthatIwrotetohimwhileIwasinEurope.Well,Idon’trememberthat.Therecouldhavebeenletterssentandthingssaid.Iwasaway.Iwasfeelinglonely,soIcouldhavewrittentohim.ButIdon’tremembermakinganypromises.

neil:Whydidyouwritethoseletters,Sarah?sarah:Idon’tknow…neil:WhenIre-readthemtheyremindedmeofsomethingI

hadforgotten.sarah:IthinkIhurtthisguy.neil:Yourlettersremindedmeofwhatitfeltliketobeloved.

AndIguess,Sarah,I’veheldontothat.sarah:ButIcan’tbelievehedidn’tmoveon.Imeanwe’re

bigpeoplenow,wegethurtandwemoveon.neil:BecauseI’veneverbeenlovedlikethatsince.Notinthe

waythatyoulovedme.sarah:AtleastIdo.neil:Andalthoughit’sbeenyearssinceweweretogether,I

stillholdontothat.sarah:Imean,doesthisguythinkIhaven’tbeenhurt?neil:IneverycrowdedroomthefirstthingIdoissearchthe

faceslookingforyou.EverytimeIwalkdownthestreetorwalkalongthebeachorsitintrafficonmywaytowork,Isearchthefaceslookingforyou.AndatnightIrehearsethethingsIwillsay.AndtheconversationalwaysreachesthesamepointwhereIsay

sarah:ButIdon’tknowanymore.neil:Comebackandyousaysarah:Idon’tknowwhat’srightanymore.neil:Yes.sarah:Idon’tknowwhattofeelanymore.neil:AndIwanttobefreeofit,Sarah.sarah:SoI’mgettingtheselettersfromthisguyneil:Iwanttobefreeofthatconversationsarah:Who’stellingmeaboutmylifeneil:SoIjustwanttoknowsarah:Andhisversionisjustsodifferentfromminesarah/neil:Andneil:Ijustwanttoknowsarah:Now,afteralltheseyears,hewantstoknowneil/sarah:Why.sarah:ImeanIcouldwriteandtellhimneil/sarah:Why.sarah: I couldwrite and say I’m sorry, but I never loved

you.That’sjustsomethingyouwantedtobelievein.Iwastwenty-threeyearsold.Yourtalkofloveandmarriagedidn’tmeananythingtome.Imean,that’swhyIwenttoEurope.Toget away fromyou.Toend it.Didn’t youunderstandthat?MaybeIshouldhavetoldhimallthatwhenIleft,butreally,doyouthinkhewouldhavebelievedme?EvenifIcould,evenifIhadthewords,theunderstandingtoknowwhatwashappening,doyouthinkhewouldhavebelievedme?Anyway,ittakescouragetobecruelandIdon’thavethat.Youknow,Ithinktheproblemwiththisguyisthathe’slazy.He’sjusttoolazytomoveon.Eitherthatorhejustlikespain.Imean,whatIwanttoknowis,whatIreallywanttoknow is,doeshestillhave the right to loveme?Don’t Ihaveasayinthat?

* * *

3.

valerie:[answering machine]There’sthiswomanI’mseeing,aclient.I’mnothandlingherverywell.

john:Thisisit.sarah:Igetthesensethatyoudon’tlikeme.valerie:IsitimportantthatIlikeyou?sarah:Iwouldhavethoughtthatifyouweregoingtohelp

meyouwouldneedtolikeme.valerie:Idon’tagree.IthinkIcanonlyhelpyouifIremain

asobjectiveaspossible.WhetherIlikeyouornotisquiteseparatetothat.

sarah:ButIwantyoutolikeme.valerie: [answering machine]From themoment she came

intomyofficeIthoughtIdon’tlikeyou.Idon’twantyouhereandIdon’tcareaboutthepainyou’rein.

valerie:Themost important element of the relationshipbetweentherapistandclientistrust.Notfriendship.Idon’tthinkyouknowhowtotrust,Sarah.Ithinksomethingorsomeonehasdamagedyouandthatyou’velosttheabilitytotrust.

valerie:[answering machine]What’shappeningtome,John?What’shappeningtous.Wedon’ttalkanymore.Whendidthathappen?Iremembersuchdeepconversationswithyou.

valerie:Andnowyou’vetakenrefugeinarelationshipwithamanwhocan’tgivehimselfentirelytoyou.

valerie: [answering machine] I’m scared, John… that I’mlosingyou.

valerie:Becausehehasanother.valerie:[answering machine]HaveIlostyou,John?valerie:Hiswife.leon:Doyouwanttostopforawhile?john:No.valerie:[answering machine]Haveyoustoppedlovingme,

John?john:[quietly]No.valerie:[answering machine]BecauseIfeelthatsomething

hasbeentakenfromme.sarah:Thefunnythingis,Valerie,Ithinkaboutherallthe

time.I’vebecomesocurioustoknowher,tounderstandtheholdshehasoverhim.HewantstoleavehereventhoughItellhimthat’snotnecessary,atleastnotonmyaccount.Buteverytimehesummonsthecouragetoleave,sheengineerssomecrisis,whichforceshimtostay.

* * *

ReproducedbypermissionofCurrencyPress



2.

jo:HowoldwasIwhenyourhusbandthrewyouout?helen:Change the subject.When I thinkofher fatherand

myhusbanditmakesmewonderwhyIeverbothered,itdoesreally.

jo:Hewasrich,wasn’the...helen:Hewasarat!jo:Hewasyourhusband.Whydidyoumarryhim?helen:AtthetimeIhadnothingbettertodo.Thenhedivorced

me;thatwasyourfault.jo:Iagreewithhim.IfIwasamanandmywifehadababy

thatwasn’tmineI’dslingherout.helen:Wouldyou?It’safunnythingbutIdon’tthinkIwould.

Still,whyworry?jo [reading from magazine]:ItsaysherethatSheikAhmed–an

Arabianmystic–will,freeofallcharge,drawupforyouacompleteanalysisofyourcharacteranddestiny.

helen:Let’shavealook.jo:There’shisphotograph.helen:Oh!Helookslikeadirtylittlespiv.ListenJo,don’t

botheryourheadaboutArabianmystics.There’stwow’sinyourfuture.Workorwant,andnoArabianKnightcantellyoudifferent.We’reallatthesteeringwheelofourowndestiny.Careeringalonglikedrunkendrivers.I’mgoingtogetmarried.[The news is received in silence.]Isaid,I’mgoingtogetmarried.

jo:Yes,Iheardyouthefirsttime.Whatdoyouwantmetodo,laughandthrowpennies?IsitthatPeterSmith?

helen:He’stheunluckyman.jo:You’recenturiesolderthanhim.helen:Onlytenyears.jo:Whatusecanawomanofthatagebetoanybody?helen:Iwishyouwouldn’ttalkaboutmeasifI’manimpotent,

shrivelledoldwomanwithoutaclueleftinherhead.jo:You’renotexactlyachildbride.helen:Ihavebeenoneonce,ornearenough.jo:Justimagineit,you’refortyyearsold.Ihopetobedead

andburiedbeforeIreachthatage.You’vebeenlivingforfortyyears.

helen:Yes,itmustbeabiologicalphenomena.jo:Youdon’tlookforty.Youlookasortofwell-preservedsixty.

[Music. Enter peter carrying a large bouquet and a box of chocolates and looking uncomfortable.]

helen:Ohlook,andit’sallmine!jo:Hello,Daddy.peter:Oh!Soyoutoldher.helen:Ofcourse.Comeinandsitdown.Onsecondthoughts

liedown,youlookmarvellous.

* * *

1.

jo:Drink,drink,drink,that’sallyou’refitfor.Youmakemesick.

helen:Othersmayprayfortheirdailybread,Iprayfor...jo:Isthatthebedroom?helen:Itis.Yourhealth,Jo.jo:We’resharingabedagain,Isee.helen:Ofcourse,youknowIcan’tbeartobepartedfromyou.jo:What Iwouldn’tgive fora roomofmyown!God! It’s

freezing!Isn’tthereanysortoffireanywhere,Helen?helen:Yes,there’sagas-propelledthingsomewhere.jo:Where?helen:Where?Whatwereyougiveneyesfor?Doyouwant

metocarryyouabout?Don’tstandthereshivering;havesomeofthisifyou’resocold.

jo:YouknowIdon’tlikeit.helen:Haveyoutriedit?jo:No.helen:Thengetitdownyou![She wanders around the room

searching for fire.]“Where!”shesays.Shecanneverseeanythingtillshefallsoverit.Now,where’sitgotto?IknowIsawitheresomewhere . . .oneof thoseshilling in theslotaffairs;thelandladypointeditouttomeaspartofthefurnitureandfittings.Idon’tknow.Oh!It’llturnup.What’supwithyounow?

jo:Idon’tlikethesmellofit.helen:Youdon’tsmellit,youdrinkit!Itconsolesyou.jo:Whatdoyouneedconsolingabout?helen:Life!Comeon,giveittomeifyou’vedonewithit.I’ll

soonputitinasafeplace.[Drinks.]jo:You’reknockingitbackworsethanever.helen:Oh!Well,it’sonewayofpassingtimewhileI’mwaiting

forsomethingtoturnup.AnditusuallydoesifIdrinkhardenough.OhmyGod! I’ve caught a shocking cold fromsomebody.Haveyougotacleanhanky,Jo?Mine’swringingwetwithdabbingatmynoseallday.

jo:Havethis,it’snearlyclean.Isn’tthatlightawful?Idohateto see anunshaded electric light bulbdangling from theceilinglikethat.

helen:Well,don’tlookatitthen.jo:CanIhavethatchair,Helen?I’llputmyscarfroundit. [jo takes chair from helen, stands on it and wraps her scarf

round light bulb – burning herself in the process.]helen:Wouldn’t she get onyour nerves? Justwhen Iwas

goingtotaketheweightoffmyfeetforfiveminutes.Oh!mypooroldnose.

jo:Christ!It’shot.helen:Whycan’tyouleavethingsalone?

* * *

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,A Taste of Honey,London,2016;MethuenDrama,animprintofBloomsburyPublishingPlc.



3.

helen:It’sallright,love,I’mhereandeverything’sallright.Areyouawakenow?

jo:Hello.Yes...What’sitlike?helen:What?jo:Istheremuchpain?helen:No!It’snotsomuchpainashardwork,love.Iwas

puttingmyChristmaspuddinguponashelfwhenyoustartedonme.ThereIwasstandingonachairsingingawaymerryasthedayislong...

jo:Didyouyell?helen:No,Iran.jo:Doyouknow,Ihadsuchafunnydreamjustnow.helen:OhJo,you’realwaysdreaming,aren’tyou.Well,don’t

let’stalkaboutyourdreamsorwe’llgetmorbid.jo:Wherewouldyoulikethoseflowersputting?helen:Over...overthere...Comeon,youcomeanddo

it,love.jo:Hasn’tGeofcomebackyet?helen:No,hehasn’t.jo:Well,whereareyougoingtosleep,Helen?helen:It’sallright,love.Don’tfallover,now.jo:Youknow,I’vegotsousedtooldGeoflyingthereonthat

couchlike—likeanoldwatchdog.Youaren’t...helen:It’sallright,love,don’tyouworryaboutme,I’llfind

somewhere.jo:Iwonderwhereheis...Oh!helen:OhJo,careful...Holdon,love,holdon!It’llbeall

right.Thefirstonedoesn’tlastlong.OhmyGod,Icoulddowithadrinknow.Holdon.

[jo kneels on bed, helen strokes her hair.]

jo:That’sbetter.helen:Areyouallrightnow?Thereweare.[Children sing

outside.]Canyouhearthosechildrensingingoverthereonthecroft,Jo?

jo:Yes,youcanalwayshearthemonstilldays.helen:YouknowwhenIwasyoungweusedtoplayallday

longatthistimeoftheyear;inthesummerwehadsinginggamesand in thespringweplayedwith topsandhoops,andthenintheautumntherewastheFifthofNovember,thenweusedtohavebonfiresinthestreet,andgingerbreadandallthat.HaveIevertoldyouaboutthetimewhenwewent toaplacecalledShiningClough?Oh, Imusthavedone.Iusedtoclimbupthereeverydayandsitonthetopofthehill,andyoucouldseethemillsinthedistance,butthecloughitselfwascoveredinmoss.Isn’titfunnyhowyourememberthesethings?Doyouknow,I’dsittherealldaylongandnobodyeverknewwhereIwas.ShallIgoandmakeusacupoftea?

[helen enters kitchen and fiddles with stove.]

Plays

11. Shelagh Delaney, A Taste of Honey

OhJo,I’veforgottenhowweusedtolightthisthing.jo:Turnonalltheknobs.Mindyoudon’tgasyourself.helen:Istillcan’tdoit.jo:Geof’llfixit.helen:No,it’sallright.jo:Helen.helen:Yes.jo:Mybabymaybeblack.helen:Youwhat,love?jo:Mybabywillbeblack.helen: Oh, don’t be silly, Jo.You’ll be giving yourself

nightmares.jo:Butit’strue.Hewasblack.helen:Who?jo:Jimmie.helen:Youmeantosaythat...thatsailorwasablackman?

...OhmyGod!Nothingelsecanhappentomenow.Canyouseemewheelingapramwitha.. .OhmyGod.I’llhavetohaveadrink.

* * *

©ShelaghDelaney,A Taste of Honey,London,2016;MethuenDrama,animprintofBloomsburyPublishingPlc.



2.

hippolytus […]Soyou,vilewoman,cameheretometobargainandtotrafficinthesanctityofmyfather’smarriagebed.I’llgotoarunningstreamandpouritswatersintomyeartopurgeawaythefilth.ShallIwhocannotevenhearsuchimpurity,andfeelmyselfuntouched—shallIturnwicked?Woman,knowthis.Itismypietysavesyou.Hadyounotcaughtmeoffguardandboundmylipswithanoath,byheavenIwouldnotrefrainfromtellingthistomyfather.NowIwillgoandleavethishouseuntilTheseusreturnsfromhisforeignwanderings,andI’llbesilent.ButI’llwatchyouclose.I’llwalkwithmyfatherstepbystepandseehowyoulookathim...youandyourmistressboth.Ihavetastedofthedaringofyourinfamy.I’llknowitforthefuture.Cursesonyou!I’llhateyouwomen,hateandhateandhateyou,andneverhaveenoughofhating... SomesaythatItalkofthiseternally,yes,buteternal,too,iswoman’swickedness.Eitherletsomeoneteachthemtobetemperate,orallowmetotrampleonthemforever.

(Exit Hippolytus to the side.)

phaedra [singing]

antistrophe

Bitter indeed is woman’s destiny!I have failed. What trick is there now, what cunning plea to loose the knot around my neck?I have had justice. Oh, earth and the sunlight!Where shall I escape from my fate?How shall I hide my trouble, dear friends?What God or man would appear to bear hand or part in my crime?There is a limit to all suffering and I have reached it.I am the unhappiest of women.

* * *

1.

phaedra Hearme,youwomenofTroezenwholiveinthisextremityofland,thisanteroomtoArgos.Manyatimeinnight’slongemptyspacesIhaveponderedonthecausesofalife’sshipwreck.Ithinkthatourlivesareworsethanthemind’squalitywouldwarrant.Therearemanywhoknowgoodsense.Butlook.Weknowthegood,weseeitclear.Butwecan’tbringittoachievement.Somearebetrayedbytheirownlaziness,andothersvaluesomeotherpleasureabovevirtue.Therearesomanypleasuresinthislife—longgossipingtalksandleisure,thatsweetcurse.Thenthereisshamethatthwartsus.Shameisoftwokinds.Theoneisharmless,buttheother’saplague.Forclarity’ssake,weshouldnottalkof“shame,”asinglewordfortwoquitedifferentthings.Thesethenaremyviews.Nothingcannowseducemetotheoppositeopinion.Iwilltellyouinmyowncasethetrackwhichmymindfollowed. Atfirstwhenlovehadstruckme,Ireflectedhowbesttobearit.Silencewasmyfirstplan:toconcealthatillness.ForIknewthetongueisnottobetrusted:itcancriticizeanother’sfaultythoughts,butonitsowneritbringsathousandtroubles. Next,IbelievedthatIcouldconquerlove,conqueritwithdiscretionandgoodsense.Andwhenthattoofailedme,Iresolvedtodie.Anddeathisthebestplan.Noonewilldisputethat.Iwanttohavemyvirtuesknownandhonored—notmanywitnesseswhenIdosomethingwrong!Iknowwhatisinvolved:Iknowthescandal;andalltoowellIknowthatIamawoman,objectofhatetoall.

* * *

Plays

12. Euripides, Hippolytus

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

ReproducedbypermissionoftheUniversityofChicagoPress(viaCCC-Marketplace)



3.

theseus I shall no longer hold this secret prisoner in the gates of my mouth. It is horrible, yet I will speak.Citizens!Hippolytushasdaredtorapemywife.HehasdishonoredZeus’sholysunlight.FatherPoseidon,onceyougavetomethreecurses....Nowwithoneofthese,Ipray,killmyson.Sufferhimnottoescapethisveryday,ifyouhavepromisedtruly.

chorus leader Callbackyourcurses,King,callbackyourcurses.Elseyouwillrealizethatyouwerewronganotherday,toolate.Iprayyou,trustme.

theseus Iwillnot.AndInowmakethisaddition:Ibanishhimfromthisland’sboundaries.Sofateshallstrikehim,onewayortheother,eitherPoseidonwillrespectmycurse,andsendhimdeadintothehouseofHades,orexiledfromthisland,abeggarwandering,onforeignsoil,hislifeshallsuckthedregsofsorrow’scup.

chorus leader Herecomesyourson,attherightmoment,KingTheseus.Giveoveryourdeadlyanger,youwillbestdetermineforthewelfareofyourhouse.

(Enter Hippolytus with cosmpanions from the side.)

hippolytus Iheardyoucrying,father,andcamequickly.Iknownocausewhyyoushouldmourn.Tellme.

* * *

Plays

12. Euripides, Hippolytus

ReproducedbypermissionoftheUniversityofChicagoPress(viaCCC-Marketplace)



1.

desdemona […]Iexistinbetween,now:betweenbeingkilled

[…]

woman with weakness?

ToniMorrison,Desdemona, OberonModernPlays,2012

pp.14–16


2.

desdemona Barbary!Barbary.Comecloser[…]

sa’ran […]Sing willow, willow, willow –


pp.45–47


Plays

13. Toni Morrison, Desdemona

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



3.

desdemona Yourcloakistattered.

[…]

othello […]withit;turneditinto–intospectacle.


pp.50and51


Plays

13. Toni Morrison, Desdemona



1.

Marc It’sstrangehowyou’remissingthebasic[…]Yvan He’lllaugh,youjustwait.

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

pp.9–11


2.

Marc WereyoumovedbySerge’spainting?[…]

Marc […]Fromnowon,I’monmybestbehaviour.


pp.19and20


Plays

14. Yasmina Reza, Art

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



3.

[Yvan] […]Imadeyoulaugh,oh,yes[…] (to Marc)Goon. Silence.


pp.58–60


Plays

14. Yasmina Reza, Art



Plays

15. William Shakespeare, Othello

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

1.

brabantio […]Sheisabused,stol’nfromme,andcorrupted Byspellsandmedicinesboughtofmountebanks; Fornaturesopreposterouslytoerr, Beingnotdeficient,blind,orlameofsense, Sanswitchcraftcouldnot.duke Whoe’erhebethatinthisfoulproceeding Haththusbeguiledyourdaughterofherself, Andyouofher,thebloodybookoflaw Youshallyourselfreadinthebitterletter Afteryourownsense,yea, thoughourproper

son Stoodinyouraction.brabantio HumblyIthankyourgrace. Hereistheman:thisMoor,whomnowitseems Yourspecialmandateforthestateaffairs Hathhitherbrought.all Weareverysorryfor’t.duke [To Othello]Whatinyourownpartcanyousay

tothis?brabantio Nothing,butthisisso.othello Mostpotent,grave,andreverendsigniors, Myverynobleandapprovedgoodmasters, ThatIhavetaneawaythisoldman’sdaughter, Itismosttrue;trueIhavemarriedher; Theveryheadandfrontofmyoffending Hath this extent, nomore.Rude am I inmy

speech Andlittleblessedwiththesoftphraseofpeace, Forsincethesearmsofminehadsevenyears’

pith Till nowsomeninemoonswasted, theyhave

used Theirdearestactioninthetentedfield; AndlittleofthisgreatworldcanIspeak Morethanpertainstofeatsofbroilandbattle; AndthereforelittleshallIgracemycause In speaking formyself.Yet,byyourgracious

patience, Iwillaroundunvarnishedtaledeliver Ofmywholecourseoflove:whatdrugs,what

charms, Whatconjurationandwhatmightymagic– ForsuchproceedingsIamchargedwithal– Iwonhisdaughter.brabantio Amaidenneverbold; Ofspiritsostillandquietthathermotion Blushedatherself;andshe,inspiteofnature, Ofyears,ofcountry,credit,everything, Tofallinlovewithwhatshefearedtolookon? Itisajudgementmaimedandmostimperfect Thatwillconfessperfectionsocoulderr Againstallrulesofnature,andmustbedriven Tofindoutpracticesofcunninghell Whythisshouldbe.Ithereforevouchagain Thatwithsomemixturespowerfulo’ertheblood Orwithsomedramconjuredtothiseffect Hewroughtuponher.

* * *

2.

iago ForMichaelCassio, IdarebeswornIthinkthatheishonest.othello Ithinksotoo.iago Menshouldbewhattheyseem; Or those that be not,would theymight seem

none!othello Certain,menshouldbewhattheyseem.iago Whythen,IthinkCassio’sanhonestman.othello Nay,yetthere’smoreinthis. Ipritheespeaktomeastothythinkings, As thoudost ruminate, andgive thyworst of

thoughts Theworstofwords.iago Goodmylord,pardonme; ThoughIamboundtoeveryactofduty, Iamnotboundtothatallslavesarefreeto. Uttermythoughts!Why,saytheyarevileand

false? Aswhere’sthatpalace,whereintofoulthings Sometimesintrudenot?Whohasabreastsopure, Butsomeuncleanlyapprehensions Keepleetsandlaw-days,andinsessionsit Withmeditationslawful?othello Thoudostconspireagainstthyfriend,Iago, Ifthoubutthink’sthimwronged,andmak’sthis

ear Astrangertothythoughts.iago Idobeseechyou, ThoughIperchanceamviciousinmyguess– AsIconfessitismynature’splague Tospyintoabuses,andoftmyjealousy Shapesfaults thatarenot– thatyourwisdom

then, Fromonethatsoimperfectlyconceits, Wouldtakenonotice,norbuildyourselfatrouble Outofhisscatteringandunsureobservance. Itwerenotforyourquiet,noryourgood, Norformymanhood,honesty,andwisdom, Toletyouknowmythoughts.othello Whatdostthoumean?iago Goodnameinmanandwoman,dearmylord, Istheimmediatejeweloftheirsouls. Whostealsmypurse,stealstrash;’tissomething,

nothing, ’Twasmine, ’tis his, and has been slave to

thousands: Buthethatfilchesfrommemygoodname Robsmeofthatwhichnotenricheshim Andmakesmepoorindeed.othello Byheaven,I’llknowthythoughts.iago Youcannot,ifmyheartwereinyourhand, Norshallnot,while’tisinmycustody.othello Ha!



Plays

15. William Shakespeare, Othello

iago Obeware,mylord,ofjealousy: Itisthegreen-eyedmonsterwhichdothmock Themeatitfeedson.Thatcuckoldlivesinbliss Whocertainofhisfatelovesnothiswronger; ButO,whatdamnèdminutestellsheo’er Who dotes, yet doubts, suspects, yet fondly

loves?othello Omisery!

* * *

3.

Enter othello, with a light, and desdemona in bed.

othello Itisthecause,itisthecause,mysoul: Letmenotnameittoyou,youchastestars. Itisthecause.YetI’llnotshedherblood, Norscarthatwhiterskinofhersthansnow Andsmoothasmonumentalalabaster– Yetshemustdie,elseshe’llbetraymoremen. Putoutthelight,andthenputoutthelight: IfIquenchthee,thouflamingminister, Icanagainthyformerlightrestore, ShouldIrepentme;butonceputoutthylight, Thoucunning’stpatternofexcellingnature, IknownotwhereisthatPrometheanheat Thatcanthylightrelume.WhenIhaveplucked

thyrose, Icannotgiveitvitalgrowthagain; Itneedsmustwither.I’llsmellitonthetree. He kisses her. Obalmybreath,thatdostalmostpersuade Justicetobreakhersword!Onemore,onemore! Bethuswhenthouartdead,andIwillkillthee Andlovetheeafter.Onemore,andthisthelast. Sosweetwasne’ersofatal.Imustweep. Buttheyarecrueltears:thissorrow’sheavenly– Itstrikeswhereitdothlove.Shewakes.

* * *



Plays

16. William Shakespeare, Twelfth Night

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

1.

olivia Yourlorddoesknowmymind.Icannotlovehim. YetIsupposehimvirtuous,knowhimnoble, Ofgreatestate,offreshandstainlessyouth; Invoiceswelldivulged,free,learned,andvaliant, Andindimension,andtheshapeofnature, Agraciousperson.ButyetIcannotlovehim. Hemighthavetookhisanswerlongago.viola IfIdidloveyouinmymaster’sflame, Withsuchasuff’ring,suchadeadlylife, InyourdenialIwouldfindnosense; Iwouldnotunderstandit.olivia Why,whatwouldyou?viola Makemeawillowcabinatyourgate, Andcalluponmysoulwithinthehouse; Writeloyalcantonsofcontemnèdlove, Andsingthemloudeveninthedeadofnight; Hallowyournametothereverberatehills, Andmakethebabblinggossipoftheair Cryout‘Olivia!’Oyoushouldnotrest Betweentheelementsofairandearth Butyoushouldpityme!olivia Youmightdomuch. Whatisyourparentage?viola Abovemyfortunes,yetmystateiswell: Iamagentleman.olivia Getyoutoyourlord. Icannotlovehim.Lethimsendnomore– Unless(perchance)youcometomeagain, Totellmehowhetakesit.Fareyouwell. Ithankyouforyourpains.Spendthisforme.viola Iamnofee’dpost,lady;keepyourpurse; Mymaster,notmyself,lacksrecompense. Lovemakehisheartofflintthatyoushalllove, Andletyourfervourlikemymaster’sbe Placedincontempt.Farewell,faircruelty. Exitolivia ‘Whatisyourparentage?’ ‘Abovemyfortunes,yetmystateiswell: Iamagentleman.’I’llbeswornthouart; Thytongue,thyface,thylimbs,actions,andspirit Dogivetheefive-foldblazon.Nottoofast!Soft,

soft! Unlessthemasterweretheman–Hownow? Evensoquicklymayonecatchtheplague? MethinksIfeelthisyouth’sperfections Withaninvisibleandsubtlestealth Tocreepinatmineeyes.Well,letitbe.

* * *

2.

olivia Wiltthougotobed,Malvolio?malvolio Tobed?Ay,sweetheart,andI’llcometothee.olivia Godcomfortthee!Whydostthousmilesoandkiss

thyhandsooft?maria Howdoyou,Malvolio?malvolio Atyourrequest! Yes,nightingalesanswerdaws!maria Whyappearyouwiththisridiculousboldnessbefore

mylady?malvolio ‘Benotafraidofgreatness’:’twaswellwrit.olivia Whatmean’stthoubythat,Malvolio?malvolio ‘Someareborngreat–’olivia Ha?malvolio ‘Someachievegreatness–’olivia Whatsay’stthou?malvolio ‘Andsomehavegreatnessthrustuponthem.’olivia Heavenrestorethee!malvolio ‘Remember who commended thy yellow

stockings–’olivia Thyyellowstockings?malvolio ‘Andwishedtoseetheecross-gartered.’olivia Cross-gartered?malvolio ‘Goto,thouartmade,ifthoudesir’sttobeso–’olivia AmImade?malvolio ‘Ifnot,letmeseetheeaservantstill.’olivia Why,thisisverymidsummermadness.

Enter servant

servant Madam,theyounggentlemanoftheCountOrsino’sis returned; I could hardly entreat himback.Heattendsyourladyship’spleasure.

olivia I’llcometohim.

[Exit Servant]

GoodMaria,letthisfellowbelookedto.Where’smycousinToby?Letsomeofmypeoplehaveaspecialcareofhim;Iwouldnothavehimmiscarryforthehalfofmydowry.

[Exeunt Olivia and Maria]

malvolio Oho,doyoucomenearmenow?NoworsemanthanSirTobytolooktome!Thisconcursdirectlywiththeletter:shesendshimonpurposethatImayappearstubborntohim;forsheincitesmetothatintheletter.‘Castthyhumbleslough’,saysshe;‘beoppositewithakinsman,surlywithservants,letthytonguetangwithargumentsofstate,putthyselfintothetrickofsingularity’,andconsequentlysetsdownthemannerhow:asasadface,areverendcarriage,aslowtongue,inthehabitofsomesirofnote,andsoforth.Ihavelimedher,butitisJove’sdoing,andJovemakemethankful!Andwhenshewentawaynow,‘Letthisfellowbelookedto’–‘Fellow’!Not‘Malvolio’,noraftermydegree,but‘fellow’.

* * *



Plays

16. William Shakespeare, Twelfth Night

3.

Enter olivia and Attendantsorsino Here comes the countess; nowheavenwalkson

earth. But for thee, fellow – Fellow, thywords are

madness. Threemonthsthisyouthhathtendeduponme, Butmoreofthatanon.Takehimaside.olivia Whatwouldmylord,butthathemaynothave, WhereinOliviamayseemserviceable? Cesario,youdonotkeeppromisewithme.viola Madam!orsino GraciousOlivia–olivia Whatdoyousay,Cesario?Goodmylord–viola Mylordwouldspeak;mydutyhushesme.olivia Ifitbeaughttotheoldtune,mylord, Itisasfatandfulsometomineear Ashowlingaftermusic.orsino Stillsocruel?olivia Stillsoconstant,lord.orsino What,toperverseness?Youuncivillady, Towhoseingrateandunauspiciousaltars Mysoulthefaithfull’stoff’ringshavebreathedout Thate’erdevotiontendered!WhatshallIdo?olivia Evenwhatitpleasemylordthatshallbecomehim.orsino WhyshouldInot–hadIthehearttodoit– Liketoth’Egyptianthiefatpointofdeath KillwhatIlove–asavagejealousy Thatsometimessavoursnobly?Buthearmethis. Sinceyoutonon-regardancecastmyfaith, AndthatIpartlyknowtheinstrument Thatscrewsmefrommytrueplaceinyourfavour, Liveyouthemarble-breastedtyrantstill. Butthisyourminion,whomIknowyoulove, Andwhom,byheavenIswear,Itenderdearly, HimwillItearoutofthatcrueleye Wherehesitscrownèdinhismaster’sspite. Come, boy,withme;my thoughts are ripe in

mischief. I’llsacrificethelambthatIdolove, Tospitearaven’sheartwithinadove.[Leaving]viola AndImostjocund,apt,andwillingly, Todoyourest,athousanddeathswoulddie.

[Following]olivia WheregoesCesario?viola AfterhimIlove MorethanIlovetheseeyes,morethanmylife, More,byallmores,thane’erIshalllovewife. IfIdofeign,youwitnessesabove Punishmylifefortaintingofmylove!olivia Ayme,detested!HowamIbeguiled!viola Whodoesbeguileyou?Whodoesdoyouwrong?olivia Hastthouforgotthyself?Isitsolong? Callforththeholyfather.

* * *



Plays

17. Sam Shepard, Buried Child

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

1.

halie: You’regoingtogetkickedoutofthishouse,Tilden,ifyoudon’ttellmewhereyougotthatcorn!(tilden starts crying softly to himself but keeps husking corn. Pause.)

dodge:(To halie.)Why’dyouhavetotellhimthat?Whocareswherehegotthecorn?Why’dyouhavetogoandthreatenhimwithexpulsion?

halie: (To dodge.)It’syourfault,youknow!You’retheonethat’sbehindallofthis!Isupposeyouthoughtit’dbefunny!Somejoke!Coverthehousewithcornhusks.YoubettergetthiscleanedupbeforeBradleyseesit.

dodge:Bradley’snotgettinginthefrontdoor!

halie: (Kicking husks, striding back and forth.)Bradley’sgoingtobeveryupsetwhenheseesthis.Hedoesn’tliketoseethehouseindisarray.Hecan’tstanditwhenonethingisoutofplace.Theslightestthing.Youknowhowhegets.

dodge:Bradleydoesn’tevenlivehere!

halie: It’shishomeasmuchasours.Hewasborn in thishouse!

dodge:Hewasborninahogwallow.

halie: Don’tyousaythat!Don’tyoueversaythat!

dodge:Hewasborninagoddamnhogwallow!That’swherehewasbornandthat’swherehebelongs!Hedoesn’tbelonginthishouse!(halie stops.)

halie: Idon’tknowwhat’scomeoveryou,Dodge.Idon’tknowwhatintheworld’scomeoveryou.You’vebecomeanevil,spiteful,vengefulman.Youusedtobeagoodman.

dodge:Sixofone,ahalfdozenofanother.

halie: You sit here day and night, festering away!Decomposing! Smelling up the housewith your putridbody!Hackingyourheadoff’tilallhoursofthemorning!Thinkingupmean,evil,stupidthingstosayaboutyourownfleshandblood!

dodge:He’snotmyfleshandblood!Myfleshandblood’soutthereinthebackyard!(They freeze. Long pause. The men stare at her.)

halie: (Quietly.)That’senough,Dodge.That’squiteenough.You’vebecomeconfused.I’mgoingoutnow.I’mgoingtohavelunchwithFatherDewis.I’mgoingtoaskhimaboutamonumentforAnsel.Astatue.Atleastaplaque.

* * *

2.

dodge:[…](To shelly.)Whatpartofthecountrydoyouhailfrom,girlie?

shelly:Originally?

dodge:That’sright.Originally.Attheverystart.

shelly:LA.

dodge:LA.Stupidcountry.

shelly:Ican’tstandthis,Vince!Thisisreallyunbelievable!

dodge:It’s stupid! LA is stupid! So is Florida.All thoseSunshineStates.They’re all stupid!Do you knowwhythey’restupid?

shelly:Illuminateme.

vince: Shelly.Don’t!

dodge:I’lltellyouwhy.Becausethey’refullofsmart-asses!That’swhy.(shelly turns her back to dodge, crosses to staircase and sits on bottom step. To vince.)Now she’sinsulted.

shelly:Vince?

dodge:She’sinsulted!Lookather!Inmyhouseshe’sinsulted!She’sovertheresulkingbecauseIinsultedher!

vince: Grandpa—

shelly:(To vince.)Thisisreallyterrific.Thisiswonderful.And youwereworried aboutmemaking the right firstimpression!

dodge:(To vince.)She’safireball,isn’tshe?Regularfireball.Ihadsomeatheminmyday.Temporarystuff.Neverlastedmorethanaweek.

vince: Grandpa—look—

dodge:Stop callingmeGrandpa,will ya! It’s sickening.“Grandpa.”I’mnobody’sgrandpa!Leastofallyours.

vince: Ican’tbelieveyoudon’t recognizeme. I justcan’tbelieve it. Itwasn’t that long ago. (dodge starts feeling around under the cushion for the bottle of whiskey. shelly gets up from the staircase.)

shelly:(To vince.)Maybeyou’vegotthewronghouse.Didyoueverthinkofthat?Maybethisisthewrongaddress!

vince: It’snotthewrongaddress!Irecognizetheyard.Theporch.Theelmtree.Thehouse.Iwasstandingrighthereinthishouse.Rightinthisveryspot.

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



Plays

17. Sam Shepard, Buried Child

shelly:Yeah,butdoyourecognizethepeople?Hesayshe’snotyourgrandfather.

vince: He ismygrandpa! I knowhe’smygrandpa!He’salwaysbeenmygrandpa.Healwayswill bemygrandpa!

dodge:(Digging for the bottle.)Where’sthatbottle?!

vince: He’s just sick or something. I don’t knowwhat’shappenedtohim.Delirious.

dodge:Where’smygoddamnbottle?!(dodge gets up from the sofa and starts tearing the cushions off it and throwing them downstage, looking for the whiskey.)They’vestolemybottle!

shelly:Can’twejustdriveontoNewMexico?Thisisterrible,Vince!Idon’twanttostayhere.Inthishouse.Ithoughtitwasgoingtobeturkeydinnersandapplepieandallthatkindastuff.

vince: Well,Ihatetodisappointyou!

* * *

3.

dodge:(To vince.)Goahead!Takeoverthehouse!Takeoverthewholegoddamnhouse!Youcanhaveit!It’syours!It’sbeenapainintheneckeversincetheveryfirstmortgage.I’mgonna die any secondnow.Any second.Youwon’tevennotice.SoI’llsettlemyaffairsonceandforall.(As dodge proclaims his last will and testament, vince climbs into the room, knife in his mouth, and strides slowly around the space, inspecting his inheritance. He casually notices bradley as he crawls toward his leg. vince moves to the leg and keeps pushing it with his foot so that it’s out of bradley’s reach, then goes on with his inspection. He picks up the roses and carries them around smelling them. shelly can be seen outside on the porch, moving slowly center and staring in at vince.vince ignores her.)Thehousegoestomygrandson,Vincent.That’sfairandsquare.Allthefurnishings,accoutrements,andparaphernaliatherein.Everythingtackedtothewallsorotherwiserestingunderthisroof.Mytools—namelymybandsaw,myskillsaw,mydrillpress,mychainsaw,mylathe,myelectricsander—allgotomyeldestson,Tilden.Thatis,ifheevershowsupagain.MyBennyGoodmanrecords,myharnesses,mybits,myhalters,mybrace,myroughrasp,myforge,myweldingequipment,myshoeingnails,mylevelsandbevels,mymilkingstool—no,notmymilkingstool—myhammersandchiselsandallrelatedmaterialsaretobepushedintoagiganticheapandsetablazeintheverycenterofmyfields.Whentheblazeisatitshighest,preferablyonacold,windlessnight,mybodyistobepitchedintothemiddleofitandburned’tilnothingremainsbutash.(Pause. vince takes the knife out of his mouth and smells the roses. He’s facing toward the audience and doesn’t turn around to shelly. He folds up the knife and pockets it.)

shelly:(From the porch.)I’mleaving,Vince.Whetheryoucomeornot,I’mleaving.Ican’tstayhere.

vince: (Smelling the roses.)You’llnevermakeit.You’llsee.

shelly:(Moving toward the hole in the screen.)You’renotcoming?(vince stays downstage, turns and looks at her.)

vince: Ijustinheritedahouse.I’vefinallybeenrecognized.Didn’tyouhear?

shelly:(Through the hole, from the porch.)Youwanttostayhere?

vince: (As he pushes bradley’s leg out of reach.)I’vegottacarryontheline.It’sintheblood.I’vegottaseetoitthatthingskeeprolling.(bradley looks up at him from the floor, keeps pulling himself toward his leg. vince keeps moving it.)

shelly:Whathappenedtoyou,Vince?Youjustdisappeared.

* * *

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



Plays

18. 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.

big mama:Don’tlaughaboutit![…]

[She stands before the long oval mirror, touches her breast and then her hips with her two hands.]

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

pp.20and21

2.

brick:Ineverliedtoyou,BigDaddy.

[…]

Skipper died to disavow between them.[…]]


pp.59–61



Plays

18. Tennessee Williams, Cat on a Hot Tin Roof

3.

mae:Oh,Mommy,Mommy,BigMommy![…]

gooper:[…]I’mjustappealingtoasenseofcommondecencyandfairplay.


pp.82and83



Short stories

19. Maxine Beneba Clarke, Foreign Soil

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

1.

David

Hours,hoursmustbepassing[…]wereracingmyDavid,forthefun.

MaxineBenebaClarke,Foreign Soil, Hachette,2014

pp.11–14




Short stories

19. Maxine Beneba Clarke, Foreign Soil

2.

Big Islan

ImbrotherCurtiswasalldressup[…]italwaysgwanstandfehome.


pp.183–185


3.

The Sukiyaki Book Club

Markie’sdeepinthetunenow[…]thenrunsofftowardsherclassroom.


pp.264and265




2.

Plautus: A Memoir of My Years on Earth and Last Days in Space

Soul of Tortoise

Which part of the trip was the hardest […]

ugolyok: […]Theywill come at youworse than everbefore.

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

pp.148and149


1.

Somewhere Along the Line the Pearl Would be Handed to Me

Soul of Mussel

Thenthesmelloffestyspring[…]solvedmosteverything.


pp.101and102


Short stories

20. Ceridwen Dovey, Only the Animals

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



3.

Psittacophile

Soul of Parrot

MyownerwaswatchingMarty[…]Youshouldnevertakeitlightly,lifeintheEast.


pp.242and243


Short stories

20. Ceridwen Dovey, Only the Animals



Short stories

21. 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.

How Ivan Ivanovich Quarrelled with Nikiforovich

Sweepingchangestookplace:ifaneighbour’sdogstrayedintotheyarditwasbeatenwiththefirstthingthatcametohand;childrenwhoclimbedoverthefencecamebackhowling,theirshirtslifteduptoshowwheretheyhadbeenthrashed.Eventheoldpeasantwoman,whenIvanIvanovichwantedtoaskhersomethingorother,gavesuchanobscenereplythatIvanIvanovich,beinganextremelysensitiveperson, spaton thegroundandmuttered:‘Whatafilthywoman!Worsethanhermaster!’ Finally,toaddinsulttoinjury,hishatefulneighbourhadagooseshedbuiltjustwhereheusedtoclimboverthefence,apparentlywiththespecificintentionofmakingtheinsultevenworse.ThisshedthatIvanIvanovichfoundperfectlyhideouswasbuiltwithdevilishspeed–inasingleday. AllthisfilledIvanIvanovichwithmaliceandalongingforvengeance.However,hedidnotshowanysignsofannoyance,despitethefactthattheshedactuallyencroachedonhisland.Buthisheartbegantobeatsofastthathefounditverydifficulttokeepupthisoutwardshowofcalm.Thiswashowhespenttherestoftheday. Nightcame.Oh,ifonlyIwereapainterIcouldportraytowonderfuleffectalltheenchantmentofnight!IwouldpaintthewholeofMirgorod as it slept; the countlessmotionlessstars lookingdownupon it; thealmostvisibledistance; thelovelorn sexton rushing past and climbing over the fencewith the boldness of knights of old; thewhitewalls of thehousescaughtbymoonlightbecomingevenwhiter,andtheoverhangingtreesturningevendarkerandcastingevendeepershadows;theflowersandsilentgrasssmellingmorefragrant;andthecrickets,thoserestlesscavaliersofthenight,singingtheirfriendlychirrupingsongsinunisonineverycorner. Iwouldpainttheblack-browedvillagemaidentossingaboutonherlonelybedinoneofthetinylow-roofedclaycottages,herbosomheavingasshedreamtofsomehussar’smoustacheand spurs. Iwould paint the black shadows of batsflittingalongthewhiteroadandsettlingonchimneypotsblanchedinthemoonlight.ButtopaintIvanIvanovichashewentoutthatnight,sawinhand,isbeyondmypowers.Hisfaceregisteredahundreddifferentexpressions.Quietly,quietly,hecreptupandcrawledunderthegooseshed.IvanNikiforovich’sdogshadnotyetheardaboutthequarrelsotheytreatedhimasanoldfriendandlethimgouptotheshedwhichwassupportedbyfouroakposts.Hecrawledovertothenearestoneandstartedsawing.Thenoiseproducedbythesawmadehimconstantlylookround,butthethoughtoftheinsultrestoredhiscourage. Thefirst postwas sawn through; he started on another.Hiseyesseemedtobeonfireandhewasblindedwithterror.Suddenly Ivan Ivanovichcriedout loudandwentnumballover:hethoughthehadseenaghost.Buthequicklyrecoveredwhenherealizeditwasagoosestickingitsneckoutathim.Hespatwithannoyanceandcarriedonwithhiswork.

* * *

2.

Nevsky Prospekt

NowheredopeoplebowsonoblyandnaturallyasonNevskyProspekt.Hereyouwill seeaunique smile that is theverypinnacle of art, thatwill sometimesmake youmeltwithpleasure,sometimesmakeyoubowyourheadandfeellowerthangrass,orhold ithigh,makingyou feel loftier than theAdmiraltyspire.Hereyouwillhearpeoplediscussingaconcertor theweatherwith extraordinary refinement and sense oftheir own importance.Here youwill encounter a thousandincrediblecharactersandevents.Goodheavens!WhatstrangetypesyouwillmeetonNevskyProspekt!Manyarethosewhowillnotfailtolookatyourbootsonmeetingandwhenyouhavepassedwilllookaroundtoinspectyourcoat-tails.TothisdayIcannotunderstandwhythisshouldbe.AtfirstIthoughttheywerebootmakers–butno,farfromit.Forthemostpartthey are clerks in various departments;many of them candraftamemorandumfromonedepartmenttotheotherwithconsummateskill.Ortheyaresimplepeoplewhostrollalongor read the paper in pastry shops: in otherwords, they arenormallyhighlyrespectablecitizens. Atthisblessedhour,betweentwoandthreeo’clockintheafternoon,wheneverythingonNevskyProspekt reaches itsclimax,thefinestproductsofman’sgeniusaremostgrandlydisplayed. Someonewill sport a dandyish frock-coatwiththebestbeavercollar,another–ahandsomeGreeknose,athird–superbwhiskers,afourth–apairofprettyeyesandawonderfulhat,afifth–asignetringwithseal,ostentatiouslywornonthelittlefinger,asixth–adaintyfootinanenchantingshoe,aseventh–astunningtie,aneighth–simplyastoundingmoustaches.Butonthestrokeofthreetheexhibitionisover,thecrowdbeginstothinout.Atthreeo’clockthereisafreshtransformation:springhassuddenlycometoNevskyProspekt!

* * *



Short stories

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

3.

The Carriage

The small courtyard at the general’s quarterswas packedwithdroshkiesandothercarriages.Thecompanywasmale,consisting of officers and sundry local landowners.Mosteminent among the latter was one Pifagor PifagorovichChertokutsky,oneoftheforemostaristocratsinB—province,whomadehisvoiceheardaboveallothersat theelections,turningup in avery fancycarriage.Oncehehad served inacavalryregimentandhadbeenoneofitsmostnotableandprominentofficers.Atleast,hewasseenatnumerousballsandgatheringswhereverhisregimenthappenedtobestationed:theyoungladiesofTambovandSimbirskprovincescanvouchforthat.Hemightequallyhaveacquiredfameinotherprovinceshadhenotbeenobligedtoresignhiscommissionasaresultof one of those incidents commonly called ‘an unpleasantbusiness’.Whetherhehadslappedsomeone’sfaceintheolddays,orwhethersomeonehadslappedhis,Icannotsayforcertain.Whatever the facts, hehad to resign.However, hisauthoritywasnotdiminishedonebit.Hegallivantedaroundinamilitary-style,high-waistedtail-coat,worespursonhisbootsandsportedamoustacheunderhisnose,forwithoutonethelocalgentrymightthinkthathehadservedintheinfantry,whichhesometimescontemptuouslyreferredtoas‘infantillery’and sometimes as ‘infantery’.He visited all the crowdedfairs,wheretheveryheartofRussia,consistingofmammas,daughtersandfatsquires,wouldflocktoamusethemselves,intheirbrichkas,tarantassesandsuchpreposterouscarriagesasyouwouldneverevenseeinyourdreams.Hehadapronouncedtalent forsniffingoutacavalryregiment’squarters, leapingwiththeutmostaplombfromhislightcarriageordroshky,andinnotimeatallhewouldmaketheofficers’acquaintance.Atthelastelectionhehadgivenasplendiddinnerforthegentry,atwhichheannouncedthatifonlyhewereelectedmarshalhewouldnotfailto‘setthemup’.Byandlarge,helordeditlikearealgentleman,astheysayintheprovinces,marriedaprettygirlwithadowryoftwohundredserfsandseveralthousandincash.Thesefundswereimmediatelylavishedonateamofsixtrulyexcellenthorses,giltlocksforthedoors,atamemonkeyforthehouseandaFrenchbutler.Theyounglady’stwohundredserfs,togetherwithtwohundredofhisown,weremortgagedforsomebusinesstransaction.Inbrief,hewasanexemplarylandowner,arealparagon.Apartfromhim,therewereseveralotherlandownersatthegeneral’sdinner,butthereisnothingmuchtosayaboutthem.Theremainingguestswereofficersfromthesameregiment,andtwostaffofficers:acolonelandarathercorpulentmajor.Thegeneralhimselfwasratherstoutandstocky,but,inthewordsofhisofficers,agoodcommander.Hespokeinaratherthick,portentousbass.

* * *



2.

Mylasttwoyearsattheuniversityweredifferent[…]athreattobeathimathisowngame?

SheilaFitzpatrick,My Father’s Daughter: Memories of an Australian Childhood, MelbourneUniversityPress,2010

pp.148–150


1.

Mysenseofmyselfandmyplaceintheworld[…]namelyattractivenessorsexappeal


pp.67and68


Other literature

22. 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.



3.

Re-readingthecorrespondence[…] AsifIweremyfather,anditwasmydaughterwhohaddied.


pp.230and231


Other literature

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



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.

How Candide was obliged to part from the lovely Cunégonde and from the old woman

Presently they reached port atBuenosAires.Cunégonde,CaptainCandide and the oldwomanwent to call on theGovernor,DonFernandod’IbaraayFigueorayMascarenesyLampourdosySouza.Thisgrandeehadthepridebefittingapersonwhoboresomanynames.Hespoketoeveryonewiththemostaristocraticdisdain,pointedhisnosesoloftily,projectedhisvoicesoraspingly,adoptedsosuperioratoneandaffectedsohaughtyagaitthatallwhomethimweresorelytemptedtothrashhim.Headoredwomentothepointofmania.Cunégondeseemedtohimthemostbeautifulhehadeverseen.Thefirstthing he didwas to inquirewhether shewere not perhapsCaptainCandide’swife?ThemannerwithwhichheaskedthisquestiondisturbedCandide,whodarednotsayyes, for shewasnotinfacthiswife,andwhoneitherdaredtocallherhissister,forshewasnotthateither;andalthoughthiswhiteliewasonceveryfashionableamongtheAncients,andcouldstillhaveitsusesfortheModerns,hisheartwastoopuretobetraythetruth.‘MademoiselleCunégonde,’hesaid,‘haspromisedtodomethehonourofmarryingme,andwehumblybegYourExcellencytoconducttheceremony.’ Don Fernando d’Ibaraa y Figueora yMascarenes yLampourdosySouzatwirledhismoustache,smiledsardonically,andorderedCaptainCandidetogoandreviewhiscompany.Candide obeyed, and theGovernor stayed behind in thecompanyofCunégonde.Hedeclaredhispassiontoher,andassured her that tomorrow hewouldmarry her,with theChurch’s blessingor anyone else’s, however it pleasedhercharmingperson.Cunégondeaskedhimforaquarterofanhourtocollectherself,toconsulttheoldwoman,andcometoadecision. TheoldwomansaidtoCunégonde:‘Mademoiselle,youhaveseventy-twoquarterings,andnotafarthingtoyourname;itisinyourpoweralonetobecomethewifeofthemostpowerfulnobleman in theAmericas,whomoreover has a veryfinemoustache; is this themoment foryou toprideyourselfonyourunswervingfidelity?[…]’

* * *

2.

What happened to Candide and Martin at sea

So the old scholar,whowas calledMartin, embarked forBordeauxwithCandide.Bothhad seenand sufferedmuch;andevenhadtheirshipbeenscheduledtosailfromSurinamto Japanvia theCapeofGoodHope, they could still haveoccupiedthewholevoyagediscussingmoralandphysicalevil. CandidehadonegreatadvantageoverMartin,however,forhestillhopedtoseeMademoiselleCunégondeagain,whereasMartinhadnothingtohopefor;moreover,Candidehadsomegoldanddiamonds;andalthoughhehadlostahundredlargered sheep ladenwith the greatest treasures on earth, andalthoughtheknaveryoftheDutchcaptaingnawedathisheart,nevertheless,whenhethoughtofwhatremainedinhispockets,andwhenhespokeofCunégonde,especiallyattheendofagoodmeal,hestillinclinedtowardsthesystemofPangloss. ‘Butyou,MonsieurMartin,’hesaidtothescholar,‘whatdoyoumakeofallthis?Whatisyourideaofphysicalevilandmoralevil?’– ‘Sir,’ repliedMartin, ‘thepriestsaccusedmeofbeingaSocinian;butthetruthofthematteristhatIamaManichean.’–‘Nowyouaremakingfunofme,’saidCandide,‘therearesurelynoManicheans left in theworld.’– ‘Well,here isone,’saidMartin. ‘Icannothelp it,but Icannotseethingsinanyotherway.’–‘Thenyoumusthavethedevilinyou,’saidCandide.–‘Hetakessogreatashareintheaffairsofthisworld,’saidMartin,‘thathemaywellbeapartofme,asofeverythingelse;butIassureyou,whenIlookaroundatthisglobe,orratherthisglobule,IthinkthatGodhasindeedabandoned it all to somemalign being – all except yourEldorado,ofcourse.Ihavescarcelyseenatownthatdidnotdesiretheruinofthenexttown,norafamilythatdidnotwishtoexterminatesomeotherfamily.Everywheretheweakloathethestrong,beforewhomtheycringe,andthestrongtreatthemlikesomanysheeptobesoldfortheirmeatandtheirwool.AmillionassassinsinregimentalformationrunfromoneendofEuropetotheother,murderingandpillagingunderorders,asawayofearningtheirbread,sincethereisnoprofessionmorehonourable; andeven in thosecitieswhichappear to enjoypeace,andwheretheartsflourish,menaremoredevouredbyenvy,caresandanxietythanallthetribulationsvisiteduponacitadelundersiege.Privategriefsarecruellereventhanpublicmiseries.Inshort,Ihaveseensomuch,andenduredsomuch,thatIambecomeaManichean.’ ‘Andyetthereissomegoodintheworld,’Candidewouldreply.–‘Thatmaybeso,’Martinwouldsay,‘butIhavenotexperiencedit.’ Inthemidstofthisdiscussionthesoundofcannonwasheard.Thenoisegrewlouderwitheachpassingmoment.Everyonereached for their spyglasses.Twovesselswere to be seenengagingincombatatadistanceofaboutthreemiles:thewindbroughtthembothsoclosetotheFrenchvesselthateveryonehad the pleasure ofwatching the engagement in completecomfort.Presentlyoneofthevesselsfiredabroadside,solowdownandsoaccurateastosinktheotheroutright.CandideandMartincoulddistinctlymakeoutahundredorsomenonthedeckofthesinkingvessel,allraisingtheirarmstoheavenand



Other literature

23. Voltaire, Candide, or Optimism

utteringthemostfearfulshrieks;thenextmomenteverythingwasswallowed. ‘Well, thereyouhave it,’ saidMartin. ‘That ishowmenbehavetowardseachother.’–‘Certainly,’saidCandide,‘thedevilhadahandinthisbusiness,atleast.’Ashewasspeaking,henoticedsomethingbrightredinthewater,swimmingclosetotheirship.Thelaunchwasloweredtoseewhatitmightbe.ItwasoneofCandide’ssheep.Hefeltmorejoyatrecoveringthisonesheepthantheafflictionhehadsufferedatlosingahundred,eachladenwiththefatdiamondsofEldorado. TheFrenchcaptainsoonascertainedthatthecaptainoftheshipdoingthesinkingwasaSpaniard,andthatthecaptainoftheshipbeingsunkwasaDutchpirate:theverysamewhohadrobbedCandide.Theimmenserichesseizedbythisscoundrelwereengulfedalongwithhim,andnothingsavedbutasinglesheep.‘Yousee,’saidCandidetoMartin,‘crimeissometimespunished; thatblackguardofaDutchownergot the fatehedeserved.’–‘Yes,’saidMartin,‘butdidthepassengersonboardhavetoperishtoo?Godpunishedthethief,thedevildrownedtherest.’

* * *

3.

How Candide was reunited with Cunégonde and the old woman

WhileCandide,theBaron,Pangloss,MartinandCacamboweredescribingtheiradventures,anddisputingas towhether theeventsinthisuniversearecontingentornon-contingent,andarguingabouteffectsandcauses,moralevilandphysicalevil,freewillandnecessity,nottomentiontheconsolationstobefoundaboardaTurkishgalley,theyreachedtheshoresofthePropontide,closebythehouseofthePrinceofTransylvania.ThefirstthingtheysawwasCunégondeandtheoldwoman,whowerehangingtowelsouttodryonaline. TheBaron turned pale at the sight.Candide, the tenderlover,onseeinghisbeautifulCunégondeallweather-beaten,hereyesbloodshot,herbreastssunken,hercheekslined,herarms red and chapped,was seizedwith horror; he recoiledthreepaces, thenadvancedoutof sheergoodmanners.SheembracedCandide and her brother; they embraced the oldwoman;Candideransomedthepairofthem. Therewas a small holding in the neighborhood: the oldwomansuggestedtoCandidethatheavailhimselfofitforthetimebeing,untilthefortunesoftheirwholecompanyshouldimprove.Cunégondewasunawareofhowuglyshehadbecome,no one having told her. She now remindedCandide of hispromises,andinsoperemptoryafashionthatthegoodCandidedarenottorefuseher.SoheinformedtheBaronofhisintentiontomarryhissister.‘Never,’saidtheBaron,‘willItoleratesuchbasenessonherpart,norsuchinsolenceonyours.NevershallIbereproachedwithcondoningthisinfamousunion:mysister’schildrenwouldbeunabletoshowtheirfacesintheChaptersofGermany.No,mysistershallnevermarryunlessshemarryabaronoftheEmpire.’Cunégondethrewherselfathisfeetandbathedthemwithhertears:hewasinflexible.–‘Youabsoluteass,’saidCandide.‘Ihaverescuedyoufromthegalleys;Ihavepaidforyourfreedom;Ihavepaidforyoursister’sfreedom.Shewaswashingdisheshere;sheisugly;Ihavethegoodnesstomakehermywife,andstillyoupresumetoopposeit!IwouldkillyoualloveragainwereItogivewaytomyanger!’–‘Youmaykillmealloveragain,’saidtheBaron,‘butyouwillnevermarrymysisterwhileIamliving.’

* * *



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.

1.

Haveyouanynotionofhowmanybooksarewrittenaboutwomeninthecourseofoneyear?Haveyouanynotionhowmanyarewrittenbymen?Areyouawarethatyouare,perhaps,themostdiscussedanimalintheuniverse?HerehadIcomewithanotebookandapencilproposingtospendamorningreading,supposingthatattheendofthemorningIshouldhavetransferredthetruthtomynotebook.ButIshouldneedtobeaherdof elephants, I thought, and awildernessof spiders,desperatelyreferringto theanimals thatarereputedlongestlivedandmostmultitudinouslyeyed,tocopewithallthis.Ishouldneedclawsofsteelandbeakofbrasseventopenetratethehusk.HowshallIeverfindthegrainsoftruthembeddedinallthismassofpaper?Iaskedmyself,andindespairbeganrunningmyeyeupanddownthelonglistoftitles.Eventhenamesof the booksgaveme food for thought.Sex and itsnaturemightwellattractdoctorsandbiologists;butwhatwassurprisinganddifficultofexplanationwasthefactthatsex–woman,thatistosay–alsoattractsagreeableessayists,light-fingerednovelists,youngmenwhohavetakentheM.A.degree;menwhohavetakennodegree;menwhohavenoapparentqualificationsavethattheyarenotwomen.Someofthesebookswere,onthefaceofit,frivolousandfacetious;butmany,ontheotherhand,wereseriousandprophetic,moralandhortatory.Merelytoreadthetitlessuggestedinnumerableschool-masters,innumerableclergymenmountingtheirplatformsandpulpitsandholdingforthwithloquacitywhichfarexceededthehourusuallyallottedtosuchdiscourseonthisonesubject.Itwasamoststrangephenomenon;andapparently–hereIconsultedtheletterM–oneconfinedtothemalesex.Womendonotwritebooksaboutmen–afactthatIcouldnothelpwelcomingwithrelief,forifIhadfirsttoreadallthatmenhavewrittenaboutwomen,thenallthatwomenhavewrittenaboutmen,thealoethatflowersonceinahundredyearswouldflowertwicebeforeIcouldsetpentopaper.So,makingaperfectlyarbitrarychoiceofadozenvolumesorso,Isentmyslipsofpapertolieinthewiretray,andwaitedinmystall,amongtheotherseekersfortheessentialoiloftruth.

* * *

2.

Atthismoment,assooftenhappensinLondon,therewasacompletelullandsuspensionoftraffic.Nothingcamedownthestreet;nobodypassed.Asingleleafdetacheditselffromtheplanetreeattheendofthestreet,andinthatpauseandsuspensionfell.Somehowitwaslikeasignalfalling,asignalpointing to a force in thingswhich one had overlooked. Itseemedtopointtoariver,whichflowedpast,invisibly,roundthecorner,downthestreet,andtookpeopleandeddiedthemalong,asthestreamatOxbridgehadtakentheundergraduateinhisboatandthedeadleaves.Nowitwasbringingfromonesideofthestreettotheotherdiagonallyagirlinpatentleatherboots,andthenayoungmaninamaroonovercoat;itwasalsobringingataxi-cab;anditbroughtallthreetogetheratapointdirectlybeneathmywindow;wherethetaxistopped;andthegirlandtheyoungmanstopped;andtheygotintothetaxi;andthenthecabglidedoffasifitweresweptonbythecurrentelsewhere. Thesightwasordinaryenough;whatwasstrangewastherhythmicalorderwithwhichmyimaginationhadinvestedit;andthefactthattheordinarysightoftwopeoplegettingintoacabhadthepowertocommunicatesomethingoftheirownseemingsatisfaction.Thesightoftwopeoplecomingdownthestreetandmeetingatthecornerseemstoeasethemindofsomestrain,Ithought,watchingthetaxiturnandmakeoff.Perhapstothink,asIhadbeenthinkingthesetwodays,ofonesexasdistinctfromtheotherisaneffort.Itinterfereswiththeunityofthemind.Nowthatefforthadceasedandthatunityhadbeen restoredby seeing twopeople come together andget intoa taxi-cab.Themindiscertainlyaverymysteriousorgan, I reflected, drawingmy head in from thewindow,aboutwhichnothingwhateverisknown,thoughwedependuponitsocompletely.WhydoIfeelthatthereareseverancesandoppositionsinthemind,astherearestrainsfromobviouscausesonthebody?Whatdoesonemeanby‘theunityofthemind’?Ipondered,forclearlythemindhassogreatapowerofconcentratingatanypointatanymomentthatitseemstohavenosinglestateofbeing.Itcanseparateitselffromthepeopleinthestreet,forexample,andthinkofitselfasapartfromthem,atanupperwindowlookingdownonthem.Or itcanthinkwithotherpeoplespontaneously,as,forinstance,inacrowdwaitingtohearsomepieceofnewsreadout.Itcanthinkbackthroughitsfathersorthroughitsmothers,asIhavesaidthatawomanwritingthinksbackthroughhermothers.Againifoneisawomanoneisoftensurprisedbyasuddensplittingoffofconsciousness, say inwalkingdownWhitehall,when frombeingthenaturalinheritorofthatcivilization,shebecomes,onthecontrary,outsideofit,alienandcritical.Clearlythemindisalwaysalteringitsfocus,andbringingtheworldintodifferentperspectives.Butsomeofthesestatesofmindseem,evenifadoptedspontaneously,tobelesscomfortablethanothers.Inordertokeeponeselfcontinuinginthemoneisunconsciouslyholdingsomethingback,andgraduallytherepressionbecomesaneffort.Buttheremaybesomestateofmindinwhichonecouldcontinuewithouteffortbecausenothingisrequiredtobeheldback.Andthisperhaps,Ithought,cominginfromthewindow,isoneofthem.ForcertainlywhenIsawthecouple



Other literature

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

getintothetaxi-cabthemindfeltasif,afterbeingdivided,ithadcometogetheragaininanaturalfusion.Theobviousreasonwouldbethatitisnaturalforthesexestoco-operate.Onehasaprofound,ifirrational,instinctinfavourofthetheorythattheunionofmanandwomanmakesforthegreatestsatisfaction,themostcompletehappiness.Butthesightofthetwopeoplegettingintothetaxiandthesatisfactionitgavememademealsoaskwhethertherearetwosexesinthemindcorrespondingtothetwosexesinthebody,andwhethertheyalsorequiretobeunitedinordertogetcompletesatisfactionandhappiness?

* * *

3.

ItoldyouinthecourseofthispaperthatShakespearehadasister;butdonotlookforherinSirSidneyLee’slifeofthepoet.Shediedyoung–alas,sheneverwroteaword.Sheliesburiedwheretheomnibusesnowstop,oppositetheElephantandCastle.Nowmybeliefisthatthispoetwhoneverwroteawordandwasburiedatthecross-roadsstilllives.Shelivesinyouandinme,andinmanyotherwomenwhoarenothereto-night, for theyarewashingupthedishesandputtingthechildrentobed.Butshelives;forgreatpoetsdonotdie;theyarecontinuingpresences; theyneedonly theopportunity towalk amongus in theflesh.This opportunity, as I think, itisnowcomingwithinyourpowertogiveher.Formybeliefisthatifweliveanothercenturyorso–Iamtalkingofthecommonlifewhichisthereallifeandnotofthelittleseparateliveswhichweliveasindividuals–andhavefivehundredayeareachofusandroomsofourown;ifwehavethehabitoffreedomandthecouragetowriteexactlywhatwethink;ifweescapealittlefromthecommonsitting-roomandseehumanbeingsnotalwaysintheirrelationtoeachotherbutinrelationtoreality;andthesky,too,andthetreesorwhateveritmaybeinthemselves;ifwelookpastMilton’sbogey,fornohumanbeingshouldshutouttheview;ifwefacethefact,foritisafact,thatthereisnoarmtoclingto,butthatwegoaloneandthatourrelationistotheworldofrealityandnotonlytotheworld ofmen andwomen, then the opportunitywill comeandthedeadpoetwhowasShakespeare’ssisterwillputonthebodywhichshehassooftenlaiddown.Drawingherlifefromthelivesoftheunknownwhowereherforerunners,asherbrotherdidbeforeher,shewillbeborn.Asforhercomingwithoutthatpreparation,withoutthateffortonourpart,withoutthatdeterminationthatwhensheisbornagainsheshallfinditpossibletoliveandwriteherpoetry,thatwecannotexpect,forthatwouldbeimpossible.ButImaintainthatshewouldcomeifweworkedforher,andthatsotowork,eveninpovertyandobscurity,isworthwhile.

* * *



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.

Soliloquy of the Spanish Cloister

iGr-r-r–therego,myheart’sabhorrence! Wateryourdamnedflower-pots,do!Ifhatekilledmen,BrotherLawrence, God’sblood,wouldnotminekillyou!What?yourmyrtle-bushwantstrimming? Oh,thatrosehaspriorclaims–Needsitsleadenvasefilledbrimming? Helldryyouupwithitsflames!

iiAtthemealwesittogether: Salve tibi!ImusthearWisetalkofthekindofweather, Sortofseason,timeofyear:Not a plenteous cork-crop: scarcely Dare we hope oak-galls, I doubt:What’s the Latin name for ‘parsley’? What’stheGreeknameforSwine’sSnout?

iiiWhew!We’llhaveourplatterburnished, Laidwithcareonourownshelf!Withafire-newspoonwe’refurnished, Andagobletforourself,Rinsedlikesomethingsacrificial Ere’tisfittotouchourchaps–MarkedwithL.forourinitial! (He-he!Therehislilysnaps!)

ivSaint,forsooth!WhilebrownDolores SquatsoutsidetheConventbankWithSanchicha,tellingstories, Steepingtressesinthetank,Blue-black,lustrous,thicklikehorsehairs, –Can’tIseehisdeadeyeglow,Brightas’twereaBarbarycorsair’s? (Thatis,ifhe’dletitshow!)

vWhenhefinishesrefection, KnifeandforkheneverlaysCross-wise,tomyrecollection, AsdoI,inJesu’spraise.ItheTrinityillustrate, Drinkingwateredorange-pulp–InthreesipstheArianfrustrate;

Whilehedrainshisatonegulp.

viOh,thosemelons?Ifhe’sable We’retohaveafeast!sonice!OnegoestotheAbbot’stable, Allofusgeteachaslice.Howgoonyourflowers?Nonedouble? Notonefruit-sortcanyouspy?Strange!–AndI,too,atsuchtrouble, Keepthemclose-nippedonthesly!

viiThere’sagreattextinGalatians, Onceyoutriponit,entailsTwenty-ninedistinctdamnations, Onesure,ifanotherfails:IfItriphimjusta-dying, Sureofheavenassurecanbe,Spinhimroundandsendhimflying Offtohell,aManichee?

viiiOr,myscrofulousFrenchnovel Ongreypaperwithblunttype!Simplyglanceatit,yougrovel HandandfootinBelial’sgripe:IfIdoubledownitspages Atthewoefulsixteenthprint,Whenhegathershisgreengages, Opeasieveandslipitin’t?

ixOr,there’sSatan!–onemightventure Pledgeone’ssoultohim,yetleaveSuchaflawintheindenture Ashe’dmisstill,pastretrieve,Blastedlaythatrose-acacia We’resoproudof!Hy, Zy, Hine...’St,there’sVespers!Plena gratiâ Ave, Virgo!Gr-r-r–youswine!

* * *



Poetry

25. Robert Browning, Selected Poems

2.

Fra Lippo Lippi

‘So,boy,you’reminded,’quoththegoodfatfatherWipinghisownmouth,’twasrefection-time,–‘Toquitthisverymiserableworld?Willyourenounce’...‘themouthfulofbread?’thoughtI;Bynomeans!Brief,theymadeamonkofme;Ididrenouncetheworld,itsprideandgreed,Palace,farm,villa,shopandbanking-house,Trash,suchasthesepoordevilsofMediciHavegiventheirheartsto–allateightyearsold.Well,sir,Ifoundintime,youmaybesure,’Twasnotfornothing–thegoodbellyful,Thewarmsergeandtheropethatgoesallround,Andday-longblessedidlenessbeside!‘Let’sseewhattheurchin’sfitfor’–thatcamenext.Notovermuchtheirway,Imustconfess.Suchato-do!Theytriedmewiththeirbooks:Lord,they’dhavetaughtmeLatininpurewaste!Flower o’ the clove,All the Latin I construe is, ‘amo’ I love!But,mindyou,whenaboystarvesinthestreetsEightyearstogether,asmyfortunewas,Watchingfolk’sfacestoknowwhowillflingThebitofhalf-strippedgrape-bunchhedesires,Andwhowillcurseorkickhimforhispains,–Whichgentlemanprocessionalandfine,HoldingacandletotheSacrament,WillwinkandlethimliftaplateandcatchThedroppingsofthewaxtosellagain,OrhollafortheEightandhavehimwhipped,–HowsayI?–nay,whichdogbites,whichletsdropHisbonefromtheheapofoffalinthestreet,–Why,soulandsenseofhimgrowsharpalike,Helearnsthelookofthings,andnonethelessForadmonitionfromthehunger-pinch.Ihadastoreofsuchremarks,besure,Which,afterIfoundleisure,turnedtouse.Idrewmen’sfacesonmycopy-books,Scrawledthemwithintheantiphonary’smarge,Joinedlegsandarmstothelongmusic-notes,FoundeyesandnoseandchinforA’sandB’s,AndmadeastringofpicturesoftheworldBetwixttheinsandoutsofverbandnoun,Onthewall,thebench,thedoor.Themonkslookedblack.‘Nay,’quoththePrior,‘turnhimout,d’yesay?Innowise.Loseacrowandcatchalark.Whatifatlastwegetourmanofparts,WeCarmelites,likethoseCamaldoleseAndPreachingFriars,todoourchurchupfineAndputthefrontonitthatoughttobe!’Andhereuponhebademedaubaway.

* * *

3.

Confessions

iWhatishebuzzinginmyears? ‘NowthatIcometodie,DoIviewtheworldasavaleoftears?’ Ah,reverendsir,notI!

iiWhatIviewedthereonce,whatIviewagain WherethephysicbottlesstandOnthetable’sedge,–isasuburblane, Withawalltomybedsidehand.

iiiThatlanesloped,muchasthebottlesdo, FromahouseyoucoulddescryO’erthegarden-wall:isthecurtainblue Orgreentoahealthyeye?

ivTomine,itservesfortheoldJuneweather Blueabovelaneandwall;Andthatfarthestbottlelabelled‘Ether’ Isthehouseo’ertoppingall.

vAtaterrace,somewherenearthestopper, Therewatchedforme,oneJune,Agirl:Iknow,sir,it’simproper, Mypoormind’soutoftune.

viOnly,therewasaway...youcrept Closebytheside,tododgeEyesinthehouse,twoeyesexcept: Theystyledtheirhouse‘TheLodge.’

viiWhatrighthadaloungeruptheirlane? But,bycreepingveryclose,Withthegoodwall’shelp,–theireyesmightstrain AndstretchthemselvestoOes,

viiiYetnevercatchherandmetogether, Asshelefttheattic,there,Bytherimofthebottlelabelled‘Ether,’ Andstolefromstairtostair,

ixAndstoodbytherose-wreathedgate.Alas, Weloved,sir–usedtomeet:Howsadandbadandmaditwas– Butthen,howitwassweet!

* * *



2.

Parsed into Colors

Ravi Shankar

Exile

There’snowhereelseI’drathernotbethanhere,ButhereIamnonetheless,dispossessed,Thoughnotquite,becauseIneverownedWhat’sbeentakenfromme,neverhavebelongedInandtoaplace,apeople,acommonhistory.EvenasachildwhenIwasslurredinschool—Towelhead,dotboy,cameljockey—Noneoftheabusewasprecise:onlySikhsWearturbans,widowsandyounggirlsbindis,NotonespeciesofcamelisindigenoustoIndia...If,asSimoneWeilwrites,toberootedIsthemostimportantandleastrecognizedneedOfthehumansoul,behold:Iamanepiphyte.IconjuresustenancefromthinairandthesmellOfbothcamphorandmeatloafequallyrepelme.I’vewornalungipulledbetweenmylegs,Donedesignerdrugswhilesubwoofersthrobbed,Sippedmasalachaisteamingfromatincup,DrivenaDodgeacrosstheVerrazanoinrushhour,Andalwaystosomedegreefeltextraneous,Likeameteoritehappeneduponbingonight.Thisalienfeeling,honedinalonenesstoanedge,Usesmetocarveanappropriatemaskeachmorning.I’mstillunsurewhateffectithasonmysoul.

* * *

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

Xuân Quỳnh

The Blue Flower

WerethoseblueflowersthereornotInthetrampledfieldofyourchildhood?Alazystreamflowedintothedistancefromthestillvalley.Amistroseoverthewindows.

WerethosebluedaisiesthereornotInthatlittleschoolhouse,farfromtheworld?Wasthatourdream,orwasittheflower’sTobesogentle,sodear?

Thegrasssproutsforasmallbirdintheforest.TheclearwatermurmursinafieldofreedsAndmyheartisasyoungasdawnlight,Undiminishedasyetbysorrow.AutumnscomeandgoontheoldverandasLifeisnotyetmarredbysuddenseparation.Thewholeofthetrampledfieldisbluewithflowers.Theirfragrancefillstheworld.Countrygirlswithsilkenskin,Villageboyseagerintheirtwenties.Loveeverywhere,amongpeople,flowers,grass,earth.Taketurnstotheseasonsofthefruitharvests....

WerethoseblueflowersthereornotInthosemonthsandyearsofourchildhood?WasthevalleythereornotWhenIvisitedyou?Greengrasshoppers,thetinyreddragonfliesHummedabovetheroadsofsummerwind.Thisthekingdomofourpast,

Freshandsmoothasgrassinadream....

Youmusthavebelievedthoseflowerswerethere.Andthatthevalleyofouryouthwasbluewiththem.

* * *

Poem©2002XuânQuỳnh;translation©2002NguyênBáChungandCarolynForché;firstpublished2002byCurbstonePress;allrightsreserved



Poetry


3.

Slips and Atmospherics

Marjorie Evasco

Dreamweavers

Weareentitledtoourowndefinitionsoftheworldwehaveincommon:

earth house (stay)water well (carry)fire stove (tend)air song (sigh)ether dream (die)

andtryoutnewcombinationswithkeywordsunlockingpower

houseonfire sing!stoveunderwater stay,earthfilledwell die.

Thespellsandspellingsofourvocabulariesareoracularintranslation.

OnewomaninPagnito-ananotherinSolentinamestillanotherinHarxheimnaminghalftheworldtogether

can movetheirearthmust housetheirfirebe watertotheirsongwill theirdreamswell.

* * *



2.

Letter in November

Love,theworld

[…]

Goldsbleedanddeepen,themouthsofThermopylae.

SylviaPlath,Ariel, FaberModernClassics,2015

pp.45and46


1.

Morning Song

Lovesetyougoinglikeafatgoldwatch.

[…]

Theclearvowelsriselikeballoons.


p.3


Poetry

27. Sylvia Plath, Ariel

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



3.

The Munich Mannequins

Perfectionisterrible,itcannothavechildren.

[…]

Voicelessness.Thesnowhasnovoice.


pp.69and70


Poetry

27. Sylvia Plath, Ariel



Poetry

28. 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.

In Light and Darkness

In Light and Darkness

Nothingisquitesorococo

[…]

cleartilltheendofourdays.

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

pp.62and63




Poetry

28. Chris Wallace-Crabbe, New and Selected Poems

2.

The Emotions Are Not Skilled Workers

Now That April’s Herefor Peter Steele

Wheremonotonewas,thetipsandfledgesareuncurling,

[…]

carryingtheircarnivalcoloursbrilliantlythroughmyhead.


pp.84and85


3.

Rungs of Time

Sunset Sky Near Coober Pedy

Streak,dash,fluff,apricotradiation,

[…]

themeaningofwhattheyareismerelyIS.


p.137




Poetry

29. 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.

2000 of muse, meandering and midnight

white stucco dreaming

sprinkledinthehappydarkofmymindisearlychildhoodandblackhumourwhitestuccodreamingandablacklabradoranorangeandblackpanel-vancalledthe‘blackbanana’withtwentyblackfellashangingoutthebackblastingthroughthewhitestuccoumbilicalofaworkingclasstribefrontyardsstuddedwitholdblacktyresthatbecamemutantswansovernightattackedwithacaneknifeandabadwhitepaintjob

whitestuccodreamingandsnakesthatmorphedintonylonhosesattheterrorofMum’sscornsnakeswhosecoolvenomwesprayedontothewhitestucco,temporarilyblushingitpinkamidanatmosphereofSaturdaymorninggrasscuttingsandflirtatiousmelodiesofice-creamtrucksthatechoedthroughlittleblackmindsandsentthelabradorinsane

chocolatehandprintslikedreamtimefraudlaidacrosswhitestuccoandmudcakesonthecampstovethatjustmadeDadseeblacknotreesafefromtreehousesprawlandthepolicecarsthatcrawledupanddownthebackstreets,peeringintoourwhitestuccococoonwishingtheywerewithus

* * *

2.

2000 of muse, meandering and midnight

cheap white-goods at the dreamtime sale

ifonlythealloy-wingedangelscouldperformbetterandliftUluru;asitewithgrandeurtheneolithicadditivemissingfromthatseventhwonderofthe worldexpo,underthearmsofaneongoddess,underthehammerin London,murderersturningtrusteesapossessionfromadeathestatemaybefloggedofftothesweetseductionofyentositinthehallsofaSwissbankorbeparadedaroundParis’LeftBankwherethenativesbelievethatartbreathedforthefirsttime;culture,bohemianandbareandmaybebrutalandhowthecriticsneglecttheRubenesqueroundnessofa bora-ringunfoldedtoanacademiaofartyes,thatpuresoilinfrontofyouthedealersinManhattanlaybackandvomitthey’rethegeniusbehinddotpaintingsandochrehandprintsrattlingstudiosfromtheEastSidetotheVillageandacrosstheassofdesignerjeansporcelaindollsfromSohowantingapartinitsobadasthesamescenediscardstheirshellsuponthecatwalkslikeinthelandoftheoriginalDreamingcomatosetotemslitterthelandscapebargainsandhalf-truthssimmeroverauthenticitycopyrightandcopiouscharacterassassinationonthemenusacreddancesavailableoutoftheyellowpagesandcheapwhite-goodsattheDreamtimesale!

* * *

©SamuelWaganWatson,Smoke Encrypted Whispers,UniversityofQueenslandPress,StLucia, Queensland,Australia,2014;reproducedbypermission



Poetry

29. Samuel Wagan Watson, Smoke Encrypted Whispers

3.

2001 hotel bone

hotel bone

thestreetresemblesaneckfromawaywardguitarwithHotelBonesittingidleonavein,wedgedbetweentwofrets wherethebadtunescanreachher

thesewhitestuccowalls,Iimagine,oncecarriedavisionofpearlnowagourdforasylumseekers Iraqi,Indonesian,SriLankanandonecrazyAboriginal…wholiveswithatypewriterbutnotwiththebrevityofavisaonmyhead;no,mylongevitywasguaranteedbeforeIwasborn inthe1967referendum thefreedomtopracticethevoodooofsemanticswithinthemarrowofHotelBone

existenceonly2minuteswalkfromsomeofthebestlatteloungesinthecity yet,whitefacesdon’tcomedownhereuntilthey’vebeenclassifiedunfitfordutynolongerpermitteduponthechorusline ofthecappuccinosong wheremulti-culturalismisinanairlineformatfirst-class,businessandeconomyseating

butthoseofuswhosubmittothechanceofmystery-flights enduponthetar,ofHotelBone

ahavenfromSaddam,Suharto,theTamilTigers andOneNation thisHotelBone; itishard

itisreachable

itishome

* * *

©SamuelWaganWatson,Smoke Encrypted Whispers,UniversityofQueenslandPress,StLucia, Queensland,Australia,2014;reproducedbypermission



Poetry

30. Petra White, A Hunger

Use two or more of the set passages as the basis for a discussion of the poetry of Petra White.

1.

A Hunger (New poems 2014) Thirteen Love Poems

Ode on Love

WhathehastakenofmeIdon’tevenwantback,Idon’twanttowantback.Thisnewhappinessholdsupanovelmischiefthatwaitsinthenear.Whysoindispensible?BeforeIknewhimIdidnotneedhim:ifhegoesImustreplacehim,asifIcould.Andthatcirclingbody-mashingdoubt.Howhethrowsmeintodarkandretrievesme!Andwithgazeslikelittleriffingflamesinhabitsme.

Whatdoesthebottom-mostsoulknowofthis–thatbasinofusconcernedonlywithsurvival,collectingresidualpassionandwashingclean,shiningupthatbitofusthatcaresnothing?

Heiscoastingalonghisownmidnight.Thetrappingofhisbreath,theonlyoutwardsign,Idevouritlikemeat,asifitwerehim,tenderlyandwatchfullyinalllove’screepiness.

Thatideathateveryloveristhesame,thatthere’satemplate,atype,thatwhatIorbitisanall-manmanlikelytobejustlikemyfather,manydesiresfoldedintoonebrightbouquetofobsessionthatspringsfromtheheartlikeSpring.

Loveisathing,theself’sundoingthatitbegsfor.Hetwitchesouthotshiversofloveheshiftsawayfrom,exaltsandvoidsmewith the economyof awaiter emptyingawhole tablewith

onehand.

Powertolovedrawsthelongbreathfromme.Petrarchmadethisajoy,anOtherqueeningdistance,lovenevershakenbyreality,neverwhittledbyexchange.Ifearwhateverwehavewillpufflikeathistle.Andifnot?Mutuality,mutability,lovenuancedandgrappled,hard.Thisseamofencounterscan’tpegitselfdown,itisorisn’t,itishighorlow,ascytheswingingin,orout.

Theselftriestolocatehim,anditselfinallthemovingsignifiersoflove,loverandlove,meaningandfeeling,thingthatsays,lovethisone,notanother.Ilieinbedscratchingatthenight.Absent,hisbeautyevaporates.Heflickersbeforeme,knowable-unknowable,centrallover,man-figureskatingsosweetlyattheedgeofabeauty.HowIhopeagainst.HowIwanttoknowifhe.Andlovedarestheself.Toriskwhatthereisinhopeofhavockingmoretorisk.Tryingnottotrytopurloinhimwholebutkeephimnear–totellmyheartsostupid!Thedrawbridgeclattersup.

* * *

ReproducedbypermissionofJohnLeonardPress


END OF SECTION BTURN OVER

Poetry

30. Petra White, A Hunger

2.

The Simplified World (2010)

Woman and Dog

Awomanandadogwalkedalldaybesidethenon-movingcanal.Peoplewhowalkdogsdisplacethemselves:

thedogsniffsandleads,harnessesahumansoul,spiritandfleshwillingornot.Itshuman-dogeyes

cradlethewalkableworld–ahappyplace–abrimminghere-and-yet.Thecanalneitherfollowednorlaggedbehind.

Therewasthesimplifiedworld,oneitherside,greenfieldsandredhouses.Therewasthelittlepubtheyalwaysgotto.

Solongtheytrudged,twobodiesandonesoul,somanymiles,thepawsbegantobleed.

Littleflecksofrubybloodglitteredtheblackrubberypads,asifthedogwasinkingoutallthesadnessofthewoman.

Andthewoman,beingjuststrongenough,gatheredupthedog(notasmallone)andcarrieditallthewayhome,whereverthatwas.

* * *

3.

The Incoming Tide (2007)

Southbank

9

Skilltugsatthemuscles,drivesthebones,themindkeen,thechildperfectingherscales,blockingthedin.

Thechildunderstandstheadults,ignoresthem,thinkssheisinnocent,makingherself.Shereadsthedictionary,thebible,dinnerplatesoflanguage,atschooldwarfsherselfwithlongwords.Priggish,pigeon-toed,shewalksherbookintheschoolyard,stalksblindthroughnetball.

Thethingweworkfor(rarelyworkforitsownsake)vanishes;workpersists,thentooislost:theblackholeofenergyburnsthroughhandsandminds.

Aheavensomewhere,apalmtree,abeach,achild,anapartment,thequiethumofone’spowerofbeingthatflexesarounddays,carriesfutures,sayingworld is made for me as I make it:smallenoughtogardenbyhand,largeenoughtooutscopeme,forImustnotlosesurprise:thisillusionIwithmylabourcansustain.

10

Elevatorsdim-lit,dark-polishedalldaybyawomanfromBosnia,cheerfulasSisyphus,

whogreetsyouwithasuicidalsmile,hertrolleyofrankcleaningproductsmakeshersneeze,

fillshereyeswithredwires;sheapologises,grins.Shescaleshernever-donejob,amoonwalker

trailinghercargothroughthesemi-mirroredobsidiantangleofoffices,herselfglowingbackather.

Yourideupwithher,pin-prickhalogenlights,mirroredwallsyouvanishinto,shepolishes.

* * *

ReproducedbypermissionofJohnLeonardPress


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

perspectiveofthetext,andawarenessofhowtheseviewsandvaluesrelatetothetext• expressive,fluentandcoherentuseoflanguageanddevelopmentofideas

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

END OF TASK BOOK

2019 literature written examination · 2020-04-07 · 2019 literature exam 4 section a continued...

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