Miss E BrettGreenacre

TCA LEADER OF ENGLISH

HOW TO REVISE ENGLISH

1

The LITERATURE exam details: Literature Paper 1 on 15th May

Section A No text, but provided with an extract

Write about the extract AND the whole text

Worth 30 marks (+ an extra 4 marks is awarded for correct punctuation)

Section B No text, but provided with an extract

Write about the extract AND the whole text

Worth 30 marks

Literature Paper 2 on 23rd May Section A No text and no extract

TWO questions, but answer only ONE

Write about the whole text from memory

30 marks (+ an extra 4 marks is awarded for correct punctuation)

Section B ONE of the poems you studied is printed

Analyse the printed poem and compare it to ONE you remember.

30 marks

Section C TWO unseen poems

Analyse the first poem in lots of detail (worth 24 marks)

Summarise the similarities and differences between the two poems (8 marks)

The LANGUAGE exam details:

Literature Paper 1 on 4th June Section A – Reading Fiction

Answer questions on the unseen extract: 1. List four things you learn about… (4 marks) 2. How does the writer use language to describe/present…? (8 marks) 3. How does the writer use structure to interest the reader? (8 marks) 4. Statement about the text – to what extent do you agree? (20 marks)

Section B – writing Fiction

In response to an image…

Write a story or a description (40 marks) (24 marks for content and organisation) (16 marks for spelling, punctuation and grammar)

Literature Paper 2 on 7th June Section A – reading non-fiction

Answer questions on the two unseen extracts: 1. Identify four true statements (4 marks) 2. Summarise the similarities / differences between … (8 marks) 3. Looking at one of the sources. How does the writer use language? (12 marks) 4. Compare how the writers present their viewpoints. (16 marks)

Section B – writing non-fiction

In response to a statement…

Write a piece of non-fiction (letter / news article / email / blog / speech) (40 marks) – (24 for content + 16 for technical accuracy)

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4

Creating Character Profiles: example / template …

Romeo is the protagonist in the play. He is the son of Lord and Lady Capulet.

At the beginning of the play he melancholy because he loves Rosaline but she

does not love him back. His friend, Benvolio, suggests he goes to the Capulet

party to ‘open his eyes to other beauties’. At the party, Capulet falls in love

with Juliet at first sight but then discovers she is his enemy and so sneaks into

the Capulet garden at the end of the scene and when they meet for this

second time they agree to marry. Friar Lawrence marries them the next day

but then Romeo kills Juliet’s cousin, Tybalt, and is banished from Verona. Juliet

fakes her death but Romeo thinks she is really dead and so he takes some

poison and kills himself.

Intense – Love is “too rough, too rude, too boisterous

and it pricks like thorn” (about Rosaline – Act One)

Melancholy – “Love is a smoke made with the fume of

sighs” (about Rosaline – Act One)

Romantic – “Juliet is the sun” – (Balcony Scene, Act Two)

Lustful – “O that I were a glove upon that hand, that I

might touch that cheek!” (Balcony Scene, Act Two)

Fickle – “I never saw true beauty ‘til this night” (Capulet

Party – Act One)

Impulsive – “Well, Juliet, I will lie with thee tonight.” (when he learns Juliet is dead – Act Five)

Romeo Montague

5

Creating Theme Mind Maps: example / template …

Love

Romantic

LustfulObsessive

Romeo and Juliet fall in

love at first sight.

They are devoted,

dedicated to each other.

“Juliet is the sun.”

Metaphor that exaggerates how much Romeo loves Juliet –

comparing her to the sun means that she is the centre of his

world – the sun brings us light, warmth and life, and so Juliet

brings Romeo hope for a happy and loving future.

Romeo and Juliet focus on

each other’s looks.

They kiss very

quickly, almost as

soon as they meet.

“O that I was a glove upon that

hand, that I might touch that

cheek”

Interjection ‘O’ suggests passion and this is enhanced by

him wishing to be a ‘glove’ on Juliet’s hand just so that

he may ‘touch’ her – he focuses on her physical beauty

and he desires physical contact with her.

They fall in love and marry too

quickly – within 24 hours! The

whole play is just four days.

They are always

thinking of each other

and find it difficult to

be away from each

other for any period

of time.

“O Come, gentle night, come,

loving, black-browed night. Give

me my Romeo.”

Interjection ‘O’ suggests impatience – she can’t wait to

see Romeo and he is all she thinks about, which is

reinforced by the repetition of ‘come’. She also seems

desperate to be with him as she speaks in a short

command ‘Give me…’

They swear to change

their names / give up

their families to be

with each other.

They ‘vow’ to love

each other forever.

They defy and rebel

against their parents

to be together.

Even the nurse tells

Juliet she is good at

picking men because

of Romeo’s good

looks.

Their love is too

intense that it seems

ridiculous, not real.

6

Creating Cue Cards for plays and novels: example / template…

Front of the Cue Card:

Back of the Cue Card:

CONTEXT for ‘Romeo and Juliet’

1. 16th Century was a patriarchal society – women were the property of their

fathers and then their husbands.

2. It was legal for girls to be married from the age of 12 and the marriage would

have been arranged by their fathers.

3. Male honour was very important – men were expected to be strong, brave

and have a propensity for violence. To refuse a fight/duel would bring a man shame

and dishonour.

4. Family loyalty was very important – it was expected that you would involve

yourself in the arguments and fights of your family members and defend you uncles,

cousins etc

5. Shakespeare and the British people of the 16th Century were fascinated with

Italian culture – they believed Italians knew the ‘language of love’ and they loved

Italian sonnets, which inspired the way Shakespeare writes.

QUOTE for ‘Romeo and Juliet’

In Act One, when he is depressed about Rosaline, Romeo says:

Love is “too rough, too rude, too boisterous and it pricks

like thorn”

Repetition – Romeo is intense and dramatic Simile – love is painful,

it hurts, violently. This

is the behaviour of a

typical Petrarchan

Lover

Violent verb

TASK: write a CSI paragraph explaining how Romeo is

presented in this quote and compare to the whole play.

EXTENSION: how does this link to the theme of ‘Love’?

List / Rule of three

7

Creating Cue Cards for poetry: example / template…

Front of the Cue Card:

Back of the Cue Card:

8

Exposure BY W I L F R E D O W E N Our brains ache, in the merciless iced east winds that knive us . . .

Wearied we keep awake because the night is silent . . .

Low drooping flares confuse our memory of the salient . . .

Worried by silence, sentries whisper, curious, nervous,

But nothing happens.

Watching, we hear the mad gusts tugging on the wire,

Like twitching agonies of men among its brambles.

Northward, incessantly, the flickering gunnery rumbles,

Far off, like a dull rumour of some other war.

What are we doing here?

The poignant misery of dawn begins to grow . . .

We only know war lasts, rain soaks, and clouds sag stormy.

Dawn massing in the east her melancholy army

Attacks once more in ranks on shivering ranks of grey,

But nothing happens.

Sudden successive flights of bullets streak the silence.

Less deadly than the air that shudders black with snow,

With sidelong flowing flakes that flock, pause, and renew,

We watch them wandering up and down the wind's nonchalance,

But nothing happens.

Pale flakes with fingering stealth come feeling for our faces—

We cringe in holes, back on forgotten dreams, and stare, snow-dazed,

Deep into grassier ditches. So we drowse, sun-dozed,

Littered with blossoms trickling where the blackbird fusses.

—Is it that we are dying?

Slowly our ghosts drag home: glimpsing the sunk fires, glozed

With crusted dark-red jewels; crickets jingle there;

For hours the innocent mice rejoice: the house is theirs;

Shutters and doors, all closed: on us the doors are closed,—

We turn back to our dying.

Since we believe not otherwise can kind fires burn;

Now ever suns smile true on child, or field, or fruit.

For God's invincible spring our love is made afraid;

Therefore, not loath, we lie out here; therefore were born,

For love of God seems dying.

Tonight, this frost will fasten on this mud and us,

Shrivelling many hands, and puckering foreheads crisp.

The burying-party, picks and shovels in shaking grasp,

Pause over half-known faces. All their eyes are ice,

But nothing happens.

WHO: Wilfred Owen wrote about

his experiences of war

WHEN: World War One

WHERE: front line / trenches

WHAT: waiting for action, men are

dying from the extreme weather.

WHY: expose the horrors of war

and show how nature is more

powerful than man.

Personification

and violent

verbs

Repetition and conjunction ‘but’

Sibilance and superlatives

Personification and fricatives

Metaphor and imagery of death.

TASKS:

1. Annotate the highlight lines

and explain how the writer’s

methods expose the horrors

of war and/or show how

powerful nature is.

2. Turn these 5 lines of the

poem into cue cards – learn

them!

3. Practice comparing this poem

to other poems in the

anthology.

9

Kamikaze by Beatrice Garland

Her father embarked at sunrise

with a flask of water, a samurai sword

in the cockpit, a shaven head

full of powerful incantations

and enough fuel for a one-way

journey into history

but half way there, she thought,

recounting it later to her children,

he must have looked far down

at the little fishing boats

strung out like bunting

on a green-blue translucent sea

and beneath them, arcing in swathes

like a huge flag waved first one way

then the other in a figure of eight,

the dark shoals of fishes

flashing silver as their bellies

swivelled towards the sun

and remembered how he

and his brothers waiting on the shore

built cairns of pearl-grey pebbles

to see whose withstood longest

the turbulent inrush of breakers

bringing their father’s boat safe

– yes, grandfather’s boat – safe

to the shore, salt-sodden, awash

with cloud-marked mackerel,

black crabs, feathery prawns,

the loose silver of whitebait and once

a tuna, the dark prince, muscular, dangerous.

And though he came back

my mother never spoke again

in his presence, nor did she meet his eyes

and the neighbours too, they treated him

as though he no longer existed,

only we children still chattered and laughed

till gradually we too learned

to be silent, to live as though

he had never returned, that this

was no longer the father we loved.

And sometimes, she said, he must have wondered

which had been the better way to die.

WHO: poet works for NHS and tells

other people’s stories in her poetry

WHEN: World War One

WHERE: Japan

WHAT: Kamikaze pilot turns back

from his mission and goes home.

He is shunned by family and

society for the rest of his life.

WHY: internal conflict, horror of

war, power of nature.

List of objects and

references to Japanese

culture and tradition.

Simile and image of

beauty and fun.

Image of beauty and

preciousness

Simile and hyperbole

Poignant

statement.

TASKS:

1. Annotate the

highlight lines and

explain how the

writer’s methods

show his internal

conflict, the horrors

of war and the

power of nature.

2. Turn these 5 lines of

the poem into cue

cards – learn them!

3. Practice comparing

this poem to other

poems in the

anthology.

10

UNSEEN POETRY PRACTICE

My Grandmother

She kept an antique shop – or it kept her.

Among Apostle spoons and Bristol glass,

The faded silks, the heavy furniture,

She watched her own reflection in the brass

Salvers and silver bowls, as if to prove

Polish was all, there was no need of love.

And I remember how I once refused

To go out with her, since I was afraid.

It was perhaps a wish not to be used

Like antique objects. Though she never said

That she was hurt, I still could feel the guilt

Of that refusal, guessing how she felt.

Later, too frail to keep a shop, she put

All her best things in one long narrow room.

The place smelt old, of things too long kept shut.

The smell of absences where shadows come

That can’t be polished. There was nothing then

To give her own reflection back again.

And when she died I felt no grief at all,

Only the guilt of what I once refused.

I walked into her room among the tall

Sideboards and cupboards – things she never used

But needed: and no finger-marks were there,

Only the new dust falling through the air.

Elizabeth Jennings

Q: In ‘Ninetieth Birthday’, how does the poet present old

age and people’s attitude towards it? (24 marks)

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Ninetieth Birthday

You go up the long track

That will take a car, but is best walked

On slow foot, noting the lichen

That writes history on the page

Of the grey rock. Trees are about you

At first, but yield to the green bracken,

The nightjar’s house: you can hear it spin

On warm evenings; it is still now

In the noonday heat, only the lesser

Voices sound, blue-fly and gnat

And the stream’s whisper. As the road climbs,

You will pause for breath and the far sea’s

Signal will flash, till you turn again

To the steep track, buttressed with cloud.

And there at the top that old woman,

Born almost a century back

In that stone farm, awaits your coming;

Waits for the news of the lost village

She thinks she knows, a place that exists

In her memory only.

You bring her greeting

And praise for having lasted so long

With time’s knife shaving the bone.

Yet no bridge joins her own

World with yours, all you can do

Is lean kindly across the abyss

To hear words that were once wise.

R.S. Thomas (1913-2000)

Q: ‘Ninetieth Birthday’ and ‘My Grandmother’ both explore relationships between young people and the elderly. Compare the ways these

relationships are presented in the two poems. (8 marks)

12

Q: In ‘Piccadilly Line’, how does the poet present the

young? (24 marks)

Piccadilly Line Girls dressed for dancing, board the tube at Earl’s Court, flutter, settle. Chattering, excited by a vision

of glitter, their fragile bodies

carry invisible antennae, missing nothing. Faces velvet with bright camouflage, they’re unsung stars – so young

it’s thrilling just to be away from home.

One shrieks, points, springs away. She’s seen a moth

caught up in the blonde strands

of her companion’s hair, a moth, marked

with all the shallow colours of blonde. The friend’s not scared; gently she shakes her head, tumbles it, dead, into her hands.

At Piccadilly Circus they take flight, skimming the escalators, brushing past the collector, up to the lure of the light. Carole Satyamurti

13

Q: In both ‘Piccadilly Line’ and ‘The Letter’, the speakers describe feelings about youth and the passing of time. What are

the similarities and/or differences between the way the poets present those feelings? (8 marks)

The Letter From Gwyneth Benbow

I live her memory as if it were my own: a path through woods and four girls racing dow

- Gwyneth, Elen, Ceinwen, Vi – three sisters and a friend whose letter out of the blue brought scent and sound

of a long ago spring day between the wars:

a river rippling of stones, laughter of girls, skelter of skirts into the kitchen at Nant Mill. Two older sisters set the great elm table, loaves cool on a rack, churned butter gleams, five handsome brothers tramp in from the fields.

All over the world a child’s still running home

through grim street, grimy ginner, field or slum. Inside the old ones, ending their century, the child who was, alive in memory, and who they were, lover, mother, hero.

Some lose themselves and us before they go. Some live as if they had all the time in the world

to brave out frailty and pain, still panning for gold.

14

Practice Questions for ‘Romeo and Juliet’

1) Discuss the character of Romeo and his infatuation with Rosaline. Does this weaken the

credibility of the love he feels for Juliet?

2) Friar Laurence serves many dramatic purposes in the play. Examine the Friar and his role

in Romeo and Juliet.

3) Mercutio is considered to be one of Shakespeare's great creations, yet he is killed relatively

early in the play. What makes Mercutio so memorable a character?

4) Examine the role of women in Romeo and Juliet.

5) Romeo and Juliet are referred to as "star-cross'd lovers". Discuss the concept of

predetermined destiny and how it relates to the play.

6) Discuss Juliet's soliloquy that opens Act 3, Scene 2, paying particular attention to its poetic

merits and relevance to the overall play.

7) Many references are made to time in the play. Discuss the passage of time throughout Romeo

and Juliet.

8) What sets Romeo and Juliet apart from Shakespeare's other great tragedies? In particular,

what differentiates the young lovers from other Shakespearean heroes like Othello, Macbeth,

and Hamlet?

9) Mercutio gives a wonderful monologue on Queen Mab in Act 1, Scene 4. Examine this passage

and discuss its literary qualities. Of what significance is Mercutio's speech to the overall play?

10) Juliet's suitor Paris is compared throughout the play to Romeo. Examine carefully the

similarities and differences between the two young men who love Juliet.

11) How does the suicidal impulse that both Romeo and Juliet exhibit relate to the overall theme

of young love? Does Shakespeare seem to consider a self-destructive tendency inextricably

connected with love, or is it a separate issue? Why do you think so?

12) Discuss the relationships between parents and children in Romeo and Juliet. How do Romeo

and Juliet interact with their parents? Are they rebellious, in the modern sense? How do their

parents feel about them?

13) Apart from clashing with Tybalt, what role does Mercutio play in the story? Is he merely a

colorful supporting character and brilliant source of comic relief, or does he serve a more

serious purpose?

14) How does Shakespeare treat death in Romeo and Juliet? Frame your answer in terms of

legal, moral, familial, and personal issues. Bearing these issues in mind, compare the deaths of

Romeo and Juliet, Romeo and Mercutio, and Mercutio and Tybalt.

15

Practice Questions for ‘A Christmas Carol’

https://www.henry-cort.hants.sch.uk/attachments/download.asp?file=1021&type=pdf

1. How does Dickens present the importance of family?

2. How does Dickens present the theme of charity and Christmas spirit?

3. How does Dickens use weather to create atmosphere?

4. How does Dickens present the theme of regret?

5. How does Dickens use the supernatural to create intrigue and

excitement?

6. How does Dickens present the theme of poverty?

7. How does Dickens present the theme of redemption?

8. How does Dickens show the transformation of Scrooge?

Practice Questions for ‘Jekyll and Hyde’

https://www.stokenewingtonschool.co.uk/asset/2141

1. How does Stevenson present Mr Hyde as a frightening outsider?

2. How does Stevenson present Mr Utterson as a rational and reliable

narrator?

3. How does Stevenson present an atmosphere of mystery and suspense in

the novel?

4. How does Stevenson present violence in the novel?

5. How does Stevenson present the idea of secrecy and the unknown?

6. How does Stevenson use setting to create tension?

7. How does Stevenson create a sense of fear and horror in the novel?

8. How does Stevenson present the idea of evil through Mr Hyde?

16

Practice Questions for ‘Blood Brothers’

1. Write about the relationship between Mrs Johnstone and Mrs Lyons and how it

is presented.

2. Write about the relationship between Mickey and Eddie and how it is presented.

3. How is Linda presented and how important is she to the play?

4. To what extent is it possible to feel sympathy for Mrs Lyons?

5. Explore how and why the character of Mickey changes throughout the play.

6. How does Willy Russell present the theme of Childhood/Growing Up in ‘Blood

Brothers’?

7. How does Willy Russell present social class?

8. How does Willy Russell present violence?

9. How does Willy Russell present superstition?

10. How does Willy Russell present blame and responsibility?

Practice Questions for ‘An Inspector Calls’

https://www.henry-cort.hants.sch.uk/attachments/download.asp?file=1023&type=pdf

1. How does Sheila change during the course of the play?

2. How does Priestley explore the concept of responsibility?

3. How far does Mr Birling change during the course of the play?

4. How does Priestley explore the issue of social class?

5. How and why does Eric change during the course of the play?

6. How does Priestley explore the idea of blame and guilt?

7. How does Priestley present Mrs Birling?

8. How does Priestley present status and power?

9. How does Priestley present Gerald?

10. How does Priestley explore the idea of socialism?

17

English Language – Paper 1 – Section A (reading) Practice 1

Read the extract and answer the questions.

This extract is from the beginning of a novel ‘Enduring Love’ by Ian McEwan, it was first

published in 1997.

In this section, the narrator, Gadd and other men are trying to stop a hot air balloon from flying

off. Inside the basket is a terrified boy.

A mighty fist of wind socked the balloon in two rapid blows, one-two, the second more vicious

than the first. It jerked Gadd right out of the basket on to the ground, and with Gadd's

considerable weight removed from the equation, it lifted the balloon five feet or so, straight

into the air. The rope ran through my grip, scorching my palms, but I managed to keep hold,

with two feet of line spare. The others kept hold too. The basket was right above our heads

now, and we stood with arms upraised like Sunday bell ringers. Into our amazed silence, before

the shouting could resume, the second punch came and knocked the balloon up and westwards.

Suddenly we were treading the air with all our weight in the grip of our fists.

Those one or two ungrounded seconds occupy as much space in memory as might a long

journey up an unchartered river. My first impulse was to hang on in order to keep the balloon

weighted down. The child was incapable, and was about to be borne away. Two miles to the

left were high-voltage power lines. A child alone and needing help. It was my duty to hang on,

and I thought we would all do the same.

Almost simultaneous with the desire to stay on the rope and save the boy came other thoughts

of self-preservation and fear. We were rising, and the ground was dropping away as the balloon

was pushed westwards. I knew I had to get my legs and feet locked round the rope. But the end

of the line barely reached below my waist and my grip was slipping. My legs flailed in the empty

air. Every fraction of a second that passed increased the drop, and the point must come when

to let go would be impossible or fatal. Then, someone did let go. Immediately, the balloon and

its hangers on lurched upwards another several feet.

Because letting go was in our nature too. Selfishness is also written on our hearts. Mostly, we

are good when it makes sense. A good society is one that makes sense of being good. Suddenly,

hanging there below the basket, we were a bad society, we were disintegrating. Suddenly the

sensible choice was to look out for yourself. The child was not my child, and I was not going to

die for it. Then I glimpsed another body fall away and I felt the balloon lurch upwards. The

matter was settled. Altruism had no place. Being good made no sense. I let go and fell, I reckon,

about twelve feet. I landed heavily on my side, I got away with a bruised thigh. Around me -

before or after, I'm not so sure - bodies were thumping to the ground.

By the time I got to my feet the balloon was fifty yards away, and one man was still dangling by

his rope. When I stood up and saw him, he was one hundred feet, and rising, just where the

ground itself was falling. He wasn’t struggling, he wasn’t kicking or trying to claw his way up. He

hung perfectly still along the line of his rope, all his energies concentrated in his weakening grip.

He was already a tiny figure almost black against the sky and as the balloon and its basket lifted

away and westwards, the smaller he became and the more terrible it was.

18

Our silence was a kind of acceptance, a death warrant. Or it was horrified shame. He had been

on the rope so long that I began to think he might stay there until the balloon drifted down. But

even as I had that hope we saw him slip down right to the end of the rope. And still he hung

there. For two seconds, three, four. And then he let go and ruthless gravity played its part. And

from somewhere a thin squawk cut through the stilled air. He fell as he had hung, a stiff little

black stick. I've never seen such a terrible thing as that falling man.

Question 1

Read again lines 1-8. List four things you learn about what is happening to the

men. (4 marks)

Question 2

Look in detail at lines 9-20. How does the writer use language to describe the

thoughts of the narrator? (8 marks)

Question 3

Think about the source as a whole. How has the writer structured the text to

interest the reader? (8 marks)

Question 4

Read again from line 21 to the end. In this section, the writer clearly shows the

horror of the situation. To what extent do you agree? (20 marks)

19

English Language – Paper 1 – Section A (reading) Practice 2

Read the extract and answer the questions.

This extract is from the end of a novel ‘I’m the King of the Castle’ by Susan Hill, it was first

published in 1970. It tells the story of two warring boys: Edmund Hooper and Charles Kingshaw,

who have been forced together due to their parents’ relationship and impending marriage.

In this section, Kingshaw feels that he has lost everything, including his friends and his mother,

to Hooper.

The moment he came awake, it was just dawn, and he remembered, and then he knew, quite

suddenly, what to do. It was because the morning reminded him of the time before. The house was

quiet. When he looked out of his window, it was clear and grey.

The open suitcases seemed to have nothing to do with him, now.

Outside, it was cool and the air felt moist, though it had stopped raining and the wind had dropped.

But once he had climbed over the fence and begun to trudge up the first field, the grass was thick

and wet. The only difference today was that there was no mist, he could see a long way ahead, the

sky was smooth and pale.

They had cut the corn, and burned the stubble, and the field seemed much bigger, the trees on the

edge of the wood looked a long distance away. The outer edges were fringed with yellow and

brown, but inside, it was dark green and thick, the leaves hadn’t started to fall.

At first, when he stepped inside the wood, he stood still. He was not certain of the way, now,

beyond the first bit. They had turned and changed direction so much, after following the deer. He

tried to remember the way the men had brought them, when they came out again.

The smell was familiar, the one he had smelled when he crawled out from under the bush, after the

thunderstorm, fresh and cool, but sweet-rotten, too, from the soil and the leaf-mould.

He felt suddenly excited. This was his place, it was where he wanted to be. It was all right. He said to

himself, again and again this is all right. He began to push his way slowly through the damp

undergrowth.

At Warings, Hooper slept, flat on his belly, his mind blank, but on the floor below, his father moved

and tossed, excited by dreams. Waking, Mrs Helena Kingshaw thought, it is today, and this is the

best thing that could have happened, the best thing for both of us. I shall not be a struggling, lonely

woman now, that is all past, all done with and forgotten, and we are going to be happy, all of us

together. Everything is about to begin.

She got out of bed and looked at the oval travelling alarm clock. On the wardrobe door, the cream-

coloured linen suit hung, showing palely through its polythene. Mrs Kingshaw thought, there is

plenty of time for everything, plenty of time. And sat down on the edge of her bed again, to smoke a

cigarette. It was a little after seven o’clock.

20

Kingshaw had found the clearing now. The stones were still there, piled up, from when they had

built the fire. It seemed a long time ago. He didn’t stop to look.

On the bank of the stream, he took all his clothes off, and folded them in a pile. He shivered and the

water was very cold, silky, against his body. For a second, he hesitated, part of his mind starting to

come awake. And then he thought of everything, of what else would happen, he thought of the

things Hooper had done and what he was going to do, of the new school and the wedding of his

mother. He began to splash and stumble forwards, into the middle of the stream, where the water

was deepest. When it had reached up to his thighs, he lay down slowly and put his face full into it

and breathed in a long, careful breath.

It was Hooper who found him, because he had known at once where he would have gone, they all

followed Hooper, trampling and calling. The rain had begun again, dripping down on their heads and

shoulders through the dark leaves.

When he saw Kingshaw’s body, upside down in the water, Hooper thought suddenly, it was because

of me, I did that, it was because of me, and a spurt of triumph went through him.

‘Now, it’s all right, Edmund dear, everything is all right,’ Mrs Helena Kingshaw put an arm out

towards him, held him to her. ‘I don’t want you to look, dear, you mustn’t look and be upset,

everything is all right.’

Hooper felt the damp cloth of her coat, pressed against his face, and smelled her perfumy smell.

Then, there was the sound of men, splashing through the water.

Question 1

Read again lines 1-8. List four things you learn about the weather that morning.

(4 marks)

Question 2

Look in detail at lines 9-19. How does the writer use language to describe the

woods? (8 marks)

Question 3

Think about the source as a whole. How has the writer structured the text to

interest the reader? (8 marks)

Question 4

Read again from line 20 to the end. The writer allows us to experience the

events from different perspectives. To what extent do you agree? (20 marks)

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English Language – Paper 1 – Section B (writing) Practice

Using the image as inspiration…

Either…

Write a description in which you

use the weather to create

atmosphere.

Or…

Write the opening to a story that

has a sinister atmosphere.

Using the image as inspiration… Either…

Write a description in which

you use dialogue to show the

relationship between two

characters.

Or…

Write the opening to a story

that foreshadows an unhappy

ending.

Using the image as inspiration… Either…

Write a description in which you

show a character’s internal

conflict.

Or…

Write the opening to a story

that is set in a busy

environment.

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English Language – Paper 2 – Section A (reading) Practice

Paper 2 Mini Mock: Gender

Source A: A transcript of Emma Watson’s speech to the UN in 2014 beginning the HeForShe Campaign.

Men, I would like to take this opportunity to extend your formal invitation. Gender equality is your issue, too. Because to date, I’ve seen my father’s role as a parent being valued less by society, despite my need of his presence as a child, as much as my mother’s. I’ve seen young men suffering from mental illness, unable to ask for help for fear it would make them less of a man. In fact, in the UK, suicide is the biggest killer of men between 20 to 49, eclipsing road accidents, cancer and coronary heart disease. I’ve seen men made fragile and insecure by a distorted sense of what constitutes male success. Men don’t have the benefits of equality, either. We don’t often talk about men being imprisoned by gender stereotypes, but I can see that they are, and that when they are free, things will change for women as a natural consequence. If men don’t have to be aggressive in order to be accepted, women won’t feel compelled to be submissive. If men don’t have to control, women won’t have to be controlled. Both men and women should feel free to be sensitive. Both men and women should feel free to be strong. It is time that we all perceive gender on a spectrum, instead of two sets of opposing ideals. If we stop defining each other by what we are not, and start defining ourselves by who we are, we can all be freer, and this is what HeForShe is about. It’s about freedom. I want men to take up this mantle so that their daughters, sisters, and mothers can be free from prejudice, but also so that their sons have permission to be vulnerable and human too, reclaim those parts of themselves they abandoned, and in doing so, be a more true and complete version of themselves. In my nervousness for this speech and in my moments of doubt I’ve told myself firmly: If not me, who? If not now, when? If you have similar doubts when opportunities are presented to you I hope that those words will be helpful, because the reality is that if we do nothing it will take 75 years, or for me to be nearly a hundred, before women can expect to be paid the same as men, for the same work. 15.5 million girls will be married in the next 16 years as children. And at current rates it won’t be until 2086 before all rural African girls can have a secondary education.

Source B: The following article from Punch, titled ‘The Best Sewing Machine’ is from 1859.

The very best Sewing-Machine a man can have is a Wife. It is one that requires but a kind word to set it in motion, rarely gets out of repair, makes but little noise, is seldom the cause of dust, and, once in motion, will go on uninterruptedly fox hours, without the slightest trimming, or the smallest personal supervision being necessary. It will make shirts, darn stockings, sew on buttons, mark pocket handkerchiefs, cut out pinafores, and manufacture children’s frocks out of any old thing you may give it; and this it will do behind your back just as well as before your face. In fact, you may leave the house for days, and it will go on working just the same. If it does get out of order a little, from being overworked, it mends itself by being left alone for a short time, after which it returns to its sewing with greater vigour than ever. Of course, sewing machines vary a great deal. Some are much quicker than others. It depends in a vast measure upon the particular pattern you select. If you are fortunate in picking out the choicest pattern of a Wife-—one, for instance, that sings whilst working, and seems to be never so happy as when the husband’s linen is in hand—the Sewing

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Machine may be pronounced perfect of its kind; so much so, that there is no make-shift in the world that can possibly replace it, either for love or money. In short, no gentleman’s establishment is complete without one of these Sewing Machines in the house!

Questions

Q1 – 4 marks – 5 minutes Using source A shade the boxes of

the four true statements.

Q2 – 8 marks – 10 minutes Write a summary of the differences between the women described in each source.

A woman’s role as a parent is less valued than a man’s role.

HeForShe is about giving freedom back to women only.

Watson wants men to support the HeforShe campaign.

Q3 – 12 marks – 15 minutes In source A how does Emma Watson use language to persuade her audience? Watson sees gender as two sets of

opposing stereotypes.

Suicide is the biggest killer of men between 20 and 49.

Watson believes that men don’t have equality, either.

Q4- 16 marks – 20 minutes Compare how the writers convey their attitudes to gender. 15.5 million women will be married

in the next 16 years.

Watson feels both genders should be free to be sensitive.

Paper 2 mini mock: Crime

Source A: The following letter was published in The Times on March 5th, 1850.

Sir, - As The Times is always open for the insertion of any remarks likely to caution the unwary or to put the unsuspecting on their guard against the numerous thefts and robberies committed daily in the streets of London, I am induced to ask you to insert a case which happened on Saturday last, and which I trust may serve as a warning to those of your lady readers who still carry purses in their pockets. A young lady (and, as the police reports add,) of very prepossessing appearance, a relation of the narrator's, was walking between 12 and 1 o'clock with another young lady, a friend of hers, in Albany-street, where she resides, when she was accosted by a boy about 11 years of age, who asked her in the most beseeching tones "to buy a few oranges of a poor orphan who hadn't a bit of bread to eat." She told him to go away, but he kept alongside, imploring assistance, and making some cutting remarks about "the ingratitude of the world in general and of young ladies in particular." As his manner became very troublesome the lady threatened to give him in charge of a policeman, and looked down every area to find one; but there was not one even there, and the boy kept up his sweet discourse and slight pushes alternately (the latter with the basket on which he carried his oranges), until the lady reached her own door-step. It then occurred to her that in the boy's ardour to sell his oranges he might have taken her purse; her friend thought so too. A trembling hand was inserted into the pocket; the purse was gone, and so was the lady's happiness. She flew after the thief, who, knowing young ladies were not made for running, coolly deposited his basket on a door-step a little way off and ran away whistling. This brave young lady ran also, shouting "Stop thief! stop thief!" (but then young ladies are not made for shouting, God forbid!) and she looked in the fond hope that a policeman might be found. But no such luck, the culprit got safely off with the purse and its contents; and no kind passer by tried to help the young lady, who was thus shamefully duped and robbed. Ladies, young and old, never carry your purses in your pockets; beware of canting beggars, and beggars of all sorts, that infest the streets; and, above all, keep a watchful eye about you and give the widest possible berth to THE ORANGE BOY

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Source B: An article from The Sun in 2016, ‘OLE-VER TWIST: Modern day Fagin who forced gang of migrant child pickpockets to steal from Brit tourists is arrested in Spain’ A MODERN-day 'Fagin' who forced a gang of child pickpockets to steal from British tourists in Spain has been arrested. Cops say the gang leader, named locally as Hasim Sejdic, 44, sent out an army of workers every morning to find victims like the Charles Dickens character in Oliver Twist. Nine girls living in slum-like conditions were discovered during a raid on one of the properties used by the gang. Bosnian Sejdic was one of 16 people held in Barcelona during an operation involving local police in the Catalan capital, Spanish National Police and Europe. Officers believe the Fagin figure’s area of operations extended across Spain as well as the south of France. A spokesman for Spain’s National Police said: “The 16 people held in Barcelona are suspected of forcing women that came from Bosnia, including several minors, to work as pickpockets in Spanish tourist areas and on public transport. The organisation, composed of different family groups, traded the youngsters, exchanging them and transferring them to different cities for around 5,000 euros. In one of the searches in Barcelona nine minors who weren’t being schooled were found living in awful conditions.” A statement from the force added: “They were taught how to steal from victims and smuggled into Spain with fake ID. The clan based principally in Barcelona was organised around the figure of a patriarch who directed operations in the whole of Spain and the south of France. Underneath the patriarch, a perfectly structured organisation existed with female and male lieutenants.”

Q1 – 4 marks – 5 minutes Using source B shade the boxes of

the four true statements.

Q2 – 8 marks – 10 minutes Write a summary of the differences between the people committing the crimes in each source.

The crimes took place in Bosnia.

Nine children were found living in awful conditions

The gang leader was called Fagin. Q3 – 12 marks – 15 minutes In source A how does the writer use language to describe the incident?

The children were smuggled into Spain illegally.

Both men and women worked in the organisation.

Each child had to steal 5,000 euros a day.

Q4- 16 marks – 20 minutes Compare how the writers convey their attitudes to crime in each source. The people are being held in the

south of France.

The children were taught how to commit the crimes.

Paper 2 mini mock: Bars

Source A: Charles Dickens writes about a ‘Gin-Shop’ in Sketches from Boz written in 1835.

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The hum of many voices issues from that splendid gin-shop which forms the commencement of the two streets opposite; and the gay building with the fantastically ornamented parapet, the illuminated clock, the plate-glass windows surrounded by stucco rosettes, and its profusion of gas-lights in richly-gilt burners, is perfectly dazzling when contrasted with the darkness and dirt we have just left. The interior is even gayer than the exterior. A bar of French-polished mahogany, elegantly carved, extends the whole width of the place; and there are two side-aisles of great casks, painted green and gold, enclosed within a light brass rail, and bearing such inscriptions, as "Old Tom, 549"; "Young Tom, 360"; "Samson, 1421"--the figures agreeing, we presume, with "gallons," understand. Beyond the bar is a lofty and spacious saloon, full of the same enticing vessels, with a gallery running round it, equally well furnished. On the counter, in addition to the usual spirit apparatus, are two or three little baskets of cakes and biscuits, which are carefully secured at top with wicker-work, to prevent their contents being unlawfully abstracted. Behind it, are two showily-dressed damsels with large necklaces, dispensing the spirits and "compounds." They are assisted by the ostensible proprietor of the concern, a stout, coarse fellow in a fur cap, put on very much on one side to give him a knowing air, and to display his sandy whiskers to the best advantage. The young fellow in a brown coat and bright buttons, who, ushering in his two companions, and walking up to the bar in as careless a manner as if he had been used to green and gold ornaments all his life, winks at one of the young ladies with singular coolness, and calls for a 'kervorten and a three-out- glass,' just as if the place were his own. 'Gin for you, sir?' says the young lady when she has drawn it: carefully looking every way but the right one, to show that the wink had no effect upon her. 'For me, Mary, my dear,' replies the gentleman in brown. 'My name an't Mary as it happens,' says the young girl, rather relaxing as she delivers the change. 'Well, if it an't, it ought to be,' responds the irresistible one; 'all the Marys as ever I see, was handsome gals.'

Source B: A review in The Telegraph by Orla Pentelow in 2018, titled ‘The Coral Room Bar’.

You’d be forgiven for thinking, when entering the newly renovated Coral Room bar at the Bloomsbury London, that you had walked into something out of a Wes Anderson film set. The new all-day dining restaurant and bar - once a simple lobby in the Sir Edward Lutyens-designed Grade II-listed building - is a cavernous, coral-coloured 2,100sq ft double-height space at the front of the hotel. Designer Martin Brudnizki has kept the original panelled walls, spruced up with the vivid colour which gives the space its moniker, but what really catches the eye is the central bar. A Calacatta marble counter atop a glossy wooden front with antique-style mirroring and brass hardware provides a grand backdrop around which everything else is. The overall effect is an impressive, genuinely beautiful room, that is simultaneously reminiscent of 1920s decadence and Miami art deco. It manages to be design-conscious, luxurious and yet inviting at the same time. I followed a glass of British fizz with one of the bar’s signature cocktails. Staff did well to help us with recommendations, offering suggestions based on our spirits of choice, and assuring us that anything not found on the pink-hued menu can be rustled up behind that magic marble bar. A food menu of small plates and light bites works as a tapas-style evening meal. Breakfast options such as garden pea and feta smash on sourdough toast and rainbow acai bowls make the Coral Room just as suitable for morning meetings, and the bar also caters to teetotal clientele thanks to a small menu of Seedlip’s non-alcoholic spirits.

Q1 – 4 marks – 5 minutes Using source B shade the boxes of

the four true statements.

Q2 – 8 marks – 10 minutes Write a summary of the differences between the atmosphere in each bar.

The bar used to be a Wes Anderson film set.

The bar is a huge room, both wide and high.

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The designer decided to paint the panelled walls.

Q3 – 12 marks – 15 minutes In source A how does the writer use language to describe the ‘Gin-Shop’ he visits? The reviewer is not impressed by

the look of the bar.

The bar reminds the reviewer of the 1920s and Miami art.

The reviewer chooses to drink a cocktail first.

Q4- 16 marks – 20 minutes Compare how the writers convey their attitudes to each bar and the people that work there. The bar is not suitable for morning

meetings.

The menu offers small plates and light meals.

Paper 2 mini mock: The life of a prisoner

Source A: In 1836 Charles Dickens imagines the life of a prisoner in Sketches by Boz.

We entered the first cell. It was a stone dungeon, eight feet long by six wide, with a bench at the upper end, under which were a common rug, a bible, and prayer-book. An iron candlestick was fixed into the wall at the side; and a small high window in the back admitted as much air and light as could struggle in between a double row of heavy, crossed iron bars. It contained no other furniture of any description. Conceive the situation of a man, spending his last night on earth in this cell. Hours have glided by, and still he sits upon the same stone bench with folded arms, heedless alike of the fast decreasing time before him, and the urgent entreaties of the good man at his side. The feeble light is wasting gradually, and the deathlike stillness of the street without, broken only by the rumbling of some passing vehicle which echoes mournfully through the empty yards, warns him that the night is waning fast away. The deep bell of St. Paul's strikes - one! He heard it; it has roused him. Seven hours left! He paces the narrow limits of his cell with rapid strides, cold drops of terror starting on his forehead, and every muscle of his frame quivering with agony. Seven hours! He suffers himself to be led to his seat, mechanically takes the bible which is placed in his hand, and tries to read and listen. No: his thoughts will wander. The book is torn and soiled by use - and like the book he read his lessons in, at school, just forty years ago! He has never bestowed a thought upon it, perhaps, since he left it as a child: and yet the place, the time, the room - nay, the very boys he played with, crowd as vividly before him as if they were scenes of yesterday; and some forgotten phrase, some childish word, rings in his ears like the echo of one uttered but a minute since. He falls upon his knees and clasps his hands to pray. Hush! what sound was that? He starts upon his feet. It cannot be two yet. Hark! Two quarters have struck; - the third - the fourth. It is! Six hours left. Tell him not of repentance! Six hours' repentance for eight times six years of guilt and sin! He buries his face in his hands, and throws himself on the bench.

Source B: Michael Romero writes about his American prison experience in 2012.

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We are confined to one cellblock and not allowed in any other. From our cellblock we can go to the yard, the mess hall, or our job. Movements are allowed hourly during a ten-minute period. Many of us spend our free time in the yard, which is a precious place indeed. In the yard, we have handball courts, tennis courts, weights, basketball, volleyball, a running track, green grass, and miles and miles of blue sky and fresh air. It’s the place where we play, shaking off the dust, disease, and gloom of the cage. A man with an afternoon job may come to spend his mornings on the yard, afternoons at work, and his evenings studying in his cell. This routine is as certain to him as the years he must do. Back in the cellblock, some of us remove our running shoes and go back to bed, sleeping all day and tossing and turning all night. Others sit in the stuffy cellblock and watch the rays of sunshine filtering through the iron security screens on the windows. Taking away the yard spoils our routine and unbalances our body clocks. Tempers begin to go bad; we snap at each other like too many rats crammed into a cardboard box; hating becomes second nature. No matter how we approach the issue intellectually, it doesn’t dampen the rage we acquire from being packed in gloomy cages while there is blue sky and sunshine just beyond the wall. We have to share this place down to our germs. If one gets the flu, we all get it. When our routines are disrupted, chaos is once again among us. The future seems fragmented, uncertain. A strange type of resolve takes hold among the convicts; should our keepers choose to deal in pain, chaos, and destruction, we will try to give them a good game. After all, we invented it.

Q1 – 4 marks – 5 minutes Using source B shade the boxes of

the four true statements.

Q2 – 8 marks – 10 minutes Write a summary of the differences between the facilities and environment in each prison.

The prisoners are not allowed out of their cellblock.

They have the chance to play volleyball or basketball.

Some people work the mornings in prison.

Q3 – 12 marks – 15 minutes In source B how does the writer use language to describe being confined in a prison? If they work in the morning they

can’t go to the yard.

The prisoners often get a good night’s sleep.

The prisoners always have access to the yard.

Q4- 16 marks – 20 minutes Compare how the writers convey their attitudes to prison and the prisoners within them. The prisoners get angry when they

have to stay indoors.

The yard is very important to the prisoners.

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English Language – Paper 2 – Section B (writing) Practice

Highlight the purpose and audience mentioned in the question and plan your

answer before you begin writing.

“Knife crime is a growing problem for young people living in the UK.”

Write a campaign speech that you could deliver in assembly to your year group

about stopping knife crime.

(40 marks)

(24 marks for content and organisation)

(16 marks for technical accuracy)

“Schools should be teaching young people how to care for the

environment.”

Write a letter to the principal of your school persuading him to make the

school eco-friendlier.

(40 marks)

(24 marks for content and organisation)

(16 marks for technical accuracy)

“The media unfairly represents teenagers – it just shows young people in

gangs and involved with yobbish, anti-social behaviour.”

Write a newspaper article that focuses on a young person that has done

something good for your local community.

(40 marks)

(24 marks for content and organisation)

(16 marks for technical accuracy)