Category Archives: Unit 1 Exploring Modern Texts

Introduction to Dennis Kelly’s DNA

Dennis Kelly’s play DNA will remain on AQA’s GCSE English Literature specification – both my Year 11s and new Year 10s will need to know this play for one of their Literature exams (remember Year 10s your exam is closed book). So as a starting point here are some reviews of the play and performances…

The Guardian Review from February 2012

Dennis Kelly talks to The Telegraph (February 2012)

Review of Hull Truck Theatre Performance of DNA from April 2012

Take a look at these reviews as a starting point.

Miss O

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Great Of Mice and Men Revision Guide

Take a look at the following Of Mice and Men revision guide. Loads of great stuff to do with context and great chapter by chapter guide if you still feel uncertain of the plot. A brilliant resource.

http://issuu.com/ollymacnamee/docs/project1/1

Miss O

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The Woman in Black and Of Mice and Men exam on Tuesday

Year 11 – Tuesday is the first English Literature exam. This is on The Woman in Black and Of Mice and Men – you must bring  your books!                                               9780582827646 the-woman-in-black-book_SWBOTc4MDA5OTI4ODQ3Mw

Last minute revision advice:

  • Read old posts on sections you aren’t confident with.
  • Perhaps try just one more question – you never know it might come up! Why not try the Curley extract (on red paper)?
  • Reread the book – the more you read it, the more confident you will be. You might just read one chapter!
  • Attend the revision session on Monday (3.35-4.30 in E1). I will go over everything for the exam.

Remember:

  • Interesting interpretations – perhaps a range of readings.
  • Carefully selected quotes (zoom in).
  • Language, structure and form (especially the ghost story genre).
  • 1930s context for part b – but link it to the text. What is Steinbeck saying about 1930s America?

If I don’t see you before Tuesday – good luck. Let’s pray to the exam gods for nice questions! I’ll be in E1 all Monday and Tuesday morning if any one needs to see me!

Miss O

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Revision tomorrow

Just a reminder for Year 11 students –  Of Mice and Men revision session after school tomorrow (Wednesday 14/05) in E1.

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Hopefully see you there!
Miss O

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Of Mice and Men Predictions

In the Unit 1 exam you will be given an extract from Of Mice and Men to closely analyse. So we have looked at possible extracts for the last 9 weeks but today I gave you a few more extracts the read, annotate and attempt a response. I am happy to mark any of your work – you can always leave work on my desk! Remember predictions are exactly that – my guess at what might come up. You need to show the examiner your understanding of Steinbeck’s style and the methods he uses in the text.

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Here are the extracts for you to look at:

What methods does Steinbeck use in this passage to present Curley?

At that moment a young man came into the bunkhouse; a thin young man with a brown face, with brown eyes and a head of tightly curled hair. He wore a work glove on his left hand, and, like the boss, he wore high-heeled boots. ‘Seen my old man?’ he asked.

The swamper said, ‘He was here jus’ a minute ago, Curley. Went over to the cook house, I think.’

‘I’ll try to catch him,’ said Curley. His eyes passed over the new men and he stopped. He glanced coldly at George and then at Lennie. His arms gradually bent at the elbows and his hands closed into fists. He stiffened and went into a slight crouch. His glance was at one calculating and pugnacious. Lennie squirmed under the look and shifted his feet nervously. Curley steeped gingerly close to him. ‘You the new guys my old man was waitin’ for?’

‘We just come in,’ said George.

‘Let the big guy talk.’

Lennie twisted with embarrassment.

George said, ‘S’pose he don’t want to talk?’

Curley lashed his body around, ‘By Chirst he’s gotta talk when he’s spoke to. What the hell are you gettin’ into it for?’

‘We travel together,’ said George coldly.

‘Oh, so it’s that way.’

George was tense and motionless, ‘Yeah, it’s that way.’

Lennie was looking helplessly to George for instructin.

‘An’ you won’t let the big guy talk, is that it?’

‘He can talk if he wants to tell tyiu anything.’ He nodded slightly to Lennie.

‘We jus’ come in,’ said Lennie softly.

Curley stared levelly at him. ‘Well nex’ time you answer when you’re spoke to.’ He turned towards the door and walked out, and his elbows were still bent out a little.

 

How does Steinbeck present the character of Candy in the below extract?

The wooden latch raised. The door opened and a tall, stoop-shouldered old man came in. He was dressed in blue jeans and he carried a big push-broom in his left hand. Behind him came George, and behind George, Lennie.

“The boss was expectin’ you last night,” the old man said. “He was sore as hell when you wasn’t here to go out this morning.” He pointed with his right arm, and out of the sleeve came a round stick-like wrist, but no hand. “You can have them two beds there,” he said, indicating two bunks near the stove.

George stepped over and threw his blankets down on the burlap sack of straw that was a mattress. He looked into his box shelf and then picked a small yellow can from it. “Say. What the hell’s this?”

“I don’t know,” said the old man.

“Says ‘positively kills lice, roaches and other scourges.’ What the hell kind of bed you giving us, anyways. We don’t want no pants rabbits.”

The old swamper shifted his broom and held it between his elbow and his side while he held out his hand for the can. He studied the label carefully. “Tell you what—” he said finally, “last guy that had this bed was a blacksmith—hell of a nice fella and as clean a guy as you want to meet. Used to wash his hands even after he ate.”

“Then how come he got graybacks?” George was working up a slow anger. Lennie put his bindle on the neighboring bunk and sat down. He watched George with open mouth.

“Tell you what,” said the old swamper. “This here blacksmith—name of Whitey—was the kind of guy that would put that stuff around even if there wasn’t no bugs—just to make sure, see? Tell you what he used to do—At meals he’d peel his boil’ potatoes, an’ he’d take out ever’ little spot, no matter what kind, before he’d eat it. And if there was a red splotch on an egg, he’d scrape it off. Finally quit about the food. That’s the kinda guy he was—clean. Used ta dress up Sundays even when he wasn’t going no place, put on a necktie even, and then set in the bunk house.”

“I ain’t so sure,” said George skeptically. “What did you say he quit for?”

The old man put the yellow can in his pocket, and he rubbed his bristly white whiskers with his knuckles. “Why . . . . he . . . . just quit, the way a guy will. Says it was the food. Just wanted to move. Didn’t give no other reason but the food. Just says ‘gimme my time’ one night, the way any guy would.”

 

How does Steinbeck present the character of Candy in the below extract?

When Candy spoke they both jumped as though they had been caught doing something reprehensible. Candy said, “You know where’s a place like that?”

George was on guard immediately. “S’pose I do” he said, “What’s that to you?”

“You don’t need to tell me where it’s at. Might be any place.”

“Sure, ” said George. “That’s right. You couldn’t find it in a hundred years.”

Candy went on excitedly. “How much they want for a place like that?”

George watched him suspiciously. ” Well — I could get if for six hundred bucks. The ol’ people that owns it is flat bust and the ol’ lady needs an operation. Say — what’s it to you? You got nothing to do with us.”

Candy said, “I ain’t much good with on’y one hand. I lost my right hand here on this ranch. That’s why they give me a job swampin’. An’ they give me two hundred and fifty dollars ’cause I los’ my hand. An’ I got fifty more saved up right in the bank, right now. Tha’s three hundred, and I got fifty more comin’ the enda month. Tell you what ——” He leaned forward eagerly. “S’spose I went in with you guys. Tha’s three hundred and fifty bucks I’d put in. I ain’t much good, but I could cook and tend the chickens and hoe the garden some. How’d that be?”

George half closed his eyes. “I gotta think about that. We was always gonna do it by ourself.”

Candy interrupted him. “I’d make a will an’ leave my share to you guys in case I kick off, ’cause I ain’t got no relatives nor nothing. You guys got any money? Maybe we could do her right now?”

George spat on the floor disgustedly. “We got ten bucks between us.” Then he said thoughtfully, “Look, if me and Lennie work a month an’ don’t spen’ nothing, we’ll have a hundred bucks. That’d be four fifty.. I bet we could swing her for that. Then you and Lennie could go get her started an’ I’d get a job an’ make up the res’ , an’ you could sell eggs an’ stuff like that.”

They fell into a silence. They looked at one another, amazed. This thing they had never really believed in was coming true. George said reverently, “Jesus Christ! I bet we could swing her. ” His eyes were full of wonder. “I bet we could swing her,” he repeatedly softly.

Candy sat on the edge of his bunk. He scratched the stump of his wrist nervously. “I got hurt four years ago,” he said. “They’ll can me purty soon. Jus’ as soon as I can’t swamp out no bunk-houses they’ll put me on the county. Maybe if I give you guys my money, you’ll let me hoe in the garden even after I ain’t no good at it. An’ I’ll wash dishes an’ a little chicken stuff like that. But I’ll be on our own place, an’ I’ll be let to work on our own place. ” He said miserably, “You seen what they done to my dog tonight? They says he wasn’t no good to himself nor nobody else. When they can me here I wisht somebody’d shoot me. But they won’t do nothing like that. I won’t have no place to go, an’ I can’t get no more jobs. I’ll have thirty dollars more comin’, time you guys is ready to quit.”

George stood up. “We’ll do her,” he said. “We’ll fix up that little old place an’ we’ll go live there.” He sat down again. They all sat still, all bemused by the beauty of the thing, each mind was popped into the future when this lovely thing should come about.

George said wanderingly, “‘Spose they was a carnival or a circus come to town, or a ball game, or any damn thing.” Old Candy nodded in appreciation of the idea. “We’d just go to her, ” George said. “We wouldn’t ask nobody if we could. Jus’ say, ‘we’ll go to her’, an’ we would. Jus’ milk the cow and sling some grain to the chickens an’ go to her.”

“An’ put some grass to the rabbits,” Lennie broke in. “I wouldn’t never forget to feed them. When we gon’ta do it, George?”

Remember – the more you read the text, the more prepared you will be! 

Miss O 

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Of Mice and Men Part B Model Response

Last week I set the question:

In the rest of the novel, how does Steinbeck show what life was like for people living on a ranch at the time?

For Section B, Part B of the Unit 1 Exploring Modern Texts exam (The Woman in Black/Of Mice and Men) you need to demonstrate your understanding of context (1930s) and link to ideas across the book.  I have produced a model answer for you to use, to develop your understanding of how the book represents the era and how to approach the question.

Enjoy!

In the rest of the novel, how does Steinbeck show what life was like for people living on a ranch at the time? 

Of Mice and Men was written during the 1930s, a time of the Dustbowl, the Great Depression and migrant workers. One interpretation could see the ranch as a microcosm for the USA of the 1930s with Steinbeck critiquing his country’s problems and issues.

The start of chapter 2 gives a detailed description of the setting – the text lends itself very well to being performed with each chapter starting with a setting and then the chapter containing a lot of dialogue. Steinbeck uses the description of the bunkhouse to echo the loneliness of the ranch workers – the bunkhouse could be seen as a metaphor for the lives of the workers. ‘The walls were whitewashed and the floor unpainted’ demonstrating the basic, unembellished lifestyle of the workers whilst also capturing an almost innocent quality through the use of ‘white’. ‘White’ suggests a colourless and absences of tint – this mirrors the lives of the workers as during this era workers normally moved around singularly without any companionship and with no contact with family – ‘they got no family’, with the exception of George and Lennie. ‘The small square windows’ conjure up images of prison and the ‘flies’ perhaps foreshadow the deaths that are to come. The workers inability to escape a cycle of migration and poor living conditions is also epitomised by the text’s cyclical structure.

Isolation is a key theme of the novel and would have been a key issue for workers at the time. Due to unstable economy migrant workers searched for work specifically to California, advertised as ‘a poor man’s heaven’. The constant separation from families and loved ones is symbolised in the setting of Of Mice and Men with Soledad meaning solitude. Steinbeck further alludes to the loneliness of the workers through the use of the game ‘solitaire’ – a one person game. Loneliness also developed the ‘dog eat dog’ mentality in workers as shown in the character of Carlson and his inability to empathise with Candy when he is about to kill his dog – ‘you ain’t being kind to him keepin’ him alive and at the end of the novel when George has lost Lennie – ‘now what the hell ya suppose is eatin’ them two guys?’

In the 1930s there was a sparse food supply particularly due to the Dust Bowl and the lack of fertile land. Candy mentions he’s ‘got a bad gut ache, them god damn turnips give it to me’. The poor quality of food coupled with the brutal and physically demanding work would have had a negative impact on the workers – ‘I lost my right hand here on this ranch’ Candy states. Hands at the time were hugely important to men, without both hands they would struggle to find work – George is constantly praising Lennie, for he is as ‘strong as a bull’. The workers would have also had to cope with sickness and viruses – in Chapter 1 we hear George question the cleanliness of the water ‘I ain’t sure it’s good water’ and in Chapter 2 he queries the ‘small yellow can…positively kills lice, roaches and other scourges’. In an article Steinebck wrote on the nmigrant workers he raises the issues of a camp having hookworm and watercourse being used for ‘drinking, bathing, washing their clothes and receive their refuse’ 

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The Woman in Black Possible Questions

The following Woman in Black chapters have never been explicitly named in the any of the exam questions. You have been given essay titles on Chapter 1 and Chapter 6 – if you haven’t yet attempted these questions then please do.

1. Christmas Eve

4. The Funeral of MrsDrablow

6. The Sound of the Pony and Trap

7. Mr Jerome is Afraid

8. Spider

10.  Whistle and I’ll Come to You

11.  A Packet of Letters

It may be worth revisiting the other chapters: reread the chapter, look on old blog posts, reread your class notes and previous essays. Have a go at guessing what question might come up.

Here are your ideas on each chapter from Monday’s lesson:

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If you struggle to locate quotes here a list of some key quotes for the above chapters:

Chapter 1 – Christmas Eve

  • ‘my spirits have for many years now been excessively affected by the ways of the weather…’
  • ‘since those earlier experiences I had deliberately avoided all contemplation of any remotely non- material matters, and clung to the prosaic, the visible and tangible.’
  • ‘That my peace of mind was about to be disturbed and memories awakened that I had thought forever dead, I had, naturally, no idea.’
  • ‘I wanted to banish the chill that had settled upon me and the sensation of fear in my chest’
  • ‘Yes, I had a story, a true story, a story of haunting and evil, fear and confusion, horror and tragedy.’
  • ‘I knew that I would have no rest from it.’
  • ‘I would write my own ghost story. Then perhaps I should finally be free of it for what life remained for me to enjoy.’

Chapter 4- The Funeral of Mrs Drablow

‘However, towards the end of it, and on hearing some slight rustle behind me … very erect and still, and not holding a prayer book. She was dressed in deepest black, in the style of full mourning that had gone out of fashion except, I imagined, in court circles on the most formal of occasions. Indeed, it had clearly been dug out of some old trunk or wardrobe, for its blackness was a little rusty looking. A bonnet-type hat covered her head and shaded her face, but, although I did not stare, even the swift glance I took of the woman showed me enough to recognise that she was suffering from some terrible wasting disease, for not only was she extremely pale, even more than a contrast with the blackness of her garments could account for, but the skin and, it seemed, only the thinnest layer of flesh was tautly stretched and strained across her bones, so that it gleamed with a curious, blue-white sheen, and her eyes seemed sunken back into her head. Her hands that rested on the pew before her were in a similar state, as though she had been a victim of starvation. Though not any medical expert, I had heard of certain conditions which caused such terrible wasting, such ravages of the flesh, and knew that they were generally regarded as incurable, and it seemed poignant that a woman, who was perhaps only a short time away from her own death, should drag herself to the funeral of another.

Chapter 6 – The Sound of a Pony and Trap

The description of the fog:

‘Some minutes later, I could not tell how many, I came out of my reverie, to realise that I could no longer see very far in front of me and when I turned around. I was startled to find that Eel Marsh House, too, was invisible, not because of the darkness of evening has fallen, but because of a thick, damp sea-mist that had come rolling over the marshes and enveloped everything, myself, the house behind me, the end of the causeway path and the country-side ahead. It was a mist like a damp, clinging cobwebby thing, fine and yet impenetrable. It smelled and tasted quite different from the yellow filthy fog of London; that was choking and thick and still, this was salty, light and pale and moving in front of my eyes all the time. I felt confused, teased by it, as though it were made of millions of live fingers that crept over me, hung on me and then shifted away again. My hair and face and the sleeves of my coat were already damp with a veil of moisture. Above all, it was the suddenness of it that had so unnerved and disorientated me.’
Chapter 7 – Mr Jerome is Afraid

  • ‘Now, I felt heavy and sick in my head, stale and tired and jangled too, my nerves and my imagination were all on edge.’
  • ‘What frightened me… was not what I had seen – there had been   nothing intrinsically repellent or horrifying about the woman with the wasted face’
  • ‘An atmosphere, a force – I do not exactly know what to call it, of malevolence and bitter anger.’
  • ‘I felt once again my normal, equable, cheerful self….spurt of glee’
  • ‘His face took on the closed-up, deadened look of the previous day’
  • ‘Mr Jerome’s face was one of panic’
  • ‘I said in a soothing tone’
  • ‘His hands… were working, rubbing, fidgeting, gripping and ungripping in agitation’
  • ‘I said very calmly and quietly’
  • ‘“She saw no on else. Not –“ his voice trailed away.
  • “Not another living soul,” I put evenly.’
  • ‘A sickly greyish pallor over his skin now’
  • ‘ “I pray that you do not,” Mr Jerome said, and he held onto my hand with a sudden fierce grip as he shook it. “I pray that you do not.”

Chapter 8 – coming soon

Chapter 10 – Whistle and I’ll Come to You

The chapter opens with the description of the storm:

  • ‘like a ship at sea’
  • ‘roaring across the open marsh’‘
  • the Sound of moaning’
  • ‘howling darkness’
  • ‘banging and rattling of the window’
  • ‘battered by the gale’
  • ‘windows were rattling’
  • ‘whistling through every nook and cranny’‘
  • tumult of the wind, like a banshee’

Tumult = violent and noisy commotion or disturbance of a crowd or mob highly distressing agitation of mind or feeling

Banshee = a female spirit whose wailing warns of impending death

  • ‘the wind rage round like a lion’

And then …

  • ‘A cry, that familiar cry of desperation and anguish, a cry for help from a child somewhere on the marsh.’
  • ‘I was as near to weeping tears of despair and fear, frustration and tension, as I had ever been sine my childhood……….But instead of crying, I drummed my fists upon the floorboards, in a burst of violent rage, until they throbbed. (stumbling over the dog)’
  • ‘I felt not fear, not horror, but an overwhelming grief and sadness, a sense of loss and bereavement, a distress mingled with utter despair.’ (entering the nursery room)
  • ‘I was back within my own person, my own emotions, I was myself again.’ (closing the door to the nursery)
  • ‘A strength I would never have dreamed I could have summoned up, born of terror and desperation’ (when rescuing Spider)
  • ‘We were both trembling violently’ (on seeing the woman in black at the nursery window).

Chapter 11 – A Packet of Letters

‘But what I couldn’t endure was the atmosphere surrounding the events: the oppressive hatred and malevolence, of someone’s evil and also of terrible grief and distress. These, which seemed to invade my own soul and take charge of ne, these were what I could no longer bear.’

Page 138:

  • ‘Might have been caused by a gang of robbers, bent on mad, senseless destruction’
  • ‘left hanging like entrails from a wounded body’
  • ‘Soft toys were split and unclothed’
  • ‘ The tin Sambo was smashed as by a hammer blow’
  • ‘Like a great brooding bird’
  • ‘No one had entered here.’

Fingers crossed one of these comes up!

Miss O.

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Of Mice and Men – The Ending

It could be said that Steinbeck has written a tragic novel. He loosely follows, the traditions of Greek tragedy, where all the action takes place within 24hours – here it is stretched to nearly 48. Similarly, all the action occurs in one place, the ranch. Finally, the tragedy should unfold in five parts. Yet here we are at Chapter 6. This invites us to view the first five chapters as the tragedy, but to view the sixth as something else. Each character has now met with tragedy, and like tragic heroes, each have their fatal flaw. However, the fact that Chapter 6 exists, points to a departure from tragedy. 

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The chapter opens with a “deep green pool”,  an image of spring, growth and rebirth. Similarly, “the hilltops were rosy in the sun”. It could be suggested that his offers us a setting for hope rather than despair. If death is coming, it is welcomed in, or as “a pleasant shade”. This is the same Eden-like setting the novel began with. Steinbeck introduces a “water snake”, a reminder of the serpent of Eden, which tempted man to understand the knowledge of good and evil.It is swiftly, killed as a heron “plucked it out by the head … while its tail waved frantically.” The “wind sounded” and then “the wind died”, again reminding us of imminent death. But does this, and the frantic end of the snake invite us to see death as natural and not as a tragedy? Does this give the reader a sense of hope – the power of friendship or is it truly a tragedy as the dream is never realised?

Turning up on such a beautiful area to find such a brutal scene, the scene after George has murdered Lennie, Slim is the only man with any regard for the way George may be feeling. He sits next to him and says gently “Never you mind… a guy got to sometimes.” As they wander back to the ranch, George in shock and being led by Slim, Carlson remarks to their departing silhouettes: “Now what the hell ya suppose is eatin’ them two guys?”. In this environment, in which human life is utterly disposable, only Slim recognizes that the loss of such a beautiful and powerful friendship should be mourned.  Carlson and the other workers don’t have the understand, due to their environment, to develop their relationships in the way George and Lennie have so therefore cannot empathise. This is a further example of the loneliness Steinbeck portrays.

Remember to consider the importance of Lennie’s death mirroring Candy’s dog’s death – they are described in a similar way and both occur to end suffering. Yet there are key differences between the two deaths. How can these be linked to loneliness? Steinbeck offers no answer to loneliness with the cyclical structure. The structure of the novella mirrors the fate of the characters – their inability to escape. It could be said that Steinbeck set out to expose and chronicle the circumstances that cause human suffering and one of the main issues being loneliness. To what extent do you agree with this statement?

Year 10 – we will look at Chapter 6 in tomorrow’s lesson. Please ensure you have read the chapter.

Miss O

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Recap on Unit 1 Section B – Of Mice and Men

Year 11 – here are the slides from the Tuesday’s lesson.

Ensure you keep reading all of the texts over the Easter break!

Miss O

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Approaching Of Mice and Men as a societal critique

A great blog post offering some wonderful interpretations – definitely worth a look!

Miss O

English Teaching Resources

I often pursue aspects of a novel with a question such as “why did the author write this text in this way at this time in their life or in the context of the worlds in which they live?” I am concerned that it is often hard for students to approach an essay about the significance of a certain character unless they can see how the character fits into the overall vision of the writer. Instead, they often resort to focusing on the action rather than looking at a wider perspective rooted in the intended function of the character and thus how they are presented by their words and deeds.

In OMAM this can be an issue. I want to take as a starting point the this novella houses a critique of American Society at the time of the Great Depression. If this is accepted, then I want to explore…

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