A guide to dystopian fiction

You can’t move for dystopia these days. There was a time a decade or so ago when there was only me – and a few other socially dysfunctional types – who you’d find banging on about dystopian fiction, boring friends senseless with obsessive talk of meltdown and apocalypse. Nowadays, every man and his disturbed dog teaches a KS3 unit on dystopian texts. And this is a good thing. I don’t want to sound like one of those losers who starts shunning a band the second everyone else ‘discovers’ them and they become popular. It’s just amusing to witness a niche genre go mainstream. So what caused this? Three words: The. Hunger. Games. As well as 9/11. But I’m getting ahead of myself already. Let’s take a few paces backwards…

It would be wise to start with a definition of dystopia. But before that we need to be formally introduced to the concept of utopia. The term was coined for the title of the 1516 fictional work written by Sir Thomas More. A simplistic synopsis of this deeply enigmatic text is that it imagines an island and depicts its perfect religious, political and social values; a haven of religious tolerance. With profound irony, as fans of Wolf Hall will know, More was executed by Henry VIII in 1535 for… refusing to support Henry’s schism with Rome. Conventional wisdom has it that the word Utopia is derived from the Greek for “good” and “place. This is completely wrong, according to John Carey, whose anthology The Faber Book of Utopias is the indispensable starting place for those wanting to know more about the genre:

Utopia means nowhere or no-place. It has often been taken to mean good place, through confusion of its first syllable with the Greek eu as in euphemism or eulogy.

As a result of this widespread misconception, we get the invented word dystopia (perhaps in 1851 via John Stewart Mill) meaning bad place, more specifically defined by the COD as:

noun (dis-ˈtō-pē-ə) 

  1. an imagined place or state in which everything is unpleasant or bad, typically a totalitarian or environmentally degraded one

  2. The opposite of utopia

Carey argues very persuasively that the correct definition of utopia could render dystopia irrelevant because ‘imaginary good places and imaginary bad places are all utopias, or nowheres’. Sensibly though, he recognises the pedantry involved in this and generally reserves utopia for good and dystopia for bad, despite the muddled etymology. As he eloquently puts it: ‘to count as a utopia, an imaginary place must be an expression of desire. To count as a dystopia, an imaginary place must be an expression of fear’.

So now we’ve cleared that up we can concentrate on the role of utopian and dystopian fiction. To my mind, there is an obvious earlier fictional model of utopia, which would have had a deep influence on Thomas More: Genesis. I’m willing to argue that the Garden of Eden acts a model for all subsequent utopias (and therefore dystopias). As the site of perfection incarnate, we might contend that the Fall of Man in the Old Testament acts as a prelude to the first dystopian fiction, where mankind is constantly falling from grace.

Utopian fiction, however, has also fallen into spectacular decline. An explanation about the absence of utopian societies in modern fiction is straightforward: utopias are unmitigatedly dull. Without conflict, narratives become tedious. Indeed, most purported ‘utopias’ in contemporary fiction (passages of Julian Barnes’ A History of the World in 10 ½ Chapters, for example) instead satirise the concept of a perfect human or societal existence.

And what of the dystopian text? As I’ve previously mentioned, this Mr Hyde of genres has found increasingly popularity in recent years, having long ago vanquished its Dr Jekyll precursor. The conventions of this doom-laden text:

  • Society is collapsing
  • The end of the world is nigh
  • Human misery is widespread
  • Any remaining elites rule in a brutal, totalitarian manner
  • Hope appears futile, but there is a glimpse of a future

And the message? A central tenet of the dystopian genre is the notion that mankind’s hubristic behaviour has invited catastrophe upon the human race.  Given this moral message, it is tempting to see dystopian texts as a prophetic vision of the future, with the simple and stark warning: “carry on in this manner and here’s what you will end up with”.

Tempting but wrong. The belief that dystopia acts primarily as a prophecy is not one I endorse. Instead, I would argue that the futuristic element of the dystopian text is more typically a disguised version of the present day.  Thus Orwell is not really looking forward to an imagined year of 1984, but instead presenting an allegorical representation of the bleakness of 1948 (note the simple numerical anagram that gives the book its title).

1984-by-george-orwell-eye.jpeg

In this sense, dystopian texts teach us not about the future but instead allow us to ponder past and present conflict within societies. Their increasing popularity, particularly from the start of the 20th Century onward, reflect our preoccupations with the seismic changes of the age:

  • Scientific and technological advances
  • Increasingly secular societies
  • Catastrophic World Wars
  • Threat of nuclear apocalypse
  • Rise of totalitarian regimes
  • Prevalence of ecological disasters
  • New forms of terrorism

Which takes us back to Suzanne Collins and The bloody Hunger Games. As the following little graphic shows, there is a direct link between conflict in society and a spike of dystopian fictions:

Picture1.png

Virtually everything, then, appears to fit in the dystopian pigeonhole. Not quite. You see, there’s a lot out there that, in my opinion, is incorrectly labelled as a ‘bad place’. So what doesn’t count? There’s often a bit of overlap, and you’ll probably be able to find an exception to my rules but here goes:

  1. Superheroes don’t count – Although Gotham, for example, may have dystopian elements, protagonists in a dystopian texts are reluctant or innocent-eyed archetypal everymen. They are not superpowered beefcakes. They don’t wear capes. There is no arch villain.
  2. The supernatural is not what scares us – one evil character does not a dystopia make. It is everyday life that terrifies us, not some Gothic depiction of the satanic.
  3. Disaster movies are not dystopian – the world may be in danger but the government (although often stupid) doesn’t want the people to suffer. Dystopian worlds aren’t just under threat: they are changed beyond recognition.
  4. We can’t blame aliens – dystopias are often futuristic but without the tyrannical society they are just… science fiction.
  5. Dystopia doesn’t normally happen on a small scale – bad things can happen on an island or in a city; in a dystopia, more often than not, the society or planet is under a repressive system. Unless it’s an obvious microcosm of course.

Dystopian texts can be disturbing, spellbinding and beautifully melancholic and misanthropic. Sadly they can also descend into cliche or the other obvious flaw of becoming a novel of ideas rather than one overly concerned with plot or character (Burgess’s The Wanting Seed being a classic example). This is a rather predictable list butmy five Nightmare Island Texts, in no particular order, would be:

  • 1984 by George Orwell
  • Fahrenheit 451 by Ray Bradbury
  • The Handmaid’s Tale by Margaret Atwood
  • We by Yevgeny Zamyatin
  • A Clockwork Orange by Anthony Burgess

I’d also recommend:

  • The Iron Heel by Jack London
  • A Brave New World by Aldous Huxley
  • The Road by Cormac McCarthy
  • The Bone Clocks and Cloud Atlas by David Mitchell
  • The Giver by Lois Lowry
  • Uglies by Scott Westerfield

And the following films:

  • Children of Men
  • They Live
  • Rollerball (the original)
  • Idiocracy
  • The Running Man
  • Battle Royale
  • Mad Max 2

Thanks for redaing,

Mark

 

 

Types of repetition and why you should teach them – part 2

‘Repetition is based on body rhythms, so we identify with the heartbeat, or with walking, or with breathing.’  Karlheinz Stockhausen

In part 1 of this blog, I listed various types of repetition that will be familiar to you and others that may not be. In this offering, I’ll be looking at examples of how you might get your pupils to use some of these complex terms, and will explain why I think it’s a good idea to do so.

Let’s start by looking at a famous passage, from Trainspotting by Irvine Welsh, that contains repetition:

‘Choose a life. Choose a job. Choose a career. Choose a family. Choose a big fucking television. Choose washing machines, cars, compact disc players and electrical tin openers… Choose DIY and wondering who the fuck you are on a Sunday morning. Choose sitting on that couch watching mind-numbing, spirit-crushing game shows, sticking junk food into your mouth. Choose rotting away in the end of it all, pishing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked up brats you spawned to replace yourself. Choose your future. Choose life… But why would I want to do a thing like that?’

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A pupil well drilled in the AFOREST mnemonic will be able to easily spot the language feature of ‘repetition’. They’ll notice that the word ‘choose’ is repeated throughout the passage and will probably be able to write that ‘Welsh uses repetition to suggest the narrator’s feelings of frustration with modern life’.  Lots of English teachers will argue that that’s enough, that there’s no need to complicate matters by introducing obscure terminology. I disagree. Apart from naturally sounding more sophisticated, I contend that the different terms outlined in the previous blog allow a) greater understanding of the nature of any given repetition in a text and b) more chance of insight into the context.

And context is key with language features. How many times have you been asked by a pupil about the purpose of a rhetorical question or alliteration? I used to be guilty of waffling on vaguely on about ‘making the reader think’ or ‘speeding up the rhythm’ but now I just explain that it is totally dependent on the context of the example. This can be explained to some extent by the background skills vs knowledge debate: we can all stick up posters that tell our pupils what a metaphor is and teach the generic skill of spotting them, but only when we get them to truly understand the specific usage in a text can they usefully analyse the use of that device.  So, let’s have a go at applying something more complex and teasing out the context a bit further:

The use of anaphora places emphasis on the opening to sentences. Therefore, the writer is encouraging the reader to pay particular attention to the beginning of each sentence/clause/line. This is a deliberate choice, of course. Rather than just repeat the word (or group of words), as the label ‘repetition’ would imply, they are very much accentuating the initial lexical choice. In this instance, Welsh chooses to place the verb ‘choose’ at the start for the following reasons:

  1. It highlights the fact that, before anything – big or small – can be achieved, first we have to make a decision
  2. It conveys the unrelenting pressure to make those decisions
  3. It makes each sentence an imperative; there is the paradox that we are being instructed to choose
  4. The options that follow the choice become increasingly less appealing. Yet, the primacy of the verb leaves us hammered into still feeling like we must select something
  5. The continual use of anaphora reflects the desire to choose ‘objects’ to possess. This gets to the heart of Welsh’s anti-consumerist, anti-capitalist, anti-conformist message. For the author/narrator, our choices are anything but: we have been brainwashed into automatically – the anaphora illustrating it is literally the first thing we think of – into yearning to choose something to have
  6. ‘Choose life’ was a 1980s anti-drug slogan. Welsh subverts it by using the initial verb as a springboard for each other decision about our existence.

You’ll also notice that the extract uses anaphora in a circular manner. In this case, it’s an example of commoratio (returning to the strongest argument). Switching the initially optimistic imperative into a nihilistic rhetorical question nails down the existential angst of the narrator. This rhetorical question isn’t just making the reader think, it’s making the reader question their worldview and ultimately the futility of our existence.

Let’s look at another example, from Othello, of where using the specific term – epizeuxis this time – makes the analysis more precise:

‘Even now, now, very now, an old black ram
Is tupping your white ewe. Arise, arise!’

Shakespeare’s use of epizeuxis  ‘now, now, very now’ could be interpreted in the following ways:

  • the use of successive ‘now’s emphasises the terrible immediacy of the situation (Othello seemingly taking advantage of Brabantio’s daughter): it is literally happening as we speak
  • By placing these words next to each other it also (apologies for the indelicacy here but Shakespeare wouldn’t mind) implies the penetrative nature of the words going into Brabantio’s head and mirroring the sexual act – Stockhausen’s ‘body rhythms’ taking place.
  • The third ‘now’ is actually diacopic, adding emotional intensity and prolonging the telling of the awful rumour. The intervening adverb ‘very’ amplifies the sense of urgency and futility that the father feels.
  • The epizeuxis of ‘arise, arise!’ acts as an imploring coda, a passionate call to action that wouldn’t have the same affect if spaced out.

I hope by now that you’re starting to feel that there may be something in this. I fancy the challenge, you’re thinking, but how should I teach these terms practically? My advice:

  1. Don’t try and introduce them all in one go. Giving them a long list and getting them to find examples of each in passages is a bad idea. They’ll be overwhelmed and likely to start saying ‘this is the one where it’s at the end and the beginning but I don;t know what it’s called’. Do no more than three at a time, and go back to test that they’ve stuck. I’ve been teaching my Year 10s for two terms now and we’ve only covered four or five of the more complex ones.
  2. Choose the ones that will feature prominently in the literature texts you will study, preferably in your key quotes. There’s little point spending ages on obscure terms and not giving pupils the chance to apply them in context.
  3. Tell pupils not to panic if they can’t remember the term, or the correct spelling, during assessments. If in doubt, ‘repetition’ will suffice.
  4. Don’t reward pupils for merely using the term. Ideas are only sophisticated if clearly expressed. If they spot the use of symploce, say ‘so what?’ until they can explain why it’s been used in that example.
  5. Think structure as well as language analysis.  Is there a pattern, like in the Trainspotting example?
  6. Link to evaluation where possible. Is the commoratio effective or are we drifitng into homiologia?
  7. Get them to use these rhetorical devices in their own writing. That’s bloody obvious isn’t it. Isn’t it?

Thanks for reading,

Mark

Types of repetition and why you should teach them – part 1

‘Happiness is the longing for repetition.’ Milan Kundera

There are lots of different, complicated names for types of repetition. Why should English teachers bother to teach them? After all, pupils have got enough to remember in the new exams without overburdening them with other unnecessary, fancy-sounding, difficult-to-spell terms.

repetition

I’ve written before about why I think it is important to teach complex terminology.  With repetition, I  think it’s really worth the effort to go beyond using the basic idea of ‘repetition’ as a catch-all term for something that happens more than once.

In part 2 of this blog I’ll explain why, by looking at specific examples. To begin with, let’s have a look in detail at why ‘repetition’ is an unhelpfully amorphous term:

Selected types of repetition (definitions from Dr. Gideon Burton, Brigham Young University)

Repetition of words

Anaphora – Repetition of the same word or group of words at the beginning of successive clauses, sentences, or lines. (‘O night with hue so black! O night, which ever art when day is not! O night, O night, alack, alack, alack!’ A Midsummer Night’s Dream)

Anadiplosis – The repetition of the last word of one clause or sentence at the beginning of the next. (‘The general who became a slave. The slave who became a gladiator. The gladiator who defied an emperor.’ Tagline for the movie Gladiator)

Diacope – Repetition of a word with one or more between, usually to express deep feeling. (‘She wondered whether, if her chances had been different, she might have met a different man.’ Madame Bovary)

Epistrophe (also called epiphora) – Ending a series of lines, phrases, clauses, or sentences with the same word or words – the opposite of anaphora. (‘If you’re so funny/
Then why are you on your own tonight?/And if you’re so clever/Then why are you on your own tonight?/If you’re so very entertaining/Then why are you on your own tonight?’ The Smiths ‘I Know it’s over’)

Epizeuxis – Repetition of words with no others between, for vehemence or emphasis. (‘Education, education, education’ Speech by Tony Blair)

Polysyndeton (also known as syndetic listing) – Employing many conjunctions between clauses. (‘He pulled the blue plastic tarp off of him and folded it and carried it out to the grocery cart and packed it and came back with their plates and some cornmeal cakes in a plastic bag and a plastic bottle of syrup.’ The Road)

Symploce – A combination of anaphora and epistrophe. (‘Where there is doubt, may we bring faith. Where there is despair, may we bring hope’.) Mendacious speech by Thatcher.

Repetition of clauses, phrases

Isocolon – A series of similarly structured elements having the same length. A kind of parallelism. (‘What the hammer?/what the chain?/In what furnace was thy brain?’ William Blake ‘The Tyger’)

Repetition of ideas

Commoratio – Dwelling on or returning to one’s strongest argument. (‘This parrot is no more. It has ceased to be. It’s expired and gone to see its maker! This is a late parrot. It’s a stiff! Bereft of life! It rests in peace! If you hadn’t nailed it to the perch it would be pushing up the daisies! It’s run down the curtain and joined the choir invisible! This is an ex-parrot!’ Monty Python Sketch)

Homiologia – Tedious and inane repetition. (‘Today you are you! That is truer than true! There is no one alive who is you-er than you!’ Dr Seuss)

Pleonasm – Use of more words than is necessary semantically. Rhetorical repetition that is grammatically superfluous. (‘Naan bread’: ‘naan’ already means ‘bread’. We also use CIT Teams at my school, which when expanded means ‘College Improvement Team Teams’)

Repetition of letters, syllables, sounds

Alliteration – Repetition of the same sound at the beginning of two or more stressed syllables. (‘Gawain,’ said the green knight,/’By God, I’m glad/the favour I’ve called for will/fall from your fist.’ Sir Gawain and the Green Knight)

Assonance – Repetition of similar vowel sounds, preceded and followed by different consonants, in the stressed syllables of adjacent words. (‘…viddy him swim in his blood.’ A Clockwork Orange)

Consonance – The repetition of consonants in words stressed in the same place, but whose vowels differ. (‘…glazzies tight shut…’ A Clockwork Orange)

Sibilance – A more specific type of alliteration that relies on the repetition of soft consonant sounds in words to create a whooshing or hissing sound in the writing. (‘…some shivering starry grey-haired ptitsa in a shop and go smecking off with the till’s guts.’ A Clockwork Orange)

Thanks for reading this. This reading was brought to you by:

Mark

 

 

Here’s one I made earlier: using your own creative writing as literary texts

As a trainee, I was reluctant to share my writing with pupils. Not my exemplars, they were fine. Pretending to write like a pupil, as a way of modelling good and not so good responses,  was a doddle. But using my own writing – articles from my previous life as a journalist, short stories and extracts from a novella I’d written for an MA – was a different matter. My subject mentor was adamant however that I should use some of them in class. The kids will be impressed, she insisted. Looking back now, I think I was worried about the following:

  • making myself vulnerable to abuse (I’d been given some tough, tough classes and was very much still finding my confidence in terms of behaviour management)
  • the fiction might not be of a good enough standard to share. How dare I muscle proper high quality texts out of the way with my scribblings?
  • it might be too good for them. They might feel inadequate in my godlike presence and be demoralised when asked to compose something of their own
  • they wouldn’t understand it: they’d find it too highbrow or pretentious. Even worse, they might not laugh at the bits that were meant to be funny
  • the content was too adult for them. I might upset some pupils. There may be complaints by parents

I needn’t have been so cautious. They were impressed. They were intrigued. They asked sensible, thoughtful questions. They asked to see more.

Image result for blue peter here's one i made earlier

Over the last decade or so, I’ve continued to use my own writing – opinion pieces, short stories, scripts, shopping lists – in lessons. Contrary to my initial fears, these lessons have been some of the best I’ve taught.

My favourite ever lesson used a poem I’d written for my wedding. I gave it to the class as an unseen poem with my name removed. One pupil asked why there wasn’t a writer’s name at the bottom. ‘It’s by anonymous,’ I lied. This was high risk, of course. They might have hated it and slated it. Yet it was a gamble I was willing to take: they were a collection of lovely, polite (albeit very opinionated) pupils and I didn’t want them to feel obliged to say nice things to protect my feelings. Surprisingly for ones so young, they quickly understood the sentiments of the poem. They also spotted things that I hadn’t consciously thought about during the creation. It was quite moving actually.

This week  I shared a poem I’d written recently with my Year 12s:

Wayside

Wrapped around the slanted lamppost,

embossed by a sign that reads

7 miles from home.

 

Snared around the resurrected lamppost,

pressed dry by wind and diesel breath.

Each time I speed by, outraged:

cut off in bloom; allowed to brown, now

bandaged in a pink cellophane shroud.

 

I stop, one day, read a mildewed note

‘To Lily, our precious girl.

Forever growing in our hearts.’

Wilted stems offend no more –

neglect seems like the only course,

while green stalks persist in distant minds.

The poem was bespoke, written after struggling to find something suitable to go with the one we were studying. It worked a treat. As some of this class were wise to my old ‘anonymous’ routine, I adopted the pseudonym Tom R. Barkers, an anagram of my name. The class enjoyed the daft trick and provoked sophisticated, nuanced interpretations of my amateur offering. One pupil sheepishly told me it was his favourite poem ‘of all the ones we’d been studying’. This was a nice touch but we had just done ‘Tissue’ so anything else was bound to be an improvement.

Previously, I shared the opening to a short story with my Year 11 after they’d been pestering me to show them some of my fiction. Instead of just reading it, I set it as a ‘literary’ extract for GCSE language Paper 1:

Source A

 This is the opening extract to a 2005 short story by Mark Roberts, which tells the story of a dog’s dislike for his owner.  In this scene the main character is describing his relationship and daily routines.

 The Captive of Camberwell

 A dignified temperament and awareness of the need for sycophancy prevents one from showing one’s true nature.  Take today for instance: what does she feed me? Chicken and liver in unspecified meat gravy.  Despite having no access to calendars and the television not yet being switched on, I know that today is a Thursday.  How?  Because, as sure as unkind winter follows indifferent autumn, one’s diet is also cyclical and unchanging: Monday rabbit, Tuesday beef, Wednesday lamb… I shall not bore you with the rest of the week, suffice to say that each day brings a meal made of dubious meat, which remains cylindrical despite the sickening wobble it performs as it is shaken from the tin. This form of dietary torture, a recipe only for heartburn and irritable bowel syndrome, is exacerbated by the following familiar scene.

‘Tyke? Tykey! Dinner’s ready.’

I feign enthusiasm and skip mechanically towards the scene of the crime, licking my lips with a sarcastic air that I’m confident she is too moronic to notice.

‘Tykey boy loves his din-dins doesn’t he?  Doesn’t he baby?’

‘No I don’t you stupid old cow.  Have you actually smelt this stuff?’

Of course, she can’t translate this comment.  She interprets my outburst as a sign of pleasure and caresses the back of my neck with her podgy, sausage-like fingers.  It sends a shiver of repulsion along the hair on my spine. I wolf it down, purely to avoid prolonging the ordeal, yet she takes this also as a sign of contentment.

‘Mummy’s going to have her din-dins now, isn’t she?  If Tykey’s a good little boy there might be some left for him.’

Now imagine if she really was my biological mother.  Picture the scene: a morbidly obese woman in her late-forties is on all fours.  Her sickeningly tight leggings are wrenched down around her knees.  The odours that might escape the confinement of the Lycra are beyond comprehension.  She is attempting to coax her theoretical mate towards his nemesis.  In order to reproduce he must first scale her vertiginous behind.  This is not easy when you are a Yorkshire terrier.

Eventually she finishes her main meal and reaches predictably for her arsenal of jam doughnuts.  Self-loathing grabs me as I realise that I look forward to the sugary delight of the dusty white powder, not to mention the sticky red goo nirvana that erupts from its core.  What sickens most is the build-up to this treat.

‘Come and give mummy a kiss.’

‘Oh god…’  I head toward her and allow her to scoop me up with her flabby palms.  She brings me to her furry upper lip and I am forced to close one’s eyes and contemplate an alternative target: the hot little Jack Russell from the park; a muddy puddle; anything to take one’s mind from the task at hand.  As a result I lick wildly, catching her nose, cheeks and chins as well as the syrupy bliss. She squirms with pleasure and drops me to the ground gently.  I head back to my basket feeling like a crack whore, satisfied but forever soiled.

Glossary:

sycophancy – pretending to like someone to get something out of it

vertiginous – extremely steep

nirvana – an ideal or perfect place

Despite the challenging vocab  and disturbing content (‘you’re not right in the head, sir’) another very successful lesson.

Beyond the apparent ego trip – and let’s be honest here, this is a rare occasion when you’ve got a captive audience to read your fiction – here’s why I think sharing your own work is a good idea:

  1. It’s a brilliant way into the structure question (Q3 on AQA). The writer (you) gets to explain the decision to begin in media res,  use flashback devices, adopt the second person, use particular spatial shifts etc. The benefit of gaining insight to the deliberate nature of the construction process cannot be underestimated
  2. The same goes for evaluation (Q4 on AQA). Why did the writer chose that name? What was intended by describing the character in that way? Why use such a mocking tone at a seemingly tragic juncture? Let’s ask the writer. S/he’s here!
  3. It allows pupils the opportunity to develop critical evaluation skills in a safe environment. It’s hard to find fault with Heller’s opening to Catch 22 but much less so when the teacher has said, this isn’t perfect, I’m not 100% happy with it. What could I have done better here to create enigma or increase tension?
  4. With the right class, it allows you to let your guard down and be seen as a human being, not just an educator. The fiction we write says a lot about us – whether we write what we know or the opposite – and this fascinates pupils. Since using these extracts a few pupils have been far more likely to show me their writing and ask for reading recommendations from me
  5. It gets you writing more. English teachers are generally frustrated novelists or poets, who have become bogged down with writing reports, feedback, lesson resources and exemplars. I tend to find that writing poems or short stories doesn’t feel like extra work. On the contrary, it’s a valid excuse to ditch the marking for a couple more hours

Thanks for reading. Unlike my pupils, I know you don’t have to.

Mark

 

 

Ditching pronouns – analysing poetry with clarity

What’s the quickest signal to an examiner that a pupils doesn’t really understand a poem? Pronouns.  Or rather, to be more precise, overuse of pronouns. Pronouns, as I often tell my pupils, are not your friend.

Let’s look at a typical example of a pronoun-heavy analytical paragraph:

Power is presented in ‘Storm on the Island’ through the memories of the damage that nature has done. This is shown through the declarative ‘we are prepared’, which suggests that nature has a history there and that they are ready for them. The adjective ‘prepared’ implies that they are ready for the storm to come as it is a frequent occurrence there and they know natures capability for destruction. This makes the reader feel impressed with their ability to deal with a future storm because they have such powerful memories of the damage from the past.

Now some of this resembles decent analysis: focus on key words, technical terminology identified, awareness of effect on reader. But what prevents it from displaying real clarity, real understanding, real knowledge is the imprecise use of pronouns (and adverbs). You can tell that the pupils has some appreciation of the poet’s methods and the wider themes. But the vagueness and ambiguity caused by certain pronouns belies a hazy, insecure feel for the poem.

An examiner will find themselves mentally muttering the following questions:

  •  ‘This is shown…’ (What is shown?), ‘This makes…’ (What makes?)
  • ‘They are ready…’ (Who is ready? The poet? The speaker? The people on the island? The people of Ireland?)
  • ‘has a history there’ (Again, where exactly  is there?)

Another example:

In ‘Poppies’ loss of power is presented through images of separation. The metaphor ‘the gelled blackthorns of your hair’ conveys the sense of the barrier between them. The noun ‘blackthorns’ indicates the defence he has erected to keep her at bay. She feels as though she  is losing her control over him, causing the reader to feel sympathy for her plight.

Problematic pronouns:

  • them
  • he
  • her
  • she

Not being specific with the last two pronouns usually shows that the pupil is unsure whether the poem is autobiographical or not (it isn’t: Jane Weir has adopted the persona of a mother whose son is going off to war – not that you’d know from this woolly response).

This morning, I’ve marked a frustrating number of mock papers that fall into this trap. It may be a question of writing skills: pupils are perhaps just being sloppy in their explanations. I suspect otherwise. I think this is usually a tell-tale sign of a lack of revision, a giveaway that students only partially get, or half remember, the themes and ‘meaning’ of the poem. As a result, context is unsurprisingly weak and comparisons are basic at best.

So pronouns are not pupils’ friends. But they are helpful (depressingly helpful) symptoms for the teacher who is trying to work out which poems to go over again.

Thanks for reading,

Me

Dear AQA, It’s time to talk about ‘Tissue’…

Dear AQA,

We’ve been together for a long time. For over a decade now, you’ve been a part of my life: reliable and reasonable, dependable and decent,  occasionally formidable but consistently fair. As in most relationships, there have been periods where my affection for you has waned. There have, I must admit, been times when I’ve considered leaving you. Periods when I’ve gazed with yearning at WJEC’s saucy little grade boundaries. Times when I’ve had dalliances with Cambridge and her wantonly appealing iGCSE. Days when I’ve thought I might have to get to know OCR and find out what she’s all about.  Welsh board put me off with her indifference to my advances; she went two whole weeks once without returning my calls. I left message after message. Maybe she sniffed my desperation for an answer. Cambridge, if I can speak frankly, turned out to be a big mistake. Finding out what she was up to, and getting a straight answer out of her, left me pining once again for your straightforward charms.  The walls of Kafkaesque bureaucracy she built up around her had me, and many others by the look of it, running back into your matronly embrace.  Yes, I’m sticking with you. We’re in it for the long haul. So, I am going to be honest with you; you once told me you appreciated my opinion, and I’m sure you weren’t just saying that to get me to like you more. To speak plainly, you’ve done something that’s upset me. I’m not alone by the comments that people have been saying about you behind your back. Well, I’m going to give it to you straight, as real grown ups do when their partner does something that causes them pain. It might seem like a little thing to you but, I’m sure you’ve been around the block enough times to realise that these seemingly minor things can escalate. You know the kind of thing I’m talking about: one minute your partner’s nose-picking is a mere irritant, the next thing you know you’re sleeping in separate bedrooms and muttering the d word under your breath. What is this minor crime that causing major friction then? It’s time we had a serious talk about…’Tissue’.

2-used-tissue-blog.jpg

To those fortunate enough to be uninitiated, ‘Tissue’ is a poem by Imtiaz Dharker that features in AQA’s new Power and Conflict poetry anthology. I’m going to quote it here, in its entirety, for ease of reference. If you have a weak heart or strong aversion to very “poetic” poetry, you may want to drink some whisky or antifreeze first:

 Tissue

by Imtiaz Dharker

Paper that lets the light
shine through, this
is what could alter things.
Paper thinned by age or touching,
the kind you find in well-used books,
the back of the Koran, where a hand
has written in the names and histories,
who was born to whom,
the height and weight, who
died where and how, on which sepia date,
pages smoothed and stroked and turned
transparent with attention.
If buildings were paper, I might
feel their drift, see how easily
they fall away on a sigh, a shift
in the direction of the wind.
Maps too. The sun shines through
their borderlines, the marks
that rivers make, roads,
railtracks, mountainfolds,
Fine slips from grocery shops
that say how much was sold
and what was paid by credit card
might fly our lives like paper kites.
An architect could use all this,
place layer over layer, luminous
script over numbers over line,
and never wish to build again with brick
or block, but let the daylight break
through capitals and monoliths,
through the shapes that pride can make,
find a way to trace a grand design
with living tissue, raise a structure
never meant to last,
of paper smoothed and stroked
and thinned to be transparent,
turned into your skin.
Yes, my dear AQA English, it’s a poem about paper. Or rather, as BBC Bitesize artfully puts it, it’s about ‘how paper can alter things’, with paper used as an extended metaphor for life. But you already knew that didn’t you? You chose it of course. Either by group discussion (on a Monday morning after a heavy weekend, perhaps) or more likely, it was the pet favourite of the Principal Examiner. I’ve met quite a few of your principal examiners and have found them to be rational, thoughtful and thoroughly sane. How this monstrosity slipped through is quite puzzling.
What is my issue with ‘Tissue’ then? Having known me for a while, you might not be surprised to hear that I have multiple concerns. Think of them as a list of demands, screamed down a red telephone line during high stakes negotiation with an unhinged poetry extremist:
  1. It’s utterly incomprehensible. Yes, it’s clearly about paper but the extended metaphor is as shaky as a gold-miner’s sieve. I consider myself pretty decent at understanding and analysing complex ideas about poetry but this one has got me stumped. Lots of colleagues, in school and on Twitter, (some of them much cleverer than me) have admitted feeling the same. It is impossible to comprehend  (etymology: ‘grasp’ and ‘together’ and none of us can). I feel it’s my duty to tell you that others – on TES forums and eduTwitter – have been very unkind about the poem. I wouldn’t ever do that kind of thing in public, of course. Someone called it the ‘worst poem ever’. Somebody else said it was ironic that it was called ‘Tissue’ because they wouldn’t wipe a certain part of their anatomy on it. I recently bumped into a colleague in my department who was purple in the face and swearing at the wall. I thought he’d split up with his wife or had been assaulted by a child. No, he said, he’d just had to teach ‘Tissue’.
  2. It’s pseudo-profound codswallop. This is the kind of thing normally associated with juvenilia.  Deeply philosophical but totally superficial outpourings of multi-layered guff.  And I say that as someone who otherwise respects Dharker’s skill. I’ve enjoyed teaching’This Room’ and ‘The Right Word’, both complex but accessible, well-written poems that have appeared in previous AQA anthologies. Certain parts, such as ‘An architect could use all this…and never wish to build again  with brick’ are hard to read aloud with a straight face, which isn’t helpful when the audience is 26 Year 11s.
  3. Nobody knows what it means. Ok, this is pretty much the same point as one and two but in what way is paper an effective metaphor for life? It wears away and disintegrates? It gets old? No, it turns into skin: you and the paper become one. We always say poems don’t have to mean anything but we know that’s largely bollocks of course. We like them to have some sort of conclusion and message, no matter how tentative and enigmatic. This one doesn’t even tantalise, it merely mystifies, regardless of however many times you scrutinise for hidden symbolism.
  4. It’s not really a poem about Power. Or Conflict. Unless it is and I’ve missed the point (see points 1, 2 and 3).
  5. It’s too difficult for GCSE. Someone – go on, be brave – may be able to convince me that they understand what it’s about. But they still won’t be able to convince me that it’s an appropriate choice for the exam.  Especially on a new tier-free paper. In the old days you only had to subject your top pupils to ‘next to of course america i’. Now my pupils with a grade 2  forecast (not that that means anything of course) will have to steel themselves for the prospect of this Bernard Matthew’s style turkey of a poem.
  6. Is it (whisper it) perhaps something of a tokenistic gesture to get more ethnic minority voices into the anthology. I have no issue with that. You just picked the wrong poem my love. How about something like… erm… ‘The Right Word’ by Imtiaz Dharker instead?
  7. There’e no escaping it. With the choice of questions, last year’s cohort could have one Get Out of Jail Free card, to enable them to duck a poem – just one mind – that they found to be not to their liking. If this turns up as the named poem – good god, just imagine! – they have no hiding place. Those old apocryphal tales of pupils committing hari kari by ramming pencils into their eyeballs might start to come true.

But you wouldn’t do that to us, would you, my dear old AQA? This is not just the rantings of a disgruntled teacher who can’t stand a particular poem. Since time immemorial, English teachers have enjoyed whinging about certain poems they hate. Think ‘On the Train’ by Gillian Clarke. Or ‘I love to See the Summer’ by John Clare. We all have our personal bete noires. This is not what this letter is about. The poem shouldn’t be there. Someone made a mistake. We’re human: it happens. So, go on, admit you ballsed up and take action. That promiscuous rival of yours, Edexcel, did this just the other day: she admitted she’d been foolish to include 28 poems on the Poems of the Decade A level anthology and, after ‘feedback’ from her clients, hacked the collection back to a more shapely 20.

Come on, my old friend, let’s do it. I’ll stand by your side while you make the necessary arrangements.  Although, actually, you don’t have to go public on this. It’s ok for us to have our little secrets. I know it would cost a fortune to reprint and distribute new anthologies. Let’s just nod and wink, and tap our noses, and say we’ll not make it the named poem. Ever. You could put a mysteriously unexplained asterisk next to it on new editions of the anthology.That way we can all just ignore the damned thing and get on with teaching challenging but worthwhile texts like Ozymandias. We’ll go through the motions of course. We’ll teach it on a wet Wednesday in November, then forget we ever did.  Everybody wins: me and you stay together, Imtiaz Dharker gets paid, pupils’ eyeballs remain intact.

Forever yours,

Mark

UPDATE: The good natured folks at AQA English provided a humorous and, ahem, phlegmatic response to my blog. I’ve attached that below, along with my reply:

Dear Mark,

We’re not going to lie, your recent letter took us by surprise and we have to confess to being a little hurt. Yes, your eyes have wandered in the past but we have, and always will, value our long and trusted relationship. During those moments when you were tempted by those glossy offers, we reflected and did our best to step up and be the ideal companion. We’d like to think we’re continually growing and doing the best we can by offering you support and fair, quality assessment for your students. Our question papers will always be accessible and we have designed the mark schemes to reward students for what they can do, rather than penalise for what they can’t. You may call this a matronly embrace, but we call it fair.

You have been honest with us and we’d like to be honest with you. The linear GCSE English Literature is untiered and so we need to provide an anthology that contains a broad collection of poetry that will challenge the full ability range. Tissue isn’t just your 1-ply cheap option; think velvety 3-ply and you’re getting close. You’ve asked us to own up to making a mistake. We’re an honest bunch and would hold our hands up if we were in error, but we love Tissue and know of many students that do too. But isn’t that variance of interpretation and opinion one of the things that we both love about literature? Life would be boring if we all liked the same things so why not embrace that difference?

One thing’s for sure, we’re dependable as we’ve always been and we’re not going anywhere. We aren’t going to let a small difference of opinion get in the way of our flourishing relationship. We love to talk about literature and would be more than happy to arrange a time to discuss the multiple interpretations of Tissue. We don’t mean to be overly forward, but our phone number is 0161 953 7504 and our email address is English-GCSE@aqa.org.uk if you did want to get in touch.

Forever yours,
The AQA English Curriculum Team

P.S. But more seriously, thank you for raising your concern with us. We always value feedback from teachers about how students are engaging with our choice of set texts and use it to inform the resources and support that we can develop in future.

Remember that the questions in the exam will seek to allow students of all abilities to interpret a poem like ‘Tissue’ in their own way and select evidence from it to support their own insight of the theme ‘Power and conflict’. The mark scheme does not presuppose any particular view or interpretation of a poem.

 

Dear  AQA English,

It was jolly good of you to get back in touch. Exam boards are not known for their sense of humour, but your heartfelt response explains why I fell for you in the first place. I’m glad that we’re on intimate terms again; time – and half-term – is a great healer. So is not having to teach ‘Tissue’ for at least a week. But I do appreciate your efforts: as the tragic travails of Kylie Minogue and Nigel Farage have made it all too painfully aware, the strongest relationships need to be worked at. I still do take issue, or take ‘Tissue’ rather, with a few of your points:

  1. You said that the aforementioned poem ‘isn’t just your 1-ply cheap option’ but is more ‘velvety 3-ply’. I must, I’m afraid, continue to demur. Rather than seeing a luxurious, deeply layered and comforting tissue, I instead perceive the thinnest and scratchiest absorbent paper known to all mankind. Think of the industrial standard bog roll that used to be found in hospitals, lunatic asylums and secondary school toilets in the 1980s.
  2. Despite my desperate pleas for reason, you insist that you ‘love Tissue and know of many students that do too’. I understand why you feel the need to defend the honour of ‘Tissue’ – once you’ve invited it into the family, as with racist brothers-in-law and little puppies that defecate all over the carpet, you feel obliged to stick by it. But please don’t drag the innocent children into this too. I’ve yet to find a pupil who hasn’t physically recoiled after encountering ‘Tissue’ and am shocked that you claim to have unearthed ‘many’ that are fond of the monstrosity. Who exactly are these students? Please produce examples of their work and sworn affidavits that they weren’t paid to knock out a couple of PEA paragraphs.
  3. Life would indeed ‘be boring if we all liked the same things’. As I said in the original blog, however, this one’s not about personal preference. I’ve taught many a stinker over the years but this transcends whether I like it as an individual. It’s not going to allow pupils ‘of all abilities’ to access it. It doesn’t fit in with the rest of the cluster. It ultimately lacks genuine meaning. If it was just me, I would have received plenty of stick for my blog. English teachers on Twitter are not shy at coming forward to lambast idiots who slag off quality pieces of work. I’ve copped my fair share at times, usually with good reason. Yet, the English teaching public have spoken: it’s not exactly scientific but you’ll have noticed that the blog attracted many comments on Twitter. Over a hundred in fact, which is a decent sample (as well as over 2500 views of the blog itself). Apart from 4 masochistic souls, all of them were united in their strong aversion to the text. There was a near consensus: not only is it a bad poem, it will strongly disadvantage lower ability candidates should it, god help us, appear as the named poem.  You end by reminding me that ‘the mark scheme does not presuppose any particular view or interpretation of a poem’. It will be interesting to see if any pupils, given that their teachers are genuinely flummoxed, can come up with any view or interpretation of the poem.

It was good to hear from you. Do keep in touch. The next time we meet though, let’s perhaps not talk about ‘Tissue’. The hurt may be too much. I may cry. Just in case, you bring the Kleenex and I’ll bring a 100% cotton handkerchief.

Yours with affection,

Mark

 

‘Remains’ by Simon Armitage – A Guide (AQA Power & Conflict poetry)

Before I begin with my interpretation of the poem ‘Remains’, a quick word on how I approach my own analysis and teaching of a poem. Generally, I like to go into it unseen and usually like my pupils to do the same. When I first started teaching poetry, I used to read the revision guides, study the websites, have a nosy on youtube and scrutinise the poet’s biographical details. These days, unless I find a poem particularly obscure or complex, or feel that it is essential that pupils know the context in advance, I prefer to discover a poem for myself and get my students to do the same. I’m the same with film or book reviews: why would I want to read someone else’s opinion of a movie or a novel before actually seeing it for myself? For me, I’d be going into the experience with someone else’s viewpoint embedded in my brain and I personally find that an unwelcome distraction. I invariably go back and read the reviews after I’ve watched or read it, to see if I was missing something. I mostly expect the same with my pupils and poetry analysis: only after they’ve given me their first impressions do I start to fill in the gaps. This also, obviously, helps develop skills for the unseen section. So this guide is my take; I haven’t read BBC Bitesize or watched the Armitage documentary on youtube. I will in good time but for now this is my take on this accessible, impressive and affecting poem…

Summary

Briefly, the poem is told from the point of view of a soldier in an unnamed conflict, which given the references to ‘looters’ and the ‘sun-stunned, sand-smothered land’ I presume is Iraq. The soldier and his colleagues shoot dead one of these looters; the speaker is left to reflect on the decision he has taken and deal with the psychological consequences of this action upon his return to civilian life.

The title

‘Remains’ is ambiguous and ironic – literally referring to the corpse of the dead looter but also reflecting the persistent memories of the victim that haunt Armitage’s military persona. The image of the man’s body – the noun ‘remains’ – are forever juxtaposed in his mind with the insidious and pervasive image that continues -the verb ‘remains’ – to stay with him.

Self-defence versus murder

The crux of the poem comes early in the speaker’s uncertain testimony that the looter was ‘probably armed, possibly not’. The syntactical positioning of the pair of adverbs is instructive: the soldier assumes the worst, with ‘probably’ suggesting a high likelihood of danger and seemingly justifying the decision to open fire. Yet the second adverb ‘possibly’ implies there was a chance that the looter was unarmed, making the course of action a war crime. Given that the previous line ‘legs it up the road’ – with the idiom ‘legs it’ denoting an escape and implying that the looter was running away – the reader  is more likely to view this as a callous act, involving shooting the looter in the back. Armitage’s use of diacopic repetition later in the poem, but this time in a dream-fuelled flashback (‘Sleep, and he’s probably armed, possibly not’) indicates the recurring replaying of this fateful moment in the speaker’s mind.

Collective responsibility?

The polysyndeton of ‘Well myself and somebody else and somebody else’ evokes a chain reaction of involvement. All three are ‘of the same mind’, suggesting a sense of agreement in the moral correctness of their actions, or perhaps rather a psychological conditioning (brainwashing some might say) that encourages soldiers to think the same and act the same, linking nicely with ‘Charge of the Light Brigade’ and ‘Theirs is not to reason why…’. While the anonymous indefinite pronoun ‘somebody’ conveys the code of honour and silence among comrades, and appears to evade culpability, the positioning of the first person reflexive pronoun clearly represents an admission of involvement – indeed primary involvement as the first to fire – of the speaker. The fact that they were ‘letting fly’ certainly suggests a reckless abandon rather than precise targeting.

The body

At this stage the poet adopts grotesque imagery to emphasise the physical mangling of the body and the indifference shown to the victim at the moment of death. ‘One of my mates …tosses his guts back into his body’ is deeply disrespectful towards the corpse, with the dynamic verb ‘tosses’ highlighting a careless, inhumane attitude towards human life. The plosive of ‘back’ and ‘body’ amplifies the visceral image of the sloppy innards being casually thrown back into this shattered shell of a body. The indignity is further reinforced by the mode of transportation for this hapless criminal: ‘carted off in the back of a lorry’. The choice of a vehicle known mainly for distribution, as opposed to an ambulance or a hearse, displays the objectification of the cadaver – discarded like a broken and unwanted item.

The volta

Now the location changes but the action doesn’t. Armitage sends the soldier home on leave but condemns him to a perpetual reimagining of the scene:’I’m home on leave. But I blink/ and he bursts again through the doors of the bank.’ The caesura suggests a clean break but the enjambment swiftly reasserts the invasive memory of the victim. The narrative shifts from anecdotal to confessional and we witness the mental deterioration of the persona.

PTSD 

The American Psychological Association defines post-traumatic stress disorder as ‘an anxiety problem that develops in some people after extremely traumatic events, such as combat, crime, an accident or natural disaster.’ They go on to explain that ‘people with PTSD may relive the event via intrusive memories, flashbacks and nightmares…’ It is pretty clear by now that the guilt caused by taking a life in combat (especially an innocent one in a gruesome manner) and the trauma is provokes is the central theme of the poem. Specifically, the theme of intrusion is key: the murdered looter is now metaphorically ‘dug in behind enemy lines’, a phrase of profound irony as the speaker was initially the one stationed deep in opposition territory, and significantly as the ‘enemy’in this instance is the soldier’s own brain. The verb phrase ‘dug in’ emphasises the intrusive, relentless nature of these revenge attacks on his conscience.

The Royal College of Psychiatrists notes the symptoms of the condition includes an hypervigilance that means sufferers are unable to switch off. Other symptoms include the futile abuse and misuse of drugs and alcohol, evident in the line ‘And the drink and drugs won’t flush him out’. The idiom ‘flush him out’ works on several levels: firstly, suggesting the disposal of undesired waste products, which links with the disposal of the looters body; secondly, illustrating the original intention of bringing enemy ‘combatants’ out into the open; and thirdly, getting a toxic product – in this instance the intrusive memories – out of the system before it causes long-term damage. Interestingly, the RCP also spell out the situations that will heighten the effects of PTSD: the involvement of mutilation -the physically ‘torn apart’ victim ultimately reflecting the eventual mental anguish of the perpetrator – being a key indicator of severe long-term trauma.

The use of cliche

Many of the colloquial metaphors that Armitage employs are cliched:

  • ‘legs it’
  • ‘letting fly’
  • ‘broad daylight’
  • ‘carted off…’
  • ‘end of story’
  • ‘near to the knuckle’

The use and subversion of cliched expression is a common feature of Armitage’s oeuvre; a Armitagean trope if you will. In ‘Remains’ it could perhaps convey a lack of education. After all, the average reading age of 40% of British Army recruits was recently found to be 11. I favour another explanation. Use of cliche reflects a lack of original thought, linking back to the unity of decision making at the start of the incident. Cliches are phrase that are worn out through repetition, highlighting the continual destruction and loss of life witnessed in warfare and the repetitive intrusive memories of the soldier.

So that’s my take on the poem. I suppose I’ll have to have a look around now and see what everybody else makes of it.

Thanks for reading,

Mark

 

 

“Super, smashing, great” – modelling the language of evaluation: superlatives (part 2)

Those of you of a certain age will remember – fondly or otherwise – the 1980s ITV game show Bullseye. It was a Sunday evening staple in my grandma’s house, a winning combination (for an 8-year-old anyway) of darts, or rather ‘arrers’ in Yorkshire, not-too-taxing general knowledge questions, glamorous prizes, such as Breville toastie makers, and its affable, diminutive host Jim Bowen.

jim-bowen

Dour and deadpan, Jim became best known for his anodyne catchphrases: the rhyming couplet’stay out of the black and in to the red, there’s nothing in this game for two in a bed’, the pleading imperative ‘listen to Tony’. and most famously of all, the random asyndetic list of superlatives, dished out in either congratulation or commiseration – ‘super, smashing, great…’.

Last time, I looked at grammatical superlatives and how they can be a very useful tool for language analysis. This time, I’m looking at the other meaning of the term: a general adjective used in praise to recognise something of the highest quality.

In theory, superlatives should only be encountered, therefore, when assessing acts of excellence. A supreme moment of sporting skill, a pop single of majestic beauty, a novel of breathtaking scope. The problem is that superlatives have become overused in modern discourse to such an  extent that they are slowly becoming worthless, or in certain cases have keeled over and died, thrashed to death my merciless wielders of hyberbole. The moribund superlative has become the stuff that cliches are made on. Let’s look at these examples:

  • brilliant – used to mean ‘dazzling, shining’ but now means really good.
  • wonderful – used to denote ‘inspiring a sense of delight and imagination’ whereas it now merely suggests something was very nice.
  • incredible – previously an ambiguous word literally meaning ‘hard to believe’ which has now lost its use and has become synonymous with quite surprising.
  • great – the most overused and downgraded adjective of all, once meant ‘exceptional or highly significant’ but now means… well, anything you want, from decent to good to slightly above acceptable.

I’m a big fan of Sky Sports’ football results extravaganza Soccer Saturday. For those of you who haven’t seen it, it’s basically four inarticulate and overexcitable ex-pros getting overexcited about a football match they’re watching on telly that you can’t see. It sounds awful but it’s highly compulsive. The anchor, Jeff Stelling, holds things together with his eloquent bursts of statistical know how, interspersed with knowingly dreadful puns. Recently though, I’ve started to lose interest; my affection is beginning to wane. The main reason? The excessive use of the superlative ‘great’. A pass that is a bit better than normal is ‘great’; a goalkeeper doing his job and keeping standard shots out the net is having a ‘great’ game; a team that wins three matches in a row are on a ‘great’ run etc. etc. etc.

How does this relate to teaching English. Well, obviously, we want to prevent our pupils from falling into the trap of reaching for the hackneyed superlative and encourage them to seek out more interesting and meaningful adjectives of praise in their own writing – specifically in the GCSE evaluation question:

  • ‘Capote’s consummate use of spatial shifts at the start of In Cold Blood contributes to…’
  • ‘Steinbeck’s flawless use of zoomorphic imagery cleverly depicts Curley’s animalistic aggression…’

This is all well and good, but what else can we do to model an avoidance of tired superlatives. If we’re being honest, we can make sure we stamp them out as much as possible in our own teacher talk and written feedback:

  • ‘That was a brilliant answer’ could become ‘that was a really nuanced answer’
  • ‘A wonderful piece of analysis’ might become ‘your understanding of different types of repetition is faultless’
  • ‘Great answer, John’ might become ‘The first part of your answer was excellent, John, but to make your answer first-rate you need to reconsider your understanding of…’

Thanks for reading, you’re all my wonderful,

Mark