This extract from Tremain’s novel The Road Home is in section 2 of the Edexcel IGCSE anthology, for English Language Paper 2.
As ever I offer this resource as a starting point. Good luck!
This extract from Tremain’s novel The Road Home is in section 2 of the Edexcel IGCSE anthology, for English Language Paper 2.
As ever I offer this resource as a starting point. Good luck!
I am experimenting with ExplainEverything as a medium for supporting learning.
This is a link to a lesson taught today with my Year 10 class and acting as support for the 6 or 7 boys who were sitting an art exam…
The boys are finding English tricky, but are capable of good work. Hopefully this will boost their confidence somewhat. Some much improved writing and sensible analysis here of an unseen poem.
https://youtu.be/awIWtxzrVdI : link to JLS you tube channel
A resource for unseen poems based on Robert Frost…
Setting a poem – Stopping by woods… – I recalled a group of resources on an old hard drive. I do not know their author of those not written by me in my last terms at UCGS – if it is you or you know the author, please tell me and I will give all due credit.
screencast of intro: intro
Screencast of poetics… poetics.
Material for the Apprentice unit which I use in Year 8. Colleagues from my Slough days will recognise this and it is still going strong.
This module was developed several years ago. I am sorry that I have mislaid my original resources – probably left roistering in a former school…
The idea is to develop a large scale S+L activity in year 8, which is linked to the development of an awareness of Business English and the non-fiction writing types. Really it is up to the teacher – I usually begin with an amount of writing – business letters, CV’s, Applications and so forth before revealing the task for the year. Based on the BBC show, we have run a range of invent a snack bar for the 2012 Olympics, through design and launch a coffee shop on school premises to design an educational toy…
In each group the Project Manager (chosen by the teacher) interviews and delegates roles to this or her team. There is much research to be undertaken, from questionnaire writing to financial data crunching.
What it should never be is a ‘fun’ activity for the Summer term. There is a great deal of potentially valuable learning in this activity. It will be fun – never pointless.
A short powerpoint designed to whet the appetite… and to engage discussion prior to reading.
In response to Year 10 who are studying this for EDEXCEL IGCSE. It was intended to be a short question and response activity – not a long essay…
Still I rise: Maya Angelou.
You may write me down in history With your bitter, twisted lies, You may trod me in the very dirt But still, like dust, I’ll rise. Does my sassiness upset you? Why are you beset with gloom? ‘Cause I walk like I’ve got oil wells Pumping in my living room. Just like moons and like suns, With the certainty of tides, Just like hopes springing high, Still I’ll rise. Did you want to see me broken? Bowed head and lowered eyes? Shoulders falling down like teardrops, Weakened by my soulful cries? Does my haughtiness offend you? Don’t you take it awful hard ‘Cause I laugh like I’ve got gold mines Diggin’ in my own backyard. You may shoot me with your words, You may cut me with your eyes, You may kill me with your hatefulness, But still, like air, I’ll rise. Does my sexiness upset you? Does it come as a surprise That I dance like I’ve got diamonds At the meeting of my thighs? Out of the huts of history’s shame I rise Up from a past that’s rooted in pain I rise I’m a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that’s wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.
Q1: Describe the speaker in lines 1-4 of the poem? What specific language supports your description? In the opening stanza the poet is clearly angry and defiant. Her language is strengthened by the use of alliteration of B and T sounds in ‘bitter, twisted lies’. Not only does this seem to spit defiance at the speakers of the lies, but shows a clear understanding of the liars themselves: bitter because, presumably, they resent the idea of a black female becoming so successful.
Q2: Why does the poet use the image of dust in line 4? How does this image contribute to the tone of lines 1-4? The stanza concludes with the first statement of fact – she will ‘rise’ like the dust. The simile suggests not just the current position of blacks at the bottom of society but also links to the Biblical image of Adam and Eve being created from the very dust of the Earth. The language is calm – the rise is inevitable and she knows it.
Q3: What 3 other images in the poem contribute to the poem’s tone? Explain the effect of each image.
Shoulders falling down like teardrops, Weakened by my soulful cries?
Does my sexiness upset you? Does it come as a surprise That I dance like I’ve got diamonds At the meeting of my thighs?
Just like moons and like suns, With the certainty of tides, Just like hopes springing high, Still I’ll rise.
Q4: The speaker poses 7 questions in the poem. What is the purpose/effect of these questions?
To force the reader to re-evaluate their pre-conceived perceptions of her as a black woman. Angelou challenges her readers in highly sensitive societal areas – wealth and sexuality. It is worth remembering that miscegeny (mixed-race sexual relations) was a deep-seated fear of many of the Southern States of the USA.
Q5: What is the effect of the repetition in the poem?
The poem relies on the creation of a sense of inevitability. As the repetition becomes more intense, almost as though there is a congregational joining of the affirmation of the message, the inevitability becomes unstoppable. The tone becomes that of a rally or a church service.
Q6: Who is the audience (the reader) for this poem? How does the speaker portray this audience?
Both an audience of similar women to herself – her repetition of the ‘still I rise’ message linked to the figurative images of wealth and sexuality are designed to give others the confidence to express their feelings in this way – and a potentially hostile (white) readership who rest their short-sighted attitudes on the single story of the black woman of loose morals who is a threat to their well ordered society.
Q7: Briefly explain the connection between the language and syntax of the title and the theme and style of the poem “Still I Rise.”
‘Still’ carries two layers of meaning – one level is the basic sense of an event which continues through time, another is the sense of an event happening despite all attempts to prevent it. Put together, there is a sense of growing inevitability to the ‘rise’ of the speaker. This idea combines both the social norm of rising in society and also contains ideas relating to more religious imagery – a form of resurrection perhaps. This idea is reinforced in the structure of the poem in the second section:
Out of the huts of history’s shame I rise Up from a past that’s rooted in pain I rise I’m a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that’s wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.
Here the repetition becomes swifter and more ecstatic. The cries of ‘I rise’ suggest that the event is actually taking place until the final 3 lines present an unstoppable momentum to the poem. Combined with the positive imagery of a new dawn and the ‘dream and hope of the slave’, the message is clear. This is happening and nights of fear (lynch mobs and other threats being real fears) are being consigned to the past.
Next year, Year 12 begin the first straight-through teaching of English Literature at A level. The unnecessary hiatus of AS has been lifted and we may have a bit more time to explore the subject.
My intention is to try to engage with ‘Literature’ per se and to lose the sense of set-book-focus which I feel has made A level hitherto so much the poor relation of IBDP studies. Our students are not in the Upper Sixth as an end in itself – they are preparing for University. Some will opt to study Literature – let’s prepare them.
Anyway, here is the first version of my ‘welcome to Literature’ lessons. The project will be filled out but the outline is here. I welcome comment and am grateful for the stimulus provided by Andrew Green of Brunel University, who pointed me to Daniel Pannac.
As I begin to prepare for teaching American Literature for OCR A level next year, I want to explore the music which parallels our study. Art is holistic. To study literature without an awareness of music and fine art, for example, would be unhelpful.
I’m not sure how best to arrange this. I will write a summary of what i see as useful and post a link to a Spotify playlist where examples can be found. I hope this will be interesting and useful.
Beginnings and Puritans.
Before the arrival of Europeans on the East coast, there was music. Much has become extinct, but the Native Americans had a music, largely based on rhythmic drumming which was repressed as they were systematically chased away from the new ‘civilised’ inhabitants of the New World.
These were the religious escapees from Europe and the Empire builders. Their music and their literature was largely religious and reflected the stern puritan outlook of many. In the 17th Century, music was given to the Lord and not intended for relaxation and revel – unless one was not of the Chosen People. Sure, on board ship there were shanties and popular songs; soldiers marched to rhythmic folk ditties, but these were generally not regarded as men of class or men who had any form of soul worth redeeming. Each European group brought its own version of the music of North or South Europe and church music, as exemplified by the Bay Psalm Book of the First New England School grew up. Composers were often self-taught and their music gradually deviated from the European norm as a result. Composers such as the splendidly named, Supply Belcher, were the first authentic voices of American music.
As the 18th century saw northern Europe dominate the development of New England and East Coast culture, so the voice of Catholic South was domination development of music in states to the West of the continent. The one an austere church music based often on Scottish Presbyterian models with ‘lining’ of simple melody a feature, the other, the rich polyphony of Spanish renaissance music.
And then there were the slaves. Drawn from the vast array of races and cultures of West Africa, they brought no single influence, though once settled, there grew up a culture based again on the religious influence – the spiritual. As the influence of Christianity became rooted in the slave society, so the expression of sorrow, pain and patience under suffering began to pour out in musical form. A form which would eventually mutate into the blues and thence to rock and roll. In essence a true American art form.
19th Century – civil war and emancipation.
The great change to society came in the 1860s. Until,this point American society was disparate. The war forced societies to merge. The great armies brought together soldiers from the whole of the continent and the boundaries between communities developing much along the lines of the historical ethnic forebears was changed for ever. This cultural shift was helped by the emancipated slaves, whose music could now become an influence beyond the South and also to a startling rise in urbanisation following the victory of the industrial North over the Agrarian economies of the South. In or around 1890, fewer than 1 in 4 citizens lived in urban areas. By the 1920s, more than half the population lived in the great cities.
The elite in the cities of the East coast had long established themselves as facsimiles of their European cousins – Philharmonic societies and Opera companies were founded and music performed – almost entirely European music. The closest thing to an Amercian symphony at this period was Antonin Dvorak’s New World Symphony written in 1893. It is so called because it was written in America. The only evident Americanism is his use of ‘negro’ melodies. There wanted yet an American voice. The musical directors of these companies were Europeans – Mahler or Toscanini for example in New York. Students of literature might compare this idea in a writer such as Kate Chopin. In her novel The Awakening, there is competition between the creole folk song – simple and alluring, the trite Europeanism of French Operetta and the emotionally explosive high Romanticism of Chopin and Wagner. Her novel is sert in the melting pot of New Orleans. The salons of Boston, where Henry James’ heroines reside was appalled and disgusted by the impression created. Class was European, not American. Music and Literature agreed.
So what of the non-elite?
The war brought an upsurge in Military music and in the ballad form of popular song. The music of the ‘blackface’ popular song, of composers such as Stephen Foster became subsumed into the musical lexicon of the warring factions – as did the hymns of the European tradition. The ‘Battle Hymn of the Republic’ the anthem of the Union being based on the hymn John Brown’s body…’. Whilst the rousing tunes and military tread of John Philip Sousa engaged the minds of the victorious North European society of the great East Coast Urban elites., the south – the land of Dixie continued to reflect music more redolent of a mixture of cultures -Creole, Slave, and French in particular and also that of another authentic voice – the hillbilly – the lowest stratum of society, the rural poor, carving out a living in the Appalachians and other areas of the Southern States. These areas were still dominated by country music – the folk song tradition of the settlers.
At this point there is a necessary divergence:
Post war: Urban
In cities like New York, music flourished. By the early 20th century the growth of an audience for the Musical launched many a career, at the same time as the explosion in recording technology and simple publication of sheet music. Apart form the great European music widely available in the concert hall, the 3 minute song became the currency of popular music. As the ‘Jazz Age’ approached, access to music had never been simpler. The arrival of emancipation had allowed black culture to spread rapidly. The blues, derived from spirituals had evolved into Jazz in cities like New Orleans, in the South. This in turn became blended with popular culture and hit songs like ‘Ol’ Man River’ from the musical; Show Boat blended the former slave culture with the new popular music of the North. Among the librettists on Show Boat was none other than P’G’ Wodehouse who joined composer Jerome Kern in the great hit number ‘Bill’. Boundaries were falling. The composer who best encapsulates this era is George Gershwin. He travelled from popular song, via works for full symphony orchestra to his opera Porgy and Bess (1934). This is a true landmark of American culture – An opera in the vernacular, written about life in the poor black community, with a heart-lifting message, which does not shy away from issues such as drugs and racist bullying and which requires a black cast. It has not been universally popular -many black actors have refused to play roles which they feel perpetuate negative stereotypes – drug peddlers, prostitutes and so on, but it is a vital step in the development of an American Classical Music canon – the mixture of ragtime, keening, blues, and great romantic arias is a first fusion of the rich tapestry of music available in the America at this time.
Rural South and the birth of Jazz.
In new Orleans at the end of the 19th century the melting pot, as suggested earlier, was beginning to develop another authentic voice of American music: Jazz. This is a form associated with the black community and originates in processional and marching music based on the songs and spirituals which has typified the community hitherto. The new feature of Jazz, over the dance-oriented forms of ragtime which represented ‘black’ music to this time, was improvisation – the free voice taking a theme and owning it – a true sense of self-expression. Ragtime, typified by composers such as Scot Joplin, the first musician from the black community to become a household name, was ubiquitous in the dance halls and bars of the country. Jazz would become the voice of the South and the voice of a race.
I’m sure every student reading Gatsby will have been asked to research the Jazz Age. What a time. Just as Gatsby’s mansion is filled with the flotsam and jetsam of an immigrant society, so music was beginning to fill its various voices. Ragtime develops into dance crazes such as the Charleston and Jazz is tamed to develop into the phenomenon which will mark the 1940s – Swing. Improvisation is still a part of the process, but the whole is tightened and organised to best fill the three minute needs of a 78RPM disc and to provide comfort food for the masses and in time to spread the American image overseas. Jazz would need to wait for the next artistic explosion – the be-bop experimentation of the 1950s and 60s – the erosion of rules and rejection of form that can be seen in poetry of the time and the beginnings of utterly abstract art movements. In Gatsby, the music is ‘there’, not central, yet it is such a clear symbol of a shift in society. It is now post world war 1, the societal boundaries are breaking, a musical form which encompasses all is developing, yet it is a sanitised form of the genre – not the scream of freedom and self expression of New Orleans, but the tamer ‘danced Jazz’ of the northern cities.
In parallel change had come upon the European Classical tradition in the form of Charles Ives (1874-1954). No composer can be as worthy of consideration as the authentic voice of American Classical music even if his experimentation renders much of his music ‘difficult’ even today. He takes the sound effects of composers such as Mahler or Richard Strauss – particularly the use of ‘noises off’ and offers a specifically American take. Mahler may embed the cowbells of his Austrian heritage in his symphonies, Ives runs recognisably American marching bands straight into each other whilst establishing a musical narrative in the forefront of the hall – about as wild a rule breaking as Whitman or Eliot or other voices of modernism found in literature. The effect is disconcerting to say the least.
After Ives, Aaron Copland is probably the next voice to create a distinctively American sound. His ballet Appalachian Spring taps into an artistic movement which was seeking to link back to tradition and the ‘old ways’ in the aftermath of the War, much as the Georgian movement in Edwardian England had done. He makes dance heroes of figures of the American West in the ballets Rodeo and Billy the Kid and creates an instantly recognisably ‘American sound’ with spacious chords, slow moving often recalling the huge spaces of the country, mixed with popular folk song and religious melody recalling a more innocent time.
The European tradition continued to flourish – though not widely performed in Europe, composers such as Walter Piston and Howard Hanson followed the lead of the late 19th century 2nd New England School, writing in a highly Romantic language. There was also the influence, again, of immigrants. It is hard to decide whether composers like Stravinsky, Rachmaninov or Schoenberg can be said to be ‘American’. They are great composers resident in America, but it is hard to point to direct American influence on their music. Kurt Weill, on the other hand underwent a complete change of voice. Rejecting the Brechtian sparseness of his Berlin Years in favour of a directly American popular song sound exemplified in works like his opera Street Scene.
Post World War 2.
Now it gets complicated!
As the soldiers returned and American society tasted prosperity like never before, a new segregation developed in addition to the segregation of the blacks in the Jim Crow South. In turn the state turned on possible Communists, those opposed to the increasingly belligerent actions of the state in the Far East, those who seemed to be misfits due to their sexuality or their choice of relaxing stimulants and so forth. Each time this manifested itself, art responded accordingly. The blues developed into the teenage phenomenon of Rock and Roll (complete with lewd hip swivelling), and that in turn into the huge range of sub genres that we see today. Society was fragmenting and each fragment carried its own bubble of musical stimulus. The urban jazz world explored be-bop as an antidote to swing in the same way as the Beat poets rebelled against the strict notion of form applied to earlier poems. Writers like Bob Dylan recalled the folk music of earlier times in his largely acoustic writing of protest songs around the time of the Korean and Vietnam Wars, only joining mainstream music in 1966 with the use of electronic instruments and amplification. In the late 60s the psychedelic drug culture reached its apogee at the great Woodstock festival – free love and drugs were on the bill in New England, as well as in San Francisco – long seen as a somewhat louche city. In the classical sphere, minimalism, led by Steve Reich and Philip Glass reflected the minimalist movement in art, and a new type of Classical music was born after the war: the Film Score.
In this field, there had always been music – pianos accompanied the silent movies of the early 20th century and artists such as Charlie Chaplin not only acted but also composed his own soundtracks. After the war, filmmakers like Alfred Hitchcock altered the medium forever. In a Hitchcock film, the music is a character – the shrieking violins in psycho or the pounding orchestral pursuit in North by North West. Pre-war composers such as Eric Korngold and newer voices such as Bernard Herman rose to prominence. By the 1980s composers were stars in their own right: John Williams is probably the finest example of the group, though Elmer Bernstein and Ron Goodwin or James Horner also stand out.
Unlike in the UK where serious composers such as Ralph Vaughan Williams, William Walton and Malcolm Arnold were heard both on screen and in the concert hall, few Americans seem to have done the same. The notable exception is the remarkable Leonard Bernstein. Composer, conductor, educator…
The post war American city was a divided place- increasingly a divided society was withdrawing into small sections of closely guarded territory. Bernstein caught this shift like no other. His musical West Side Story merges Shakespeare with the Upper West Side of Manhattan – the gangs are now American boys and their Puerto Rican neighbours. This musical exploded onto Broadway in 1957 and caused a wave of shock and adulation. Gone was the safe ‘American musical’ in which love was chased in the strange worlds of South Pacific or sanitised Nazis. Bernstein probably has marked American Classical Music forever in this work – part Jazz, part twee glee song (the satirical Officer Krupke), part full blown Romantic Opera, this work encapsulates the divisions of the society it portrays whilst merging the Latin sounds of the Puerto Ricans with the European and ‘American’ musical language of the Jets. A true American masterpiece for the masses.
Enough. This has strayed form my original idea – there is not enough direct Literary linking – I may have to come back to it.
The Spotify soundtrack can be found USA playlist
My former colleague Michael Mellor left this wonderful teaching outline for the Edexcel IGCSE new anthology….
I like it…
very much indeed. Thanks Michael.
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