David's Teaching Blog: May 2014

Thursday 22 May 2014

A2 ENGLISH LIT - SOME INTERESTING QUOTATIONS

from Songs of Innocence and Experience by Blake and The Rivals by Sheridan: Eighteenth-century Civilization Exposed / Celebrated by Julian Thompson

'As Sheridan's play makes considerable use of poetic techniques, so Blake's poetry is strongly dramatic. The Songs have their origin, after all, in folk music and hymn-singing, and Blake was prepared to sing them to tunes now lost. Some of his poems possess formidable narrative drive (for example, 'A Poison Tree'), and in the composite volume the poems pair off in something like staged dialogues, one speaker reflecting the vision of humankind a moment before, the other moment after the Fall..................'

A2 ENGLISH LIT - SHERIDAN & BLAKE - COMPARATIVE QUESTIONS

A2 ENGLISH LITERATURE
DRAMA AND POETRY – PRE 1800
THE RIVALS AND THE SONGS – COMPARATIVE ESSAY TITLES

Now is the time to practise writing essays. Write introductions, write a couple of analytical comparative paragraphs, write conclusions and write plans. Why not write a couple of essays under timed conditions.

Below are ten questions. Each one of them is relevant to comparing Sheridan’s The Rivals and Blake’s The Songs of Innocence and The Songs of Experience. Over the half term holiday and the days leading up to the exam, you could plan these questions and even write up under timed conditions at least two of them. You could also use these essay titles as a way of identifying key quotations. You could consider the contextual comments you might make for each of the essay titles. Finally, drawings on the hand-outs and links to articles, what theoretical and broader literary points could you make for each title.

I’m generally not teaching that first week back. If you want me to go through an essay you’ve written or answer any questions on this part of the course then email me and make an appointment.

One word of caution, I’ve made these questions up myself and therefore are untested. However hard the questions are, your work on each one – planning and researching the texts, will really help you revise for this exam.

And please remember in the actual exam there will be six questions and only two or possibly three questions will be apprpriate to answer.

1. ‘Settings do more than add realism but go to the heart of the meanings of texts.’

In the light of this view consider the uses which writers make of settings. In your answer, compare one drama text with one poetry text from the lists above.

2. ‘Love is the very difficult understanding that something other than yourself is real.’

In the light of this view, discuss ways in which writers portray love. In your answer, compare one drama text with one poetry text from the lists above.

3. ‘Where there are discrepancies between appearance and reality there is fertile ground for comedy and tragedy.’

In the light of this view consider the uses which writers make of appearance and reality. In your answer, compare one drama text with one poetry text from the lists above.

4. ‘Class liberates the few and imprisons the many.’
In the light of this view consider the uses which writers make of class. In your answer, compare one drama text with one poetry text from the lists above.

5. ‘Power is a monster in the hands of a few.’

In the light of this statement discuss ways in which writers portray power. In your answer, compare one drama text with one poetry text from the lists above.

6. Perhaps the biggest problem in the clash of generations is the conflict that emerges from different world views.’

In the light of this view consider the uses which writers make of the portrayal of the old and young. In your answer, compare one drama text with one poetry text from the lists above.

7. ‘Through change we are renewed and made more alive.’

In the light of this view consider the uses which writers make of stasis and change. In your answer, compare one drama text with one poetry text from the lists above.

8. ‘At the heart of good literature there is always conflict.’

In the light of this view consider the uses which writers make of conflict. In your answer, compare one drama text with one poetry text from the lists above.

9. ‘Through morality we are made civilized.’

In the light of this view, discuss ways in which writers portray morality and religion.

10. ‘Different voices introduce dynamism, energy and variety.’

In the light of this view consider the uses which writers make of different voices. In your answer, compare one drama text with one poetry text from the lists above.

Wednesday 21 May 2014

A2 LIT - COMPARATIVE ANALYSIS - INTRODUCTIONS

Here are a few points to include in your introduction

Define the key comparative term in the introduction.

Show - through summary and headline - the relevance of this topic to each of the texts.

Make clear and simple comparative statements linking the texts to the key topic of the essay title.

Identify the audience, purposes and genre of the two texts.

Make a contextual observation by commenting on the relevance of the key topic to the period of history.

Make a theoretical observation about the key topic and the two texts.

Identify the main literary - poetic and dramatic - features of the two texts. Especially refer to the form of Blake's poetry in The Songs.

Monday 19 May 2014

AS LIT - PRE 18TH CENTURY DRAMA AND POETRY - SOME FEEDBACK FROM TIMED ESSAYS

Write short, simple, clear and specific topic sentences. For example,

Sir Anthony exerts power and control over his son. This is done by making his - Sir Anthony's, offer to his son of money and an estate on the condition that he - Jack - marry the woman of Sir Anthony's choosing. 'The fortune is saddled with a wife.' The metaphorical term 'saddled' is used to emphasis burden and weight. And perhaps communicates Sir Anthony's misogynistic attitudes. Likewise in Blake's The Songs, parents and guardians have control over the children in their care. Children are sold into employment by their parents. The children have no rights or power to choose their fate, ' my father sold me while yet my tongue // Could scarcely cry 'weep weep weep weep.' Blake's use of onomatopoeia is used to create a vivid and sympathetic view of the young chimney sweeper. Who is a representative of a whole new and growing underclass of workers, drawn to the city for work and shelter, as a result of the great social upheavals brought about by the industrial revolution.

Red - topic sentence
Blue - quotation
Light blue - literary comment
Green - theoretical perspective comment
Purple - contextual comment

Make clear references to the different genres of the two texts. Identify some of the key technical features of the two texts.
There are degrees of complexity in the comparisons between the texts but it may be better and perhaps more effective to make simple comparative observations. Such as children being sold into employment - clearly stated rather than manipulated by religion - a much more subtle and complex notion - a position not easily argued.
Writing long complex sentences can be confusing and can muddle the writer as they write. I think it is better to write shorter sentences. This will help keep the essay focused and clearly anchored in the text and on the topic.
Both Sheridan and Blake were writing during George III reign. Be very clear about the contextual ideas associated with this period. Make sure you read the support materials in the texts I've recommended - in the play and poetry collection, but also the essay I've photocopied for you and the links to documents on the OCR website. And don't forget the post I made to the three episode series on BBC 4 on The Georgians. But just so we know here are some key dates.

George III (George William Frederick; 4 June 1738[1] – 29 January 1820) was King until his death in 1820. During the later years of his reign he suffered from mental illness and his son - George became Prince Regent whereby he took on many of the responsibilities of kingship. He became King George IV after his father's death.
Richard Brinsley Butler Sheridan (30 October 1751 – 7 July 1816) was an Irish playwright and poet and long-term owner of the London Theatre Royal, Drury Lane. He is known for his plays such as The Rivals, The School for Scandal and A Trip to Scarborough.
The Rivals is a comedy of manners play by Richard Brinsley Sheridan in five acts. It was first performed at Covent Garden Theatre on 17 January 1775.
William Blake (28 November 1757 – 12 August 1827) was an English painter, poet and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age
Songs of Innocence and of Experience is an illustrated collection of poems by William Blake. It appeared in two phases. A few first copies were printed and illuminated by William Blake himself in 1789; five years later in 1794 he bound these poems with a set of new poems in a volume titled Songs of Innocence and of Experience Showing the Two Contrary States of the Human Soul.

Avoid making comparisons between Songs of Innocence and Songs of Experience. The primary comparisons should be between The Songs - collectively and The Rivals. Try and draw general similarities between The Songs I think. Or refer specifically to a named collection - either The Songs of Innocence or The Songs of Experience.
Please write your essays using a formal academic register throughout the essay. This means writing in fukll sentences and blocked paragraphs. Avoid using contractions or colloquial language. Do not refer to yourself in the first person - 'me' or 'I'. Instead refer to 'the reader.' Or use the collective pronouns - 'we' or 'us.'

Based on this feedback why don't you follow up this post by:

Writing a number of comparative paragraphs - at least one comparative paragraph for each of the nine topics we have identified as relevant to comparing these two texts. Use the comparative paragraph at the start of this post as a model for this work.
Continue to read and browse through the play and the poems identifying good quotations you can use for the essay. Remember the 4 points that make up a good quotation. These are;

Quotations should be short
Quotations could be used for more than one purpose
Quotations should contain strong literary - poetic and dramatic - features to comment on in the essay
Choose quotations where you can make contextual, theoretical and literary links.

Tuesday 13 May 2014

AS LL - ANALYTICAL FRAMEWORKS

AS ENGLISH LANGUAGE AND LITERATUREELLA 1 INTEGRATED ANALYSIS AND TEXT PRODUCTION ANALYTICAL FRAMEWORKS

MAIN FRAMEWORKS	Language Frameworks	Literature Frameworks
FRAMEWORKS	GRAMMAR e.g. Verbs/adverbs: nouns - concrete, abstract, pronouns: adjectives, comparatives, superlatives	IMAGERY Visual images create strong vivid, life like mental impressions in a readers imagination e.g.metaphor, simile, personification, symbolism	Drama e.g. stage directions, setting, lighting, music , sound effects, dialogue, monologue, expressionistic techniques
	REGISTER e.g. Informal - colloquial, slang, accent, contractions, ellipsis, elision, expletives Formal- objective, unemotional, complete sentences, correct grammar, appropriate lexis	PHONOLOGY often sound patterning creates harmony. Sometimes tension e.g. alliteration, rhyme, onomatopoeia, assonance, rhythm, sibilance. Also consider informal and formal register, accent, dialect, lexical choices – see linguistic framework column	Function – most discourse includes a dominant and a secondary function To inform, persuade, to instruct and to entertain
	SYNTAX e.g. Sentence types complex, compound, simple Sentence functions declarative, interrogative, imperative, exclamatory Sentence structures Subject, object, main clause, subordinate clause	RHETORIC – found in drama and prose e.g. list of three, contrasting / comparative pair, direct address, repetition, emotive language, lists, emotive language, hyperbole
	LEXIS e.g. denotations, connotations, simple, complex, emotive, rational, neutral, lexical field, low/high frequency, polysyllabic, monosyllabic	PROSE – e.g. types of prose – descriptive writing, dialogue, internal monologue, action, reflective writing. The narrator – first/third person

A2 LIT - THE FIRST GEOGIANS - CONTEXT

The First Geogians is a current series of programmes on BBC FOUR.

Click here for a link to see some of the programmes and further interesting and relevant links.

Click here for a further link to a BBC History page with references to the Geogians.

AS LL- FOR REVISION

There are now almost 50 posts on this blog concerning this course. I strongly suggest that you spend time between now and tomorrow morning browsing these posts. If one looks interesting or helpful to you then read through it carefully. Some of the posts have exercises for you to do.

You should also be reading and re-reading the two texts. Focus you attention on key episodes.

Think of potential production questions they could ask - review the conventions of diaries, journals, letters and scripts. Also think about possible analytical questions for Spies and Streetcar. Then remind yourself of the analytical frameworks.

This is the third year this blog has been online. It has had almost 40,000 visits. Please make use of this resource. It been created to help you.

Monday 12 May 2014

AS LL- ANALYTICAL FRAMEWORKS

AS ENGLISH LANGUAGE AND LITERATUREELLA 1 INTEGRATED ANALYSIS AND TEXT PRODUCTION ANALYTICAL FRAMEWORKS

MAIN FRAMEWORKS	Linguistic Frameworks	Literature Frameworks
FRAMEWORKS	GRAMMAR e.g. Verbs/adverbs: nouns - concrete, abstract, pronouns: adjectives, comparatives, superlatives	IMAGERY Visual images create strong vivid, life like mental impressions in a readers imagination e.g. metaphor, simile, personification
	REGISTER e.g. Informal - colloquial, slang, accent, contractions, ellipsis, elision, expletives Formal- objective, unemotional, complete sentences, correct grammar, appropriate lexis	PHONOLOGY sound patterning creates harmony. Usually the effect is pleasing but can be used to create tension e.g. alliteration, rhyme, onomatopoeia, assonance, rhythm, sibilance See London and Composed
	SYNTAX e.g. Sentence types complex, compound, simple Sentence functions declarative, interrogative, imperative, exclamatory Sentence structures Subject, object, main clause, subordinate clause	RHETORICAL DEVICES e.g. list of three, contrasting pair, direct address, repetition, emotive language, lists, emotive language, hyperbole
	LEXIS e.g. denotations, connotations, simple, complex, emotive, rational, neutral, lexical field, low/high frequency, polysyllabic, monosyllabic

AS LIT - DICKINSON TIMED ESSAY FEEDBACK

'The Brain has Corridors - surpassing
Material Place - '

Discuss ways in which Dickinson explores the inner life in poem 670, One need not be a Chamber - to be Haunted -'.

In your answer, explore the effects of language, imagery and verse form, and consider how this poem relates to other poems by Dickinson that you have studied.

30 marks

Comments from the exam board

In answers on ‘One need not be a Chamber – to be Haunted’, there was some tendency to paraphrase rather than to comment; one examiner described this approach as offering a ‘translation’ of the poem, and candidates should be advised that taking this approach in a sustained way will limit the marks they can achieve. Examiners also found weaker answers ‘padded out’ with speculative biographical material about the poet’s own mental health and reclusive life. Generally, however, there was good understanding of the way in which Dickinson takes conventional Gothic references such as a ghost, an assassin and an abbey and suggests a much more terrifying internal image. Other popular areas for discussion included the use of dashes as a marker of uncertainty and the division between body and mind at the end of the poem. At the top end, solid, detailed contextual knowledge really helped to develop sophisticated readings of the poem, and there were some notably impressive interpretations of the encounter with the self as a struggle with Puritan religious identity. The mention of the ‘Revolver’ in the final stanza did inspire candidates to look to ‘My Life has stood’ but often the link made was not very fruitful. More successful links were made with ‘I felt a Funeral, in my Brain’ and ‘I heard a Fly buzz – when I died’.

Click here for a link to the mark scheme - scroll down to section A

Comments from me

Don't waste time in the exam re-writing the exam question out. Just jot down the number of the question.
Make sure you summarise the overall plot and structure of the poem in your introduction. But be careful not to allow this to dominate your essay. Make a reference to a comparative poem and make reference to a contextual point. This might be biographical. Make these points relevant to the essay title. You could complete this introduction by summarising the core poetic features of the poem that you will be considering in detail in the essay. And perhaps refer generally to how they affect readers.
In an introduction, I think especially for Dickinson, it's a good idea to make detailed observations about the form of the poem. Make sure you link it to the essay title and the effects of these features on a reader.
Your essay should be a series of paragraphs analysing the poem as it develops - at least stanza by stanza.
Dickinson may be writing about personal experience but the poem is not personal. Dickinson universalises or objectifies the experience described. It's about human experience not personal.
Be specific and detailed in your analysis - avoid making general and descriptive overview comments.
I think better essays are those that work through the poem stanza by stanza. I think this is easier. Another essay structure might be to consider the most important points first and work your way down. This may be a more complex and therefore perhaps confusing structure to use.
I think expanding on the term Gothic is helpful. Identify it as a genre of writing combing love, nature, a focus on mystery and the unknown. Mention Edgar Allan Poe and Shelly's Frankenstein as important influences on Dickinson.

AS LIT - DICKINSON AN ESSAY TITLE

Discuss the ways in which Dickinson explores death in poem 712, ‘Because I could not stop for Death -’

In your answer, explore the effects of language, imagery and verse form; consider how this poem relates to other poems by Dickinson that you have studied.
30 marks

712

Because I could not stop for Death –
He kindly stopped for me –
The Carriage held but just Ourselves –
And Immortality.

We slowly drove – He knew no haste
And I had put away
My labor and my leisure too,
For His Civility –

We passed the School, where Children strove
At Recess – in the Ring –
We passed the Fields of Gazing Grain –
We passed the Setting Sun –

Or rather – He passed us –
The Dews drew quivering and chill –
For only Gossamer, my Gown –
My Tippet – only Tulle –

We paused before a House that seemed
A Swelling of the Ground –
The Roof was scarcely visible –
The Cornice – in the Ground –

Since then – 'tis Centuries – and yet
Feels shorter than the Day
I first surmised the Horses' Heads
Were toward Eternity –

Friday 9 May 2014

A2 LL - THREE WAY COMPARISON – A STRUCTURE FOR PLAN AND COMMENTARY

THREE WAY COMPARISON – A STRUCTURE FOR PLAN AND COMMENTARY
Plan –

Read question / annotate texts with reference to the linked theme
Jot down a series of bullet points following the structure of the commentary below

Introduction –

· Identify linked theme

· audience, purpose and genre of each text

· attitudes to linked theme

· any contextual observations

Main commentary -

· Text A – analysis

· Text B analysis and comparison to text A

·Text C analysis and comparison to text B and text A

Conclusion –

· Summarise main comparative / contrasting points
· Identify interesting observation

Thursday 8 May 2014

AS ENGLISH LIT - JANE EYRE - KEY EPISODES - QUOTES

SOME KEY EPISODES AND QUOTATIONS - chosen in class

Fight between John Reed and Jane - chapter 1 pages 13 - 14

'Take her away to the red room, and lock her in there.' page 14
'Wicked and cruel boy! You are like a murderer - you are like a slave driver - you are like the Roman emperors! page 13

Jane in the red room - chapter 2 pages 19 - 22

"The red room was a square chamber" -
"Deep red damask" -
"It was the chamber he breathed his last."

Jane meets Brocklehurst - chapter 4 pages 38 - 42

'I must keep in good health and not die.' page 39

Jane's confrontation with Mrs Reed - chapter 4 pages 44 - 45

'I am not deceitful if I were I would say I loved you.' page 44

Brocklehurst comes to Lowood - Chapter 7 pages 78 -80

"pedestal of infamy" - page 79
"what my sensations were, no language can describe...." 79

Helen Burns death - chapter 9 pages 96 - 98

'Miss Temple, on returning to her own room at dawn, had found me laid in a crib; my face against Helen Burns's shoulder, my arms round her neck. I was asleep and Helen was dead.' page 98

Jane and Rochester meet pages chapter 12 pages 133 - 136

'I cannot commission you to fetch help,' he said; but you may help me a little yourself, if you will be so kind.' page 135

Jane and Rochester interview - chapter 13 pages 142 - 150*

' When you came on me in Hay Lane I thought unaccountably of fairy tales' page 143

Fire in Rochester's bedroom - chapter 15 pages 172 - 177

"Dreadly dark my spirits were depressed."
"In the mist of blazing and vapour, Rochester lay stretched motionless"

Jane looks after Richard Mason - chapter 20 pages 238 - 245

"Can I help you sir?- I'd give my life to serve you" 236
"The moon was full and bright."238
"A sharp shrilly sound ran end to end of Thornfield." 238

Rochester proposes to Jane - chapter 23 pages 289 - 295

"Do you think because I am poor, obscure, plain and little I am soulless and heartless?"
Poor and obscure and small and plain as you are I entreat to accept me as a husband."
"I offer you my heart and a share of all my possessions."
"the cord of communion will be snapped"

Jane confronts Bertha - chapter 25 pages 326 - 328

'She was, 'fearful and ghastly to me', 'It was a discoloured face - it was a savage face.' '...the roll of the red eyes and the fearful blackened inflation of the lineaments!' '...the foul German spectre - the vampire.' page 327
'I had at heart a strange and anxious thought.'

Jane's wedding day - chapter 26 pages 333 - 337 the church, pages 338 - 340 the Hall

'Mr Rochester has a wife now living.' pages 334

Jane leaves Thornfield - chapter 27 pages 370 - 385

['Reader I forgave him at the moment and on the spot.' page 344]
'Gentle reader, may you never feel what I felt!' page 370
'I walked along my solitary way.' page 370

Jane discovers she is an heir to a fortune and has a family - chapter 33 pages 440 - 444

'Merely to tell you that your Uncle, Mr Eyre of Madeira is dead; that he has left you all his property, and that now you are rich - merely that - nothing more.' page 440
'You three, then, you are my cousins; half our blood on each side flows from the same source?' 'We are cousins; yes.' page 444

Hears Rochester's voice - chapter 35 pages 483

'And it was the voice of a human being...that of E F Rochester, and it spoke in pain, and woe, wildly, eerily, urgently.' chapter 353 page 483

Meets Rochester at Ferndean - chapter 37 pages 499 - 501

'I rested his wandering hand and imprisoned it in mine.' page 500
'I am an independent woman now.' page 501

'Reader, I married him.' page 517

A paragraph

Rochester continues to increase Jane's torment as a way to force her to disclose her love for him. Rochester says referring to their friendship, 'the cord of communion will be snapped.' Bronte has Rochester use metaphorical, alliterative and onomatopoeic language to force Jane to visualise their inevitable separation and make it more painful. She has him use low frequency lexical choice of 'communion' that elevates their relationship to something sacred and holy.

*Although this is a long extract it is a great dialogue between Rochester and Jane.

Wednesday 7 May 2014

AS ENGLISH LITERATURE - JANE EYRE - ESSAY QUESTIONS

AS ENGLISH LITERATURE
POETRY AND PROSE – POST 1800
JANE EYRE – ESSAY QUESTIONS

Either

a) ‘Mr Rochester is both Jane’s master and her pupil.’
In the light of this comment, discuss Bronte’s presentation of the relationship between Jane and Rochester.

Or

b) Charlotte Bronte’s sensational effects are always grounded in the everyday world.’

How far and in what ways do you agree with this view of Jane Eyre?

Either

a) ‘Above all, Jane Eyre is a love story.’

How far and in what ways do you agree with this view?

Or

b) ‘The novel’s settings reflect Jane’s powerful emotions.’

In the light of this comment, discuss the significance of the settings in Jane Eyre.

Either

a) ‘Jane is an extremely passionate heroine.’

In the light of this comment explore passion in the character of Jane.

Or

b) ‘Names play an important role in understanding the novel.’

In the light of this comment explore symbolism in Jane Eyre.

Either

a) ‘For each is the saviour to the other.’

How far and in what ways is this statement an accurate description of the relationship between Rochester and Jane?

Or

b) Bronte has been described as ‘acutely aware of place.’
In the light of this comment explore the significance of setting in Jane Eyre.

Either
a) ‘Bronte’s mastery of suspense keeps the reader in a state of arousal and tension.’

In the light of this comment explore the narrative technique in Jane Eyre.

Or

b) ‘At the centre of all great literature there is conflict.’

In the light of this comment explore the significance of conflict in Jane Eyre.

Either

a) ‘Charlotte Bronte’s use of dialogue creates dramatic interest in the novel.’

In the light of this comment, discuss Bronte’s use of dialogue.

Or

b) ‘Bronte’s first person narrative is a master stroke of genius.’

How far and in what ways do you agree with this view of Jane Eyre.

AS LL- ANALYSIS REVISION & QUESTIONS

ENGLISH LANGUAGE AND LITERATURE

ELLA 1 INTERGRATED ANALYSIS AND TEXT PRODUCTION

ANALYSIS QUESTIONS – SPIES

PLANNING FOR THE ANALYTICAL TASK:

Identify precisely the key elements of the task:

1. Which character / relationship / theme are you being asked to comment upon – highlight / underline key words

2. Note that all the analytical questions use the words HOW does the writer – you must make sure you can comment on the literary and linguistic techniques used.

Select relevant material from the text:

1. In your revision make sure you have learned a clear timeline of events – you must be able to find the key passages you need to refer to for evidence very quickly in the exam.

2. Select a maximum of 3 key episodes / incidents to refer to in your answer – this will ensure that you write in good depth and detail about the writer’s techniques (rather than a more general description of a character / behaviours across the whole novel)

3. Jot down page references for quotations - the point they illustrate and language / literature feature used by the writer. i.e. several PEEs. Aim for a good range of different techniques – make sure you have the terminology to identify them precisely.

Write a sequenced plan:

1. A 1 – 2 sentence introduction to focus the essay on the key topic of the question

2. A sequence of paragraphs to explore the character / relationship / theme as directed by the question – it is most straightforward to take a chronological approach.

3. Make sure every paragraph opens with a topic sentence to direct the examiner to the new point you are about to explore / explain. Make sure this new point is explored by close analysis of techniques – lots of quotes plus analytical comment (technique used and the effect)

A01 15 MARKS You need to show you can choose relevant linguistic and literary concepts and terminology to analyse the text.

A02 15 MARKS You need to show in detail that you understand and can analyse the ways in which form (the novel form), structure (the organisation of events for effect), and language (used in dialogue and prose) are used to create effects / impact.

REVISE THE PRESENTATION OF CHARACTERS, RELATIONSHIPS AND KEY THEMES FOR THE ANALYTICAL ESSAY.

Look back over the past questions for analysis and make sure you could answer them. Write a plan for each in which you identify the key episodes you would analyse to answer the question.

Think about possible new questions: e.g.

How does Frayn portray the relationship between Stephen and Keith? OR between Stephen and Mrs Hayward?

· Explore how Frayn portrays memory.

Here are some other a analytical questions to consider when writing on Spies.

How does Frayn portray Keith’s father?