i am malala essay writing in english

I Am Malala

Table of contents, introduction, religion, freedom, and religious extremism : islam, the talibanand sharia law, the power of education, girl’s rights, analysis of the character, essay 1 : ’malala demonstrates that there is power in unity and persistence.’ discuss..

• Essay 2 : ’Although Malala is an inspirational example to others, she cannot achieve change on her own.’ Discuss.
• Essay 3 : In the memoir ‘I Am Malala’ religious extremism is to blame for the restrictions that are forced upon Malala’s life. Discuss.
• Essay 4 : Discuss the ways that relationship is shown to have a significant impact on Malala and her fight for justice in I am Malala.
• Essay 5 : How does the author of I am Malala explore the role of sacrifice when campaigning for a cause? Discuss.
• Essay 6 : ’The memoir I Am Malala illustrates that it is our moral responsibility to speak up against injustice, regardless of personal risk.’ Discuss.
• Essay 7 : ’I began to see that the pen and the words that come from it can be much more powerful than machine guns, tanks or helicopters.’ How does the memoir I Am Malala demonstrate that words can be more powerful than any other weapon? Discuss.
• Essay 8 : “One child, one teacher, one book and one pen can change the world.” The memoir I Am Malala demonstrates that education is powerful. Discuss.

Brief Historical background

In her memoir ‘I Am Malala’, Malala Yousafzai relays the story of her experiences as a young girl in Pakistan, which lead to her being targeted and shot by the Taliban. Malala, who describes herself as a devout Muslim, talks at length in her memoir about the disconnection between the Taliban and their activities, and the true meaning of Islam. Malala states that she is “proud that our country was created as the world’s first Muslim homeland.” (75) However, she also observes that the people of Pakistan do not agree on what this actually means. Her sense that the true meaning of Islam has been lost or distorted appears frequently in the text. It is especially prominent when Malala reflects upon the impact of religious extremism on both the outside and inside perceptions of what Islam is. She blames the influence of the extremist views enforced on the people of Pakistan by the Taliban as the cause of this distortion. Malala quotes the speech that the founding father of Pakistan, Muhammed Ali Jinnah, gave when Pakistan was created, using his words to express that Pakistan was not created as a safe haven for religious extremism. “You are free to go to your temples, you are free to go to your mosques or to any other place of worship in this State of Pakistan. You may belong to any religion or caste or creed- that has nothing to do with the business of the state.” (75)

ANALYSIS OF THE THEME

Religion and Freedom

Malala is aware early in her life that religion shapes her existence in almost every way. As a Muslim living in an Islamic country, Malala knows that there are religious laws which are imposed upon both men and women. These laws reflect Malala’s Sunni Muslim heritage. As a small child these laws do not seem important, however as she becomes older Malala is more aware of the restrictive and unfair ways in which her religion seeks to control over her as an individual, but also as a female. In Chapter 4 Malala becomes aware that women were obligated to cover their faces whenever they went away from their house, or ‘purdah quarters’. Further, women were not allowed to talk to meet or talk to men who were not their close relatives (54). For Malala this was just another part of her cultural landscape, however, as a young teenager exploring her identity she was determined not to cover her face. She recalls a time when a male relative angrily asked her father “Why isn’t she covered?” Malala’s father’s response was to defend her. “She’s my daughter. Look after your own affairs.” (54) Malala states that “I am very proud to be a Pashtun but sometimes I think our code of conduct has a lot to answer for, particularly where the treatment of women is concerned.” (54) Malala’s growing awareness of the inequality that exists in her society causes her to question her own place in it, and as such she is very privileged to have a father who is determined to protect her freedom. Malala’s father talks to her about the difficulty of life for women in Afghanistan under the Taliban, and of the ways in which the Taliban sought to control and restrict their personal rights and freedoms of women. Malala shudders when her father tells her “…the Taliban had even banned women from laughing out loud or wearing white shoes as white was a ‘colour that belonged to men.’ Women were being locked up and beaten just for wearing nail varnish.” For Malala, freedom is very important, and she has been raised by her father to believe in her own freedom, regardless of their religious traditions. “I read my books…and trusted in my father’s words: ‘Malala is free as a bird.’” (55) Without Malala’s father value of his daughter’s freedom, Malala’s life would have been quite different. He reassures her that “I will protect your freedom, Malala. Carry on with your dreams.” (55) Malala is not forced to confront the idea of a life without her freedom until the Taliban move in to Swat and impose their own brand of Islam upon them. “When I heard the stories of the atrocities in Afghanistan I felt proud to be in Swat. ‘Here a girl can go to school’, I used to say…For me the valley was a sunny place and I couldn’t see the clouds gathering behind the mountains.” (55)

The word Sharia means “a well-trodden path to water,” and therefore represents the path to Allahi. In Islam, Sharia is Islamic law which should not be confused with civil law. This means that it sets out the elements and principles of the Islamic religion based on the teachings in the Quran, dictating what each individual Muslim must perform and abide by in order to reach Allah (God). Sharia law also sets out the patterns that believers must follow in worshipping Allah: prayers, charity, fasting and pilgrimageii. All religions use organising principles to guide and instruct. In this sense Sharia is no different. Within Sharia, there are five tenants that must be preserved: life, learning, family, property and honouriii. There are also five categories to organise the actions of the congregation of Islam: obligatory, recommended, permitted, disliked or forbiddeniv. Malala uses the word haram to describe things that are forbidden by Sharia law. The word halal is used to describe the things that are permitted. Interestingly Sharia law does not state that women should be completely covered from head to toe (including the face). The choice of cover is specific to certain areas in the world and dictated by cultural and political influences rather than stipulated by Sharia law, which requests only modest dress. Sharia law also commands specific punishments for specific crimes.

Unlike the form of Sharia law enforced by the Taliban, women and men are described as equals in original Sharia and are seen as partners in promoting the common goodv. Western politicians and media have interpreted Sharia law as presented by the Taliban to be its true meaning, something that has caused a significant increase in Islamophobia and a general misunderstanding of the principles and intentions of Islam. Many of the extreme reactions to Sharia law around the world stem from a misinterpretation of Islam because of the actions of a

minor few: namely, the Taliban and its supporters.

The Taliban and Religious Extremism

Following the September 11, 2001 attacks on New York, the Taliban eventually comes to Swat Valley. In the memoir I Am Malala, the Taliban arrive in Swat in Chapter 9 when Malala is ten years old, bringing with them their special brand of religious extremism. Malala describes them as “strange-looking men with long straggly hair and beards and camouflage vests over their shalwar kamiz…” (91) The name Taliban describes a movement of religious students (or, talibs ) from the Pashtun areas of Afghanistan. Malala’s father Ziauddin was himself a talib when he was a young man. He received instruction from a senior talib and was only able to eventually see through the religious zeal because of his questioning mind, however this was not the case for many other young men in his situation.

In 1994, five years after the withdrawal of Russia from Afghanistan, the Taliban (which is Pashto for ‘seekers of knowledge’vi) emerged in Afghanistan as a small, clerical movement which sought to provide protection to residents from opportunistic criminals that were capitalizing on the chaos occurring at the timevii. They formed a government in Afghanistan in 1996, ruling as the Islamic Emirate of Afghanistan until 2001. Over time, the Taliban magnetically attracted other like- minded talibs; generally co-ethnic Pashtuns who had been educated in traditional, Islamic schools or madrassas along the western frontier of Pakistan. The madrassas schooled their students in the tradition of the Deobandi movement, originally created by Indian Muslim scholars who felt that British colonialism in India was corrupting Islamviii. One of the hallmarks of the Taliban was its extreme interpretation and enforcement of Sharia Law, which saw women in Afghanistan and then Pakistan deprived of basic human rights, such as an education. When the Taliban perverts the religious laws of Islam in this way, they do so as a way of exerting power and control over people.

In Chapter Nine the political climate in Pakistan merges with a national disaster in the shape of a severe earthquake to create the perfect entry point for the Taliban to enter the Swat Valley. The earthquake measured 7.6 on the Richter Scale and was felt as far away as Delhi and Kabul. Malala notes that “When the TV news began to show the devastation we saw that entire villages had been turned to dust.” (85) The remote location of the Swat Valley, along with the destruction of the roads around meant that officials were not able to enter to give much needed aid. Although the Pakistan army set up a task force to assist, Malala states that the majority of volunteers that made it through to the valley were from Islamic charities or organisations. In Chapter Eight Malala observes, “Earthquake victims praised the activists who had trudged up and down mountains and through shattered valleys carrying medical help to remote regions no one else had bothered with. They helped clear and rebuild destroyed villages as well as leading prayers and burying bodies.” (87/88) This is how the Taliban comes to the Swat Valley, initially presenting themselves as helpful allies, devout but peaceful.

Disillusioned by the corruption rampant within the Pakistani government, the earthquake of 2005 was a turning point for the people of Swat. Caught in a difficult position, the people of Swat welcomed the Maulana Fazlullah and his people. “People thought he was a good interpreter of the Holy Quran and admired his charisma. They liked his talk of bringing back Islamic law as everyone was frustrated with the Pakistani justice system which had replaced ours when we were merged into the country.” (93) However, these groups used the frustration of the people against them and wasted no time in preaching that the earthquake was “a warning from God…caused by women’s freedom and obscenity.” (88) The people of Swat were warned: “If we did not mend our ways and introduce sharia or Islamic law…more severe punishment would come.” (88) Within six months after the earthquake, Fazlullah was exerting his power over the people of Swat and exploiting their ignorance of the Qur’an (which must be interpreted by a special scholar because it is written in Arabic) with warnings that “if the people didn’t stop, they would again invite the wrath of God.” (92)

Malala and the people of Swat were rapidly engulfed by the regime of the Taliban. In Chapter 10 Malala states “First the Taliban took our music, then our Buddhas, then our history.” (102) Aside from forbidding citizens to listen to foreign music or watch television, the Taliban also destroyed any object or edifice that was not a part of the Islamic culture. This included the precious Buddhist statues and stupas that were over 1000 years old and stemmed from the time of the Kushan kings. The Taliban “believed that any statue or painting was haram , sinful and therefore prohibited.” (102) Malala states “The Taliban became the enemy of fine arts, culture and our history. They destroyed everything old and brought nothing new.” (103) Malala is rightly angry and upset by what she sees as the Taliban’s attempts to control them like “little dolls” (103). What upsets both Malala and her father the most is the fact that nobody speaks out or tries to stop the Taliban. People were either too afraid or in agreement with them. Malala’s father tries to speak against them but is warned not to. “Someone came up to him and whispered, “Don’t speak any more in this way-it’s risky.” (104) Malala is also dejected that the authorities do nothing to intervene. The lives of the people of Swat, already devout Muslims, are negatively changed by the religious extremism enforced by the Taliban.

Another major theme of I Am Malala is her conviction regarding the importance and power of education. Throughout the text Malala makes many references to her love of learning, and also of her father’s passion for education. The two are intertwined as Malala is very influenced by her father and his views. The struggle that they share when Malala is forced to stop going to school and is then shot by the Taliban for being outspoken against them, highlights the way in which father and daughter are connected by their love of learning. Further, the eventual forced closure of Ziauddin’s school, along with the bombing and closure of most of the schools around them, brings into focus the importance of education within society, and what it represents symbolically. Malala and Ziauddin are united in their mission to fight for what is important, not only to them but also for the sake of their country and the other women and girls within it.

From a very early age Malala looked up to her father, Ziauddin, as an example of someone who had worked hard to attain his goals in life. Despite the fact that Ziauddin’s father had wanted him to become a doctor, he desired most to become a teacher. This was a point of conflict in his life because in his early years Ziauddin struggled with a stutter, something that his domineering and brusque father berated him for. “‘Spit it out, son!’ he’d roar whenever my father got stuck in the middle of a sentence.” (21) Despite this, Ziauddin loved words and poetry and was determined to master his stutter and gain his father’s respect. His strength of character is shown in his effort to become a confident orator, something that his father was already well known for. He also demonstrates immense strength of character in the way he overcomes the harshness of his father’s treatment of him and is determined to be a different kind of father to his own children. Regardless of his struggles with his father, as an adult Ziauddin remembers him most for the love of learning that he instilled in him. “ Baba also gave him a deep love of learning and knowledge as well as a keen awareness of people’s rights, which my father has passed on to me.” (30) Although it is Malala’s story, Ziauddin’s character and passionate belief in education is central to the memoir and its message.

Malala directly benefits from her father’s education and beliefs while growing up, as aside from being a well-educated man, Ziauddin also demonstrates a healthy perspective and sense of fairness in his thinking, which is informed by his open- mindedness and belief in the power and importance of knowledge. A good example of this can be found in the chapter where a local mufti tries to close her father’s school. When someone warns Ziauddin that this is happening, he responds with: ‘Just as we say, “Nim hakim khatrai jan” – “Half a doctor is a danger to one’s life,” so, “Nim mullah khatrai iman” – “A mullah who is not fully learned is a danger to faith”,’ he said.” Through his response to the Taliban, and his approach to his own daughter, Ziauddin expresses ideas that are clearly progressive and more balanced than those of the extremists around him. This is interesting as Malala explains that during his teen years, when Russia was stuck in Afghanistan, Ziauddin wanted to become a jihadi. “It was, he says, a kind of brainwashing. He believes he might even have thought of becoming a suicide bomber had there been such a thing in those days.” Despite this, Ziauddin’s natural intelligence and tendency to question things meant that he was able to steer away from this path. Ziauddin’s own views are shaped by the tension he experienced while existing between extremes: secularism and socialism on one side, and militant Islam on the other side. “I guess he ended up somewhere in the middle.”

Malala’s own appreciation and passion for education, while shaped and encouraged by her father, is very much a part of who she innately is. Through her father’s connections and political figures such as Benazir Bhutto, she finds examples of strong and well-educated women who become her role models. Even as a young girl Malala is aware that she must study hard if she wants to fulfil her future dreams of becoming a politician like Benazir Bhutto and help the people of Pakistan. She is competitive with her friends at school and works hard to remain the top student in her class. Her anecdotes about school and her rivalry with Malka e-Noor and her best friend, Moniba for top marks are entertaining as well as revealing of the happiness and joy she felt in this environment. “It was school that kept me going in those dark days.” (112) School is a haven for Malala, somewhere that she is able to dream about her bright future despite the violent attempts of the Taliban to take that away from her and all the other girls in Pakistan. “Our school was a haven from the horrors outside.” (114) Malala’s love of learning and love of her school life forms a large aspect of her belief in the power of her education to make a difference in her life, and Ziauddin uses the example of Nazi Germany to encourage her to use her knowledge of history to speak out against what was happening. “I knew he was right. If people were silent nothing would change.” (117)

Malala’s self-worth as an individual is innately connected to her worth as a young, intelligent woman who, among many other things, wants to fulfil her academic potential. This is something that cannot be split up or compartmentalised and is also something that makes her outspokenness so threatening to the Taliban. At the end of her memoir, Malala again asserts that in her culture, education is the basic right of every girl and boy. “Islam says every girl and every boy should go to school. In the Quran it is written, God wants us to have knowledge.” (263) Although Malala’s passion for education was ignited by her father, by the end of her memoir it is clear that she has found her own voice, along with her life-long vocation. “I don’t want to be thought of as ‘the girl who was shot by the Taliban’ but ‘the girl who fought for education.’ This is the cause to which I want to devote my life.” (261) By the end of her story it is clear that despite the trauma of her near-death experience, or maybe even because of it, Malala’s belief in the power of education and a child’s right to receive it grows stronger and extends further than her own country to encompass the whole world. When Malala deliver’s her speech to the United Nations in New York on her sixteenth birthday, her message powerfully reflects the strength of this belief. “I wore one of Benazir Bhutto’s white shawls…and I called on the world leaders to provide free education ‘Let us pick our books and our pens,’ I said. ‘They are our most powerful weapons. One child, one teacher, one book and one pen can change the world.’” (262)

Girl’s rights, or the rights of girls and women within a society, is a central theme of the text. It overlaps with the theme ‘The Power of Education’ because Malala as a girl cannot separate the two issues, and because the Taliban tries to stop her and all other girls in Pakistan from attending school. Consequently, it also intersects with the theme ‘Religion, Freedom, and Religious Extremism: Islam, the Taliban and Sharia Law’ because of the Taliban’s extreme religious agenda. Malala’s story represents one of the most discussed human rights issues of the 21st Century: that of a girl’s and a woman’s right to be treated as equal to a boy or a man. While many would say that girls and boys or men and women around the world in the 21st Century enjoy equal rights the truth is that this is not the case.

Women and girls in the 21st Century are still fighting for their basic human rights in many countries around the globe. In Pakistan alone, women and girls still face alarming conditions. Aside from the Taliban’s attempts in Swat, Pakistan, to ban girls like Malala from getting an education, women and girls in Pakistan also suffered and still suffer from the injustice of honour killings, arranged child marriages, illiteracy and confinement to the family home under the Sharia law of purdah (conduct and seclusion from the world for the purpose of modesty). Malala was very fortunate to have a father like Ziauddin. He treated her with balance, respect and equality, encouraging her to reach her full intellectual potential through her education. Sadly, this is not the case with most women in Pakistan, as under Sharia law a female’s entire life is controlled by her male relatives. Examples of this can be found in the

text where Malala’s friends are pulled out of school by their fathers or brothers once they reach puberty (the age girls enter the state of purdah ), and under direct

pressure from the Taliban. Malala’s own mother never went to school. “My mother started school when she was six and stopped the same term.” (32) She is illiterate, having considered education as something she would not need as a wife and mother. She later tries to learn to read and write and is at her first lesson when Malala is shot. Malala reflects upon how her mother felt that there was no point in getting an education. “There seemed no point in going to school just to end up cooking, cleaning and bringing up children.” (32) Unfortunately, Malala’s mother is one of many in this position in Pakistan, and in many under developed countries around the world today.

Malala’s own story of being shot because she believed she had the right to receive an education is not only generally tied to the issue of women’s and girl’s rights, it is specifically tied to the rights of women and girls in Islamic countries ruled by Sharia law. Ziauddin talks to her about the women in Afghanistan, and of how their rights under the Taliban are affected. “He said that the Taliban had even banned women from laughing out loud or wearing white shoes as white was ‘a colour that belonged to men.’ Women were being locked up and beaten just for wearing nail varnish. I shivered when he told me such things.” (55) Malala is aware that when the Taliban took over Afghanistan a year before she was born, they burnt down girl’s schools. Their sinister agenda was aimed at restricting women in their everyday life to the point where they no longer had the ability to make any choices for themselves. Malala is blunt in her assessment of this. “We felt like the Taliban saw us as little dolls to control, telling us what to do and how to dress. I thought if God wanted us to be like that He wouldn’t have made us all different.” (103) When the girls of the Red Mosque madrasa begin terrorising the streets of Islamabad, Malala makes note of the Taliban’s hypocrisy. “When it suits the Taliban, women can be vocal and visible.” (105)

For Malala, a young girl brimming with ambition and potential, the opportunity to broadcast the struggles of girls in Pakistan under the Taliban to the rest of the world is something that very quickly becomes her mission. She becomes aware when she gives an interview on television with a group of girls in her school that she has the ability to speak out where so many girls in Pakistan did not. “Afterwards I thought, ‘The media needs interviews. They want to interview a small girl, but the girls are scared, and even if they’re not, their parents won’t allow it. I have a father who isn’t scared, who stands by me. He said, ‘You are a child and it’s your right to speak.’ ” (117) Malala refuses to be defined by the Taliban and has the courage and the ability to speak out. Her story is as much about her rights as a girl as it is a story about the power of education, the impact of religious extremism, and of her courage

as an individual.

Both Malala and her father Ziauddin show incredible courage in the way they are prepared to speak out against the Taliban regardless of the danger. Ziauddin is Malala’s role model for many things, but he is especially inspiring in the way he encourages her to find the courage she needs to defend her right to go to school. In the memoir, the majority of did as they were told by the Taliban out of fear for their own safety. “It seemed that people had decided the Taliban were here to stay and they had better get along with them. ‘When you are in the Taliban you have 100 percent life security,’ people would say.” (125) Ziauddin, however, refuses to be intimidated. Despite the fact that he receives threats for speaking out against the Taliban, he does not waiver in his courage. He uses the example of Nazi Germany to illustrate to Malala the grievous outcome when people are too afraid to speak out against what is wrong. “He hated the fact that most people would not speak up. In his pocket he kept a poem written by Martin Niemoller, who had lived in Nazi Germany…I knew he was right. If people were silent nothing would change.” (116/117) Ziauddin demonstrates the kind of moral courage that is rarely seen in difficult and life-threatening situations, and Malala is inspired by him. “My father said we common people were like chaff caught between the two stones of a water mill. But he still wasn’t afraid. He said we should continue to speak out.” (128)

Malala is determined to do what she can to protect her right to an education. Following her father’s lead, she uses an opportunity to give a group interview on television about girls dropping out of school due to militancy to speak out against what was happening in Swat. She is aware that as she gets older, the friends that she once did group interviews with are no longer permitted to do so by their fathers and brothers because they had reached the age where they were required to observe purdah. Malala is able to see that she is in the position to use her voice where her friends are not, and she leans on her devout faith in order to find the strength to be courageous. “In my heart was the belief that God would protect me. If I am speaking for my rights, for the rights of girls, I am not doing anything wrong. It’s my duty to do so. God wants to see how we behave in such situations. There is a

saying in the Quran, ‘The falsehood has to go and the truth will prevail.’” (117)

Both Malala and Ziauddin did everything they could to speak out against the increasingly violence tactics embarked upon by the Taliban in order to stop girls from going to school. As schools were targeted with more frequency, Ziauddin gave media interviews to renounce what was happening, all the while speaking out about the value and importance of girls. “Once he spoke at a big gathering and held up an audience member’s baby girl and said, ‘This girl is our future. Do we want her to be ignorant?’ The crowd agreed that they would sacrifice themselves before giving up their daughters’ education.” (119) At the end of 2008 the Taliban decreed that girls must stop going to school in January 2009, and Malala comes to realise the true value of education. “We hadn’t realised how important education was until the Taliban tried to stop us. Going to school, reading and doing our homework wasn’t just a way of passing time. It was our future.” (121/122)

Although those around her lose heart, Malala shows that she is determined to fight through her fear just as her father would. As the situation in Swat grows worse, Malala finds new ways to bring her story to the world. One of these opportunities is given to her through a friend of Ziauddin’s. Abdul Hai Kakur, a BBC correspondent comes to Ziauddin looking for a female teacher or schoolgirl to write a diary about life under the Taliban. Malala overhears them talking and offers herself as the writer. “Why not me? I wanted people to know what was happening.” (129) The parallels are drawn between Malala’s life and the life of Anne Frank, the 13-year-old Jewish girl who had hidden from the Nazi’s in World War Two and who kept a diary which survived and was published years after her death in a concentration camp. The sense of secrecy, danger and authentic experience, present in both, is expressed in their youthful words, and in the impact of their stories. The popularity of Malala’s diary entries demonstrates to her the power she holds in her own hands. “The BBC even made a recording of it using another girl’s voice, and I began to see that the pen and the words that come from it can be much more powerful than machine guns, tanks or helicopters. We were learning how to struggle. And we were learning how powerful we are when we speak.” (131) The violence inflicted upon the people of Swat during the Taliban occupation was brutal, and Malala regularly speaks about how this affected her. When a suicide bombing occurs in a nearby high school in Mingora, killing more than 55 people, 10 of whom were relatives of Malala’s friend Moniba, Malala asks her father if he is finally scared. “‘At night our fear is strong, Jani,’ he told me, ‘but in the morning, in the light, we find our courage again.’ And this is true for my family. We were scared, but our fear was not as strong as our courage.” This courage, which enables Malala and her family to confront the danger of speaking out against the tyranny of the Taliban, stemmed from their strong belief in the idea that it was their responsibility to do so. Regardless of the danger, Ziauddin and Malala both feel passionately about standing up not only for their own rights, but also for the rights of those around them. Ziauddin receives many death threats, but it is not until later when Malala’s life is also threatened that her father responds with fear, taking the threat seriously. Even when he is suggests to Malala that they should stop campaigning she displays courage, reminding him of the reasons why they must continue. “‘How can we do that?’ I replied. ‘You were the one who said if we believe in something greater than our lives, then our voices will only multiply even if we are dead. We can’t disown our campaign!’” Regardless of the threat to her own life, Malala shows the strength and courage to continue campaigning against the Taliban.

Malala Yousafzai Malala is the central figure of the memoir. She is named after a Pashtun poet named Malalai of Maiwand, a great heroine of the Pashtun culture who Malala describes as being their very own Joan of Arc. However, Malala’s grandfather tells her that her name means ‘grief-stricken’ and is considered unlucky. The memoir is told through Malala’s eyes, using her voice, and spans across her childhood and into her teenage years. Malala grows up in Pakistan, surrounded by her family and friends. As a member of the tribal Pashtun culture, Malala’s heritage is one of great pride and close kinship as well as poverty and archaic customs. As a Muslim, Malala is raised with a strong sense of religious and spiritual purpose. However, she is also very influenced by her educated father who teaches her to think for herself and to believe in her right to be educated. This is in strong contrast to the general population where girls are controlled and restricted by their male relatives and must observe the rule of purdah at the age of puberty. Malala was only 10 when the Taliban comes to Swat Valley and was 15 when an assassination attempt was made on her life for being outspoken against them. Malala survived the shooting, but was airlifted to Birmingham, England, where she remained with her family. In October 2017 she became the youngest person to win the Nobel Peace Prize at the age of 17 for her efforts in standing up to the Taliban and for and raising awareness of girl’s rights in Pakistan.

Ziauddin Yousafzai Ziauddin is Malala’s father, and one of the most positive influences in her life. Ziauddin’s father wanted him to become a doctor, which is the most respected profession in Pakistan. However, Ziauddin had a passion for education and wanted to become a teacher and one day open his own school. He realises his dream, although he is not the greatest business man, and things are not always financially easy for his family. Ziauddin had a stutter as a child and is bullied by his own father who was a respected teacher and orator. Ziauddin learns to give speeches in public in order to impress his father and overcome his speech impediment. Unlike many men in Pakistan and the Pashtun culture, Ziauddin values the opinions of his wife, Tor Pekai and is thrilled to have a daughter. He raises Malala to be courageous and to speak out when things are not right, and he supports her fight against the Taliban and their ban on girl’s education. Ziauddin’s values and ideals are a beacon of light in her memoir, and illustrate the importance of having positive role models to look up to.

Tor Pekai Yousafzai Tor Pekai is Malala’s mother. She is described by Malala as a devoutly religious, practical and hard-working woman who loves her family and community. As a Pashtun Muslim woman, Tor Pekai strictly observes the religious law of purdah, or modesty. This means remaining secluded in the home unless accompanied outside by a male relative and staying covered from head to foot. Tor Pekai did not receive a formal education, although Malala states that she was unusal for her village as her father and brothers encouraged her to go to school. Tor Pekai was illiterate for most of Malala’s childhood, however Malala describes her as a strong and intelligent person. Tor Pekai has a very close relationship with her husband, Ziauddin who seeks her opinion on most matters, another thing that Malala describes as unusual in the Pashtun culture. At the time that Malala was shot by the Taliban, Tor Pekai was taking her first literacy class.

Khushal Yousafzai Khushal, named after a famous Afghan poet, is Malala’s younger brother. Khushal and Malala fight like all siblings, and Malala makes frequent, dryly humorous references to their sibling rivalry. When they are both older, Khushal goes away to boarding school in another town. He complains about having to go to school when Malala is faced with not being able to go because of the ban the Taliban place on girl’s education, causing Malala to become angry with him. • Atal Yousafzai Atal is the youngest of the three children, and another brother for Malala. He is also called Atal the Squirrel, because of his agility in jumping and climbing. As the youngest child he is 7 years younger than Malala, the eldest child. Atal is seen to be more interested in games than anything else.

Rohul Amin Rohul Amin is Malala’s Grandfather and Ziauddin’s father. He is described as a brilliant orater, teacher and scholar, but also a difficult and impatient father. He bullies his son Ziauddin for having a stutter when he is a child and makes Ziauddin determined not to be like him when he has children of his own. Despite this, Ziauddin appreciates the fact that Rohul has given him a love of learning and sees that his influence has not been all bad.

Moniba Moniba is Malala’s best friend in Mingora, and they go to school together. Moniba traditionally comes second to Malala in their exam standing, and she regularly quarrels with Malala about her friendships with other girls. Moniba shares a passion for learning and politics with Moniba.

Malka e-Noor When Malka e-Noor comes to Malala’s school, she quickly overtakes Malala as the top student. Because Malala has held the number one position for so long she is shocked and becomes very competitive, striving to win back her position as the best student in the school. Eventually, Malala and Malka also become friends.

Hidayatullah Hidayatullah is the college friend with whom Ziauddin sets up his school. After much stress the friends part ways and Ziauddin keeps the school. • Malauna Fazlullah Malauna Fazlullah is the leader of the Taliban in Pakistan. He married Maulana Sufi Mohammad’s daughter and became his successor when the latter was imprisoned after a round up of militant leaders. Fazlullah sets up an illegal radio station to begin transmitting the ideas of the Taliban, initially prefaced as the ideas of Islamic reform. HE is initially considered by the people of Swat to be wise and devout, however his mask soon slips, and his true agenda is revealed. They gain a foothold in Swat during the aftermath of a terrible earthquake as they are among the only organisations who come to deliver aid and assistance. One of the ways they put pressure on the people to support them was by telling them that natural disasters were punishment from God for not adhering to their strict interpretation of Sharia law. Fazlullah is responsible for ordering the assassination attempt on Malala, as well as the many violent deaths via suicide bombings and beheadings that occurred leading up to it.

Benazir Bhutto Benazir Bhutto was born into a wealthy family, and her father was elected as the Prime Minister of Pakistan in 1973. She became the first female Prime Minister of Pakistan, as well as the first democratically elected female leader in a Muslim country in 1988, and her political career endured many dramas and scandals. She was assassinated in 2007. Benazir Bhutto is one of Malala’s role models.

Mohammed Ali Jinnah Mohammed Ali Jinnah was the first Prime Minister of the newly created Islamic state of Pakistan, which split off from India in 1947. Jinnah is one of Malala’s role models, and she talks about his original hope for Pakistan that it be a place where people of all religions could be free. Jinnah’s ideological example has a strong influence for Malala, and she reflects on it frequently when talking about Pakistan and its corruption and strife.

Madam Maryam Madam Maryam is the principal of the Khushal school and another role model for Malala. She is the person who goes with Malala to hospital because her mother cannot go. She is very kind and caring and Malala describes her as a second

Dr Fiona Reynolds Dr Fiona Reynolds is a British doctor specialising in intensive care for children. She was in Pakistan advising the army on how to set up the first liver transplant program when Malala is shot. She and fellow doctor Javid Kayani travel to Peshawar to report back to General Kayani before they leave Pakistan, who then asks them to see Malala. She is instrumental in saving Malala’s life from a post- surgery infection, and Malala is eventually transferred to Birmingham Childrens Hospital where Dr. Reynolds is a staff member.

Dr Javid Kayani Dr Kayani is travelling in Pakistan with Dr Reynolds. He is an emergency care consultant at Queen Elizabeth Hospital in the UK. He is asked by General Kayani to consult on Malala’s case, however as Dr Reynolds was a specialist in children’s intensive care he recommends that he talk to her first.

Colonel Junaid Colonel Junaid is the young army surgeon who performs life-saving surgery on Malala.

Ataullah Khan The Taliban soldier who claims responsibility on behalf of the Taliban for shooting Malala.

Usman Bai Jan Usman Bai Jan is the driver of the school bus that Malala is on when she is shot.

Kainat Riaz and Shazia The other girls shot and injured in the attack. Both girls survive.

P6. “I was the only girl with my face not covered.”

P9.’When I was born, people in our village commiserated with my mother and nobody congratulated my father.’ (start of chapter 1)

P11. “my father told the story of malalai to anyone who came to our house.”

P17. ‘My mother is very pious and prays five times a day’ … ‘she disproves of dancing because she says God would not like it’

P20. ‘Malala will be free as a bird.’

P24. ‘No struggle can ever succeed without women participating side by side with men.’

P33. ’Ziauddin believed schooling should be available for all, rich and poor, boys and girls’.

P57. “I felt a terrible sinking feeling in my stomach.” P58. “since that day I have never lied or stolen.”

P66. ’Though my mother was not educated, she was the practical one in the family, the doer while my father was the talker. She was always helping people.’

P72. “Rubbish-dump children” “we should help” & “God, give me strength and courage and make me perfect because I want to make this world perfect”

P91. “The Quran teaches us sabar—patience—but often it feels that we have forgotten the word and think Islam means women sitting at home in purdah or wearing burqas while men do jihad.”

P92. “[Fazlullah] warned people to stop listening to music, watching movies and dancing. Sinful acts like these had caused the earthquake, Fazlullah thundered, and if people didn’t stop they would again invite the wrath of God.”

P95. “Pashtun women are very powerful and strong”. Malala

P100. “Ziauddin, you have charisma, you can speak up and organise against them. Hidayatullah.”

P103. “My father said people had been seduced by Fazlullah.” Malala P117. “I have a father who isn’t scared, who stands by me.” Malala.

P117. “If one man, Fazlullah can destroy everything, why can’t one girl change it? I wondered.” Malala.

P117. “If people were silent nothing would change.” Ziauddin.

P117. “In My hearts was the belief that God would protect me…” Malala

P122. (Malala) “We don’t have any option. We are dependent on these mullahs to learn the Quran,” he said. “But you just use him to learn the literal meanings of the words; don’t follow his explanations and interpretations. Only learn what God says. His words are divine messages, which you are free to interpret.”

P128. “Sometimes I was very afraid but I said nothing, and it didn’t mean I would stop going to school.” Malala.

P131. “ I began to see that the pen and words that come from it can be much more powerful than machine guns, tanks or helicopters.” Malala

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I Am Malala Questions and Answers

The Question and Answer section for I Am Malala is a great resource to ask questions, find answers, and discuss the novel.

Explain the following quote: “Inside the Khushal School, we flew on the wings of knowledge.”

Malala cherishes the memories of her father's school. Many girls were not given the opportunity of an education and even fewer were given the liberal education that Malala received inside Khushal School. To Malala, education was a liberating...

how does starting the story with this prologue help support the memoir

We get a sense of context before the story begins. The prologue acts as an exposition to the narrative.

provided a private jet for Malala’s transport to England

United Arab Emirates

Study Guide for I Am Malala

I Am Malala study guide contains a biography of Malala Yousafzai, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About I Am Malala
• Character List

Lesson Plan for I Am Malala

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to I Am Malala
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• I Am Malala Bibliography

Wikipedia Entries for I Am Malala

• Introduction
• Murder attempt
• Continuing activism

“I tell my story not because it is unique, but because it is the story of many girls.”

Malala's Story

Learn how malala began her fight for girls — from an education activist in pakistan to the youngest nobel peace prize laureate — and how she continues her campaign through malala fund., i was born in mingora, pakistan on july 12, 1997..

Welcoming a baby girl is not always cause for celebration in Pakistan — but my father, Ziauddin Yousafzai, was determined to give me every opportunity a boy would have.

My father was a teacher and ran a girls’ school in our village.

I loved school. But everything changed when the Taliban took control of our town in Swat Valley. The extremists banned many things — like owning a television and playing music — and enforced harsh punishments for those who defied their orders. And they said girls could no longer go to school.

In January 2008 when I was just 11 years old, I said goodbye to my classmates, not knowing when — if ever — I would see them again.

I spoke out publicly on behalf of girls and our right to learn. And this made me a target.

In October 2012, on my way home from school, a masked gunman boarded my school bus and asked, “Who is Malala?” He shot me on the left side of my head.

I woke up 10 days later in a hospital in Birmingham, England. The doctors and nurses told me about the attack — and that people around the world were praying for my recovery.

After months of surgeries and rehabilitation, I joined my family in our new home in the U.K.

It was then I knew I had a choice: I could live a quiet life or I could make the most of this new life I had been given. I determined to continue my fight until every girl could go to school.

With my father, who has always been my ally and inspiration, I established Malala Fund, a charity dedicated to giving every girl an opportunity to achieve a future she chooses. In recognition of our work, I received the Nobel Peace Prize in December 2014 and became the youngest-ever Nobel laureate.

I began studying Philosophy, Politics and Economics at the University of Oxford.

And every day I fight to ensure all girls receive 12 years of free, safe, quality education.

I travel to many countries to meet girls fighting poverty, wars, child marriage and gender discrimination to go to school. Malala Fund is working so that their stories, like mine, can be heard around the world.

We invest in developing country educators and activists, like my father, through Malala Fund’s Education Champion Network. And we hold leaders accountable for their promises to girls.

I graduated from Oxford University!

I will always treasure my time at Lady Margaret Hall — the lectures, club meetings, balls and late nights (some spent finishing papers, some just chatting with friends in the dorm). Although a global pandemic meant I spent my final months as a university student in my parents' house, I'm grateful that I was able to complete my education. After taking time to relax, I am more dedicated than ever to my fight for girls.

With more than 130 million girls out of school today, there is more work to be done. I hope you will join my fight for education and equality. Together, we can create a world where all girls can learn and lead.

Support Malala’s fight for girls’ education

With more than 130 million girls out of school today, she needs your help breaking down the barriers that hold girls back.

Your gift today is an investment in Malala Fund programmes that help girls around the world go to school.

I Am Malala (Young Readers Edition)

50 pages • 1 hour read

I Am Malala: How One Girl Stood Up for Education and Changed the World (Young Readers Edition)

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Chapter Summaries & Analyses

Prologue-Part 1, Chapter 5

Part 2, Chapters 6-10

Part 3, Chapters 11-15

Part 3, Chapters 16-19

Part 4, Chapters 20-23

Part 5, Chapters 24-29

Part 5, Chapter 30-Epilogue

Key Figures

Symbols & Motifs

Important Quotes

Essay Topics

Discussion Questions

Consider Malala’s relationship with her parents. How does her father inspire Malala to become a champion of girls’ educational rights? In what ways is Malala similar to her father? What character traits do they share? Characterize Malala’s relationship with her mother. In what ways does her mother influence Malala? Does Malala have a closer bond to one parent over the other? Discuss.

Malala believes she—and everyone—has a basic right to education. Why is girls’ education so important to Malala? What are some of the benefits of education? In contrast, the Taliban believe that girls’ education is un-Islamic. Why do you think the Taliban want to suppress girls’ education?

Although Malala wins the Nobel Prize and receives international support and recognition for her advocacy work, she is still a teenager when she begins writing her memoir . In what ways does Malala show she is a regular teenager? What does Malala have in common with young adult readers, even those from other cultures? What narrative strategies does Malala use to connect to other teens?

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Home — Essay Samples — Government & Politics — Malala — An Essay On I Am Malala Yousafzai

An Essay on I Am Malala Yousafzai

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Related Essays on Malala

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I am Malala and Made in Dagenham Prompts

Lucy Diggle

July 20, 2018

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Go ahead and tilt your mobile the right way (portrait). the kool kids don't use landscape....

I am Malala and Made in Dagenham is usually studied in the Australian curriculum under Comparative (also known as Reading and Comparing). For a detailed guide on Comparative , check out our Ultimate Guide to VCE Comparative .

• Compare the importance and role of idols and role models in I am Malala and Made in Dagenham.
• Describe the role of fear and obligation as an obstacle to progress by comparing I am Malala and Made in Dagenham. ‍
• ‘As we change the things around us, the things around us change us’. Discuss the extent to which this is true by comparing I am Malala and Made in Dagenham. ‍
• Discuss the benefit of adversity in strengthening one’s will to persevere by comparing I am Malala and Made in Dagenham. ‍
• Resilience is more important than success. Discuss whether this is true within the texts I am Malala and Made in Dagenham. ‍
• Compare the role and importance of family within the texts I am Malala and Made in Dagenham. ‍
• Compare both I am Malala and Made in Dagenham in relation to the importance of language as a device (spoken and written).
• Compare the forms of resistance displayed by protagonists Malala Yousafzai and Rita O’Grady in texts I am Malala and Made in Dagenham and decide why they chose these methods.
• Analyse the effectiveness of small triumphs creating ripple effects in wider communities by comparing I am Malala and Made in Dagenham. ‍
• Discuss whether support networks are intrinsic for a single figure to create positive change by comparing I am Malala and Made in Dagenham. ‍
• The main protagonists are galvanized by the people they wish not to be like rather than their role models. Discuss to what extent this is true by comparing the texts I am Malala and Made in Dagenham.
• Made in Dagenham and I am Malala explore the vices of deceit, appeasement and scapegoating. Discuss these by comparing both texts, commenting on how they pose a threat to the causes of both protagonists.
• What role do interpersonal relationships play in the texts I am Malala and Made in Dagenham? Can these relationships be both positive and negative? Discuss.
• Change cannot be immediate but gradual. To what extent is this true in texts I am Malala and Made in Dagenham .
• Examine the role of the media in driving social change by comparing texts I am Malala and Made in Dagenham ‍
• A patriarchal society is invariably one that is repressive. Discuss this statement and its truths or falsities by comparing texts I am Malala and Made in Dagenham. ‍
• Discuss solidarity in relation to social, historical and cultural progress and whether it can be both positive and negative by comparing texts I am Malala and Made in Dagenham.

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• Learn how to stand out from other students with unique points of comparison

Updated on 11/12/2020

• Introductions
• Themes in Ransom and The Queen
• Similarities and Differences
• Literary and Cinematic Techniques in Ransom and The Queen
• Essay Topics for Ransom and The Queen
• Resources for Ransom and The Queen

1. Introductions

Set during the Trojan War, one of the most famous events in Greek mythology, David Malouf’s historical fiction Ransom seeks to explore the overwhelming destruction caused by war , and the immense power of reconciliation . Drawing on The Iliad , the epic poem by Homer, Malouf focuses on the events of one day and night, in which King Priam of Troy travels to the enemy Greek encampment to plead with the warrior Achilles to release the body of Priam’s son, Hector. Maddened by grief at the murder of his friend Patroclus, Achilles desecrates the body of Hector as revenge. Despite Achilles’ refusal to give up Hector’s body, Priam is convinced there must be a way of reclaiming the body – of pitting new ways against the old, and forcing the hand of fate. Malouf’s fable reflects the epic themes of the Trojan War, as fatherhood , love , grief , and pride are expertly recast for our times.

To learn more, head over to our Ransom Study Guide (which covers themes, characters, and more).

Set in the weeks leading up to and after the infamous death of Princess Diana in 1997, The Queen captures the private moments of the monarchy's grief and loss , and Queen Elizabeth II's inner conflict as she attempts to keep her private and public affairs separate.

The film opens with Tony Blair's "landslide victory" in the election as the "youngest Prime Minister in almost two hundred years", preempting viewers of the "radical modernisation" that's to come as he takes the reign. Juxtaposed with Blair's introduction is the stoic Queen Elizabeth II, residing in Buckingham Palace serenaded by bagpipes, in a ritual unchanged since Queen Victoria, immediately establishing the entrenched traditional values she represents. Princess Diana’s sudden death at the hands of relentless paparazzi results in turmoil in both the lives of those in the monarchy and adoring British citizens who mourn for the loss of the “people's princess". As days ensue with no public response from the Royal Family, the British people grow in disdain towards the authority , demanding a more empathetic response. Caught between the people and the monarchy is Blair, who sees the Royal Family’s public image suffer as a result of inaction.

Despite heavy resistance from the Queen, he eventually encourages her to surrender old royal protocols and adopt a more modern approach to meet public expectation: to fly the flag at half-mast, hold a public funeral, and publicly grieve for the loss of Princess Diana – all in all, to show the people that the monarchy cares. The Queen’s decision to accept Blair’s advice ultimately reconnects her with the British people and restores the Royal Family’s reputation amongst the public.

Together, Ransom and The Queen showcase the challenges involved in leadership roles : the inner conflict that leaves these individuals torn between their private and public demands . More on this in the next section.

2. Themes in Ransom and The Queen ‍

Parenthood and leadership.

In both texts, deaths act as a catalyst for both Priam and the Queen’s personal change – Priam’s son Hector, and the Queen’s, ex-daughter-in-law, Princess Diana.

In Ransom , we learn of the familial sacrifice Priam has needed to make as a leader . His separation from loved ones is expected as he has been ‘asked to stand…at a kingly distance from the human, which in [his] kingly role…[he] can have no part in'. Up until Hector’s death, Priam has been removed from paternal experiences, a sad truth when he admits that his relationships with his children are merely ‘formal and symbolic,’ and a part of the ‘splendour and the ordeal of kingship'. Unlike his wife Hecuba, whose grief is assailed by intimate moments with her children as she recalls, ‘Troilus was very late in walking…I was in labour for eighteen hours with Hector', Priam is unable to recall these private memories . Despite what would ordinarily be experiences shared by both father and mother, Priam cannot echo his wife’s grief to the same extent as these experiences have not been ‘in his sphere’ and he is even ‘unnerved’ by them. Malouf demonstrates how Priam’s royal obligations have suffocated his role as a father, and consequentially, he has been unable to connect with his family in the way he would desire to.

While Priam’s overt expressiveness in his limitations as a father may sway empathy from Ransom readers, Queen Elizabeth’s stoicism at first makes her appear cold-hearted and unfeeling. Her reaction to Prince Charles’ desire to fly a private jet to see Diana in hospital (‘Isn’t that precisely the sort of extravagance they always attack us for?…this isn’t a matter of state.’) is one from a leader's mindset - she's more concerned of the media’s reaction, rather than offering familial care and concern. However, as the film unfolds, viewers come to understand that her stoicism doesn’t necessarily come about because of her own personal choice , but rather, because her leadership role demands it of her.

TIP: Save the words ‘stoicism’ and ‘stoic’ to use in your essay. These words describe someone who experiences suffering but doesn’t openly express it.

We see the Queen’s quiet intentions to protect her grandchildren – ‘I think the less attention one draws to [Diana’s death], the better…for the boys’ – yet her silence is the inadvertent cause of public scorn. As such, Frears doesn’t make a villain out of the Queen, someone who on the outside may seem unfeeling and apathetic, but encourages viewers to see her from a unique perspective – a woman who struggles to manage her identity in both the private and public light.

It is only when Priam and the Queen detach themselves from their traditional roles that we see a change for the better in both of their personal journeys. Priam’s removal of his ‘jewelled amulet [and] golden armbands’ is symbolic of his shedding of the royal weight, and paving way for his step into a paternal role. Likewise, the Queen’s physical distancing from Buckingham Palace, an iconic symbol for tradition , into the public sphere where she mingles with the British people enables her to finally play the role of a grandmother. Both texts show how parenthood can lead to a more enriched human experience. Malouf finally portrays Priam as a happy man when he has the vision to be remembered in his legacy for his role as a father first, then as a king. Likewise in The Queen, her highness’ public mourning connects her with her people , and brings her joy and delight at last.

Tradition, Change, and the New

Both texts explore the challenging tug and pull between upholding traditions and making way for the new.

As humans, we cherish traditions because they are customs or beliefs that have been passed on from generation to generation. They have sentimental value, and by continuing on these traditions, our actions show that we respect the path our elders have laid for us. Tradition is not necessarily depicted in a negative light in either texts, but rather, shown to have its place. The Queen’s resistance against sailing the flag at half mast is out of deference for her elders. Even Somax’s casual storytelling about his daughter-in-law’s griddlecakes is customary, as each time his son would ‘set up the stones’ and her ‘quick and light…flipping’ of the cakes. However, Frears and Malouf both assert that adaptability in upholding tradition is also needed in order for us to grow and develop as humans.  

The new is not depicted as an experience one should fear, but rather, an experience one should approach with curiosity . As Malouf writes, ‘[Priam] saw that what was new could also be pleasurable'. The following positive expressions from the king ‘chuckling’ and ‘smiling’ echo the sentiment that while humans naturally resist change, embracing it is often beneficial to our lives. To be meta, Ransom is the retelling of the Trojan events, but Malouf adds to this tradition with a fresh perspective on the story.

Frears and Malouf both demonstrate that change is often propelled into possibility through the support and urging of others . Priam’s vision for his journey is instilled by the goddess Iris, who comes to him in a dream. His consequential journey is supported by Somax, whose ordinary everyday experiences teach Priam more about fatherhood than he had learnt as a father himself. Meanwhile, Achilles drags Hector’s body day after day, with no intention of change until Priam suddenly appears in his camp. Both texts highlight the influence those surrounding us can have on our personal change.

3. Similarities and Differences

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, it's worth checking out my How To Write A Killer Comparative ebook to see how you can really set yourself apart and ace Comparative writing. I use this strategy throughout my discussion of themes above and techniques in the next section. To help you get started, here are some questions to get you thinking about the similarities and differences between the two texts:

• Public vs. Private Spheres: how is public vs. private life portrayed in either texts?
• Stories and Storytelling: who tells the story in either texts? Is there power in storytelling? Why do humans share stories?
• Grief, Death, and Loss: How do humans deal with death? What emotions do we experience?

4. Literary and Cinematic Techniques in Ransom and The Queen

Opening portrayals of queen elizabeth and priam.

When Charles consoles Prince William and Harry after informing them of their mother’s death, Queen Elizabeth peers inwards from outside the room, distant and removed from her family. The enclosed frame of the door only serves to heighten her isolation from her family as she is pained by the ‘unrestrained intimacy and affection’ between the boys and their father, something she is unable to partake in. Her face half-covered by the shadows stresses how her familial experience only occurs from afar as she prioritises her role as her highness. Internal change, at least at this point in the film, has yet to begin.

Meanwhile in Ransom , Priam’s journey of personal change is established immediately as he realises that he needs to move beyond this ‘brief six feet of earth he moves and breathes in'. The finite space he has become accustomed to now almost represents (and this may be an intense interpretation) a jail cell in which he as a father, as a human being, has been incarcerated in. He is ready to pursue a new identity beyond just that as a king. Both Ransom and The Queen showcase the sacrifices made by both leaders, and the rigid, almost-dehumanising expectations that are set upon them when they take reign. Both texts encourage their audience to empathise with the leaders , for the challenges they face in their unique positions.

The Queen Film Techniques

I created an in-depth video on the first 20 or so minutes of The Queen you'd might find helpful. Have a watch and see whether you missed out on any film techniques:

[Video Transcription]

To begin with, we have this quote that is displayed at the very start of the film, and it says,

"Uneasy lies the head that wears a crown,"

and it's spoken by Henry IV Part II. So, the Part II gives me an indication that this is a quote from some way in Shakespeare's texts. If I then go on Google and actually have a look and type up this quote, then I know for sure that it is indeed from Henry IV Part II, a text and play that was written by William Shakespeare. So, I'm telling you these things because this is actually how I would go on to learn information about the film. I don't just automatically know for sure that it is from this particular text that Shakespeare wrote up. So, I want to ensure that I'm right by going and having a look at Google.

Quotes at the start of any film, at the start of any book, usually have importance to them and they usually should give you an insight as to what's to come. And, for me, I find when I look at this particular quote, it definitely links to the themes of leadership, of motherhood, parenthood, and of perhaps the sacrifices that the queen has needed to make in order to lead her nation. So, with this particular quote, I would write it down somewhere and keep it in mind as you're watching the remainder of the film, because you'll see those themes come to life and have a better understanding of what this quote is talking about.

So, immediately, this film opens up with a news presenter talking about Tony Blair going to the election polls. It's displayed as footage on a TV screen. This gives us insight into a couple of different things. Firstly, it gives us context. The second thing is that it's displayed on a TV and it's broadcasted by a news channel. And, as you probably know, the media, the paparazzi, and just the entire culture of representing news during this time is something that will be heavily explored throughout this film. Especially because it may or may not have led to the death of Princess Diana.

So, again, contextually, it gives us an idea that around this time, the news media was quite overwhelming and omnipresent, which means that it was sort of just everywhere. It was always around. It's sort of no different from today, but there's a reason why they establish it as an opening shot. And that's just sort of give us as viewers an understanding that the news has a big play in what's going to happen in the remainder of this film.

So, I really liked the quote,

"We're in danger of losing too much that is good about this country, as it is,"

that's spoken by the painter, who's drawing a portrait of the queen. This, again, sort of establishes that idea of change immediately at the beginning of the film, or should I say, resistance to change. So, it's already sort of outlining the path that this film is about to take.

Again, I really like this quote,

"The sheer joy of being partial."

So, from the onset with the queen, I think it's important to understand that we don't villainise her, or at least the director doesn't villainise her. He portrays her as a human being, as somebody who is in this position of the queen, which has a lot of weight upon it. And you can tell that she's all glammed up and she's fulfilling her role as the queen, but she's admitting that she envies us as everyday citizens being able to vote, to be able to have an opinion, and just go to the booths. To me, this establishes her as somebody who I empathise with, or sympathise with even.

I think this part with the music in the background and how the queen breaks the fourth wall. So, the fourth wall is basically when any character inside a film actually looks directly at the camera, at you, as the audience. And, to me, this gives me a sense of joy. It makes me feel like it's quite funny, the way that she's looking at us, especially with the...and again, this sort of reiterates my idea that we're not supposed to look at the queen as some evil or some cold-hearted person who is unfeeling for Diana's death later on, but that she's just like one of us and she can participate in a joke and we come to see this in a little bit.

So, in the next scene, we have a wide shot of Buckingham Palace, and in the background, you can hear bagpipes playing. This is something called diegetic sound. Diegetic sound is when you have sounds that come directly from the world in the film. So, the bagpipes sort of establish this sense of tradition. Everything in the scene represents tradition. Buckingham, Palace, the flag, the bagpipes, and that as an early shot of this film sort of shows us the entrenched tradition that exists. That nothing has changed as of yet, and things as sort of going on as they've always had.

Again, Frears is trying to show us the human side of the queen. And so that's why we've got the shot of her waking up in bed. She's all cuddled up and snuggled up in warm and comfy bedding. And it shows that she's vulnerable, in a way. And this is important for us as viewers, as we come to understand her inner thoughts and feelings later on.

So, immediately when the queen wakes up, she has a pile of newspapers in front of her. That adds, again, to that sense of omnipresent media. It's all around us, at least in that period of time.

This time, we have archival footage. So, archival footage is footage that has been taken from that period of time and placed into this film. It adds to the film's sense of authenticity, the fact that it's based off historical offense.

I really like this shot as the queen and Robin walking down the hallway to meet Tony Blair. This is a great snapshot and a great mise-en-scene. And mise-en-scenes, basically, to me anyway, it's when you pause the screen and it's everything that's inside that shot from props, in the foreground, in the background, what the person is wearing, or what the characters are wearing. So, with this particular art, we can not only see the two characters, but we can also see everything that's in the background.

And again, this really adds that sense of tradition because you've got all these paintings from probably famous people back in the day, or ancestors of the monarchy, and then you've got Robin saying he's promising a constitutional shake up, the first one in 300 years, and the queen saying, "Oh, you mean he's going to try and modernise us?" This is a great juxtaposition between the new coming in versus the old.

When Robin makes the joke about Tony Blair's wife having a curtsy that's described as shallow, it's humorous, it's funny, and the queen laughs as a result. The humor that's speckled throughout this film, I think really helps to lighten up the situation, but also to again, show us that the queen is human and that she can enjoy a joke.

I think this is a great snapshot as well. So, we've got the camera looking down at Tony Blair and his wife. When a camera does look down at an object or character, it gives us, as the audience, a sense that that person or character is inferior or they're not in a position of control. And it ties in with the fact that this is Tony Blair's first day in Buckingham Palace as a prime minister and he's only just onboarding the role.

So, in terms of him versus the queen or the monarchy, which is symbolised by everything around him, the setting that he is encompassed in, it shows that he really isn't the one who's playing the field here. He's not the one who is in charge. I love that we've got one of the queen's men giving them rules on what they need to do.

So, we're slowly walking up the stairs towards the queen who is in position of power. So, the staircase is quite symbolic.

Another important thing to know is that Mrs. Blair is actually accompanying the prime minister this first time round that he goes to Buckingham Palace. It shows that he is nervous, he said it himself, but he's not entirely comfortable with his role yet. So he needs the support of his wife. This is in comparison with later in the film at the very end, actually, where Tony Blair goes to Buckingham Palace himself and conducts a meeting with the queen, very similar to the one that he's doing now.

This shot where we've got Mrs. Blair sitting opposite the guard at quite a distance adds to the sense of awkwardness, and it's paralleled with the sense of openness between the queen and the prime minister as well. So, it shows that we've got the old and the new sort of coming together and sort of not really gelling.

Something to keep an eye on is parallels in the film. It's always a really good idea to compare the start and end of this particular film, because we've got such similar scenarios in meaning at the start of the film and in meaning at the end of the film. What you'll notice in this particular scene is that they don't appear in the same shot. They sit opposite one another and one shot on Tony Blair, one shot on the queen, and it sort of goes back and forth. And that's to heighten that sense of distance between them. That sense of unfamiliarity. This is in comparison with the end of the film when we see the two of them walking down the hallway together, out into the garden as equal.

Here's another great shot. So, to add on the idea of the queen having more power versus prime minister, it's quite clear here as he sits down and asks for her hand.

I love the way that Mrs. Blair walks. She's sort of like half...I don't know how you would explain her stride, but it's obviously not one that is aligned with how the queen walks, which is quite poised and quite together. Rather, Mrs. Blair's walk is sort of frumpy, it's sort of bouncy, and her arms are sort of flailing around a little bit, and so adds to that sense of new, of change, of difference. And so that adds to the story of Tony Blair and his family and what he represents as something new and different and probably unwelcome for the queen.

So, that's it, that's my analysis of the first 10 minutes or so of this film. If you're interested in a more detailed film technique analysis, I've just written a killer comparative based on Ransom & The Queen. In this, I show you film techniques that I pick out throughout watching the film, how to analyze them, and also then go on to show you how they are used in A-plus essays. I'm so confident that this study guide will be able to help you improve your understanding of both texts and get you towards that A+ for your SAC and exams.

If you're curious about what's inside the study guide and want to see if it's right for you, head on over and read a free sample to see it for yourself. I hope it gives you something to launch off. If you have any questions, feel free to leave them in the description box below. I have plenty of resources for you guys down there as well if you needed help for your SAC and exams and I'll catch you guys next time. Bye.

Historical Footage and Context

Based on historical events, The Queen is interspersed with real archive television footage leading to, and following Princess Diana’s death. Frears incorporates these clips to help provide viewers insight on the politics, media culture, and public reaction in 1997.

Princess Diana’s introduction through archival clips at the beginning of the film highlight her as a vulnerable individual at the mercy of oppressive and intrusive tabloid newspapers. The sweeping pan of paparazzi on the night of Diana’s death serves to emphasise the obsessive media, who at the time, were paid in excess of one million pounds for taking photos of her. Moments of her kissing on a boat are revealed to the world without any respect for her privacy. This archival footage helps viewers understand the distressing omnipresence of the media, and the turn of the public against the paparazzi and media following Diana’s death.

Likewise, Malouf uses parts of The Iliad as foundations for his novel. The original tale, written during the 8th century BC, explores in detail Achilles’  refusal to fight for his leader Agamemnon, Patroclus’ role in the war, and also the disputes between the gods as they argue over the fate of mortals. By offering a retrospective of this historical story, Malouf invites readers to better understand the Trojan War and Greek mythology, and the impact the gods had on Trojans and Greeks.

For more discussion on literary and cinematic techniques, have a look at my A Killer Comparative Guide: Ransom & The Queen . In this in-depth study guide, Angelina Xu (ATAR 99.6, 46 English study score) and I also break down 5 essay topics, providing you explanations on how to brainstorm and plan each of these essays, then convert these plans into A+ essays complete with annotations! I've dropped some sample essay topics below for you to try at home yourselves:

5. Essay Topics for Ransom and The Queen

"I told him he shouldn't change a thing." ( The Queen ) Compare how Ransom and The Queen explore resistance to change.

Compare the ways the two texts explore the efficacy of different leadership types.

Compare the ways the two texts explore the importance of storytelling.

'Wordless but not silent.’  ( Ransom ) Ransom and The Queen explore how silence can be louder than words.

"Uneasy lies the head that wears the crown.” ( The Queen ) “...the lighter role of being a man.” ( Ransom). Compare how the two texts show the burden experienced by those in leadership positions.

‍ 6. Resources for Ransom and The Queen

Ransom Study Guide

[Video] Ransom Themes (Revenge, Grief, Forgiveness) and Essay Topic Tips!

The following resources are no longer on the study design; however, you might still pick up a few valuable tips nonetheless:

Ransom and Invictus

Ransom and Invictus Prompts

[Video] Invictus and Ransom | Reading and Comparing

[Video] Ransom Literary Devices & Invictus Film Technique Comparison

For a detailed guide on Comparative, check out our Ultimate Guide to VCE Comparative.

[Modified Video Transcription]

In a previous video , we covered some of the themes found in both The 7 Stages of Grieving and The Longest Memory. I’d recommend that you watch that video first (or read it’s accompanying blog post if you prefer reading) because once you know some of the themes, you can get even more out of this video. In this video, we’ll be looking at a scene each from both The 7 Stages of Grieving and The Longest Memory , and trying to compare them a little bit. 

We’ll be applying the CONVERGENT and DIVERGENT strategy from LSG’s How To Write A Killer Comparative and exploring how ideas are developed in similar or different thematic directions in these texts. CONVERGENT ideas lead to similar conclusions and messages, while DIVERGENT ideas take us to different conclusions. If you’d like to learn more about this strategy which can help you build more insightful discussions of the text by finding unique points of comparison, then I’d recommend you check out the LSG’s How To Write A Killer Comparative study guide. 

The Play ( The 7 Stages of Grieving )

‍ Let’s go to scene 14 of the play - this should be the report of Daniel Yocke’s death in police custody. The woman recounts his death in a factual, impersonal style as if reading from a court report. She describes how the police pursued and arrested Yocke after he went out drinking with a group of friends, and how he was detained and taken to the watchhouse. He arrives without a pulse, but the report doesn’t go into detail about how that happened between his arrest and his arrival. The woman breaks into bursts of emotion toward the end of the scene.

While most of the play deals with issues that are universal and timeless for First Nations peoples, this scene looks at a specific real event . However, this doesn’t mean that this scene isn’t timeless - First Nations deaths in custody are still a major issue for which no police officer has been held legally accountable - but this scene chooses just one example out of several hundred. 

The emotionally detached tone makes the situation feel serious, but in a way, that distances us and the woman from the brutality and the violence of what must’ve happened. After all, how exactly was Yocke dead upon arriving at the watchhouse? How badly must the police have mishandled him for that to have happened? Along the way, there are little outbursts of emotion (like the little outburst of ‘people called him Boonie!’) and these remind us that the detachment belies the true significance of what happened - the needless loss of yet another Aboriginal person’s life. 

This has been such a persistent problem in our history - this scene happened in 1993, but even in today’s time we’re still dealing with the same problem. The institution of policing has been unaccountable and violent for decades, at least, and something desperately needs to change. 

The Novel ( The Longest Memory )

‍ Let’s go to the novel now and look at Chapter 6: Plantation Owners.

In this chapter, Mr. Whitechapel is talking to his peers about Chapel’s death in this clubhouse that his father had built for his own peers. Mr. Whitechapel is initially nervous that they’ll make fun of him, and they kind of do - they point out how hypocritical it is for him to think that he can treat the people he’s enslaved with humanity, and to stick to this argument even after Chapel had been whipped to death. At some point in this banter, he realises this physical violence is unjust and starts proposing ‘another way to organise the economy’ that isn’t slavery, but this draws even more mockery. He ultimately leaves feeling a little more convinced by the perspectives of his peers.

What does this chapter tell us, and how is it similar to the scene from the play?

Well, in both scenes, white men get away with murdering a Black man, and it comes down to socio-economic and institutional power. In this chapter, Mr. Whitechapel and his fellow enslavers all inherit significant wealth and extremely prejudiced attitudes from their fathers, and this creates not only pressure, but also a financial incentive, to conform to the system of slavery. He touches on the possibility of abolition, but this is seen as impossible - certainly, none of these men want to lose their power. 

Looking more closely at this chapter, we also see how Mr. Whitechapel is exactly the hypocrite that everybody says he is - it’s ridiculous for him to pretend he’s treating black people fairly when they are dying under his watch. He says he’s feeding enslaved workers adequately and treating them with respect, but none of this is actually going to protect them from violence, and none of this is going to level the playing field so that white enslavers are held accountable. Ultimately, Mr. Whitechapel isn’t seriously interested in making substantive changes to slavery in the name of morality; he is simply trying to save face. 

I’ve chosen these two scenes because they both illustrate the dynamics of race and power which pervade both texts, but these two scenes might not be the first ones that come to your mind as a pair that you can analyse together, and that’s totally fine! I encourage you to find your own scenes to compare because that’s what makes English powerful. If you, as a unique student, can compare two scenes that nobody else has compared, that’s going to give you an extra edge because you’re more likely to say something original. 

If you’re interested in finding more unique ways to compare these two texts, I’d recommend LSG’s The 7 Stages of Grieving & The Longest Memory study guide. I know there aren’t many resources out there for this text pairing, so what we’ve done at LSG is work really hard at ensuring that all the information in this study guide will actually be beneficial for you. We’re not here just to make you read more guides - we’ve really thought about what would be meaningful for you as a student learning this pairing. That’s why you’ll see that I’ve used some of the ideas mentioned in this video and turned them into an A+ essay, so you can see exactly how knowing this information translates into your SAC/exam.

There’s a free sample of the study guide you can check out to see if it’s right for you!

Why Is the Context Important?

Understanding the context of the texts you are studying is essential if you are to satisfactorily respond to any prompt ( learn about the 5 types of prompts here ). Not only does it provide an insight into the society of the time and their views and values , it also allows for greater awareness of the characters’ motivations, resulting in a richer discussion in your essays. Discussing the context of the texts also makes for an ideal comparison which can be incorporated in the introduction as well as the body paragraphs. Moreover, context paragraphs are a great tool to have up your sleeves, as they can easily be adapted to almost every essay question, a real asset when attempting to write an essay in an hour. 

In this blog post, I will be giving a brief overview of the contexts of the play The Crucible by Arthur Miller and Rosalie Ham’s The Dressmaker . Further down , I have also provided a sample paragraph as an example of a way in which I would go about writing a context paragraph in response to an essay prompt concerning the two texts. Both of these texts are set in fascinating and significant eras of human history so I invite you to conduct your own research after reading this! 

At first glance, the town of Salem, Massachusetts in 1692 and Dungatar, Victoria in 1950s Australia have little in common; however, both towns exist in stifling geographical isolation, allow myopic and parochial outlooks to flourish, and maintain an irrational but overwhelming fear of ‘the other.’ 

The Crucible, Arthur Miller

The Crucible is set in 1692 in Salem. The provincial, conservative town was established by English Puritans who, fearing persecution, fled from a Britain dominated by The Church of England. The first Puritans to arrive in Salem faced brutal conditions, including 'marauding Indians' and living on a 'barbaric frontier' that lay close to the 'dark and threatening…virgin forest' that they believed to be the 'devil’s last preserve'. In order to overcome these challenges, the people of Salem were forced to unify and remain diligent. In order to ensure efficiency, a strict and rigid way of life was adopted, where work and prayer were championed and individual freedoms and pleasures abhorred. Though this harsh way of life did allow the Salemites to stay alive, it forced them to suppress various natural human emotions such as joy and anger, so as to not detract from work and prayer. Further, the town had limited their interaction with the outside world, compelling them to instead be constantly surrounded by each other. This hazardous combination of repression of emotions and interaction with only a small pool of people spurred private jealousies and vengeance within the townspeople, and it is here that the play commences.

The Dressmaker, Rosalie Ham

In contrast, Ham’s novel takes place in 1950s rural Australia, in the fictional town of Dungatar. Despite being set centuries after The Crucible , Dungatar is rife with the same parochialism (great word to use for both texts, referring to a limited/ narrow outlook), resentment and gossip as Salem. The town’s physical isolation - it is surrounded by 'wheat, yellow plains' and seems to be a 'dark blot shimmering on the edge of flatness' - corresponded with their metaphoric isolation from global events, creating an intense fear of ‘the other’. Further, similarly to The Crucible , the stark physical isolation ensures that each individual’s social interactions are limited to the town’s small population, fostering a breeding ground for narrow-mindedness and prejudice. Ham’s description of the way 'the crowd screamed with lust, revenge, joy, hate and elation' after a local football match win reveals the underlying emotions of the town, repressed behind a veneer of respectability and perceived moral propriety. All it takes is a stimulus, which arrives in the form of outcast Tilly Dunnage, to uncover the malicious undertones of the provincial town. 

Example Context Paragraph

During VCE, I tended to use my first paragraph (in response to an essay prompt) as a way to explore the context of the texts I was studying, and relate the context to the essay prompt being addressed ( learn more about the different types of essay prompts here ). In this case, the prompt I have responded to is:

‍ Compare the ways in which The Crucible and The Dressmaker portray divided societies. 

I was able to adapt much of this paragraph below to whatever essay prompts I came across. 

The geographical isolation of rural, parochial towns can breed a kind of myopia amongst inhabitants and promote binary thinking. Salem is situated on the 'edge of wilderness’, with the 'American continent stretching endlessly West’. The 'dark and threatening' forest which ominously surrounds the town is believed to be 'the last place on earth not paying homage to God’, inciting the irrational fear that 'the virgin’s forest was the Devil’s last preserve' (1) . To combat the imminent threat of the 'marauding Indians' upon their arrival in Salem, the Salemites maintained that 'in unity…lay the best promise of safety’, and hence were governed as 'an autocracy by consent' (2) . Similarly, in The Dressmaker , the town of Dungatar 'stretches as far as the silos' and is described as a 'dark blot shimmering on the edge of flatness’. 'The green eye of the oval' is a physical representation of the town’s predilection for prejudice and endorsement of slyly watching others (3) . The stifling insularity experienced by both towns perpetuates a paucity of culture and 'parochial snobbery’, as well as fostering austere social expectations (4) . The totalitarian regime that governed Salem and their 'strict and sombre way of life' conditioned the people of Salem to repress natural human emotions so as to conform to the conservative and rigid values of society. Indeed, Miller’s description of the 'small windowed dark houses struggling against the raw Massachusetts winter' alludes to the Salemites’ dogmatically narrow-minded outlook and their repression of any individuality. Hence, despite the veneer of propriety upheld by Salem’s 'sect of fanatics’, the town is rife with hidden resentments and 'long-held hatreds of neighbours' (5) . Whilst moral respectability and piety conceal the true sentiments of the people of Salem, clothing is the mask for the 'liars, sinners and hypocrites' of Dungatar (6) . Though on the surface the town appears respectable, the true desires of 'the sour people of Dungatar' are revealed through their desire 'to look better than everybody else’. Their lack of connection with the outside world forces their constant interaction with one another and means that 'everybody knows everything about everyone' (7) . Thus, Miller and Ham postulate that geographical isolation inevitably forges unyielding social norms that repress human emotions and pits individuals against each other (8) .

‍ Annotations (1) In these two sentences, I’ve provided the geographical context of Salem.   ‍ (2) My description of the geographical location is followed quickly by describing the town’s beliefs and values, which have a large impact on the social context.  ‍ (3) Here, I’ve used the geographical context as a metaphor to explain the social context of Dungatar. ‍ (4) I’ve described a similarity between the two towns - remember to use lots of meaningful comparisons in all paragraphs ( LSG’s CONVERGENT and DIVERGENT strategy is a useful strategy for this).  ‍ (5) I’ve detailed how the societal expectations and values of the Salemites (the people of Salem) can impact the behaviour of the characters.  ‍ (6) Here, I’ve outlined a subtle difference (or divergence ) between Dungatar and Salem.  ‍ (7) Once again, I’ve related the townspeople’s values and beliefs, as well as the physical context, to their behaviour. ‍ (8) I’ve ended with a meaningful comparison between the intent of the two authors. 

Looking for more? Check out our other blog posts on The Crucible and The Dressmaker :

The Crucible by Arthur Miller

The Dressmaker by Rosalie Ham

Comparing The Crucible and The Dressmaker

Reckoning & The Namesake are studied as part of VCE English's Comparative. For one of our most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative .

• Inheritance of Trauma 
• Identity and Naming
• Memory and Retrospect

Magda Szubanski’s memoir, Reckoning, and Jhumpa Lahiri’s bildungsroman, The Namesake, follow misguided protagonists as they attempt to reconcile and ‘reckon’ with complicated family histories. Magda is burdened by her father’s legacy, whilst Ashoke’s distressing train accident lays the foundation for Gogol’s uncertainty, exposing the inescapable and often inscrutable marks that trauma leaves on the identities of later generations. With a large focus on inherited trauma , identity and memory , we’ll be breaking down some crucial quotes from each of these texts to better understand these key themes. 

For a deeper look into some of the themes in Reckoning and The Namesake , check out this earlier post . And, if you need a refresher on how to properly embed quotes in your writing, take a look at How To Embed Quotes in Your Essay Like a Boss . 

1. Inheritance of Trauma

Whether it be the hardships of war or the adversity of misfortune, both texts observe family timelines steeped in history and trauma. Magda and Gogol are inadvertently burdened by their parents’ experiences, which remain obscure and confusing to the two protagonists and only complicate their identities. 

We were tugboats in the river of history, my father and I, pulling in opposite directions. He needed to forget. I need to remember. For him, only the present moment would set him free. For me, the key lies buried in the past. The only way forward is back. (p. 13)

This quote is intrinsic to the authorial intent behind Szubanski writing her cathartic memoir. The experiences of Magda’s father in war-torn Poland are, as Magda expresses, ‘passed on genetically’. Yet, with Zbigniew’s instinct to ‘[clamp] down tight on all feeling’, his trauma remains unrevealed and unexamined during much of Magda’s life. This impenetrable history impresses onto Magda as intergenerational trauma, which leaves her an ‘unregulated mess’, constantly  ‘ricocheting between feeling nothing and feeling everything’. 

As Magda accurately describes, both she and her father are metaphorical ‘tugboats in the river of history’, drawn in completely opposite directions to resolve their traumas. For her, digging into the ‘buried’ past is vital to understanding her father and herself. As she puts it, ‘the only way forward is back’. This is entirely the opposite for Zbigniew, who is unwilling and unable to articulate his trauma in anything other than ‘incoherent…jottings’ and ‘fragments’. Burdened by his past, Zbigniew prefers living in the present moment where he can suppress and avoid the past. However, this difference in how the two approach trauma leads to a strained father-daughter relationship founded upon a lifetime of misunderstandings and secrecy that only deepen their inability to understand one another. 

‘ Even at that young age,’ Mum told me, ‘I knew, I knew I had done something wrong.’ When she told me this her face caved in, stricken with remorse. Actors can never replicate this look. Meg didn’t punish her, but ‘Oh! The look of disappointment on my poor mother’s face.’ Now, today, more than eighty years later, my mother still feels the stinging sense of guilt.  History repeats. That story of how, when I was six, I got blood on my best dress before a trip to take Dad to hospital. Mum slapped my leg in hasty anger. I understand now, of course, that it was herself she was slapping. Her life-loving, disobedient six-year-old self. We are bookends, she and I. (p. 346)

Intergenerational trauma surfaces as ‘patterns’ within the Szubanski family, where regret and resentment are passed down as ‘hand-me-down trinkets of family and trauma’. Magda uses the metaphor of ‘bookends’ to describe her and her mother’s remarkably similar experiences dealing with familial trauma. In other words, both Magda and Margaret are mirror images of each other, both having a shared experience of supporting and living with ill fathers. When Magda gets ‘blood on [her] best dress’ before another trip to the hospital, Margaret ‘slap[s her] leg’. Although Magda initially mistakes this reaction as ‘hasty anger’, hindsight allows her to understand that Margaret was preoccupied with a ‘stinging sense of guilt’, and was reprimanding herself - the ‘disobedient six-year-old self’ who had similarly ruined her own ‘special dress’. This realisation suggests that even though trauma ‘repeats [like]…history’, there is a generational difference in the way individuals are able to process and respond to situations of grief, poverty and war. 

‍ The Namesake

And suddenly the sound of his pet name, uttered by his father as he has been accustomed to hearing it all his life, means something completely new, bound up with a catastrophe he has unwittingly embodied for years. "Is that what you think of when you think of me?" Gogol asks him. "Do I remind you of that night?" "Not at all," his father says eventually, one hand going to his ribs, a habitual gesture that has baffled Gogol until now. "You remind me of everything that followed." (p. 124)

Just as Magda inherits Zbigniew’s harrowing war experience, Ashoke’s own ‘persistent fear’ from the train derailment that cripples him lives on through his son’s name. His chance rescue whilst ‘clutching a single page of ‘The Overcoat’’ is meaningful and life-altering. For Ashoke, naming his child after the ‘Russian writer who had saved his life’ emphasises his profound appreciation for surviving the accident. His son Gogol is a comforting reminder of ‘everything that followed’. In this way, Gogol acts as a symbol of both redemption and hope, representing Ashoke’s optimistic appraisal of his accident and his determination to make the most of his miraculous rescue. 

But for Gogol, the memory of his father’s accident is entirely foreign and lacks any real meaning for him. His childhood pet name ‘Gogol’ - which he has always resented for making him feel out of place around other kids - suddenly becomes ‘something completely new’ when he discovers the truth about Ashoke’s accident. Gogol feels enormous pressure to live up to his father’s expectations as he represents a ‘catastrophe he has unwittingly embodied for years’. This is the source of much of Gogol’s guilt, confusion and resentment (towards his name, father, family and entire culture) and gradually erodes his sense of self. However, this inscrutability of the past only deepens Ashoke’s and Gogol’s similarity, whilst complicating and straining their father-son dynamic. Ashoke is unable to recognise the burden he has placed on his child, whilst Gogol alternatively cannot appreciate or truly understand being a miracle and source of salvation for Ashoke. Like with Magda and Zbigniew, here, father and child are unable to understand each other, creating a schism in their relationship which they are never able to reconcile. In any case, Lahiri conveys that the actions of enduring and processing trauma are intertwined and often leave permanent traces across future generations.

But Gogol is attached to them. For reasons he cannot explain or necessarily understand, these ancient Puritan spirits, these very first immigrants to America, these bearers of unthinkable, obsolete names, have spoken to him, so much so that in spite of his mother’s disgust he refuses to throw the rubbings away. He rolls them up, takes them upstairs, and puts them in his room, behind his chest of drawers, where he knows his mother will never bother to look, and where they will remain, ignored but protected, gathering dust for years to come. (p. 71)

Lahiri also indicates generational similarities in how individuals relate to trauma. As a second-generation migrant who has always felt displaced from his culture, Gogol’s graveyard field trip allows him to experience a semblance of belonging in Massachusetts for the first time and relate to America’s ‘very first immigrants’. While Ashoke profoundly connects to the Russian writer Nikolai Gogol, his son Gogol refuses to get rid of the etchings of archaic names. These ‘ancient Puritan spirits’ with similarly ‘unthinkable, obsolete names’ like his own provide Gogol with a source of relief and offer proof that he is not alone in his differences. He feels protective of them - conveying his own desires to defend himself against childhood bullies, and also providing a way to preserve this first true moment of belonging. 

Just as ‘The Overcoat’ resonates with Ashoke, Gogol feels connected to the etchings and conceals this single page from his mother Ashima, who is resentful of the peculiar American school excursion. Similarly, Ashoke struggles to convey the deep significance behind his own liberating ‘single page’ from the Russian book. In this way, both pages remain ‘ignored but protected’ and, for both father and son, symbolise the power of literature and storytelling to salvage their profoundly intimate and life-altering moments that are unfathomable to others. 

2. Identity and Naming

Both Reckoning and The Namesake suggest that hasty personal reinventions can only temporarily suppress, rather than truly resolve, trauma. The ‘self-made man’ Gogol strives to be, and the ‘mostly-self created…Little Englishman’ identity that Zbigniew carves for himself, are simply ‘bandaids plastered over’ unresolved grief and hardships. Cut off from family and history, these facades only worsen their inner discontent and complicate identities. 

For my father Australia was love at first sight. The moment we landed he knew he had done the right thing. The blast-furnace heat invigorated him. Only mad dogs and my father would go out in the midday Australian sun. He wouldn’t just go out in it…he would mow the lawn in it. We had a big, bumpy, untamed backyard and when the mercury hit 103 degrees Fahrenheit he’d be out there dragging the lawnmower across every inch of it. Wearing Bombay bloomers and a terry-towelling hat, singing Polish songs over the din of the mower. (p. 44)

Escaping battle-scarred Poland and the origins of his trauma, Zbigniew is a migrant who ‘could not shed his Polishness fast enough’. He ‘crosse[s] the world to get away’ from his destroyed and tarnished home. Zbigniew begins a ‘second life’ as Peter, and like the Polish amber Magda’s cousin gifts her, Zbigniew is ‘transformed by pressure’ (a metaphor for the natural formation of amber) into the ‘Little Englishman’. This persona is a role he takes with grave determination - an echo of the ‘killer instincts’ he suppressed from his abandoned life as a Polish assassin. Bewildering the rest of his family, Zbigniew relishes the ‘invigorat[ing]…blast-furnace heat’ of Australia, and acts the part of a true Aussie in his ‘Bombay bloomers’ and ‘terry-towelling hat’. This characteristically Australian ensemble essentially functions as another battle armour he equips himself with to protect his blemished soul, tainted by a history so ‘bizarrely awful’ that his only way to survive is by ‘clamping down tight’ through an ironclad persona. 

Magda recalls him ‘forever trying to tame th[e] lumpen block’ of ‘untamed’ and ‘unpredictable’ soil in their yard, ‘dragging the lawnmower across every inch’. This crystallises the truth of his life: no matter how committed Zbigniew is to perfecting any project, simply plastering order (trying to tame the lawns by mowing them) over chaos (heat + lumpen, untamed, unpredictable soil) leaves the trauma unresolved.

The rest of it went smoothly and before too long I had my entire sharpie uniform. Only one thing was missing—a Conti. This smart striped cardigan, worn high and tight, was the centrepiece of the ensemble, the definitive wardrobe item of the sharpie. But none was available, not in Croydon anyway. We had to settle for a plain cardie, rolled up at the bottom until it sat under my boobs. I never did get a Conti. I think it was a sign. (p. 126)

Like her father, Magda toys with personas herself. Identity is fluid and inconstant for Magda, often fluctuating between a form Zbigniew would be proud of, one she hopes would trigger any emotional reaction from him, and one desperate to fit within the social climate of Croydon. She cultivates a variety of comic personalities and, like her father, pursues her own ‘tennis madness’ by becoming madly obsessed with the sport and playing competitively. Magda also attempts to embrace the dutiful Catholic ‘good girl’ personality she believes would satisfy her father, but she rebels when he continues to ‘display [no] emotion at all’ and embraces the Sharpie youth gang uprising in her neighbourhood. However, Magda ruefully mocks the contradictory nature of her Sharpie persona, describing her conversion as a hybrid - a ‘convent-school Sharpie’ - rather than the ‘true Sharpie chick’ she aspires to be. But, while all of these personas attempt to unite the ‘disparate, confusing parts’ of her identity, they just suppress the ‘real girl’ behind the mask and leave her more dissociated from herself than ever before. 

Magda goes to great lengths to ‘smoothly’ acquire the perfect Sharpie disguise, but even with the ‘entire Sharpie uniform’, her facade is flawed; she lacks the Conti cardigan, which is the ‘definitive wardrobe item of the sharpie’. Her Sharpie identity becomes a parody of the authentic Australian youth gang. The flaws behind her imitation persona are worsened when Magda tries to replace the Conti ‘centrepiece’ with a simple ‘plain cardie, rolled up at the bottom’. Magda only realises this when she barely avoids a ‘beating’ by a ‘predatory Sharpie’ whilst vulnerable, dressed in her convent-school uniform, and unrecognisable as a fellow gang member. Here, she is finally able to concede that she has only been ‘playing at being a bad girl’ and laments, ‘I never did get a Conti. I think it was a sign’ - wryly foreshadowing the inevitable dissatisfaction of teenage facades. 

The Namesake

"I'm Nikhil now," Gogol says, suddenly depressed by how many more times he will have to say this, asking people to remember, reminding them to forget, feeling as if an errata slip were perpetually pinned to his chest. (p. 119)

Gogol’s place in the world as an ‘American Born Confused Deshi’ (ABCD) is his own ‘awkward [truth]’. Like his own name which he scornfully labels a ‘scratchy tag’, his status as an ‘ABCD’ is another brand he is ‘forced permanently to wear’. He is both ashamed and resentful toward his second-generation migrant identity and feels ‘neither Indian nor American’ whilst mocked for his nickname that is ‘of all things Russian’. Indeed, Gogol’s entire adolescent experience is eclipsed by his confusion about ‘who he is’ as he struggles to obtain any stable foundation for his identity. 

Unlike the costumes and disguises that Magda and Zbigniew embrace, Gogol takes action by solemnly changing his name to Nikhil, the ‘one that should have been’ given to him all those years ago. But even Gogol is acutely aware that this ‘scant’ persona leaves him having to repeatedly reinforce and assure others (and himself) of his identity. Gogol actually rejects the name ‘Nikhil’ on his first day of preschool, foreshadowing the inward dissociation he experiences later in life. He is again ‘afraid to be Nikhil, someone he doesn’t know.’

Similarly, the flask Gogol’s sister Sonia gives to him for his thirtieth birthday, inscribed with his new initials NG, becomes a symbol of his inability to ‘break from that mismatched name’. Lahiri indeed suggests that identities are unavoidably ‘engraved’ with the layered ‘randomness’ of their lives and cannot be easily dissolved. 

And then he returned to New York, to the apartment they’d inhabited together that was now all his. A year later, the shock has worn off, but a sense of failure and shame persists, deep and abiding. There are nights he still falls asleep on the sofa, without deliberation, waking up at three A.M. with the television still on. It is as if a building he’d been responsible for designing has collapsed for all to see. And yet he can’t really blame her. They had both acted on the same impulse, that was their mistake. They had both sought comfort in each other, and in their shared world, perhaps for the sake of novelty, or out of the fear that that world was slowly dying. Still, he wonders how he’s arrived at all this: that he is thirty-two years old, and already married and divorced. His time with her seems like a permanent part of him that no longer has any relevance, or currency. As if that time were a name he’d ceased to use. (pp. 283-284)

For the majority of his life, Gogol alternates between feeling irritation and resentment for his Bengali heritage, and profoundly longing to be truly Indian. Gogol has several failed relationships and romantic encounters: Kim, with whom he introduces himself as Nikhil ‘for the first time in his life’, then Maxine, who attracted him with the ‘gift of accepting her life’. But, like his indulgence of and immersion in the Ratliff’s self-satisfied American life, the interactions with these women feel like a ‘betrayal of his own’ culture, family and identity. 

It is ‘familiarity’ that draws him to Moushumi, a childhood Bengali family friend with whom he ’s[eeks] comfort’ in their shared culture. For Gogol, his relationship with Moushumi represents the possibility of salvaging a childhood he spent disliking, but for Moushumi it’s a betrayal of her principles of independence. She has ‘turn[ed] her back’ her Indian and American ties to embrace a third culture in France, a country with ‘no claim’ on her and none of the cultural pressures of her heritage. 

Gogol longs - ironically - for stability and ‘fall[s] in love with Gothic architecture’; he equates his failed marriage with Moushumi to a ‘building he’d been responsible for designing’. This is essentially Gogol’s way of dealing with the trauma of his divorce, translated into a form he can understand and process. And yet, even a year after their separation, a ‘sense of failure and shame persists, deep and abiding’ - Lahiri suggests that trauma, grief and heartbreak are embedded into our identities and we don’t require a set length of time to accept them. 

Both Moushumi and Gogol come to realise that they were sustained merely by ‘the same impulse’ to erase discomfort, their marriage ‘collaps[ing] for all to see’. Their relationship becomes meaningless and their time together dissolves like a ‘name [Gogol had] ceased to use’. Lahiri conveys that re-entering and recreating a life once discarded (as harshly as Gogol discards his own name) is impossible, even irrational. 

3. Memory and Retrospect

It is no surprise that retrospect and remembrance emerge as central themes in both Reckoning and The Namesake . Gogol’s resented ‘namesake’ itself is a conduit for redemptive memory, whilst Magda ascertains the value of history to ‘salvage’ the present.

I wanted to know; I didn’t want to know. Without realising it I plotted a course somewhere between the two. My father, unable to get any further with his own attempts at a reckoning, had simply closed the door on the past. And now I was about to open that door. (p. 290)

Retrospect specifically becomes a vital motif in Reckoning as Szubanski uses her memoir to ‘join up the dots of [her]self’ and gain perspective on her father’s ‘unresolved and unexamined feelings’. Through her adult perspective, she reflects on her early doubts as she is finally able to appreciate and understand her heritage, reading ‘ Dni Powstania ’ and ‘Exodus’ on the Poles’ shame. Although Magda and Zbigniew ‘[pull] in opposite directions’ for most of her life, only by becoming the ‘collector of [Zbigniew’s]…stories’ and taping his ‘confession’ are the two brought to some level of understanding. Magda is finally able to ‘ rozumiesz ’ (to understand) that her father had ‘never helped the Nazis’, and on some level, ‘feel the feelings [her] father could not allow himself’. Perhaps more importantly, Zbigniew is able to share the paradoxical nature of his guilt - ‘what he had done in the name of good’ - feeling neither ‘ashamed’ nor ‘proud’ of his past. His reflection through the outlook of a ‘half old, half young’ version of himself mirrors Magda’s own introspection - in this sense, the ways in which Magda and Zbigniew are resolving (or at least learning to accept) trauma are ‘repeat[ing like]…history’ in their family. 

I was never told anything much about Luke. But my mother’s eyes—beneath the humour—were haunted by a deep, fretting sadness. Behind the querulous hypervigilance, the nitpicking, the irritability, there cowered a terrified child. A child full of panicky uncertainty about everything. I wanted to reach back and grab her hand and pull her through time and…what? I wanted to hug my mother when she was a child, to tell her everything was all right. (p. 336)

Szubanski observes how generations of poverty and war have shaped her mother’s ‘flinty’, unyielding determination to ‘just…get on with it’ and move on from adversity. Her ‘deep, fretting sadness’ hidden ‘beneath [her] humour’ is compassion and grief for her father, Luke, who ‘woke every night screaming’ after the war. This resonates strongly with Magda because her own father’s war experience mirrors Luke’s. The two families (Magda’s family, and her mother’s family) are forced to ‘[walk] on eggshells for fear of detonating [them]’. 

However, Magda is able to understand that her mother’s capricious tendency to ‘cling like a python then turn and snap like a crocodile’ is a product of her trauma, which allows Magda to understand Margaret’s character on a more intimate and genuine level. Magda, as a neglected and ‘terrified child’ with ‘panicky uncertainty’ herself, empathising with Margaret’s own troubled childhood allows Magda to offer her mother the comfort and support she craved when struggling alone beneath Zbigniew’s ‘exacting…standards’. Through this, Szubanski seems to suggest that although the legacy of trauma is an ongoing and deeply complex process, ‘reach[ing] back’ to process unresolved traumas together becomes a precious and vital way to ‘salvage’ bruised relationships. 

There is no question of skipping this meal; on the contrary, for ten evenings the three of them are strangely hungry, eager to taste the blandness on their plates. It is the one thing that structures their days: the sound of the food being warmed in the microwave, three plates lowered from the cupboard, three glasses filled. The rest of it—the calls, the flowers that are everywhere, the visitors, the hours they spend sitting together in the living room unable to say a word, mean nothing. Without articulating it to one another, they draw comfort from the fact that it is the only time in the day that they are alone, isolated, as a family; even if there are visitors lingering in the house, only the three of them partake of this meal. And only for its duration is their grief slightly abated, the enforced absence of certain foods on their plates conjuring his father's presence somehow. (pp. 180-181)

Even in death, Ashoke’s spirit is able to heal his fractured, grief-ridden family - truly and ultimately ‘transcend[ing] grief’, fulfilling the destiny his name’s meaning set out for him. Surrounded by meaningless condolences and forced sympathy - the ‘calls’, the ‘flowers’ and the ‘visitors’ - the Ganguli family is left ‘unable to say a word’ or process their loss in a safe and judgement-free space. The ‘mourner’s diet’ that sustains them, even in all its ‘blandness’, is able to ‘slightly [abate]’ their grief; it ‘conjur[es Ashoke’s] presence’ and unites the ‘isolated’ Gangulis ‘as a family’. Ironically, these cultural traditions that young Gogol so adamantly refused become the ‘only thing that seems to make sense’. Preserving and honouring Ashoke’s memory, this forsaken custom becomes an unanticipated lifeline for a family torn apart by cultural expectations, irreconcilable differences and shared tragedy. 

"Try to remember it always," he said once Gogol had reached him, leading him slowly back across the breakwater, to where his mother and Sonia stood waiting. "Remember that you and I made this journey, that we went together to a place where there was nowhere left to go." (p. 187)

Unlike Magda and Zbigniew who are able to reconnect in life, Gogol’s own poignant flashbacks with his father are cherished only after his death. However, it is only with this hindsight that Gogol is truly able to appreciate these initially resented, perhaps forgotten, moments as meaningful connections to his family. Gogol’s relationship with his father is tragically underpinned by a lifetime of misinterpretations and misunderstood trauma, the two unable to understand each other’s disparate outlooks on life and culture. However, when they visit Cape Cod both Gogol and Ashoke are, if only momentarily, pioneers. They are exposed to the world, just as Ashoke had been when he migrated to America; the two travelling ‘together to a place where there was nowhere left to go’. 

Gogol indeed grapples with a desire for stability and meaning throughout his entire life, bewildered by the ‘unintended’ series of ‘defining and distressing’ events. However, family indeed becomes the source of true security for Gogol. ‘Remember[ing]…always’, he preserves the memory of his father, and resistant to time and change, it remains a comforting constant amidst the ‘randomness’ that characterises and complicates his family’s life.

We've explored themes, characters, literary devices and historical context amongst other things over on our Women of Troy by Euripides blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out as well as our Ultimate Guide to VCE Text Response .

Here, we’ll be breaking down a Women of Troy essay topic using LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse Step 2: B rainstorm Step 3: C reate a Plan

Without further ado, let’s get into it!

The Prompt: ‘“We are loot my son and I, soldiers’ plunder.” Discuss how Euripides highlights the plight of women taken as slaves in war.’ 

Step 1: Analyse

The first thing to note about this prompt is that it is a 'how’ question , it is essentially asking us to identify the literary techniques Euripides has employed in order to ‘highlight’ the women’s ‘plight’. The noun ‘plight’ is defined as a troublesome or unfortunate situation, yet we must consider this word in the context of war. How do the women suffer? In other words, how does Euripides demonstrate to his reader just how dejected the women are as slaves?

Step 2: Brainstorm

It is relatively simple to identify the literary techniques which consistently appear throughout Euripides’ play, such as imagery, metaphor and simile ( not entirely sure what literary techniques are? We have a list of them for you here ). However, keeping in mind we have to form three paragraphs, we should consider Euripides’ authorial voice more broadly. For example, the women consistently lament their disillusionment with the gods. This is not a literary technique in itself, but it is still a literary choice which Euripides has made and which has been deepened with more specific literary devices like metaphor. The same could be said for the women’s struggle for hope, and the contrast between their joyous pasts and dismal futures.

Step 3: Create a Plan

Unlike a ‘to what extent’ question, we do not have to form an argument. Instead, we must forge a discussion of Euripides’ literary decisions as a playwright.

P1: Euripides juxtaposes the triumphant pasts of the Trojan women with their tragic futures. The 'shining citadels of Troy' are now a 'black smokened ruin’.

P2: Euripides illuminates the women’s attempts to retain futile hope. Note that hope also comes in the form of revenge.

P3: The dramatic irony of the play renders the women’s desperate calls upon the gods all the more tragic. Here, we can also make reference to the prologue, and Athene’s ploy to create a storm on the Greeks’ journey home which also ultimately affects the women.

At the heart of the conflict in The Women of Troy , lies the anguished 'suffering' (1) of the Trojan women as they confront their fates as 'slaves', and remember their pasts as wives and mothers. In his tragedy, first performed in Athens circa 415 BCE, Euripides amplifies the conflicted voices of the Trojan women, voices which are by contrast suppressed and disregarded in the Homeric works the Iliad and the Odyssey . Euripides’ stark dichotomy between the glories and 'rituals' of the past, and the sombre 'grief' of the present, elucidate the magnitude of their losses, both material and moral. For as Andromache laments, these women have been objectified as 'loot', mere spoils of war to be abused and exploited. (2) The women’s tendency to clutch onto chimerical (3) hopes and values only serves to further illuminate the profundity of their suffering once these ambitions have been brutally quashed in the 'dust' of their 'smoke blackened ruin' of Troy. Perhaps most significantly, Euripides juxtaposes the lingering though pitiful hope of the women with the gods’ complete 'desert[ion]' of Troy, positioning the women in an ironic chasm of cruel abandonment. Thus, the plight of women as wartime captives is dramatised by Euripides, corralling the audience into an ultimate stance of pity and empathy.

Annotations: (1) It is often useful to embed short/one word quotes in your essay (we teach you how in How To Embed Quotes in Your Essay Like a Boss ). It shows you have a great understanding of the text, and reads fluidly as opposed to overly long quotes.

‍ (2) Here, I have addressed the quote in the prompt in a single sentence, unpacking Euripides’ analogy of Andromache and Astyanax as ‘loot’. By comparing the two characters to war spoils, he is suggesting that they have been stripped of their free will and autonomy.

‍ (3) It is really important to vary your vocabulary in order to increase the sophistication of your essay. The adjective ‘chimerical’ refers to an ideal which is impossible to achieve.  

Euripides’ juxtaposition between the dismal future of the Trojan women and the zenith of their pasts, further illuminates the chasm of their sufferings and losses as the ultimate victims of wartime atrocities. Chiefly, Euripides contrasts Hecuba’s former royal status with the demoralizing fate of her captivity, encapsulating this tragic fall from nobility with the ironic imagery, 'throned in the dust’. Yet perhaps what truly emphasises her plight as a slave is her enduring role as a maternal figure of leadership, encapsulated in her regard of the chorus as '[her] children' and her reciprocated address as 'dear queen' and 'your mother'. Despite the 'death agony' she feels, she chooses to maintain her nobility through the depth of her morality, dramatizing the pitiful nature of her plight (4) . Moreover, Euripides’ juxtaposition between the 'shining citadels of Troy' and the 'misery' of the chorus elucidates the significance of 'home', a source of solace which has been barbarically stripped away from them. Likewise, Andromache laments her past as a dutiful and faithful wife, contrasting her fidelity against her fate as a 'concubine' to the formidable Neoptolemus (5) . Euripides implies that Andromache must abandon her reputation as the 'perfect wife' – the very attribute for which she was chosen especially – doomed to confront a life of sexual slavery, an unwilling mother of Neoptolemus’ children.

Annotations: (4) Here, I have used the word ‘plight’, making sure I am engaging directly with the prompt. It is often easy to fall into the trap of creating a generalised essay which only loosely adheres to the question. 

‍ (5) It is more sophisticated to specify the name of Andromache’s husband (Neoptolemus), rather than to just simply state ‘Andromache’s husband’ (even though he is not featured as a character in Euripides’ play).

Euripides (6) characterises the women by their tendency to clutch on to 'hope[s]' and ideals that are impossible to fulfil. Almost a coping mechanism of sorts, the chorus paradoxically romanticise the Greek landscape in the first episode, lauding the 'sacred halls', 'green fields', 'beautiful river[s]' and 'wealth' of Hellas. Yet, their ardent critiques of their future 'home[s]' rejects any notion that the women truly believe these glorifications of the Greek realm. Similarly, Hecuba is motivated by her futile hope that Astyanax may one day seek vengeance and be 'the savior of Troy' by 'rebuild[ing]' the city. Yet tragically, this doomed hope is violently quashed by Odysseus 'blind panic' and acute lack of rationality: the 'liar' and 'deceiver' who 'lead the Greek council' in their debate. Though this hope initially provides her with some form of solace, all comfort is dashed with the announcement of his 'butchery'. Likewise, Cassandra is motivated by her own pursuit for revenge, lauding her 'sacred marriage' to Agamemnon as an event worthy of 'praise' and 'celebration'. Yet her hope is also jaded, for she must in the process 'flout all religious feeling' as a slave of Agamemnon’s 'lust', until she meets her painful hour of death at Clytemnestra’s hands.

Annotations: (6) Notice that several of the sentences have begun with ‘Euripides characterises’ or ‘Euripides illuminates’, engaging with the ‘how’ part of the prompt. We are showing what the author has done and why.

Ironically, Euripides illuminates the plight of the Trojan women through his dramatic elucidation of the gods’ callous abandonment of the ruined Troy. Euripides juxtaposes the past 'rituals', 'dances', 'songs', 'sacrifices', 'offerings' and 'ceremonies' of the chorus with their bitter laments that 'the gods hate Troy' and that they are ultimately characterised by avarice. They are neither answered not consoled in their ultimate time of mourning, for the audience is aware that Poseidon has fled the scene in the prologue, disillusioned by the 'ceas[ing]' of 'worship', leaving 'nothing (…) worth a god’s consideration' in the fallen city. What is also rendered ironic by Euripides, is Athene’s formidable ploy to 'make the Greeks’ return home a complete disaster.' Regardless of Athene’s true motives for instigating this ultimate pursuit of comeuppance, the fact remains that the women too must endure this perilous journey to Greece. Not only are the despairing wives, mothers and daughters condemned to 'abject slavery' on foreign soil, they are 'innocent: victims who may – alongside the Greeks – find themselves on the shores of Euboea, among the 'float[ing] (…) corpses' of the Greek soldiers. They are not simply abandoned by the gods, they are, directly or indirectly, punished. (7)

Annotations: (7) This is a more original point which other students may not automatically think of. We often view Athene’s ‘ploy’ as a deserved punishment of the ‘murderous’ Greeks, yet there is no true justice, for the women too are ultimately affected.

In a play which serves to fill the silence of the Trojan women in the legendary works of the Iliad and the Odyssey (8) , Euripides augments the pitiful plight of the Trojan women with agonizing references to past 'happiness', and equally unbearable forecasts of their roles as 'slaves' of Greek lust. They are indeed 'loot' and they are indeed 'plunder' – as Andromache so bitterly laments – yet their plight is recorded in the works of 'poets' to come, remembered as a legacy of stoicism 'a hundred generations hence.' Taken as our 'great theme', these women are 'sufferer[s]', yet they are also heroes.

Annotations: (8) Just as I have done in the introduction, I have referred to the context of the play in the conclusion. The Iliad and the Odyssey provided the framework for Euripides’ play, so by referencing Homer’s works we are showing the examiner that we have an understanding of the historical context. 

If you'd like to dive deeper into Women of Troy, check out our A Killer Text Guide: Women of Troy study guide. In it, we teach you how to how to think like a 50 study scorer through advanced discussions on topics such as views and values and metalanguage, we provide you with 5 A+ sample essays that are fully annotated and everything is broken down into easy-to-understand concepts so that students of all levels can understand and apply what we teach!!

“Once upon a time…”

The fairy tale of Cinderella is a well-known, well-loved and well-ingrained story that was always told to me as a bedtime story. Who could forget the mean-spirited stepsisters who punished and ruined Cinderella’s life to no end? According to the dark Brothers Grimm version, the stepsisters mutilated their feet by cutting off their heels and toes to fit into the infamous shoe, and their eyes were pecked away by birds until they were blinded! It’s definitely one way to send a message to children… don’t be bullies or you’ll be punished. Which is exactly what the Brothers Grimm’s views and values were. Their construction of their fairy tale to send a message of what they viewed as ‘good’ or ‘bad’ is simplistically shown through the writers’ choice in determining the characters’ fate. The evil stepsisters are punished, while Cinderella receives happiness and riches because she remained kind and pure. A clear and very simple example of how texts reflect the beliefs, world views and ethics of the author, which is essentially the author’s views and values!

What are the views and values of a text?

Writers use literature to criticise or endorse social conditions, expressing their own opinions and viewpoints of the world they live in. It is important to remember that each piece of literature is a deliberate construction. Every decision a writer makes reflects their views and values about their culture, morality, politics, gender, class, history or religion. This is implicit within the style and content of the text, rather than in overt statements. This means that the writer’s views and values are always open to interpretation, and possibly even controversial. This is what you (as an astute literature student) must do – interpret the relationship between your text and the ideas it explores and examines, endorses or challenges in the writer’s society.

How do I start?

Consider the following tips:

• What does the writer question and critique with their own society? What does this say about the writer’s own views and the values that uphold?
• For example,  “Jane Austen in Persuasion recognises the binding social conventions of the 19th century as superficial, where they value wealth and status of the utmost priority. She satirises such frivolous values through the microcosmic analysis of the Elliot family.”
• The writer’s affirming or critical treatment of individual characters can be a significant clue to what values they approve or disapprove of. What fate do the characters have? Who does the writer punish or reward by the end of the text?
• Which characters challenge and critique the social conventions of the day?
• Look at the writer’s use of language:
• Characterisation
• Plot structure
• Description
• In other words …what are the possible meanings generated by the writer’s choices?
• Recognition and use of metalanguage for literary techniques is crucial because you are responding to a work of literature. Within literature ideas, views and values and issues do not exist in a vacuum. They arise out of the writer’s style and create  meaning .
• How do the writer’s choices make meaning?
• How are the writer’s choices intended to affect the reader’s perception of social values?
• Weave views and values throughout your close analysis essays, rather than superficially adding a few lines at the conclusion of the essay to indicate the writer’s concerns.
• Using the writer’s name frequently will also assist in creating a mindset of analysing the writer’s commentary on society.

Below are some examples from an examiner report of successful and  insightful  responses reflecting the views and values of the writer:

(Another tip is to go through examiner’s reports and take note of high quality responses, even if they are not the text you’re studying)

When contrasted with the stark, blunt tone of Caesar throughout the play ‘You may see, Lepidus, and henceforth know...’ the richness of Shakespeare’s poetry with regard to his ‘couple so famous’  denotes how the playwright himself ultimately values the heroic age  to which his protagonists belong over the machinations of the rising imperial Rome.

It is the word ‘natural’ here through which Mansfield crafts a sharp irony that invites us to rate Edna’s obsession with her own performance.... It is this satiric impulse that also leaps to the fore through the image of Edna, ‘clasping the black book in her fingers as though it were a missal’...the  poignant economy of Mansfield’s characteristic style explores her views on the fragility of the human condition .   

‘In Cold Blood’ provides a challenging exploration of the value placed on human life. The seemingly pointless murders undermine every concept of morality that reigns in Middle America, the ‘Bible Belt’, as well as the wider community.  Capote insinuates his personal abhorrence of the death penalty and the disregard of mental illness in the justice system .

Why are views and values important in literature, and especially for close analysis?

Every year, the examiner reports emphasise how the best close analysis responses were ones that “showed how the text endorsed and reflected the views and values of the writer and were able to weave an understanding of these through the essay” (2013 VCAA Lit examiner report). By analysing HOW the text critiques, challenges or endorses the accepted values of the society in the text, you are demonstrating an understanding of the social and cultural context of the text, thus acknowledging the multifaceted layers that exist within literature. You are identifying the writer’s commentary of humanity through your own interpretation. Bring some insight into your essays!

Video Transcription

Introduction to animal farm:.

- Written in 1945 by George Orwell, Animal Farm is an allegorical novella about the 1917 Russian Revolution and the repressive Stalinist period which followed.

- As a democratic socialist, Orwell was an adamant critic of Joseph Stalin and his totalitarian dictatorship over Russia.  

- Thus, Orwell wrote Animal Farm as a satirical fable against Stalin’s tyrannical control, stating that he wrote it with the intention of ‘fusing political purpose and artistic purpose into one whole’.

- The novella is set in Manor Farm, located in Willingdon, England at an undisclosed time.

- As the events of Animal Farm symbolise the power struggle of early 20th century Russia, this ambiguity of time is intended to prevent Orwell’s warning against repressive tyranny from becoming dated.

- Orwell’s use of a farm as the main setting is also notable, as farms represent nations in Animal Farm ; both require a vast amount of work in order to function properly. Thus, the act of the animals cooperating to cast the humans out of the farm symbolises a workers’ revolution against their oppressive leadership.

Main Character Analysis:

Napoleon (pig):

- Based on Soviet dictator Joseph Stalin, he emerges as the leader of the Farm after the Rebellion.

- He consolidates his control over the farm with the violent force of his nine attack dogs, having raised them as puppies; these directly symbolise Stalin’s military force.

- He never contributes to other animals’ efforts at revolution, as he is only a corrupt individual who seeks to take advantage of opportunities created for him by others.

Snowball (pig):

- Based on Soviet rebel Leon Trotsky, he challenges Napoleon for control of the Farm after he takes control of the leadership.

- Similar to the leader he is modelled after, Snowball is eloquent, charismatic, intelligent and persuasive - thus, he wins the loyalty and support of other animals easily.

Boxer (cart-horse):

- Extremely devoted to the farm and the Rebellion, Boxer symbolises what Orwell believed to be the best qualities of the proletariat, or the exploited working class, such as loyalty, strength, camaraderie and hard work, perceivable by his personal motto of ‘I will work harder’.

- However, he simultaneously suffers from typical weakness of the working class, such as a naive trust in the intelligentsia and a slow-witted oblivion to political corruption, represented by his other motto of ‘Napoleon is always right’.

Squealer (pig):

- Manipulative and highly persuasive, he spreads Napoleon’s propaganda throughout the farm to intimidate uneducated animals into supporting Napoleon’s ideas and policies.

- Orwell uses the character of Squealer to warn against politicians’ deliberate manipulation of mass media in order to gain social and political control.

Old Major (boar):

- Based on the socialist revolutionary Karl Marx, as well as Russian revolutionary leader Vladimir Lenin, Old Major’s dream of a socialist utopia acts as a major motive for the Rebellion.

- Major’s death creates a political vacuum in the farm, leaving Napoleon and Snowball in a power struggle for control of his followers.

Themes and Motifs:

- By allegorising in Napoleon dictator Joseph Stalin, Animal Farm is first and foremost a satirical critique of politicians’ tyrannical misuse of power.

- This is epitomised by the deceitful methods Napoleon uses to gain support, such as lying to the other animals that Snowball is a political traitor in order to banish him from the Farm.

Naive Proletariat:

- Animal Farm explores the need for the working class to be educated, as the inability of the farm animals to question Napoleon’s authority directly leads to the perpetuation of his oppression.

- Thus, Orwell presents to his readership that the working class may suffer not only due to dictators’ abuse of power, but also from their own naive unwillingness to question the intentions of the authority.

False Allegiance:

- Orwell accurately exhibits treacherous aspects of the human condition in his portrayal of dramatised relationships between humans and animals.

- Just as the pig rulers of the rebellion eventually betray their own idealistic visions, the theme of alliance is shattered between Frederick and Napoleon when the latter learns that the former has been forging banknotes while buying firewood from him.

- Thus, Animal Farm depicts the idea that alliances formed in a tyrannical dictatorship are merely veneers of camaraderie, which hide each person’s capability to destroy others in their path towards control.

Analysis of Quotes:

‘Four legs good, two legs bad.’

- From Chapter 3, this slogan is based off of Old Major’s speech before his death about the need for animals to unite in the face of human oppression and tyranny.

- The quote is a noteworthy example of propaganda in Animal Farm, as the leaders utilise language in order to essentially brainwash the working class animals.

- Although it initially helps the animals to remember their goals, the phrase later loses its meaning of solidarity as it becomes a nonsensical noise made by sheep when used to drown out the voices of challengers to the regime.

‘All animals are equal, but some animals are more equal than others.’

- This quote exemplifies the pigs’ abuse of logic and language to keep their power over their followers.

- The evidently senseless and illogical meaning behind this phrase is an example of the methods that the leader of the Farm takes in order to brainwash his followers.

- The quote also suggests that the pigs’ real intention to create an animal utopia is not, in fact, to rise up against the oppression of the humans, but to become part of the elite; the ‘some’ that possess greater rights and power than the rest of the underprivileged society.

5 Types of Essay Prompts

Your approach to each essay will depend on what type of prompt is being asked. Be aware that not all essay prompts are the same, which means that sometimes your preferred essay structure simply won’t suit the type of prompt asked. That's why it's important to be aware of the 5 types of essay topics – what you should watch out for and how you could approach your essay writing. The topics used in this blog post have been curated by Lisa's Study Guides.

1. Theme-based prompts :

Animal Farm is first and foremost a satirical critique of politicians’ tyrannical misuse of power.

Usually your paragraphs will be based around particular themes. For example in this case, paragraphs may be based on ‘love’, ‘escape’, ‘horrors of war’ etc. These paragraphs can have character discussions embedded within them in order to demonstrate how the characters represent each theme. Discussion of the author’s choice of language such as symbols or imagery can be essential to the analysis of a theme.

2. Character-based prompts :

Boxer is the only animal with redeeming qualities. Do you agree?

These prompts focus on one or more characters. In this case, you can structure your essay paragraphs based on particular characters or something in common with a set of characters. Essays can become quite repetitive if each paragraph is based around one character so try to add in discussion about themes or the character’s relationships with other characters. Remember that minor characters can be just as important as major characters.

3. How-based prompts : 

How does Napoleon exert control over the farm?

These prompts are usually structured, ‘how does the character do this,’ or 'how does the author do this'. In this case, since the prompt is focused on one main character, try to weave in the main character’s interactions with other characters and how other characters influenced them.

4. Metalanguage-based prompts :

The language in Animal Farm is crucial to Orwell's storytelling.

These types of prompts are the rarest of the 5 prompts but don’t be surprised if you’re asked one. They focus more on the  language  part of the text; rather than the plot, themes or characters. Your discussion will revolve around the author’s use of language (metaphors, prose, syntax etc.). These discussions are typically viewed as ‘harder’ prompts because you need to think about how the author achieves a particular message about character or theme through their choice of words. Check out our blog post on  metalanguage  and what you need to look out for.

Extra helpful resource by the BBC: Form, structure and language in Animal Farm .

5. Quote prompts :

'All animals are equal, but some animals are more equal than others.’ How is this true in Animal Farm?

These prompts can be character- or theme-based. However, it differs from other essay topics because it includes a direct quote from the text. Remember that the quote is part of the prompt, so ensure that you address it. One of the best ways of doing so is to incorporate the quote into the essay itself.

When faced with unknown prompts in a SAC or your exam, it's reassuring to have a formulaic breakdown of the prompt so that your brain immediately starts categorising the prompt - which of the 5 types of prompts does this one in front of me fall into?

To learn more, I discuss this and offer you practical strategies (so you never mind-blank again!) in my ebook, How To Write A Killer Text Response . Feel free to check it out, and good luck!

Hey everyone! This is Part 2 in a series of videos I will release on VCE Study Guides. The content goes through the sample VCAA Chickens Range Free article which you can find  here . Feel free to analyse it yourself, then check out how I’ve analysed the article!

I’m super excited to share with you my  first  ever online tutorial course for VCE English/EAL students on  How to achieve A+ for Language Analysis !!!

I created this course for a few reasons:

Language Analysis is often the  key weakness  for VCE English/EAL students, after my workshops, students always wish we had spent  even   more  time on Language Analysis, many of you have come to me seeking private tuition however since I am fully booked out, I wanted to still offer you a chance to gain access to my ‘breakthrough’ method of tutoring Language Analysis,I am absolutely confident in my  unique  and  straightforward  way of teaching Language Analysis which has lead to my students securing exceptional A graded SAC and exam scores!

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struggles to identify language techniques?

finds it difficult to identify which tones are adopted in articles?

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becomes even more unsure when comparing 2 or 3 articles?

feels like your teacher at school never explained language analysis properly?

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This is what you will accomplish by the end of the course:

Be able to successfully identify language techniques in articles and images

Be able to successfully identify tones adopted in articles and images

Be able to analyse a single article or image

Be able to analyse 2 or more articles and/or images

Be able to apply your new skills coherently and clearly in essay writing

You will be able to accurately describe HOW an author uses language to persuade

You will be able to plan and write a language analysis essay structure (single article/image)

You will be able to plan and write a language analysis essay structure (2 or more articles/images)

You will understand common pitfalls and how to avoid these in language analysis

Be confident when approaching your SACs and exam

Know exactly what examiners are looking for and how to ‘WOW’ them

Know how to distinguish yourself from other students

Have unlimited help in course forum from myself and other VCE students

You will become a better VCE English language analysis student!

To find out more, you can check out the full details of the course   here !

See you in the course!

Metalanguage is language that describes language. In films, we also need to consider cinematography – the technical side in the making of the film. For a detailed discussion, see  What is metalanguage?  

The prospect of writing a Text Response or Comparative essay on a film can be daunting—it’s difficult to know how to identify filmic devices let alone analyse why the director has used them to give meaning to particular scenes. To start us off, below are some filmic devices commonly used by directors that all students should be aware of when studying films.

Filmic devices

Camera shots.

This refers to the amount of space that is seen in one frame, which can be used to emphasise different aspects of the film’s setting or characters.

Example: An extreme close up of a character’s face to portray their emotions.

Camera angles

The way in which the audience is positioned to view the setting or character/s. This can enhance the audience’s understanding of the relationship between characters, or the way in which a character is feeling in a particular situation.

Example: a low camera angle can be used to demonstrate how a character is feeling empowered at a particular point in the film.

Any sound where the source of it can be seen in the scene (or is implied to be present) 

Example: Voices, are diegetic. Any sound that comes from outside the scene itself, for example, soundtrack, is non-diegetic. We can analyse the way in which sound enhances the mood of the film.

In the Made in Dagenham clip above, diegetic sound such as the pouring rain, spoons tapping on cups, radio in the background are all used to offer viewers a 'real' sense that we're in the cafe too.

The way in which the scene is lit can create interesting effects in what it suggest about the characters in the scene.

Example: if the main source of light comes from the side of the screen, lighting up one side of a character’s face, this can create a sense of mystery.

How a character is dressed in any given scene is very important; their clothes can say a lot about their present state of mind or their physical situation.

In-depth analysis using Mabo

Even once we know all this, it can still be difficult to use these devices as evidence to support our ideas in a text response essay. So let’s put our knowledge into practice and take a look at a few scenes from the film Mabo, directed by Rachel Perkins.

Opening scene:  Perkins uses a series of  long shots  of Murray Island in the opening scenes of the film, with  high camera angles . This is done to contextualise the setting, as well as foreshadow the great significance the land will have on the events of the film. The subsequent  low camera angle shots  of the trees on the island present them as being tall and majestic. Paired with the upbeat, vibrant native  music  (non-diegetic sound) that is playing, it is evident that Perkins is celebrating the beauty of the land and emphasising its importance, not just in the film, but in the islanders’ lives.

Benny Mabo and a young Eddie walking the beach: a  mid-shot  is initially used in this scene to show father and son walking in the water. This alludes to the strength of the connection that the Mabos have to the island in depicting them as being immersed in water. The subsequent  close ups  of their faces, conveying their contentment, with the waves of the ocean in the background, indicate that this connection to the land goes beyond the mere fact that they live there; the pair are shown to have a profound spiritual and emotional connection with the island. This is emphasised by the soft, peaceful  music  that plays alongside Benny’s recital of Malo’s law.  

Killoran exiles Eddie off Murray Island: side  lighting  is used in this scene to shadow some of Killoran’s face. This has a sinister effect. It suggests that his intentions toward Eddie are not honest, and further symbolises the corruption and lack of transparency in the Australian government in their dealings with the Indigenous. The cloud of cigarette smoke that surrounds him further highlights he toxicity of his presence on Murray Island, as does the solemn, foreboding  music  that plays throughout his conversation with Eddie. The  close up shots  of Eddie’s face convey the strength of his resolve in refusing to “[work] as a slave” for Killoran in penance for his crime.

Eddie on the railway tracks: this scene is all about Eddie’s internal conflict; his desire to return to his homeland, and the allure of the opportunities that the ‘mainland’ offers him (in particular, Bonita). The  high camera angle  is used to show him dancing across the railway tracks, which is heavy with symbolism, representing the choice between his old and new life. The  close ups  of his face as he sings his native  song  convey his emotional attachment to Murray Island and the depth of his despair at

not being able to return to it. His  costume  is comprised of old, dirty clothing, which is representative of his confused, weary and sorrowful state of mind. Yet the use of  backlighting  as he dances suggests that his decision to embrace his new life on the mainland will empower him. It further foreshadows the significance of this choice in enabling him to pursue the land rights case.

The Indigenous protest: Perkins deliberately uses  archival/stock footage  in this scene to enhance the viewer’s experience of the Indigenous’ protest at the Mayday march. By using real life footage from this actual historical event, Perkins adds authenticity to this scene, in order to effectively convey the importance of Eddie’s decision to participate. The  high angle shots , and  long shots , are used to show the sheer number of people who were fighting for change. The  music  quickens in pace to indicate a change, a turning point in Eddie’s life, in which he can no longer overlook the racism that his people have suffered. The  close ups  of his and his wife’s face during this scene express their passion and determination in supporting this cause, as well as their strong love for each other.

List of film techniques

These are just a few examples of the way in which you can use the techniques discussed to make your ideas more credible in text response essays. Some teachers may say that these filmic devices are a secondary source of evidence, but I believe they are equally as important as quotes in demonstrating a thorough understanding of the text—as long as you analyse why the director has chosen to include them.

Remember: the director only has a certain amount of time to tell the story, so every scene is important, and every technique is deliberate. That being said, don’t use these devices at the expense of quotations! 

This study guide is written by Gabrielle O'Hagen (Mabo examples), and Lisa Tran.

Most assessments require you to write essays using formal language. In English writing, there are two main styles of writing – formal and informal. The primary purpose of formal language is to achieve sophistication and clarity. Although the difference between the two styles is relatively straightforward, we’ll point out some common examples to just to make sure that you don’t slip and make an unnecessary mistake. Consider these two examples:

Example 1 : We cordially invite you to the Year 12 formal.

Example 2 : Hey buddy! Wanna go to the dance?

It is clear that example 1 is formal while example 2 is informal. The vocabulary, tone, and syntax are all things that change depending on the style you wish to adopt. Informal language isn’t always a ‘taboo’ though. Creative pieces and persuasive pieces can be written informally, for example, if it is a personal diary or an advertisement respectively. If you’re unsure, the easiest way to separate the two is to question whether or not you would say the phrase in real-life conversations. If it’s a yes, then it’s most likely informal language. Below are some more specific examples of the differences between formal and informal writing:

Formal:  Avoids using colloquial words/phrases

Informal:  May use colloquial words/phrases

Formal:  Avoids contractions (write out full words – was not, did not, had not etc.)

Informal:  May use contractions (wasn’t, didn’t, hadn’t etc.)

Formal:  Usually written in third person (Sharon, Ben, they, them etc.)

Informal:  May use first (I, me etc.), second (he, she etc.) or third person (as above).

Formal:  Specific words (such as, large, items, etc.)

Informal:  Imprecise words (like, big, things, etc.)

Formal:  Avoids cliches (many, etc.)

Informal:  May use cliches (loads of, etc.)

Formal:  Avoids addressing readers using second person pronouns (the readers, an individual, one’s etc.)

Informal:  May address readers using second person pronouns (you, your, etc.)

Formal:  Avoids using abbreviated words (write in full – photograph, television, etc.)

Informal:  May use abbreviated words (photo, TV, etc.)

Formal:  Avoids imperative voice (please refer to…etc.)

Informal:  May use imperative voice (remember to…etc.)

Formal:  May use passive voice (it has been noted that…etc.)

Informal:  May use active voice (we note that…etc.)

Formal:  May use longer and more complex sentences.

Informal:  May use short and simple sentences.

When writing essays ensure that you stick to one or the other. Mixing the two ways of writing will negatively impact the readability of your essay, and also the assessor’s reflection of the writer.

‍ Nine Days by Toni Jordan is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

• Main Characters
• Themes, Ideas and Values
• Literary Devices
• Essay Topics  
• Essay Topic Breakdown

1. Summary  

Jordan’s novel traces the tumultuous lives of the Westaway family and their neighbours through four generations as they struggle through World War II (1939-45), the postwar period of the late 1940s and 50s, the 1990s and the early 2000s. Composed of nine chapters and subsequently nine unique perspectives of life, their family home in Rowena Parade, Richmond, becomes the focal point for Jordan’s exploration of femininity, masculinity, family and Australian society. ‍

2. Main Characters

Kip westaway.

'Mr. Husting always says first impressions count' (p. 5)

'Mr. Husting holds his other hand out flat and instead of an apple there’s a shilling.' (p. 6)

'I own the lanes, mostly. I know the web of them, every lane in Richmond.' (p. 21)

'When they put me in the grave, I know what it’ll say on the stone, if I get a stone, if they don’t bury me like a stray cat at the tip' (p. 29)

'I didn’t say goodbye to Dad! On account of a book' (p. 158)

'This photo won’t be out of my sight from now on. You’ve given me my sister back, Alec.' (p. 260)

Francis Westaway

'THE SHADOW CANNOT BE DEFEATED!' (p. 145)

'The toughest gang in Richmond! And they want me, Francis Westaway!' (p. 155)

'I see a purple jewel hanging on a gold chain. It’s a beaut, the prettiest thing I’ve ever seen…There’s no way I’m sharing this. It’s mine.' (p. 174)

'Do you understand how sensitive a reputation is? It’s up to me to be respectable. I’m the eldest. It’s my responsibility.' (p. 200)  

Connie Westaway

'Ma sitting with her dress lifted up to her face, Connie on her knees beside her, holding her arms, cooing soft like Ma is a baby.' (Kip, p. 35)

'We women do what’s expected. You [men] can do almost anything you care to think of.' (p. 280)

'It seems that all my life I’ve had nothing I’ve desired and I’ve given up having desire at all. Now I know what it feels like to want and I will give anything to have it' (p. 285)

'I thought we’d have more time than this. We’ve only just made it.' (p. 290)  

Jean Westaway

'Those moments, when [Kip] reminds me of Tom. I have to leave the room. The fury rises up my legs and up my body like a scream and it’s all I can do not to let it out.' (p. 212)

'We all die alone' (p. 212)

'This is not how I imagined it to be. Children. Mothering.' (p. 212)

'And for things like this, for girls like Connie and saving her future, there is a respectable woman who runs a business in Victoria Street' (pp. 221-222)

'I’d never of done it with boys but Connie, she was different.' (p. 239)

'we’re respectable people.' (p. 218)

Tom Westaway

‘Kipper’s old man…dropped off the tram in Swan Street somewhat worse for a whiskey or three and hit his head. Blam, splashed his brains all over the road. A sad end.’ (Pike, p. 24)

‘As a girl I had plenty of suitors, but none like Tom. Best behaviour in front of my father, children all brought up in the church by him.’ (p. 212)

Stanzi Westaway

‘The parcel is for Stanzi: inside is an old-fashioned coin, dull silver, with a king’s head on one side. It has a silver chain threaded through a hole in the middle. Stanzi looks like she’s about to cry.’ (Alec, p. 254)

‘She doesn’t mean to be hurtful. She is worries for me, that’s all…if she really thought I was in terrible trouble, she would be gentler.’ (Charlotte about Stanzi, p. 126)

‘the oblivious insouciance of the entitled’ (p. 51)

Charlotte Westaway

‘I say the question over and over: should I keep the baby?’ (p. 142)

‘The herbs are evidence of an understanding of our place in the universe…an acknowledgement of the delicate balance in our bodies…’ (p. 116)

‘There was only one place I could go: my sister’s’ (p. 124)

‘They contain all the hopes of the human spirit, all the refusal to quit, to keep believing people can feel better’ (p. 116)  

Alec Westaway

‘Yet here I am. Away from home in a world of strangers. Alone. Forgotten.’ (p. 241)

‘This waiting for my life to start, it’s driving me mental.’ (p. 244)

‘I don’t sketch. Instead I concentrate on the scene the scene in front of me so I can remember it later.’ (p. 251)

Libby Westaway

‘All the things I remember, everything about my life, our family, my childhood: it’s all real because Libby knows it too.’ (Alec, p. 273)

Jack Husting

‘I can see both sides.’ (p. 80)

‘Just let me kiss you, Connie. I’d die a happy man.’ (p. 284)

Ava and Sylvester Husting

‘If we have to send boys to fight…it’s layabout boys with no responsibilities, the Kip Westaways of the world, who ought to be going.’ (Ava, p. 102)

‘That shilling. Our little secret. Gentlemen’s honour.’ (Sylvester, p. 8)

Annabel Crouch

‘You’re a good girl, Annabel.’ (Mr. Crouch, p. 177)

‘I’d like to compliment their dresses, but I don’t know what to say.’ (p. 190)

‘He is killing himself, I know that. I won’t have him for much longer.’ (Annabel, p. 207)

‘No mother, no brothers. Working your youth away, looking after an old man.’ (p. 179)

‍ 3. Themes, Ideas and Values

‘Family house, family suburb, family man’ (Charlotte about Kip, p. 140)

‘Stuck here…looking after your old man. You should have a family of your own by now.’ (Mr. crouch to Annabel, pp. 178-179)

The theme of family is a recurring one that develops over time. Jordan’s inclusion of other families such as the Crouches, the Churches, the McCarthys and the Stewarts stands in contrast to the Westaways. The juxtaposition of family life in this way allows the reader to see how such factors like wealth, class and reputation can affect the family dynamic especially within the war period. The idea of family is strained by the pressures of war because with many families' sons and husbands away it left the other family members to adopt other roles - not only physically, but the conventional emotional roles of traditional families of the time are redistributed, specifically within the Westaway household. Jordan postulates that the role family plays in providing emotional/physical support is of far greater importance than the necessity to abide by society's idea of what family should look like.  

Women and Reproductive Rights

‘I tell her about shame and the way it’s always the women who wear it. I spare her nothing. I say loose women and no morals and I say bastard and I say slut.’ (Jean, p. 220)

‘You don’t have to have it, you know.’ (Stanzi, p. 132)

‘Your body, your choice…That’s what our feminist foremothers fought for’ (p. 134)

‘What if he wanted to know his child, doesn’t he have the right?’ (pp. 133-134)

Jordan highlights the controversial issues of premarital sex, abortion and the rights of women within the mid 20th and early 21st century. Indeed, it is this theme of women that becomes inextricably linked with the effect of a damaged reputation. When Connie falls pregnant, Jean implores that she has an abortion, in secret of course, in order to preserve her and her family’s reputation within the small community. The issue of abortion is later revisited when Charlotte becomes pregnant in the 1990s, where the contrast between the time periods becomes evident; while unplanned pregnancy is greatly stigmatised in the 1940s, the 1990s offers Charlotte a far wider array of options. It is through Jordan’s depiction of the two cases – Connie’s horrific backyard abortion, and Charlotte’s adjustment to parenthood – that she suggests the perceptions and attitudes towards morality, reputation and women have shifted over time, emphasising the importance of reproductive rights in the development of women.

Masculinity

‘I remember coming home from school once, crying. I would have been around six or seven. I was picked last for some team. That was me, the kid without a father.’ (Alec, p. 262)

‘”Westaway,” Cooper says. “Get in. For once in your life, do not be a pussy.”’ (p. 267)

Within the parameters of her text, Jordan articulates how men conform or reject masculine tropes in an effort to fit into society. Toughness, bulling and unsavory activity are presented as the characteristics of a man through such depictions of Mac and his gang. In its connection to the war period, the novel partly focuses on the notion that in order to be classified as a man he must first go through struggle and hardship as presented in the group of strangers taunting Jack, ultimately bullying him into certain ideals of masculinity which prove toxic and consequential - Jack dies as a result. It is Jordan who advocates for a balanced personality of both ‘masculine’ and 'feminine’ characteristics as suggested in the character development of Kip; evolving, learning and devising a true meaning of what it means to be a man outside of its conventional brutality.

Attitudes Towards Asia

‘She is with a customer or sweeping the floor with a broom made from free-range straw that died of natural causes or singing Kumbaya to the wheatgrass so it is karmically aligned.’ (Stanzi, p. 50)

‘The fear of the Nips coming made him a better man.’ (Annabel, p. 178)

‘always wanted to go to India [to study yoga] at a proper ashram.’ (pp. 132-133)

‘She makes her eyes go big and round like some manga puppy’ (p. 264)

Through both overt and subtle language, Jordan makes reference to the attitudes towards Asia which were prevalent at the time, specifically within the war period that saw many Australians ‘[fearing] the nip’. The derogative slang used for the Japanese represents a lack of understanding and fear (the bombing of Darwin and attack on Sydney left many feeling particularly vulnerable to the Japanese). Exacerbated by the fact that Japanese culture was not widely understood and was often misrepresented, the Japanese were stereotyped as brutal and inhuman. Over the course of the novel, attitudes towards Asia dramatically shift especially within the early 1990s of Stanzi and Charlotte's generation. The philosophical ideas of the east are often referenced by characters like Charlotte as she draws on them to make sense of her own complex life. The novel sees another shift in ideology represented through Alec as his generation's perception turns to a more commercial view. Asian culture has earned a place in mainstream media and western life without such gruesome and violent connotations as were previously held during the time of World War II.

By the way, to download a PDF version of this blog for printing or offline use, click here !

4. Literary Devices

• Throughout her perspective driven text, Jordan makes many references to classic novels which help create a literary context for the narrative and lend themselves to the evolution of the characters throughout the course of the text.
• Alexandre Dumas’ The Three Musketeers – Kip’s characteristic trait of heroism when he sees the gang waiting for him and says ‘on-bloody-guard, d’Artagnan’ (p. 22)
• Charles Dickens’ Great Expectations and Mark Twain’s Huckleberry Finn – both coming-of-age stories about young men struggling within a tough world, only getting by on their wits and strength.
• Brontë sisters' Jane Eyre and Wuthering Heights – their reference is used in discerning a customer’s knowledge on the texts, but reveals only a surface level understanding due to the novels carrying a certain cultural value.
• Jonathan Swift’s Gulliver’s Travels – referenced by Jack Husting in relation to his adventures in the country. Its use pertains to how Jack feels out of place in his home town after leaving a boy and returning a grown man.
• A historical novel that plays with ideas of placing invented characters into a reconstructed world of the past.
• Uses elements of both realism and impressionism to create the text.

Realist Elements:

• A strong focus on everyday life within a particular society with reference to real historical detail.
• Incorporates a logical and strong foundation of context that can be easily digested and believed by the reader.
• Can use an omniscient narrator (all-knowing).

Impressionist Elements:

• Each chapter offers detail and presents a vivid interpretation of specific events.
• Sensory experiences are emphasised by the use of descriptive and poetic language.
• The linear flow of the narrative is disrupted by its construction in a non-chronological order, thereby forcing the reader to piece the whole narrative together at the end.
• Varied depending on the character’s perspective and time of perspective.
• Language is used to historicise each chapter through use of slang, colloquialisms, formal and proper English.
• The novel revolves around the Westaway’s family home in Rowena Parade, Richmond over the course of four generations.
• Rather than them move or the location change it evolves, paralleling the growth and evolution undergone by each of the Westaway family members.
• Inspired by a photograph in the collection of Argus war photos held at the State Library of Victoria, Jordan uses this image capturing a private and intimate moment to establish the premise for each of the book's chapters.
• Titled Nine Days and composed of nine unique perspectives on life at a given time, Jordan offers insight into the emotional livelihood of each narrator and attaches both intimate and historical significance to their stories. ‍

5. Essay Topics

• Toni Jordan’s Nine Days describes a world in which life in the 1930s and 40s was much harder than life in the 21st century. Do you agree?
• In Nine Days , older Kip’s point of view is very unrealistic. To what extent do you agree?
• Toni Jordan’s Nine Days shows us people can choose whether they end up happy or not. Discuss.
• The mood by the end of Nine Days is ultimately uplifting and positive. Do you agree?
• There is more tragedy in Nine Days than there is joy. To what extent do you agree? ‍
• Nine Days , by Toni Jordan, shows the best and worst of Australian culture. Discuss
• Jordan suggests that appreciation of family is integral to personal happiness. Discuss.
• 'Your body, your choice.' What do the different experiences of Connie and Charlotte reveal about changing societal attitudes towards women?
• There are many characters who are largely hidden figures within the text. What significance is produced by including and excluding different perspectives?

6. Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy - a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response because it’ll dramatically enhance how much you can take away from the following essays and more importantly, your ability to apply this strategy in your own writing.

‍ Within the THINK strategy, we have 3 steps, or ABC. These ABC components are: Step 1: A nalyse Step 2: B rainstorm Step 3: C reate a Plan

‍ THINK How-based prompt: How does Nine Days explore the relationship between the past and the present ?

This is a ‘how’ essay prompt, so in our planning, we need to identify the ways in which the author accomplishes their task. When analysing your question it is important to know what the question is asking of you, so make sure you highlight the keywords and understand their meaning by themselves and in the context of the question. For example, this question is not just asking about the past and present, but rather the connection between the two - so if you discussed the past and the present separately you wouldn’t be answering the question.

Brainstorming is different for everyone, but what works for me is focusing on the key idea, which here would be the relationship between the past and the present, and listing my thoughts out. Not all the ideas will be as equally relevant/good, but I like to have things written down to then improve or simply not use in favour of other ideas.

Past → Present: Westaway family home, the house changes as the family grows Past → Present: Connie’s tragic abortion compared to Charlotte’s options in the 1990s, women’s rights evolving over time Past → Present: Melbourne becoming more multicultural, Alec’s chapter reveals how Melbourne has changed compared to chapters set in earlier times Past → Present: Kip teaching Alec to cherish those in front of us after seeing Connie’s picture Past → Present: Second World War contrast to 9/11 and war in Afghanistan

Now that I have all my ideas listed out I choose my strongest three to flesh out. There are different things that make an idea strong, but the things I consider are: - Do I have enough evidence to support this idea? - Is the idea substantial enough to turn into a whole paragraph? - Do I have an author’s views and values statement? - Can I include context or metalanguage into this idea?

Using the questions above, I decided to use the following ideas: - Westaway family home, the house changes as the family grows (symbolism) - Kip teaching Alec to cherish those in front of them (focus on characterisation) - Melbourne becoming more multicultural (can talk about historical context)

Contention: Through the use of setting and characterisation, Jordan’s Nine Days reveals how the past and present are interconnected. P1: Westaway home embodying the familial connection P2: The past is not completely separate from the present, it teaches us lessons that are pertinent to contemporary life (Alec) P3: Melbourne becoming more multicultural

If you found this helpful, then you might want to check out our A Killer Text Guide: Nine Days ebook which has an A+ sample essay in response to this prompt, complete with annotations on HOW and WHY the essay achieved A+! The study guide also includes 4 more essay topic breakdowns and sample A+ essays, detailed analysis AND a comprehensive explanation of LSG’s unique BBT strategy to elevate your writing!

Download a PDF version of this blog for printing or offline use

We've curated essay prompts based off our All the Light We Cannot See Study Guide which explores themes, characters, and quotes.

LSG-curated All the Light We Cannot See Essay Topics

• Contrary to what the title might suggest, All the Light We Cannot See explores light more so than darkness. Is this true?
• How does Doerr’s narrative structure highlight the similarities and differences between Marie Laure and Werner in All the Light We Cannot See?
• All the Light We Cannot See demonstrates that war brings out the best and worst in humanity. Discuss.
• Explore the forms of courage demonstrated in All the Light We Cannot See.
• What is the role of family in All the Light We Cannot See?
• Werner’s character is defined by his cowardly and harmful conformity to the Nazi regime. To what extent do you agree?
• All the Light We Cannot See is a warning against unethical and selfish scientific pursuits. Discuss.
• Who deserves our sympathy in All the Light We Cannot See and why?
• Throughout All the Light We Cannot See, various forms of guilt are shown to be emotionally crushing. Is this true?
• “Don’t you want to be alive before you die?” Explore the value and meaning of human life as evinced in All the Light We Cannot See.
• No character from All the Light We Cannot See is totally monstrous, just as no character is totally pure. Do you agree?
• In All the Light We Cannot See , Doerr suggests that nobody truly has agency over themselves. Discuss.
• More so than any other object, it is the radio which drives the plot of All the Light We Cannot See . Is this an accurate statement?
• All the Light We Cannot See posits that strength must come from within. Discuss.
• “Open your eyes and see what you can see with them before they close forever.” To what extent do characters exhibit this sentiment in All the Light We Cannot See ?

If you'd like to see a fully planned, written and annotated essay, see our All the Light We Cannot See Essay Topic Breakdown .

All the Light We Cannot See is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

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I am Malala: Class VI (Class 6) ICSE English Literature

December 21, 2022 by studymumbai Leave a Comment

“Why I don’t wear earrings” from I am Malala is a chapter for Class VI (Class 6) ICSE students in English Literature. In some other boards, the Malala chapter is also named “Why I Don’t Wear Earrings and Pashtuns Don’t Say Thank You” or “Leaving the valley”.

About Malala Yousafzai

Malala Yousafzai was born in 1997 in Mingora (Swat Valley) in the Khyber-Pakhtunkhwa province of Pakistan. Her father was an educational activist, and inspired by him, Malala started speaking about the right to education for girls from an early age. Malala was attacked in 2012 by the Taliban but the attack did not deter her. Today, Malala Yousafzai is internationally recognized as an advocate for education of children. Malala Yousafzai was awarded the Nobel Peace Prize in 2014 for her efforts.

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Question and Answers

Question: Why did Malala like to play with her plastic mobile toy?

Answer: Malala liked to play with a plastic mobile phone as it was given to her by her father. She liked to imitate her father while he was talking on his phone. Of all her toys, this plastic phone was her favourite.

Question: Why is Malala mother “unmoved” by her explanation for stealing from Safina?

Answer: Malala’s mother is “unmoved” because she believed that Malala should have set an example by not doing the same and teaching Safina a lesson in a better way.

Question: Why did Malala stopped wearing jewelry?

Answer: Malala stopped wearing jewelry as she felt guilty of stealing Safina’s jewelry. She thought why should she wear these troubles which tempted her to steal. She wanted to punish herself for what she had done.

Question: What kind of a student was Malala?

Answer: Malala was an intelligent and confident student. She participated in every competition – singing, dancing, etc. She was the class topper and she helped her classmates to solve their problems.

Question: What became a compulsion for Malala? Which incident finally made her stop?

Answer: Stealing things from Safina’s house became a compulsion for Malala because it gave her a thrill. When her mother found all the stolen things in her cupboard, this incident finally made her stop stealing.

Question” Who lived in the camps? In what way was their situation worse than Malala’s?

Answer: The Internally Displaced Persons (IDPs) lived in the camps. Their situation was worse than Malala’s as they had to stand in queues for hours to get food and water.

Question: Describe Malala’s life before she became an IDP.

Answer: Before they became IDPs, Malala and her family lead a simple and peaceful life. Malala went to school and used to love reading books. She had interests on the snow-topped Mount Elum and on the fruit of their apricot tree. They were Pashtuns, who preferred to sit on floors instead of chairs. The only valuable items they had was a TV, fridge and a washing machine.

Question: Describe the sights and sounds that Malala noticed on the journey from her home to Mardan.

Answer: On the journey from her home to Mardan, the streets were busy and over crowded. People with their belongings were in cars, rickshaws, mule carts and trucks waiting to get away. Thousands of people were leaving with just their clothes. Everyone was depressed.

Question. ‘A diamond must be cut many times before it yields even a tiny jewel’. In your own words explain what this line means to you. Why do you think Malala chose to recite this poem?

Answer: This line means that everyone has to struggle a lot before anything good happens to them in life. Only pain and hardship gives rise to a real gem that glitters brightly. I think Malala chose to recite this poem as she and her family had to face a lot of hardships in the valley, living in constant fear and hardship. This line gives hope for a better day to come.

Question. Why do you think education and learning were important to Malala?

Answer: Education and learning were important to Malala because she had packed all her books and notebooks in her school bag when they were preparing to leave the valley but her mother told her leave her school bag behind. While staying with her cousins, she missed her books ad kept thinking of her school bag that had books such as of Oliver Twist and Romeo and Juliet waiting to be read.

Question. If you had to leave your home as Malala had to, what would you miss the most?

Answer: If I had to leave my home as Malala had to, I will miss my friends the most. I will miss my school, my teachers, the playground, and my favourite restaurants.

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