2018 literature written examination - vcaa.vic.edu.au · from the same category will receive a...
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LITERATUREWritten examination
Monday 12 November 2018 Reading time: 11.45 am to 12.00 noon (15 minutes) Writing time: 12.00 noon to 2.00 pm (2 hours)
TASK BOOK
Structure of bookSection Number of
questionsNumber of questions
to be answeredNumber of
marks
A 30 1 20B 30 1 20
Total 40
• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.
• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaper,correctionfluid/tapeanddictionaries.
• Nocalculatorisallowedinthisexamination.
Materials supplied• Taskbookof68pages,includingassessment criteriaonpage68• Oneormoreanswerbooks
The task• Youarerequiredtocompletetwopiecesofwriting:oneforSectionAandoneforSectionB.• Eachpieceofwritingmustbebasedonatextselectedfromthelistonpages2and3ofthistaskbook.• Eachselectedtextmustbefromadifferentcategory(novels,plays,shortstories,otherliterature,
poetry).Youmustnotwriteontwotextsfromthesamecategory.Studentswhowriteontwotextsfromthesamecategorywillreceiveascoreofzeroforoneoftheirresponses.
Instructions• Writeyourstudent numberinthespaceprovidedonthefrontcover(s)oftheanswerbook(s).• Intheanswerbook(s),indicatewhichsectionyouarerespondingtoandthetextnumberofyour
selectedtext.• AllwrittenresponsesmustbeinEnglish.
At the end of the examination• Placeallotherusedanswerbooksinsidethefrontcoverofthefirstanswerbook.• Youmaykeepthistaskbook.
Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.
©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2018
Victorian Certificate of Education 2018
2018LITERATUREEXAM 2
Table of contents
Novels Page
Text number Section A Section B
1. RobynCadwallader The Anchoress 4 8–9
2. ItaloCalvino Baron in the Trees 4 10–11
3. JosephConrad Heart of Darkness 4 12–13
4. ElizabethGaskell North and South 4 14–15
5. KimScott That Deadman Dance 4 16–17
6. ChristinaStead The Man Who Loved Children 4 18–19
7. GiuseppeTomasi diLampedusa
The Leopard 4 20–21
8. JuanGabrielVásquez The Sound of Things Falling 4 22–23
9. JeanetteWinterson The Passion 4 24–25
Plays
Text number
10. Aeschylus Agamemnon 5 26–27
11. ShelaghDelaney A Taste of Honey 5 28–29
12. EugèneIonesco Rhinoceros 5 30–31
13. YasminaReza Art 5 32–33
14. WilliamShakespeare Coriolanus 5 34–35
15. WilliamShakespeare Twelfth Night 5 36–37
16. SamShepard Buried Child 5 38–39
17. TennesseeWilliams Cat on a Hot Tin Roof 5 40–41
Short stories
Text number
18. MaxineBenebaClarke Foreign Soil 5 42–43
19. CeridwenDovey Only the Animals 5 44–45
20. NikolayGogol The Diary of a Madman, The Government Inspector and Selected Stories
5 46–47
3 2018LITERATUREEXAM
TURN OVER
Other literature Page
Text number Section A Section B
21. SheilaFitzpatrick My Father’s Daughter: Memories of an Australian Childhood
6 48–49
22. WEHStanner The Dreaming & Other Essays 6 50–51
23. Voltaire Candide, or Optimism 6 52–53
24. VirginiaWoolf A Room of One’s Own 6 54–55
Poetry
Text number
25. RobertBrowning Selected Poems 6 56–57
26. TinaChang, NathalieHandaland RaviShankar(eds)
Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
6 58–59
27. RosemaryDobson Collected 6 60–61
28. SylviaPlath Ariel 6 62–63
29. ChrisWallace-Crabbe New and Selected Poems 6 64–65
30. SamuelWaganWatson Smoke Encrypted Whispers 6 66–67
Assessment criteria 68
2018LITERATUREEXAM 4
SECTION A – continued
SECTION A – Literary perspectives
Instructions for Section AYouarerequiredtocompleteonepieceofwritinginresponsetothetopicsetforonetext.Yourselectedtextmustbeusedasthebasisforyourresponsetothetopic.Youarerequiredtoproduceaninterpretationofthetextusingoneliteraryperspectivetoinformyourview.YourselectedtextforSectionAmustbefromadifferentcategorythanyourselectedtextforSectionB.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionAisworth20marks.
Novels
1. Robyn Cadwallader, The Anchoress ThelivesofthecharactersinThe Anchoress areshapedbyaneedforpower.Towhatextentdoyou
agree?
2. Italo Calvino, Baron in the Trees ThroughhisdepictionofCosimo’slifeinBaron in the Trees,Calvinoasksustoreconsiderwhatit
meanstobehuman.Discuss.
3. Joseph Conrad, Heart of Darkness InConrad’sHeart of Darkness,theEuropeanintrusionintoAfricadamagesallthoseinvolved.Towhat
extentdoyouagree?
4. Elizabeth Gaskell, North and South InGaskell’sNorth and South,newkindsofrelationshipsaremadepossiblebynewsocialandeconomic
conditions.Discuss.
5. Kim Scott, That Deadman Dance Considerthepropositionthat, inScott’sThat Deadman Dance, thecollisionofculturalexpectationshas
tragicconsequences.
6. Christina Stead, The Man Who Loved Children ThroughthecharactersandtheirrelationshipsinThe Man Who Loved Children, Steaddemonstratesthe
poweroflanguage.Discuss.
7. Giuseppe Tomasi di Lampedusa, The Leopard InThe Leopard, Lampedusa reflectsontheinevitabilityofsocialchangeandhowindividualsrespond.
Discuss.
8. Juan Gabriel Vásquez, The Sound of Things Falling ReflectontheideathatVásquez’sThe Sound of Things Falling showshowweareshapedbythestories
wetellourselvesandbythosewehearfromothers.
9. Jeanette Winterson, The Passion Winterson’snovel,The Passion,suggeststhatpassionisadangerousanddisempoweringforce.Towhat
extentdoyouagree?
5 2018LITERATUREEXAM
SECTION A – continuedTURN OVER
Plays
10. Aeschylus, Agamemnon ConsiderthepropositionthatAeschylus’sAgamemnonhasthepowertodisturb anaudience’sideasof
justice.
11. Shelagh Delaney, A Taste of Honey InA Taste of Honey,Delaney’sstrugglingcharacterschallengethevaluesoftheirsociety.Discuss.
12. Eugène Ionesco, Rhinoceros ReflectontheideathatIonesco’sRhinocerosexplorestheconflictbetweenfreewillandsocial
conformity.
13. Yasmina Reza, Art ThecharactersinReza’sArt strivetofindmeaninginaworldfullofuncertainty.Discuss.
14. William Shakespeare, Coriolanus ThecharactersinShakespeare’sCoriolanusaredrivenbyahungerforpower.Towhatextentdoyou
agree?
15. William Shakespeare, Twelfth Night InShakespeare’sTwelfth Night,anyescapefromsocialrolesandstructuresistemporary.Discuss.
16. Sam Shepard, Buried Child Considerthepropositionthat,inShepard’sBuried Child, nohappyendingispossibleforthecharacters.
17. Tennessee Williams, Cat on a Hot Tin Roof TheAmericanfamilyinWilliams’sCat on a Hot Tin Roof reflectsaculturethatdemandstoomuchof
individuals.Towhatextentdoyouagree?
Short stories
18. Maxine Beneba Clarke, Foreign Soil ThestoriesinClarke’sForeign Soilexpress thepainandfrustrationfeltbyindividualswhoareseenas
differentfromthemainstreamcommunity.Discuss.
19. Ceridwen Dovey, Only the Animals UsingtheviewpointsofanimalsinOnly the Animals,Doveyexploresthedarkeraspectsofhuman
natureandbehaviour.Discuss.
20. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories ConsiderthepropositionthatGogol’sstoriesinThe Diary of a Madman, The Government Inspector
and Selected Storiesfindhumourinthepainofillusionsandmiscommunication.
2018LITERATUREEXAM 6
END OF SECTION A
Other literature
21. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood ReflectontheideathatFitzpatrick’smemoirisaportrayalofherownjourneymorethanitisaportrait
ofherfather.
22. WEH Stanner, The Dreaming & Other Essays Considerthepropositionthat,inThe Dreaming & Other Essays,Stannerarguespowerfullyagainst‘the
greatAustraliansilence’.
23. Voltaire, Candide, or Optimism InCandide, or Optimism,Voltairesuggeststhatitisfoolishtobeoptimistic.Discuss.
24. Virginia Woolf, A Room of One’s Own Woolf’sA Room of One’s Own depictsacultureinwhichchoicesaremorelimitedforsomeindividuals
thanforothers.Towhatextentdoyouagree?
Poetry
25. Robert Browning, Selected Poems ConsiderthepropositionthatBrowning’spoetryinSelected Poemsasksustoquestionourviewsof
romanticloveandthebeautyofnature.
26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
ThepoemsinLanguage for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyondsuggestthatdifferencesandothernesscanbecauseforbothanxietyandcelebration.Discuss.
27. Rosemary Dobson, Collected Considerthepropositionthat,inCollected,Dobsonusesordinarythingstodemonstratetherichnessand
complexityoflife.
28. Sylvia Plath, Ariel ReflectontheideathatthepoemsinPlath’sAriel aremorecomplexthansimplythe‘confession’ofher
life.
29. Chris Wallace-Crabbe, New and Selected Poems InNew and Selected Poems,Wallace-CrabbeusesordinaryAustralianexperiencestoaskcomplex
questions.
30. Samuel Wagan Watson, Smoke Encrypted Whispers Reflectontheideathat,inSmoke Encrypted Whispers,Watson’spoetrydepictstwoculturesthat
struggletocoexist.
7 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
SECTION B – Close analysis
Instructions for Section BYouarerequiredtocompleteonepieceofwritingbasedononetextinresponsetothetaskset.Threepassageshavebeensetforeverytext.Thesetpassagesarepresentedintheorderinwhichtheyappearinthenominatedversionofthetext.Thesetpassagesarealsoreproducedastheyappearinthenominatedversionofthetext.Youmustusetwo or moreofthesetpassagesasthebasisforadiscussionabouttheselectedtext.Inyourresponse,referindetailtothesetpassagesandtheselectedtext.Youmayincludeminorreferencestoothertexts.YourselectedtextforSectionBmustbefromadifferentcategorythanyourselectedtextforSectionA.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionBisworth20marks.
2018LITERATUREEXAM 8
SECTION B – continued
Novels
1. Robyn Cadwallader, The Anchoress
Use two or more of the set passages as the basis for a discussion of The Anchoress.
1.
Iclosedtheshutters,bentdown,brushedthestrawawayfrombeneathmysquintandpressedmyhandsonthehard,baresoil.Agnes,wisewoman,buriedhereinmycell,showmehowtobeananchoress.Makemeholy. Mykneesprickled,thegroundscratchedatmyskin,andashudderranthroughmyhandsandupintomyarms.Iflinched,felltooneside,pulledmyselfovertomydeskandontothechair.Thesoundofscrapingbonefollowedme. I shivered and touchedmyRule.Looking for comfort, IturnedtoapageIoftenread,towordsIknewalmostbyheart.
True anchoresses are like birds, for they leave the earth — that is, the love of all that is worldly — and, as a result of their hearts’ desire for heavenly things, fly upwards toward heaven. And though they fly high with a high and holy life, yet they hold their heads low in mild humility, as a bird in flight bows its head, and they consider all their good actions to be worthless.
Swallowhadflownlikeabird,hisarmsstretchedwideandhislegsstraight,thentuckedin,totumbleintheair.Hisclotheshadflashedredandgrey,thestripesspinning,hisheadcurledintohisbody.Iwantedtoflylikehim,likeanangel,toletgoofmybodyandthelongingthatheldmetotheground. Thestewedmeatsmelledrich;thefragrancewoundaroundmyhead and sank intomy clothes.Mybelly twistedwithhunger.Ishutmyeyes,refusedit,andthoughtofSwallow’sleap.Foramoment,itfeltasifmynarrowcellopenedtothesky.
FatherPetervisitedafewdays later.Hewasmyconfessor,andIhadbeenhopinghewouldvisittoseethatallwaswell. Thescrapeofthestool,andhegruntedashesatdown.‘SisterSarah?Godblessyou,mychild.Areyouwell,Sister?’ ‘Yes,Father,thankyou.’ ‘I’mgladtohearit.Youseemedweakatyourenclosure,though,ofcourse,itdemandedmuch.’ Hisvoicemademethinkoftheriverwhereitrunsdeepest,thesilkensoundofitssloweddies,butthatseemedfanciful.HisfacehadfrightenedmewhenImethimbeforemyenclosure:thefilamentsinhiswateryeyes,foggywhiteringsontheblue,theredblotchesonhissaggingcheeks.He’dseemedweary,likeathickrugworndown.ButhehadsmiledmorequicklythanI’dexpectedandtherehadbeenagentleconcerninhiseyes.ThatwasthelasttimeIwouldseehisface;fromnowon,itwouldbeonlyhisvoiceontheothersideofthecurtain.
* * *
2.
Onebyonethewomendroppedby:Maud,Avice,Winifred,Jocelyn,Lizzie,andothers,totellastoryortobringsomethingsmall forme to eat— a pie, a piece of cheese, a honeycake. I thanked them, thoughIwouldnoteat the foodand,rememberingtheleper,putitontheledgeofthemaids’windowtogivetootherswhoneededit.EvenafewwomenwhohadnotpreviouslycomeforcounselopenedthedoortoquicklywishmehappyMayDay. IhadmadeitmyhabittokeepthecurtainclosedwhenIspoketothewomenwhocametome,butthatdayIopenedittotakethefoodtheyoffered.Wewomenlookedatoneanother,smiledawkwardly,eachseeingafaceunveiledinthedimnessofmyparlour.FromthesoundoftheirvoicesIhadgiveneachwomanbehindmycurtainaface,butthatdayIfoundIhadtochangethem.Winifredwasbig,asIhadexpected,butherhairwasfineandfair,notblack,andhergreeneyeswerenotboldbutalittleuncertain.IhadthoughtofLizziewithabrownfaceandlongbrownhair,butherpaleskinwascoveredwithfreckles,andasshepulledbackherhairInoticedherfingerstaperedlongandfine,thoughtheywerestainedwiththepowdersandunguentsofhertrade.Shesatforatime,seemingcontent,asIwas,withoursilence. AshortwhilelaterwhenIheardJocelyn’squietcallfromtheparlourdoorway,Ilookedup,afraidtomeethereyes.HerhairwaslankasIhadimagined,herfaceworn,butshelookedstraightatmewithclearblueeyesandanervoussmile,almostlikeachild,gratefulforanykindness.AndMaud,whohadtoldmesomuchaboutherlife:Ihadalwaysthoughtofherinthefields,strongandcapable,soIwassurprisedthatshewassmallandwiry,notevenastallasme.HerfacewasasbrownandlinedasI’dthoughtitwouldbe,hersmilewarm,andIwaspleasedtoseeher,abovealltheothers.ShetoldmeaboutthedancesandherFulke:‘Brawnyladasheis,hecanstilldanceenoughtopleasethegirls.’ AndfinallyAvice,hervoicequietandthoughtful,asifsuitedtoreadingandlearning,wasasIhadthought:eventhroughtheworryaroundhermouthandeyes,shewasbeautifulinthewaythatIthinkaqueenmustbe—herfacefine,herlipsred.WhensheleftIwonderedatthestrangenessoftheworld,andwhethershechafedatthenarrownessofherlife.
* * *
WithpermissionofHarperCollinsPublishersAustraliaPtyLtd
9 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
1. Robyn Cadwallader, The Anchoress
3.
Ranaulf stood at thegate.Thewoodwasworn,butsolid—andwithoutahandleontheoutside.Hethoughtaboutthefirstdayhehadvisitedtheanchorholdandpeeredaroundthesideoftheparlourtothedankshadedgrassandthestonesofthecell.Thenewwallwouldnotchangethat,buthecouldseethatsomesunwouldfallinsidethegarden,atleastinspringandsummer. Hemovedtotheparlourdoor,pulledatitashealwaysdid,andalmostfellbackwardswhenitopenedeasily.Rogerhadfixedit,heremembered,thoughhefeltuneasy,unsettledbyallthechanges.Hisreactionmadenosense,heknew;hehadcomplainedofthedoor,hadarguedforSarah’sgarden,andallhadbeenmadegood.Still,thiswasnottheanchorhold—northeanchoress—hehadvisitedthatcoldwinter’sdayalittlemorethanayearpast.Hehadneverseeninsidethecellandhewouldnotseethegarden,thatsecondspacewhereshewoulddwell.Irritatedathisownlackofreason,hewalkedintotheparlourandclosedthedoorbehindhim. ‘Godblessyou,SisterSarah.Goodmorning.’ ‘FatherRanaulf.Godbewithyou.’ Hervoicewasfamiliar,soothing.Hefelthimselfrelax.‘Iseethatyourgateisfinished.Yourgardeniscomplete.’ ‘Yes,RogerandBillcameearlierthismorning.’ ‘Ihadhopedtolookatthegardenbeforeitwassealed.Toseeitdoneatlast.’Hepausedbuttherewasnoresponsefrombehindthe curtain. ‘Forgiveme,Sister. It’s yourgarden. I supposebecauseIarrangedforthestoneandthemen,IhopedImightviewit.Ofcourse,wecouldn’tstandinthegardentogether,orseeeachother,butifyouopenedthegate,perhaps—’ ‘Father.’ Itwastheoldsilence,butnowtheyunderstoodeachother. ‘You’reright.Ididnomorethanwasneeded.Ipraythatthegardenwillblessyou,Sarah.’Thewordcamesoeasily.Sarah.
* * *
WithpermissionofHarperCollinsPublishersAustraliaPtyLtd
2018LITERATUREEXAM 10
SECTION B – continued
Novels
2. Italo Calvino, Baron in the Trees
Use two or more of the set passages as the basis for a discussion of Baron in the Trees.
1.
InthosedaysCosimo…‘DoyouintendtogrowuplikeanAmericansavage?’
ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998
pp.130and131
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Theprisonwasasmalltower…Andhehimselfkickedawaytheladderandsowasstrangled.
ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998
pp.167and168
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
11 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
2. Italo Calvino, Baron in the Trees
3.
Cosimodidnotreply…thatcanbeprolongedbeyondlife.
ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998
pp.219and220
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 12
SECTION B – continued
Novels
3. Joseph Conrad, Heart of Darkness
Use two or more of the set passages as the basis for a discussion of Heart of Darkness.
1.
Thesea-reachoftheThames…broodingoveracrowdofmen.
JosephConrad,Heart of Darkness, PenguinClassics,2007
p.34
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
“[...]Hehadkickedhimselfloose…rapid,breathlessutterance.[...]”
JosephConrad,Heart of Darkness, PenguinClassics,2007
pp.82–84
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
13 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
3. Joseph Conrad, Heart of Darkness
3.
“Sheputoutherarms…theheartofanimmensedarkness.
JosephConrad,Heart of Darkness, PenguinClassics,2007
pp.95and96
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 14
SECTION B – continued
2.
‘Whydoyoustrike?’…Yo’llsee,it’llbedifferentthistime.’
ElizabethGaskell,North and South, PenguinClassics,2003
pp.132and133
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
‘Oh,Dixon!Ididnothearyoucomeintotheroom!’…ruledbyapowerfulanddecidednature.
ElizabethGaskell,North and South, PenguinClassics,2003
pp.48and49
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Novels
4. Elizabeth Gaskell, North and South
Use two or more of the set passages as the basis for a discussion of North and South.
15 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Butthetruthwas…characterandstronghumanfeeling.
ElizabethGaskell,North and South, PenguinClassics,2003
pp.408and409
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Novels
4. Elizabeth Gaskell, North and South
2018LITERATUREEXAM 16
SECTION B – continued
Novels
5. Kim Scott, That Deadman Dance
Use two or more of the set passages as the basis for a discussion of That Deadman Dance.
1.
Butsomethinghadchanged. Acollectionofobjectslayinapilebesidetheiroldcampfireand,evencoatedwithash, their smooth surfaces screamed.Suchhardandbrightthings—Bobbywouldlearnthewords,weallwould:beads, mirror, nail, knife—werepassedaroundastherestofthefamilyarrived.Look,feel,smellthem;andohthesharptasteofsteel.Somesaidtheyrememberedthem,fromthetimeofthedance.Andthefootprintswithouttoes. Therehadalwaysbeenaparticularrhythmtotheirvisits,andnowthisnewpulse,atfirstfeeble,beganitsaccompaniment.More sailswere noted, andmore things detected: a cairnofstones, for instance,andwithin it—once thestonesweredismantled—somemarkingson thinbark insideacontainerofglass.Smokeroseontheislands,asifasignalbysomeoneapproaching. Inlateryearsitwouldbehorseshoes,theremainsofsaddles,arevolver,buriedfoodandbodies...Butallthatisforthefuture.Bobby’sfamilyknewonestoryofthisplace,andasdeepasit is, itcanacceptsuchvariations.Gifts?theywondered.Then,thesevisitors?Wheretheyfrom?Wheretheygone? Thewind,blowingtothehorizonandback. Theydancedlikedeadmen,cruelbrutalmen. Buttheywereneverdead. BobbyWabalanginybelievedhewasababythen,andstillonlyaveryyoungboywhenyetanothershipcamecloseandspilledpeopleupontheshore.Bobbyspokeasifithadjustcometohimandwasonthecuspofmemory,insidethefaceofawaveofrecollectionabouttobreak. WasitreallyBobby?Nomatterwho,itwasaveryyoung,barelyformedconsciousness,andwatchingfromsomesafeplacesomewhereelse. Thesemenhadyetanotherstrangetongue,oui,andBobbyWabalanginymust’vegoneontheirboatwithhisspecialUncleWunyeran—orperhapsitwasWooralorMenakorsomeotherofthoseoldpeople—becauseherememberedthatfirstsensationofthedeckshiftingunderhisfeet,rollingwiththeswell.AndBobbymadethatadance, too,asmallsteppingshuffleoneway,thentheother,toandfro.Notquitethedanceofstrangers,notquiteadanceofthiscountry,peoplewouldsmileastheyshuffledandswayedtoBobby’sstrangetune. Some of his extended family learned seasickness fromanother ship’svisit, and somethingof its speed:howhomecouldrecede,andrushbackatyouagain.
* * *
2.
Intruth,Manit’sverypresencechallengedandconfrontedJakTar.Nothing in his experience had prepared him forcooperatingwithanelderly,mostlynakedwomanwhoteasedandmockedhimso.Hisfirstinstinctwastodismissher,buthecouldnotdismissBobby’sobviousrespectforher,andJakTarwastrulygratefultohimforthehelphe’dprovided.Soheperseveredlongerthanhemighthaveotherwise. The oldwomanknewwhere animalswould be and JakrealiseditwasbesttoletBobbyhandletherifle,andnotonlybecausehehad suchagoodeye.On theirfirsthunting triptogetherJakhadassumedcommandofthegun—hewastheman,hewaswhite.Manit,throughBobby,toldhimwheretowaitandwhere thekangaroowould rush,and thensheandBobbywenttofrightentheanimalstowardhim.JakTartwistedhisheadassheunexpectedlyreturned,andatthesameinstantamobofwallabiessprangfromthebushes infrontofhim.Tammar!Heheardtheyellandswungthebarrel,fired,missed.InonemotionManitslappedhim,grabbedthegun,swungitlikeaclubandknockedonetardytammarsenseless. Wide-eyedJakTarhadonehandonhischeek.Manitlaughedandsqueezedhisnarrownosebetweenherfingerandthumb.Hewasshockedspeechless.Hiseyeswatered.Hewasagentleman,JakTar,andnotaccustomedtobeingbossedlikethisbyanoldwoman. Whenhewasachild,hisAuntyusedtobringdrippingfromthekitchenswhere sheworked.Cooked for theQueen, shetoldhim,andmadehimmemorisethenamesofalltheroyalfamily.Whenshecould,shetookhimtoseethemwherevertheyparadedinpublic. Inthebush,thisarseendoftheworld,JakTarcametothinkofthehalf-nakedandbarefootwomanasQueenManit.Itwasclearshewasaccustomedtocommand.Nojewellery,though,atmostafewfeathersandsomewovenpossumfur;norougeonhercheeks,thoughtheremightbefishoilandochre;nobustlingskirtssupportedbywhalebonecorsets,thoughsheknewwelltherightwhalefromwhosethroatthosecorsetscame.
* * *
WithpermissionofPanMacmillanAustraliaPtyLtd;©KimScott
17 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
5. Kim Scott, That Deadman Dance
3.
Baabaablacksheep,haveyouanywool...Bobbywaswalkingalone,aswashisway,andwalkingbesideoneofthecreeksfeeding into the river ofKepalup.Already thewaterswereslowing, the level dropping.The coarse, soft sandbetweentheshrinkingpoolswascriss-crossedwiththeprintsofmanybeings,andBobbymovedquicklyalongit,shelteredfromsunandwindbythetreesoneitherside.Hecamedowntherockyslopeofwaterholes,andstayedtoclearsomeofthemofreeds,andlayacarpetofleavesnotfarfromtheeagle’snest.Theoldbirdstudiedhisefforts. Notmuchfurtherandthecreekjoinedtheriver,andBobbykepttotheoldpathalongtheriverbankuntilhereachedthetinybubblingspringthatfedit,andthatlittlestonewallSkellyhadbuiltsothatcomesummeritmightbeclosedoffforChaine’ssheep.Ononebanktheirfootprintshadcutawayalltheearth.Chaine’shorseswoulddrinkhere,too.Hishuntingdogsandhisworkers.ButwhataboutNoongarpeople? The old trees still leaned over the riverbank. Furtherupstreamhesawtheeaglewatchingfromitsbough.Amalleehenemergedfromthedenseforestofjamtreetheothersideof the river, and returnedhisgaze forwhat seemeda long,cheekytimebeforeitretraceditssteps,disappearingintothecloseranksoftrees.Bobbyturnedupthebankandagainpausedasafamilyofemustudiedhim,andthen—itseemedalittleresentfully—strodeoffandvanishedintothetrees.Sohewasknownherestill, in thisplacewherehispeoplehadalwayswalked.Notsoalonethen. Butwhataboutthosepeopleupinthefarmhousehe’dknownprettywellallhislife?Didtheystillwanttoknowhim? NeitherWilliamSkellynorthemanhelpinghimsawBobbyuntilhewaswithinafewsteps.Itwasaverylargehuttheywerebuilding;thestonewallsrosetwoormoretimestheheightofevenatallman.Skelly’scompaniontappedhimrapidlyontheshoulder,pointing. Nigger,hesaid. Skelly’sheavybodyturnedslowly,hisheadevenlowerinhisshouldersthanBobbyremembered,sothatwhentheireyesmetSkellyseemedagloweringbullock. MrSkelly,Bobbysaid.ButMrWilliamSkellydidnotholdouthishand. Bobby,saidMrSkelly.Thethirdmanwatchedthemclosely. AreMrsChaineandChristineathome,MrSkelly? I’mnottoosure,Bobby.Butthey’llnotbewantingtoseeyounekkidlikethat,boy.
* * *
WithpermissionofPanMacmillanAustraliaPtyLtd;©KimScott
2018LITERATUREEXAM 18
SECTION B–continued
Novels
6. Christina Stead, The Man Who Loved Children
Use two or more of the set passages as the basis for a discussion of The Man Who Loved Children.
1.
Louieknewshewastheuglyduckling.Butwhenaswanshewouldnever come sailingback into their villagepond; shewouldbe somewhereaway,unheardof,on the lily-rimmedoceansoftheworld.Thiswashersecret.Butshehadmanyother intimationsofdestiny, like thenightrider thatnooneheardbutherself.Withhersecrets,shewasabletogooutfromnearlyeveryoneofthethousanddomesticclashesoftheyearand,asifgoingthroughadoorintoanotherworld,forgetaboutthementirely.Theywerethedoingsofbeingsofaweakersort. Hennywasannoyedtoseethetribebowbeforeherselfintheroleofvirago;shehadnotbeenbroughtuptothinkthatshewould succeedbecauseof ameandisposition.Shehadbeennurturedintheideathatshewastobeagreatlady,liketheold-timebeautiesoftheSouth.Sonowshehurriedtodressherselfandgetoutofahousewhereallherhopeshadbeenruinedandwhereshewasforcedbycircumstancestoslurandsmutherselftoherself.Shewasrestless,fullofspite,contempt,andunhappiness—whataspinelesscrowd,aBaltimoreslumbreed,thespawnofamanwhohadbegunbytakingthekicksandordersofsomerestaurantkeeperorfishhandlerattheageoftwelveandsohadneverlearnedindependence!Theworstwasthattheylookeduponherasanheiress,andshehadn’tanickelinherpurseandwasforcedtogointodebttokeepthebreedalive.ShehadnocarshecoulduseandwasforcedonaSunday(Funday!)torattledowntowninastreetcar,hungryandwithout a clean blouse. She supposed she could haveforcedsomemoneyoutofhim,butshehadn’tthepatienceortheinteresttocarryonhervictory.Shewassunkforlife.OldDavidCollyerwouldnevertakeherback,andwhatothermanseriouslywantedawomanwithfivechildreneveniftheCollyerestatewasfreeofdebt?Shedidnotcaretwotickswhethershewonvictoriesoversuchcowardsornot:theyhadwonthefinalvictoryoverher.
* * *
2.
Itwas a beautiful summer Sam hoped still that “truthcrushedtoearthwouldriseagain”(hemeanthiscasewouldsucceed).Hefoundathousandtheoriestojustifyhischangingthechildren’sfoodfrombuttertomargarine,andfrommeat,to beans, spaghetti, andfish.He superintended the cookinghimself, reproaching his Little-Womanwith her clumsyattemptsatcookingandhimself instructingherbecausehermotherwouldnot.Heknewanoblewoman,itappeared,intheConservationDepartment,whoputoutpamphletsoncooking,andSamwasalwayschattingabouther recipesandalwaystryingthemout.Heimportedgallonsofoil,ofallkinds,himselfmakingexperimentsinthekitchen,peanutoil,cornoil,fishoil,andeverykindofoil,whichfilledthewoodenhousewitharoof-liftingstenchandmadeSamverygayindeed.HeragedagainstHenny’sodors,butforhimself,inhisownuniverse,concocted suchpowerful,world-conqueringodors as couldbesmelledacrossSpaCreekandupanddowntheforeshores.Waitingforhiscasetobedecided,hewasabletoforgettheworldandbehappy. “What a pity,” he said a thousand times, grinning at hischildren,“thattheLawforcesyoutogotoschool.Childrenwithafatherlikeyouhaveneednoschool.SeewhatIwoulddo!Youwouldlearneverythingbyprojects:youwouldlearntobuildhouses,plaster,repair—youalldoknowthatnow—youwouldbebricklayers,carpenters;thewomenfolkwouldbe good cooks, seamstresses;wewould get the best,mostmodernmachines, have every household process done bymodernmachinery,andwewouldhavenoneofthearchaic,anachronistic,dirt,filth,anduntidinesswhichHennystrewsaboutbecauseshecomesfromthestupidoldworld.Baltimore,mynativeheath,usedtobefamousintheworld,forcommerce,yes,evenforbanking(thoughyouknowwhatIthinkoftheGreedy,theMoney-Powerful)—BrownBrothershadagreatreputationasfarawayaswickedoldLondon,thatcapitalofevil.But there is a secondary strain in dirtyoldBaltimore,andthatisashamefulloveofvice.Notonlydidallthesesilk-skirted‘greatladies’(astheylikedtocallthemselves,thoughtheyweresillylittlechits)breedslavesandsellthemdowntohorrorandhell,buttheywerethemselvesbredformarriagetowealthymenfromabroadandfromhometoo,Iamsorrytosay.Baltimorelovesotherthingsmuchworse,arealunderworldof vice,which is, strange to say (youkidswill understandthis later), considered the upperworld, society—awickedconventionwhichhasimposeditselfonasillyworld,fullofdrinking,cardplaying,andracing.Baltimorehasbeauties,butwhatcorruptiondoestheuglyoldgirlhideunderherparasoltoo?Butletusleavethis.BaltimoreissweetbecausesheisbetweenthegreatpotholeofNatureandthewonderfulBlueRidge.Thatsavesher.” Thechildrenlistenedtoeverywordhesaid,havingbeentrained tohimfrom thecradle.OnlyLouie,whohadmuchto think about (nothing to dowith Sam at home),would
CourtesyofMelbourneUniversityPublishing;©ChristinaStead(Estate)
19 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
6. Christina Stead, The Man Who Loved Children
always seep away from the group, linger deceptively for amomentroundthedoor,andafewsecondslaterwouldbeseenshiningonthebrinkoftheslope,orwouldhavecompletelydisappeared,andbemooningandhummingonthebeach.
* * *
3.
“Allright!Allright!YourememberwhenyouusedtotakemetoseetheLincolnMemorial,walkingalongtheReflectingPoolfromyourofficeonSaturdays.Ilearnedfromhim,notfromyou.Youusedtosayyourheartalwaysbeatwhenyouweregoingtowardsit;myheartusedtobeat,butyoualwaysthoughtaboutyourself.WhenIwasatHarpersFerry,IonlythoughtaboutJohnBrown.IalwaysthoughtIsraelBakenwasjustlikehim—mygrandfather.NotaPollit,thankgoodness,notoneofyou.” “Thatmeanoldvicioussuperstitiousman!”Samejaculated.“Yes,youarelikehim,Iamsorrytosay.Yourmotherhadnoneofthat.” “Whatdoyouknowaboutmymother?Shewasawoman.Ifoundaletterfromherintheoldredwoodbox.Someonewhodiedsentitbacktoherwhentheyknewtheyweredying.Itwasjustafteryouweremarried.Shesaid,‘Samuelisaveryyoungman. I amvery sickor Iwouldnot bewriting suchfoolishthings,Iamsure.Buthedoesnotunderstandwomenorchildren.Heissuchagoodyoungman,heistoogoodtounderstandpeopleatall.’” Samsaiddreamily,“Yes,Iwasaverygoodyoungman.Ineverallowedabreathofscandaloroffoolishsmalltalktobespokeninmypresence;andyourmotherunderstoodme.Shewasreadytosacrificeeverythingforme.PerhapsshelovedmeevenbetterthanIlovedher.ButIwasveryyoung:IdidnotseethingsasIseethemnow.Shelovedyoutoodearly,‘littleDucky,’asshecalledyou.Itisapityyouneverhadamother.” “Well,I’mmyownmother,”Louiesaid,withoutemotion.“AndIcanlookaftermyself.Iwantyoutoletmegoaway.Youcan’twantmetoliveinthehousewithyouafterwhatIwasgoingtodo.” “IfyouthinkIbelievethatcock-and-bullnonsenseyoumadeupoutofyoursoft,addledmelodramaticbean,”hesaidwithroughgoodhumor,“youhaveanotherthunkcoming,mygirl.Youaregoingtostayherewithmeuntilyougetoutofthisstupidadolescentcrisis,andthat’sallthereistoit.” “Thenyoudon’tbelieveme?” “Ofcoursenot.DoyouthinkI’mgoingtobetakeninbyasillygirl’sfancies?Youmustthinkmeanitwit,Looloo,afterall.”Helaughedandputhisarmonhershoulder,“Foolish,poorlittleLooloo.” Sheshookhimoffandsaidnothing.Samwentontalkingtohergently,chidingly,lovingly.Whentheyreachedhome,shemadehimanothercupofcoffeeandwentupstairs.Outoftheoldredwoodboxshetookanold-fashionedbagmadeofgrassandraffia,andembroideredinbeadsbyhermother,atonetime.IntothissheputafewclothesandadollarbillthatoneofthevisitorshadgivenherafterHenny’sdeath.Shehardlysleptatall,butwhensheheardSambeginhiswhistlingearlythenextmorning,shegotupanddressedquicklyandquietly.
* * *
CourtesyofMelbourneUniversityPublishing;©ChristinaStead(Estate)
2018LITERATUREEXAM 20
SECTION B – continued
2.
DonFabrizio,stilllyingonhisback…WhatdidTancredimatter...orevenConcetta...?
GiuseppeTomasidiLampedusa,The Leopard, Vintage,2007
pp.74and75
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
Theraysofthewesteringsun…savouritsratheruncertaincalm.
GiuseppeTomasidiLampedusa,The Leopard, Vintage,2007
pp.3and4
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Novels
7. Giuseppe Tomasi di Lampedusa, The Leopard
Use two or more of the set passages as the basis for a discussion of The Leopard.
21 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Butdopleaseexcuseme…He’sthemanforyou.[...]”
GiuseppeTomasidiLampedusa,The Leopard, Vintage,2007
pp.139and140
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Novels
7. Giuseppe Tomasi di Lampedusa, The Leopard
2018LITERATUREEXAM 22
SECTION B – continued
Novels
8. Juan Gabriel Vásquez, The Sound of Things Falling
Use two or more of the set passages as the basis for a discussion of The Sound of Things Falling.
1.
IshoutedtoLaverde,butnotbecauseIalreadyknewwhatwasgoingtohappentohim,notbecauseIwantedtowarnhimofanything:atthatmomentmyonlyambitionwastocatchuptohim,askhimifhewasallright,perhapsoffermyhelp.ButLaverdedidn’thearme.Istartedtotakebiggersteps,avoidingpeoplewalkingalongthenarrowpavement,whichatthatpointisalmostknee-high,steppingdownontotheroadifnecessarytowalkfaster,andthinkingunthinkingly:And they were one single long shadow,orrathertoleratingthelinelikeajinglewecan’tgetoutofourhead.Atthecornerof4thAvenue,thedenseafternoontrafficprogressedslowlyinasinglelane,towardstheexitontoJiménez.Ifoundaspacetocrossthestreetinfrontofagreenbus,whoseheadlights,justturnedon,hadbroughttolifethedustofthestreet,thefumesfromanexhaustpipe,an incipient drizzle.That’swhat Iwas thinking about, therainI’dhavetoprotectmyselffrominalittlewhile,whenIcaughtuptoLaverde,orratherIgotsoclosetohimIcouldseehowtherainwasdarkeningtheshouldersofhisovercoat.‘Everything’sgoingtobeallright,’Isaid:astupidthingtosay,becauseIdidn’tknowwhateverythingwas,much lesswhetherornotitwasgoingtobeallright.Ricardolookedatmewithhisfacecontortedinpain.‘Elenawasthere,’hetoldme.‘Waswhere?’Iasked.‘Ontheplane.’heanswered.IthinkinabriefmomentofconfusionAurahadthenameElena,orIimaginedElenawithAura’sfaceandpregnantbody,andIthinkatthatmomentIexperiencedanewfeelingthatcouldn’thavebeenfear,notyet,butwasquitesimilartoit.ThenIsawthemotorbikedroppingdownonto the road like a buckinghorse,sawitacceleratetoapproachlikeatouristlookingforanaddress,andattheprecisemomentwhenIgrabbedLaverde’sarm,whenmyhandclutchedatthesleeveofhiscoatbyhisleftelbow,Isawthefacelessheadslookingatusandthepistolpointedtowardsusasnaturallyasametalprosthesis,andsawtwoshots,andheardtheexplosionsandfeltthesuddentremorintheair.Irememberhavingraisedmyarmtoprotectmyselfjustbeforefeelingthesuddenweightofmybody.Mylegsnolongerheldmeup.LaverdefelltothegroundandIfellwithhim, twobodiesfallingwithoutasound,andpeoplestartedto shout and a continuous buzzing appeared inmy ears.AmancameovertoLaverde’sbodytotrytolifthimup,andIrememberthesurpriseIfeltwhenanothercameovertohelpme.I’m fine,Isaidorrememberhavingsaid,there’s nothing wrong with me.
* * *
2.
AndnowElainewasholdingontoRicardo(herheadgluedtohischest,herhandsclenchedaroundhiselbows)everytimeagustofwindshookthecabinonitscableandthetouristsallgaspedatthesametime.Andoverthecourseoftheafternoon,suspendedintheairorsittinginthepewsofthechurch,wanderingincirclesaroundthegardensofthesanctuaryorseeingBogotáfromanaltitudeof3,000metres,Elainebegantolistentothestoryofanaerialexhibitioninayearasdistantas1938,sheheardtalkofpilotsandacrobaticsandofanaccidentandthehalfahundreddeadtheaccidentleft.Andwhenshewokeupthenextmorningapackagewaswaitingforhernexttoherrecentlyservedbreakfast.ElainetoreoffthewrappingpaperandfoundamagazineinSpanishwithaleatherbookmarkstuckbetweenthepages.Shestartedtothinkthebookmarkwasthegift,butthensheopenedthemagazineandsawthesurnameofherhostsandanotefromRicardo:So you’ll understand. Elainedevotedherselftounderstanding.SheaskedquestionsandRicardoansweredthem.Hisfather’sburntface,Ricardoexplainedoverthecourseofseveralconversations,thatmapofskindarkerandrougherandmorejaggedthanthedesertofVilladeLeyva,hadformedpartofthelandscapethatsurroundedhimhiswholelife;butnotevenasachild,whenoneaskseverythingandassumesnothing,didRicardoLaverdetakeaninterestinthecausesofwhathesaw,thedifferencebetweenhisfather’sfaceandeveryoneelse’s.Althoughitwasalsopossible(Laverdesaid)thathisfamilyhadn’tevengivenhimtimetofeelthatcuriosity,forthetaleoftheaccidentatSantaAnahadfloatedamongthemeversinceithappenedandneverevaporated,beingrepeatedinthemostdiversesituationsandthankstothewidestrangeofnarrators,andLaverderememberedversionsheardatChristmasnovenas,versionsfromFriday-afternoonteapartiesandothersonSundaysatthefootballstadium,versionsonthewaytobedintheeveningandothersonthewaytoschoolinthemornings.Theytalkedabouttheaccident,yes,andtheydidsoineverytoneofvoiceandwithallsortsofintentions,to demonstrate that planeswere dangerous, unpredictablethingslikerabiddogs(accordingtohisfather),orthatplaneswerelikeGreekgods,alwaysputtingpeopleintheirplaceandnevertoleratingmen’sarrogance(accordingtohisgrandfather).Andmanyyearslaterhe,RicardoLaverde,wouldtelloftheaccidentaswell,adorningandadulteratingituntilherealizedthat itwasn’t necessary.At school, for example, telling theoriginsofhisfather’sburntfacewasthebestwaytocapturehisclassmates’attention.‘I triedwithmygrandfather’swarexploits,’saidLaverde.‘ThenIrealizednoonewantstohearheroic stories,but everyone likes tobe toldabout someoneelse’smisery.’
* * *
©JuanGabrielVásquez,2012;MethuenDrama,animprintofBloomsburyPublishingPlc
23 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
8. Juan Gabriel Vásquez, The Sound of Things Falling
3.
Mayawaslookingatme,waiting,hadn’tforgottenherquestion. ‘No,’Isaid,‘Idon’t.Itmustbeverystrange,havingkids.Ican’timagineiteither.’ Idon’tknowwhyIdidthat.Maybebecauseitwastoolateto start talkingabout the family thatwaswaiting forme inBogotá;thosearethingsyoumentioninthefirstmomentsofafriendship,whenyouintroduceyourselfandhandovertwoorthreepiecesofinformationtogivetheillusionofintimacy.One introducesoneself: thewordmustcomefromthat,notpronouncingone’sownnameandhearingtheother’snameandshakinghands,notfromkissingacheekortwoorbowing,butfromthosefirstminutesinwhichcertaininsubstantialpiecesofinformationareexchanged,certainunimportantgeneralities,togive theother thesensation theyknowus, thatwe’renolongerstrangers.Wespeakofournationality;wespeakofourprofession,whatwedotomakealiving,becausethewaywemakeour living iseloquent, itdefinesus, structuresus;wetalkaboutourfamily.Wellanyway,thatmomentwasalreadylongpastwithMaya, and to start talking about thewomanI livedwithandourdaughter twodaysafterhavingarrivedatLasAcaciaswouldhaveraisedunnecessarysuspicionsorrequiredlongexplanationsorstupidjustifications,orsimplyseemedodd,andafterallitwouldn’tbewithoutconsequences:Mayawouldlosethetrustshe’dfeltuntilnow,orIwouldlosethegroundI’dgainedsofar,andshewouldstoptalkingandRicardoLaverde’spastwouldgobacktobeingthepast,wouldgobacktohidinginotherpeople’smemories.Icouldn’tallowthat. Orperhapstherewasanotherreason. Because keepingAura andLeticia out of LasAcacias,remote fromMayaFritts and her tale and her documents,distant thereforefromthetruthaboutRicardoLaverde,wastoprotecttheirpurity,orratheravoidtheircontamination,thecontaminationthatI’dsufferedoneafternoonin1996thecausesofwhichI’dbarelybeguntounderstandnow,theunsuspectedintensityofwhichwasjustnowbeginningtoemergelikeanobjectfallingfromthesky.Mycontaminatedlifewasminealone:myfamilywasstillsafe:safefromtheplagueofmycountry,fromitsafflictedrecenthistory:safefromwhathadhuntedmedownalongwithsomanyofmygeneration(andothers,too,yes,butmostofallmine,thegenerationthatwasbornwithplanes,with theflightsfullofbagsofmarijuana,thegenerationthatwasbornwiththeWaronDrugsandlaterexperiencedtheconsequences).ThisworldthathadcomebacktolifeinthewordsanddocumentsofMayaFrittscouldstaythere,Ithought,couldstaythereinLasAcacias,couldstayinLaDorada,couldstayintheMagdalenaValley,couldstayafour-hourdrive fromBogotá, far from theapartmentwheremywifeanddaughterwerewaitingforme,perhapswithsomeconcern,yes,perhapswithworriedexpressionsontheirfaces,butpure, uncontaminated, freeofourparticularColombianstory,andIwouldn’tbeagoodfatheroragoodhusbandifIbroughtthisstorytothem,orallowedthemtoenterthisstory[...].
* * *©JuanGabrielVásquez,2012;MethuenDrama,animprintofBloomsburyPublishingPlc
2018LITERATUREEXAM 24
SECTION B – continued
2.
Loveisafashionthesedays…Shelovedherhusband.
JeanetteWinterson,The Passion, Vintage,1996(firstpublished1987)
pp.95and96
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
Bonaparte,theCorsican…I’mtellingyoustories.Trustme.
JeanetteWinterson,The Passion, Vintage,1996(firstpublished1987)
pp.12and13
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Novels
9. Jeanette Winterson, The Passion
Use two or more of the set passages as the basis for a discussion of The Passion.
25 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Whenpassioncomeslateinlife…theobjectofyourloveunworthy?
JeanetteWinterson,The Passion, Vintage,1996(firstpublished1987)
pp.145–147
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Novels
9. Jeanette Winterson, The Passion
2018LITERATUREEXAM 26
SECTION B – continued
Plays
10. Aeschylus, Agamemnon
Use two or more of the set passages as the basis for a discussion of Agamemnon.
1.
agamemnon enters in his chariot, […]
andwhobetrayedthecity.
Aeschylus,‘Agamemnon’,inThe Oresteia, RobertFagles(trans.),PenguinClassics,1979
p.132
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
cassandra:Ai,thewedding,weddingofParis,[…]
thatlivewithinthishouse.
Aeschylus,‘Agamemnon’,inThe Oresteia, RobertFagles(trans.),PenguinClassics,1979
pp.149and150
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
27 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
10. Aeschylus, Agamemnon
3.
clytaemnestra: […] Hethoughtnomoreofitthankillingabeast,
[…]
chorus:[…]angelofwar,angelofagony,lightingmentodeath.
Aeschylus,‘Agamemnon’,inThe Oresteia, RobertFagles(trans.),PenguinClassics,1979
pp.162–164
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 28
SECTION B – continued
2.
helen:Youhaven’tknownhimfiveminutes.Hashereallyaskedyoutomarryhim?
jo:Yes.helen:Well,thankGodforthedivorcecourts!Isupposejust
becauseI’mgettingmarriedyouthinkyoushould.jo:Haveyougotthemonopoly?helen:You stupid little devil!What sort of awife doyou
thinkyou’dmake?You’reuseless.Ittakesyouallyourtimetolookafteryourself.Isupposeyouthinkyou’reinlove.Anybodycanfallinlove,doyouknowthat?Butwhatdoyouknowabouttherestofit?
jo:Askyourself.helen:Youknowwherethatringshouldbe?Intheashcanwith
everythingelse.Oh!Icouldkillher,Icouldreally.jo:Youdon’thalfknockmeabout.Ihopeyousufferforit.helen:I’vedonemyshareofsufferingifIneverdoanymore.
OhJo,you’reonlyakid.Whydon’tyou learn frommymistakes?Ittakeshalfyourlifetolearnfromyourown.
jo:Youleavemealone.CanIhavemyringback,please?helen:WhatathingtohappenjustwhenI’mgoingtoenjoy
myselfforachange.jo:Nobody’sstoppingyou.helen:Yes,andassoonasmyback’sturnedyou’llbeoffwith
thissailorboyandruinyourselfforgood.jo:I’malreadyruined.helen:Yes,it’sjustthesortofthingyou’ddo.Youmakeme
sick.jo:You’venoneedtoworry,Helen.He’sgoneaway.Hemay
bebackinsixmonths,butthereagain,hemay...helen:Look,you’reonlyyoung.Enjoyyourlife.Don’tget
trapped.Marriagecanbeahellforakid.jo:CanIhaveyourhankyback?helen:Wheredidyouputit?jo:Thisisyourfaulttoo.helen:Everything’smyfault.Showmeyourtongue.jo:Breathingyour’flubugsalloverme.helen:Yes,andyourneck’sredwhereIpulledthatstring.jo:Willyougetmeadrinkofwater,Helen?helen:No,haveadoseofthis[Offering whisky].It’lldoyou
moregood.ImightaswellhaveonemyselfwhileI’matit,mightn’tI?
jo:You’veemptiedmorebottlesdownyourthroatinthelastfewweeksthanIwouldhavethoughtpossible.Ityoudon’twatchit,you’llendupanolddown-and-outboozerknockingbackthemeths.
helen:It’llnevercometothat.Thedevillooksafterhisown,theysay.
jo:Hecertainlytakesgoodcareofyou.Youlookmarvellous,considering.
helen:Consideringwhat?jo:Thewearandtearonyoursoul.
* * *
1.
jo:Canyousmellthatriver?helen:Ican’tsmellathing!I’vegotsuchacold.jo:What’sthatbigplaceoverthere?helen:Theslaughterhouse.Whereallthecows,sheepandpigs
goinandallthebeef,porkandmuttoncomesout.jo:Iwonderwhatit’llbelikehereinthesummer.Ibetit’ll
smell.helen:Thiswholecitysmells.Eee,there’saterribledraught
inhere.Where’sitcomingfrom?Lookatthat!Whatadamnsillyplacetoputawindow.Thisplaceiscoldenough,isn’tit,withoutgivingsheltertothefourwinds.
jo:Helen,stopsniffing.Itsoundsawful.helen:Ican’thelpit.You’dsniffifyouhadacoldlikethis.
She’snotgotabitofconsiderationinher.It’sselfallthetime.jo:I’mgoingtounpackmybulbs.IwonderwhereIcanput
them.helen:Icouldtellyou.jo:They’resupposedtobeleftinacool,darkplace.helen:That’swhereweallendupsoonerorlater.Still,it’sno
useworrying,isit?jo:Ihopetheybloom.AlwaysbeforewhenI’vetriedtofixup
awindowboxnothin’severgrowninit.helen:Whydoyoubother?jo:It’snicetoseeafewflowers,isn’tit?helen:Wheredidyougetthosebulbs?jo:ThePark.Thegardenerhadjustplantedabouttwohundred.
Ididn’tthinkhe’dmisshalfadozen.helen:That’sthewaytodothings.Ifyouseesomethingyou
want,takeit.That’smydaughterforyou.Ifyouspenthalfasmuch timeonme as youdoon themfiddlingbits ofgreeneryI’dbeadamnsightbetteroff.Goandseeifthatkettle’sboiling.
jo:Seeyourself.I’vegottofindsomewhereformybulbs.helen: See yourself!Do everything yourself.That’swhat
happens.Youbring’emupandtheyturnroundandtalktoyoulikethat.IwouldneverhavedaredtalktomymotherlikethatwhenIwasherage.She’dhaveknockedmeintothemiddleofnextweek.Oh!myhead.WheneverIwalk,youknowhowitis!Whatajourney!Ineverrealizedthiscitywassobig.Havewegotanyaspirinsleft,Jo?
jo:No.Idreamtaboutyoulastnight,Helen.helen:You’regoingtohaveashockingjourneytoschooleach
day,aren’tyou?Itmustbemilesandmiles.jo:Notformuchlonger.helen:Why,areyoustillsetonleavingschoolatChristmas?jo:Yes.helen:Whatareyougoingtodo?jo:GetoutofyoursightassoonasIcangetabitofmoney
inmypocket.helen:Verywise too.But how are you going to get your
moneyinthefirstplace?Afterall,you’renotveryfondofwork,areyou?
jo:No.Itakeafteryou.
* * *
Plays
11. Shelagh Delaney, A Taste of Honey
Use two or more of the set passages as the basis for a discussion of A Taste of Honey.
©ShelaghDelaney,2008;MethuenDrama,animprintofBloomsburyPublishingPlc
29 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
jo:What’sintheoven,Geoffrey?geof:Youwhat?jo:What’scooking?geof:Acake.jo:Mm,you’rewonderful,aren’tyou?geof:Prettygood.jo:Iknow,youmakeeverythingwork.Thestovegoes,now
weeat.You’vereformedme,someofthetimeatanyrate.[geoffrey shifts the sofa. There is old rubbish and dirt under it.]
geof:Oh,Jo!jo:Iwonderedwherethathadgotto.geof:Nowyouknow.It’sdisgusting,itreallyis.jo:OhGeof,thebulbsIbroughtwithme!geof:Haven’tyoushiftedthesofasincethen?jo:Theynevergrew.geof:No,I’mnotsurprised.jo:They’redead.Itmakesyouthink,doesn’tit?geof:Whatdoes?jo:Youknow,somepeopleliketotakeoutaninsurancepolicy,
don’tthey?geof:I’mabityoungforyoutotakeoutoneonme.jo:No.Youknow,theyliketopraytotheAlmightyjustincase
heturnsouttoexistwhentheysnuffit.geof [brushing under the sofa]:Well,Ineverthinkaboutit.
Youcome,yougo,it’ssimple.jo:It’snot,it’schaotic—abitoflove,abitoflustandthere
youare.Wedon’taskforlife,wehaveitthrustuponus.geof:What’s frightened you?Have you been reading the
newspapers?jo:No,Ineverdo.Holdmyhand,Geof.geof:Doyoumind?Halfwaythroughthis?jo:Holdmyhand.
[He does.]geof:Hey,Jo.Comeon,sillything,it’sallright.Comeonthere.jo:You’vegotnicehands,hard.YouknowIusedtotryand
holdmymother’shands,butshealwaysusedtopullthemawayfromme.Sosillyreally.Shehadsomuchloveforeveryoneelse,butnoneforme.
geof:Ifyoudon’twatchit,you’llturnoutexactlylikeher.jo:I’mnotlikeheratall.geof:Insomewaysyouarealready,youknow.
[She pushes his hand away.]CanIgonow?
jo:Yes.geof:Thankyouverymuch![He is pushing the couch back
into position.]jo:“Andhetookuphisbedandwalked.”Youcanstayhere
ifyoutellmewhatyoudo.Doyouremember,Geoffrey?I used to think youwere such an interesting, immoralcharacterbeforeIknewyou.Ithoughtyouwerelikethat ...foronething.
[geoffrey chases her with the mop all through this speech.]
Plays
11. Shelagh Delaney, A Taste of Honey
You’rejustlikeanoldwomanreally.Youjustunfoldyourbed,kissmegoodnightandsingmetosleep.Hey,what’sthematter?Don’tyoulikelivingherewithme?
geof:Ithasitslightermoments,butonthewholeit’saprettytryingprospect.
* * *
©ShelaghDelaney,2008;MethuenDrama,animprintofBloomsburyPublishingPlc
2018LITERATUREEXAM 30
SECTION B – continued
2.
berenger [rushing to the stairs]:Porter,porter[…]
[Noises.The bathroom door is on the point of yielding.]
curtain
EugèneIonesco,‘Rhinoceros’,DerekProuse(trans.),inRhinoceros, The Chairs, The Lesson,
PenguinModernClassics,2000
pp.82and83
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
berenger: Whatareyoudrinking?
[…]
jean [taking the mirror and putting it back in his pocket]: […]cirrhosis,myfriend.
EugèneIonesco,‘Rhinoceros’,DerekProuse(trans.),inRhinoceros, The Chairs, The Lesson,
PenguinModernClassics,2000
pp.10–12
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Plays
12. Eugène Ionesco, Rhinoceros
Use two or more of the set passages as the basis for a discussion of Rhinoceros.
31 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
berenger: Idon’tunderstandyou[…]
daisy [to berenger, who turns his back on her. He looks at himself closely in the mirror]: […][She goes out, and is seen slowly descending the stairs.]
EugèneIonesco,‘Rhinoceros’,DerekProuse(trans.),inRhinoceros, The Chairs, The Lesson,
PenguinModernClassics,2000
pp.120and121
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Plays
12. Eugène Ionesco, Rhinoceros
2018LITERATUREEXAM 32
SECTION B – continued
1.
Serge, as if alone.[…]
Marc […]it’sfilledmewithsomeindefinableunease.
YasminaReza,Art,ChristopherHampton(trans.), FaberandFaber,1996
pp.3and4
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Yvan I’msorry,Serge[…]
Yvan […]Stopwantingtocontroleverything.
YasminaReza,Art,ChristopherHampton(trans.), FaberandFaber,1996
pp.34and35
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Plays
13. Yasmina Reza, Art
Use two or more of the set passages as the basis for a discussion of Art.
33 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Serge Thisisveryalarming.[…]
Marc […] goesoffandbuysawhitepainting.
Silence.
YasminaReza,Art,ChristopherHampton(trans.), FaberandFaber,1996
pp.52and53
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Plays
13. Yasmina Reza, Art
2018LITERATUREEXAM 34
SECTION B – continued
Plays
14. William Shakespeare, Coriolanus
Use two or more of the set passages as the basis for a discussion of Coriolanus.
1.
Enter a company of mutinous Citizens, with staves, clubs, and other weapons.
first citizen Beforeweproceedanyfurther,hearmespeak.all Speak,speak.first citizen You are all resolved rather to die than to
famish?all Resolved,resolved.first citizen First,youknowCaiusMartiusischiefenemy
tothepeople.all Weknow’t,weknow’t.first citizen Letuskillhim,andwe’llhavecornatourown
price.Is’taverdict?all Nomoretalkingon’t!Letitbedone!Away,away!second citizen Oneword,goodcitizens.first citizen Weareaccountedpoorcitizens,thepatricians
good.Whatauthoritysurfeitsonwouldrelieveus.Iftheywouldyieldusbutthesuperfluitywhileitwerewholesome,wemightguesstheyrelievedushumanely,buttheythinkwearetoodear.Theleannessthatafflictsus,theobjectofourmisery,isasaninventorytoparticularizetheirabundance;oursufferanceisagaintothem.Letusrevengethiswithourpikeserewebecomerakes;forthegodsknowIspeakthisinhungerforbread,notinthirstforrevenge.
second citizen WouldyouproceedespeciallyagainstCaiusMartius?
all Againsthimfirst.He’saverydogtothecommonalty.second citizen Consider youwhat services he has done
forhiscountry?first citizen Verywell,andcouldbecontenttogivehim
goodreportfor’t,butthathepayshimselfwithbeingproud.second citizen Nay,butspeaknotmaliciously.first citizen Isayuntoyou,whathehathdonefamously,
hedidittothatend.Though soft-consciencedmencanbecontenttosayitwasforhiscountry,hedidittopleasehismother and to be partly proud,whichhe is, even to thealtitudeofhisvirtue.
second citizen What he cannot help in his nature, youaccountaviceinhim.Youmustinnowaysayheiscovetous.
first citizen If I must not, I need not be barren ofaccusations.Hehathfaults,withsurplus,totireinrepetition.
Shouts within.Whatshoutsarethese?Theothersideo’th’cityisrisen.Whystaywepratinghere?Toth’Capitol!
all Come,come!first citizen Soft,whocomeshere?
Enter Menenius Agrippa.second citizen WorthyMeneniusAgrippa,one thathath
alwayslovedthepeople.first citizen He’sonehonestenough!Wouldall therest
wereso!
* * *
2.
coriolanusItisapurposedthing,andgrowsbyplot,Tocurbthewillofthenobility.Suffer’t,andlivewithsuchascannotruleNoreverwillberuled.
brutus Call’tnotaplot.Thepeoplecryyoumockedthem,andoflate,Whencornwasgiventhemgratis,yourepined,Scandaledthesuppliantsforthepeople,calledthemTime-pleasers,flatterers,foestonobleness.
coriolanusWhy,thiswasknownbefore.
brutus Nottothemall.coriolanus
Haveyouinformedthemsithence?brutus How!Iinformthem!coriolanus
Youareliketodosuchbusiness.brutus Notunlike,
Eachway,tobetteryours.coriolanus
WhythenshouldIbeconsul?Byyondclouds,Letmedeservesoillasyou,andmakemeYourfellowtribune.
sicinius YoushowtoomuchofthatForwhichthepeoplestir.IfyouwillpassTowhereyouarebound,youmustinquireyourway,Whichyouareoutof,withagentlerspirit,Orneverbesonobleasaconsul,Noryokewithhimfortribune.
menenius Let’sbecalm.cominius
Thepeopleareabused,seton.ThispalteringBecomesnotRome,norhasCoriolanusDeservedthissodishonoredrub,laidfalselyI’th’plainwayofhismerit.
coriolanus Tellmeofcorn!Thiswasmyspeech,andIwillspeak’tagain–
meneniusNotnow,notnow.
first senator Notinthisheat,sir,now.coriolanus
Now,asIlive,Iwill.Mynoblerfriends,Icravetheirpardons.Forthemutable,rank-scentedmeiny,LetthemregardmeasIdonotflatter,Andthereinbeholdthemselves.Isayagain,Insoothingthemwenourish’gainstourSenateThecockleofrebellion,insolence,sedition,Whichweourselveshaveplowedfor,sowed,andscatteredByminglingthemwithus,thehonorednumber,Wholacknotvirtue,no,norpower,butthatWhichtheyhavegiventobeggars.
* * *
35 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
14. William Shakespeare, Coriolanus
3.
volumnia Nay,gonotfromusthus.IfitweresothatourrequestdidtendTosavetheRomans,therebytodestroyTheVolsceswhomyouserve,youmightcondemnusAspoisonousofyourhonor.No,oursuitIsthatyoureconcilethemwhiletheVolscesMaysay“Thismercywehaveshowed,”theRomans,“Thiswereceived,”andeachineithersideGivetheall-hailtotheeandcry,“BeblestFormakingupthispeace!”Thouknow’st,greatson,Theendofwar’suncertain,butthiscertain,That,ifthouconquerRome,thebenefitWhichthoushalttherebyreapissuchanameWhoserepetitionwillbedoggedwithcurses,Whosechroniclethuswrit:“Themanwasnoble,Butwithhislastattempthewipeditout,Destroyedhiscountry,andhisnameremainsToth’ensuingageabhorred.”Speaktome,son.Thouhastaffectedthefinestrainsofhonor,Toimitatethegracesofthegods;Totearwiththunderthewidecheekso’th’air,AndyettochangethysulphurwithaboltThatshouldbutriveanoak.Whydostnotspeak?Think’stthouithonorableforanoblemanStilltorememberwrongs?Daughter,speakyou.Hecaresnotforyourweeping.Speakthou,boy.PerhapsthychildishnesswillmovehimmoreThancanourreasons.There’snomanintheworldMoreboundto’smother,yethereheletsmeprateLikeonei’th’stocks.ThouhastneverinthylifeShowedthydearmotheranycourtesy,Whenshe,poorhen,fondofnosecondbrood,Hascluckedtheetothewars,andsafelyhomeLoadenwithhonor.Saymyrequest’sunjust,Andspurnmeback;butifitbenotso,Thouartnothonest,andthegodswillplaguetheeThatthourestrain’stfrommethedutywhichToamother’spartbelongs.Heturnsaway.Down,ladies!Letusshamehimwithourknees.TohissurnameCoriolanus’longsmoreprideThanpitytoourprayers.Down!Anend!Thisisthelast.So,wewillhometoRome,Anddieamongourneighbors.Nay,behold’s!Thisboy,thatcannottellwhathewouldhaveButkneelsandholdsuphandsforfellowship,DoesreasonourpetitionwithmorestrengthThanthouhasttodeny’t.Come,letusgo.ThisfellowhadaVolsciantohismother;HiswifeisinCorioles,andthischildLikehimbychance.Yetgiveusourdispatch.Iamhusheduntilourcitybeafire,AndthenI’llspeakalittle.
[Coriolanus] holds her by the hand, silent.
* * *
2018LITERATUREEXAM 36
SECTION B – continued
Plays
15. William Shakespeare, Twelfth Night
Use two or more of the set passages as the basis for a discussion of Twelfth Night.
1.
olivia Byminehonour,halfdrunk!Whatisheatthegate,cousin?
sir toby Agentleman.olivia Agentleman?Whatgentleman?sir toby ’Tisagentlemanhere–[Hiccuping] aplagueo’these
pickleherring!Hownow,sot?feste GoodSirToby–olivia Cousin,cousin,howhaveyoucomesoearlybythis
lethargy?sir toby Lechery!Idefylechery.There’soneatthegate.olivia Ay,marry,whatishe?sir toby Lethimbethedevilandhewill,Icarenot:give
mefaith,sayI.Well,it’sallone. Exitolivia What’sadrunkenmanlike,fool?feste Likeadrownedman,afool,andamadman:one
draughtaboveheatmakeshimafool,thesecondmadshim,andathirddrownshim.
olivia Go thou and seek the crowner, and let him sito’mycoz,forhe’sinthethirddegreeofdrink:he’sdrowned.Golookafterhim.
feste Heisbutmadyet,madonna,andthefoolshalllooktothemadman. [Exit]
Enter malvolio
malvolio Madam,yondyoungfellowswearshewillspeakwithyou.Itoldhimyouweresick;hetakesonhimtounderstandsomuchandthereforecomestospeakwithyou.Itoldhimyouwereasleep;heseemstohave a foreknowledgeof that too, and thereforecomestospeakwithyou.Whatistobesaidtohim,lady?He’sfortifiedagainstanydenial.
olivia Tellhimheshallnotspeakwithme.malvolio H’asbeentoldso;andhesayshe’llstandatyour
doorlikeasheriff’spost,andbethesupportertoabench,buthe’llspeakwithyou.
olivia Whatkindo’manishe?malvolio Why,ofmankind.olivia Whatmannerofman?malvolio Ofveryillmanner:he’llspeakwithyou,will
youorno.olivia Ofwhatpersonageandyearsishe?malvolio Notyetoldenoughforaman,noryoungenough
foraboy:asasquashisbefore’tisapeascod,oracodlingwhen’tisalmostanapple.’Tiswithhiminstandingwater,betweenboyandman.Heisverywell-favouredandhespeaksveryshrewishly.Onewouldthinkhismother’smilkwerescarceoutofhim.
olivia Lethimapproach.Callinmygentlewoman.malvolio Gentlewoman,myladycalls. Exit
Enter maria
olivia Givememyveil;comethrowito’ermyface. We’lloncemorehearOrsino’sembassy.
* * *
2.
Enter sebastian and feste
feste WillyoumakemebelievethatIamnotsentforyou?
sebastian Goto,goto,thouartafoolishfellow. Letmebeclearofthee.feste Well held out, i’faith!No, I do not know you,
nor I amnot sent toyoubymy lady tobidyoucomespeakwithher;noryournameisnotMasterCesario;northisisnotmynoseneither.Nothingthatissoisso.
sebastian Iprithee,ventthyfollysomewhereelse. Thouknow’stnotme.feste Ventmyfolly!Hehasheardthatwordofsomegreat
manandnowappliesittoafool.Ventmyfolly!Iamafraidthisgreatlubbertheworldwillproveacockney.Ipritheenow,ungirdthystrangenessandtellmewhatIshallventtomylady.ShallIventtoherthatthouartcoming?
sebastian Iprithee,foolishGreek,departfromme. There’smoneyforthee.Ifyoutarrylonger, Ishallgiveworsepayment.feste Bymytroth,thouhastanopenhand.Thesewise
menthatgivefoolsmoneygetthemselvesagoodreport–afterfourteenyears’purchase.
Enter [sir] andrew, [sir] toby, and fabian
sir andrew Now,sir,haveImetyouagain?There’sforyou![Strikes Sebastian]
sebastian Why,there’sforthee,andthere,andthere![Beats Sir Andrew]
Areallthepeoplemad?sir toby Hold,sir,orI’llthrowyourdaggero’erthehouse.feste ThiswillItellmyladystraight;Iwouldnotbein
someofyourcoatsfortwopence. [Exit]sir toby Comeon,sir,hold!sir andrew Nay,lethimalone.I’llgoanotherwaytowork
withhim;I’llhaveanactionofbatteryagainsthim,iftherebeanylawinIllyria.ThoughIstruckhimfirst,yetit’snomatterforthat.
sebastian Letgothyhand!sir toby Come,sir,Iwillnotletyougo.Come,myyoung
soldier,putupyouriron.Youarewellfleshed.Comeon!
sebastian Iwillbefreefromthee.[Draws his sword]What wouldstthounow? Ifthoudar’sttemptmefurther,drawthysword.sir toby What,what!Nay,then,Imusthaveanounceortwo
ofthismalapertbloodfromyou.[Draws]
Enter olivia
olivia Hold,Toby!OnthylifeIchargetheehold!
* * *
37 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
15. William Shakespeare, Twelfth Night
3.
Enter sebastian
sebastian Iamsorry,madam,Ihavehurtyourkinsman.Buthaditbeenthebrotherofmyblood,Imusthavedonenolesswithwitandsafety.Youthrowastrangeregarduponme,andbythatIdoperceiveithathoffendedyou.Pardonme,sweetone,evenforthevowsWemadeeachotherbutsolateago.
orsino Oneface,onevoice,onehabit,andtwopersons– Anaturalperspective,thatisandisnot!sebastian Antonio!OmydearAntonio, Howhavethehoursrackedandtorturedme, SinceIhavelostthee!antonio Sebastianareyou?sebastian Fear’stthouthat,Antonio?antonio Howhaveyoumadedivisionofyourself? Anapplecleftintwoisnotmoretwin Thanthesetwocreatures.WhichisSebastian?olivia Mostwonderful!sebastian DoIstandthere?Ineverhadabrother; Norcantherebethatdeityinmynature Ofhereandeverywhere.Ihadasister, Whomtheblindwavesandsurgeshavedevoured. Ofcharity,whatkinareyoutome? Whatcountryman?Whatname?Whatparentage?viola OfMessaline.Sebastianwasmyfather; SuchaSebastianwasmybrother,too; Sowenthesuitedtohiswat’rytomb. Ifspiritscanassumebothformandsuit, Youcometofrightus.sebastian AspiritIamindeed, Butaminthatdimensiongrosslyclad WhichfromthewombIdidparticipate. Wereyouawoman–astherestgoeseven– Ishouldmytearsletfalluponyourcheek, Andsay,‘Thricewelcome,drownèdViola.’viola Myfatherhadamoleuponhisbrow.sebastian Andsohadmine.viola AnddiedthatdaywhenViolafromherbirth Hadnumberedthirteenyears.sebastian Othatrecordislivelyinmysoul! Hefinishèdindeedhismortalact Thatdaythatmademysisterthirteenyears.viola Ifnothingletstomakeushappyboth, Butthismymasculineusurpedattire, Donotembraceme,tilleachcircumstance, Ofplace,time,fortune,docohereandjump ThatIamViola,whichtoconfirm I’llbringyoutoacaptaininthistown, Whereliemymaidenweeds;bywhosegentlehelp Iwaspreserved–toservethisnoblecount. Alltheoccurrenceofmyfortunesince Hathbeenbetweenthisladyandthislord.
sebastian [To Olivia] So comes it, lady, you have beenmistook.
Butnaturetoherbiasdrewinthat. Youwouldhavebeencontractedtoamaid; Norareyoutherein,bymylife,deceived; Youarebetrothedbothtoamaidandman.orsino Benotamazed,rightnobleishisblood. Ifthisbeso–asyettheglassseemstrue– Ishallhaveshareinthismosthappywreck. [To Viola]Boy,thouhastsaidtomeathousandtimes Thounevershouldstlovewomanliketome.viola AndallthosesayingswillIoverswear, Andallthoseswearingskeepastrueinsoul Asdoththatorbèdcontinentthefire Thatseversdayfromnight.orsino Givemethyhand. Andletmeseetheeinthywoman’sweeds.
* * *
2018LITERATUREEXAM 38
SECTION B – continued
Plays
16. Sam Shepard, Buried Child
Use two or more of the set passages as the basis for a discussion of Buried Child.
1.
halie’s voice: Dodge!(The men sit in silence. dodge lights a cigarette.tilden keeps husking corn, spits tobacco now and then in the spittoon.)Dodge!He’snotdrinkinganything,ishe?Youseetoitthathedoesn’tdrinkanything!You’vegottawatchout for him. It’s our responsibility.He can’tlookafterhimselfanymore,sowehavetodoit.Nobodyelsewilldo it.Wecan’t justsendhimawaysomewhere.Ifwehadlotsofmoneywecouldsendhimaway.Butwedon’t.Weneverwill.That’swhywehavetostayhealthy.Youandme.Nobody’sgoingtolookafterus.Bradleycan’tlookafterus.Bradleycanhardlylookafterhimself.IwasalwayshopingthatTildenwouldlookoutforBradleywhentheygotolder.AfterBradleylosthisleg.Tilden’stheoldest.Ialwaysthoughthe’dbetheonetotakeresponsibility.IhadnoideaintheworldthatTildenwouldbesomuchtrouble.Whowould’vedreamed?TildenwasanAll-American,don’tforget.Don’tforgetthat.Fullback.Orquarterback.Iforgotwhich.
tilden: (To himself.)Halfback.
dodge: Don’tmakeapeep.Justletherbabble.(tilden goes on husking.)
halie’s voice: ThenwhenTildenturnedouttobesomuchtrouble, I put allmy hopes onAnsel.Of courseAnselwasn’tashandsome,buthewassmart.Hewasthesmartestprobably.I thinkheprobablywas.Smarter thanBradley,that’sforsure.Didn’tgoandchophislegoffwithachainsaw.Smartenoughnot togoanddo that. I thinkhewassmarterthanTilden,too.EspeciallyafterTildengotinallthat trouble.Doesn’t take brains to go to jail.Anybodyknowsthat.’CoursethenwhenAnselpassed,thatleftusallalone.Sameasbeingalone.Nodifferent.Sameasifthey’dalldied.Hewasthesmartest.Hecould’veearnedlotsofmoney.Lotsandlotsofmoney.
dodge: Bookoos.(halie enters slowly from the top of the staircase as she continues talking. Just her feet are seen at first as she makes her way down the stairs a step at a time. She appears dressed completely in black, as though in mourning. Black handbag, hat with a veil, and pulling on elbow-length black gloves. She is about sixty-five with pure white hair. She remains absorbed in what she’s saying as she descends the stairs and doesn’t really notice the two men who continue sitting there as they were before she came down, smoking and husking.)
halie: Hewould’vetookcareofus,too.Hewould’veseentoitthatwewererepaid.Hewaslikethat.Hewasahero.Don’tforgetthat.Agenuinehero.Brave.Strong.Andveryintelligent.
tilden: Anselwasahero?
* * *
2.
halie: Roses.Themostincrediblethings,roses!Aren’ttheyincredible,Father?
dewis: Yes.Yestheyare.
halie: Theyalmost cover the stenchof sin in thishouse.Hanky-panky.Justmagnificent!Thesmell.We’llhavetoputsomeat thefootofAnsel’sstatue.Onthedayof theunveiling.(halie finds a silver flask of whiskey in dewis’s vest pocket. She pulls it out.dodge looks on eagerly. halie crosses to dodge, opens the flask, and takes a sip. To dodge.) Ansel’sgettingastatue,Dodge.Didyouknowthat?Notaplaquebutareallivestatue.Afullbronze.Tiptotoe.Abasketballinonehandandarifleintheother.
bradley: (His back to halie.) Heneverplayedbasketball!
halie: You better shut up, Bradley!You shut up aboutAnsel!Ansel playedbasketball better than anyone!Andyouknowit!HewasanAll-American!There’snoreasontotakethegloryawayfromothers.Especiallywhenone’sownshortcomingsaresoapparent.(halie turns away from bradley, crosses back towards dewis, sipping on the flask and smiling.To dewis.) Anselwasagreatbasketballplayer.Makenomistake.Oneofthegreatest.
dewis: IrememberAnsel.Handsomelad.Tallandstrapping.
halie: Of course!You remember.You rememberhowhecouldplay.(She turns toward shelly.)Ofcourse,nowadaystheyplayadifferentbrandofbasketball.Morevicious.Isn’tthatright,dear?
shelly: Idon’tknow.(halie crosses to shelly, sipping on the flask. She stops in front of shelly.)
halie: Much,muchmore vicious.They smash into eachother.Theyknockeachother’steethout.There’sbloodalloverthecourt.Savages.Barbaric,don’tyouthink?(halie takes the cup from shelly and pours whiskey into it.)Theydon’ttrainliketheyusedto.Notatall.Theyallowthemselvestorunamok.Drugsandwomen.Womenmostly.(halie hands the cup of whiskey back to shelly slowly.shelly takes it.)Mostlywomen.Girls.Sad,patheticlittleskinnygirls.(She crosses back to father dewis.) It’sjustareflectionofthetimes,don’tyouthink,Father?Anindicationofwherewestand?
dewis: Isupposeso,yes.I’vebeensobusywiththechoir—
* * *
©1977,1979,1997,2006bySamShepard;usedbypermissionofVintageBooks,animprintoftheKnopfDoubledayPublishingGroup,adivisionofPenguinRandomHouseLLC;allrightsreserved
39 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
16. Sam Shepard, Buried Child
3.
dodge: She thinks she’sgonnasuddenlybringeverythingoutintotheopenafteralltheseyears.
dewis: (To shelly.) Can’tyouseethatthesepeoplewanttobeleftinpeace?Don’tyouhaveanymercy?Theyhaven’tdoneanythingtoyou.
dodge: Shewantstoget tothebottomofit.(To shelly.) That’sit,isn’tit?You’dliketogetrightdowntobedrock?Lookthebeastrightdeadintheeye.Youwantmetotellya?Youwantmetotellyawhathappened?I’lltellya.Imightaswell.Iwouldn’tmindhearingithittheairafteralltheseyearsofsilence.
bradley: No!Don’t listen to him.Hedoesn’t rememberanything!
dodge: I remember thewhole thing fromstart tofinish. Irememberthedayhewasborn.(Pause.)
halie: Dodge,ifyoutellthisthing—ifyoutellthis,you’llbedeadtome.You’llbejustasgoodasdead.
dodge: Thatwon’tbesuchabigchange,Halie.Seethisgirl,thislittlegirlhere,shewantstoknow.Shewantstoknowsomethingmore.AndIgotthisfeelingthatitdoesn’tmakeabitadifference.I’dsoonertellittoastrangerthananybodyelse.I’dsoonertellittothefourwinds.
bradley: (To dodge.) Wemadeapact!Wemadeapactbetweenus!Youcan’tbreakthatnow!
dodge: Idon’trememberanypact.(Silence.)See,wewereawell-established family once.Well-established.All theboysweregrown.The farmwasproducingenoughmilktofillLakeMichigantwiceover.MeandHalieherewerepointedtowardwhatlookedlikethemiddlepartofourlife.Everythingwassettledwithus.Allwehadtodowasrideit out.ThenHalie got pregnant again.Out themiddle anowhere,shegotpregnant.Weweren’tplanningonhavin’anymoreboys.Wehadenoughboysalready.Infact,wehadn’tbeensleepin’inthesamebedforaboutsixyears.
halie: (Moving toward the stairs.)I’mnotlisteningtothis!Idon’thavetolistentothis!
dodge: (Stops halie.) Where are you going?!Upstairs?!You’lljustbelistenin’toitupstairs!Yougooutside,you’llbelistenin’toitoutside.Mightaswellstayhereandlistentoit.(halie stays by the stairs. Pause.)Haliehadthiskid,see.Thisbabyboy.Shehadit.Iletherhaveitonherown.AlltheotherboysIhadhadthebestdoctors,thebestnurses,everything.ThisoneIletherhavebyherself.Thisonehurtrealbad.Almostkilledher,butshehaditanyway.Itlived,see.Itlived.Itwantedtogrowupinthisfamily.Itwantedtobejustlikeus.Itwantedtobepartofus.ItwantedtopretendthatIwasitsfather.Shewantedmetobelieveinit.Evenwheneveryonearoundusknew.Everyone.Allourboysknew.Tildenknew.
halie: Youshutup!Bradley,makehimstop!
bradley: Ican’t.
* * *
©1977,1979,1997,2006bySamShepard;usedbypermissionofVintageBooks,animprintoftheKnopfDoubledayPublishingGroup,adivisionofPenguinRandomHouseLLC;allrightsreserved
2018LITERATUREEXAM 40
SECTION B – continued
Plays
17. Tennessee Williams, Cat on a Hot Tin Roof
Use two or more of the set passages as the basis for a discussion of Cat on a Hot Tin Roof.
1.
margaret: […]Wedranktogetherthatnight[…]
you–lack–goodbreeding...
TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009
pp.27–29
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
big daddy: HowwasMaggieinbed?
[…]
[Muted ring stops as someone answers phone in a soft, indistinct voice in hall.]
TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009
pp.66and67
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
41 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
17. Tennessee Williams, Cat on a Hot Tin Roof
3.
gooper: –Iguessthatdoctorhasgotalotonhismind[…]
mae: Yes,honey.[She rises and goes out through the hall door.]
TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009
pp.80and81
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 42
SECTION B – continued
Short stories
18. Maxine Beneba Clarke, Foreign Soil
Use two or more of the set passages as the basis for a discussion of Foreign Soil.
1.
Railton Road
Solomondeliveredhisclosingrhetoric…feltelectricwithit.
MaxineBenebaClarke,Foreign Soil, Hachette,2014
pp.108–110
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Gaps in the Hickory
AchesDelores’shearttothinkbout…Seemtomenow’sgoodatimeasany.’
MaxineBenebaClarke,Foreign Soil, Hachette,2014
pp.139–141
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
43 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Short stories
18. Maxine Beneba Clarke, Foreign Soil
3.
The Stilt Fishermen of Kathaluwa
Asankasawaliononce…andyouaretooold.’
MaxineBenebaClarke,Foreign Soil, Hachette,2014
pp.218and219
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 44
SECTION B – continued
1.
Hundstage
Mypossessivenessgratifiedhim…Iwasgiventooneofhiscloseassociates.
CeridwenDovey,Only the Animals, HamishHamiltonPenguin(Australia),2014
pp.76and77
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Short stories
19. Ceridwen Dovey, Only the Animals
Use two or more of the set passages as the basis for a discussion of Only the Animals.
45 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
2.
I, The Elephant, Wrote This
‘Suleimanwasborn…withthesoleofhisownslipper.[...]’
CeridwenDovey,Only the Animals, HamishHamiltonPenguin(Australia),2014
pp.157–159
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Short stories
19. Ceridwen Dovey, Only the Animals
3.
A Letter to Sylvia Plath
Iturnedtotheanimalpoems…andsometimesashumans?
CeridwenDovey,Only the Animals, HamishHamiltonPenguin(Australia),2014
pp.205and206
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 46
SECTION B – continued
Short stories
20. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories
Use two or more of the set passages as the basis for a discussion of The Diary of a Madman, The Government Inspector and Selected Stories.
1.
Ivan Fyodorovich Shponka and His Aunt
After his arrival IvanFyodorovich’s life…But did youknowthatallthatlandisreallyyours?[…]’
NikolayGogol,The Diary of a Madman, The Government Inspector and Selected Stories,
PenguinClassics,2005
pp.14and15
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
The Nose
In the streethemetMrsPodtochin…Iadmit,but theydohappen.
NikolayGogol,The Diary of a Madman, The Government Inspector and Selected Stories,
PenguinClassics,2005
pp.138and139
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
47 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Short stories
20. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories
3.
Diary of a Madman
April43rd,2000
Todayisadayofgreattriumph…justashedoeswhentheDirector’sthere.’
NikolayGogol,The Diary of a Madman, The Government Inspector and Selected Stories,
PenguinClassics,2005
pp.189and190
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 48
SECTION B – continued
2.
Byadolescence,Iwasmuchlessinterestedintheextendedfamily than I had been as a child, and sawmuch less ofthem,evenIshie.ButItookitforgrantedthattheylovedme,particularlyBarbarandIshieand,inthenextgeneration,BarbieandAlan,andwouldcometomyrescueifIeverneededit,astheyhaddoneformymother.EquallytakenforgrantedwasthefactthatIhadparentswhounderstoodandsympathisedwithmyintellectualconcerns. Ontheintellectualside,Iwasfullofcomplaintsaboutschoolandthelackofintellectualstimulation,completingoverlookingthefactthat,thankstomyparentsandtheculturalskillsIhadinheritedfromthem,Iwasconductingmyownself-educationinliterature,history,musicandpoliticswithgreatenergyandsuccess;infact,itwasprobablythemostexcitingperiodofmyreadingandintellectuallife,buildingupacapitalofknowledgeandideasthatIlivedoffforyearsafterwards. Theothergoodaspectofschoolthatgetsoverlookedinmyusualversionofmylifeissport.OnceIwenttouniversity,Istoppedplayinganysportand,havingbecomeanintellectualsnob,lookeddownonit,especiallyhockey;Isupposethatisthereasonitgotwrittenoutofmylife.ButI,likemyfather,alwaysenjoyedphysicalactivity,including,inmycase,teamgames.IplayedregulartennisdoublesatlunchtimeandafterschoolforyearsonmyfriendRobin’scourt—bygreatgoodluck,shelivednextdoortoLauriston,andweweregivenaspecialdispensationtoleavethegroundsduringschoolhours.Iplayedhockeywithevenmoreenthusiasm,becauseIwasbetteratitthantennis,andgotasmuchofakickoutoftheactualplayingasIdidoutofbeingontheschoolteam.Iwasontheswimmingteamasadiverforawhile,though,asIneverreallymasteredsomersaultsfromthehighboard,Iwasn’tverygood.Incontrasttomanyofmyschoolmates,Ievenenjoyedthecompulsoryphysicaltrainingclassesinthegym. Selectivememory of school retains ‘TheHate SheilaCampaign’inhighrelief,whilesomehowignoringthefactthatIwasnotwithoutfriendsatschool—threeorfourcloseonesinthefinalyears.Sometimes,whenI talktomyoldschoolfriends—stillmyfriends,whichunderlinesthefactthattheremustbeastoryI’mnottellingaboutmyadolescence—theyrecount things that I absolutely don’t remember, though intermsoftimeandplacetheysoundplausible.
* * *
1.
IhadneverreceivedatelegramfromDoffbefore,andcouldn’tconnectitwithhervoice:thetextseemedstilted,unreal,analtogetherimplausibledocument.Itread:
BRIANDIEDINSLEEPSYDNEYFRIDAYLETTERCOMING
Ihadheard of bad newshitting you like a blowbut nevertakenitliterally.That’showthislineoftexthitme.Theblowpropelledmeoutofthelodgeontothestreet,poundingatfullspeedback tomy room, gasping for air, inwardly shoutingthat itwasn’t, couldn’t be, true; the personwho lovedmemost,wholovedmeno matter what,couldn’tbedead.And,incounterpoint,theacceptance,thuddingalongwithmyfeet(he’s dead, he’s dead),andaninsistentquestion:Who is going to watch me now?Itwasnotjustthatthepersonwholovedmeunquestioningly, uncritically,was gone.Gone alsowasmy audience, the applauder from earliest childhood ofmyswimming,diving,tree-climbingandotherexploits(‘Daddy, are you watching? I’m going to jump!’),myviolin-playing,myexamsuccesses,andingeneralofmylife.Andwithoutanaudience,whatwasthepointoftheperformance? Ibecameotherthingsthanmyfather’sdaughter.Evenattheageoftwenty-fourin1965,Iwasnotonlythat.Indeed,ifyou’daskedmeaboutmyfatherinAugust1965,IwouldhavesaidgrandlythathewaspartofthatpastthatIhadirrevocablyrepudiatedwhenIleftAustraliaayearbefore.Infact,hewasthatpartofthepastthatIhadrepudiatedwithparticularvigour(SylviaPlath’sDaddy, you bastard, I’m throughstruckachord);Ihadevenstoppedwritingtohimsixmonthsbefore,topunishhim. So it goes between parents and children in unhappyfamilies.Likeitornot,forthefirsttwenty-fouryearsIwasmoremyfather’sdaughterthananythingelse.Whatfollows(Daddy, are you watching?)ismyfather’sdaughter’sstory.
BrianFitzpatrick,myfather,wasaradicalhistorianandcivillibertiesactivist,acontroversialandevennotoriousfigureinhisday,whichwasthe1940sand1950s.PeoplethoughthewasaCommunist,althoughactuallyhewasfartoomuchofacontrarianandiconoclasttoputupwithanyparty’sdiscipline,andthiswasaproblemintheColdWaryearsinwhichIgrewupinMelbourne.
* * *
Other literature
21. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood
Use two or more of the set passages as the basis for a discussion of My Father’s Daughter: Memories of an Australian Childhood.
WithpermissionofSheilaFitzpatrick
49 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Itwastimetoleave.Ihadgrownupinthepastcoupleofyearsandfeltstrongenough,moreorless,togo.Personally,IfeltIhadgotintoadeadend,andintellectuallytherewasnothingmuchtobelearnedaboutRussianhistorystayinginAustralia.ItooktheconventionalrouteofapplyingforaCommonwealthScholarship;my fatherwas sorry that, as awoman, IwasnoteligibleforaRhodes.CommonwealthScholarshipsonlytookyoutootherplacesintheCommonwealth,sotheUnitedStates—whichwouldhavebeenanobviousplacetogotostudymodernRussianhistory—wasout.But in any case, I can’timaginemyselfat this timechoosing togo to theUS.Thiswasnot just inherited left-winganti-Americanism, thoughIhadsomeofthat,butastatusquestion:thepeoplewithFirstsfromMelbourne normallywent toEngland, preferably toOxfordorCambridge. When theCommonwealth Scholarship came through, IwasofferedachoiceofStAntony’sCollege,Oxford,andtheLondonSchoolofEconomics. Imade thedecision togo toOxfordpartlyonintellectualgrounds:StAntony’swashometosomeofthescholarswhoseworkonSovietliterarypoliticsIhaddiscussedinmy Dissent piece.OxfordalsosoundedgoodtotheHistoryDepartmentandtomyfather.Andinaddition,IrememberthatIwasfrightenedbytheideaofLondon—sobig,sounknown,sounmanageable.HowwouldIfindmywayround,makefriends,findsomewheretolive?BettertogotoOxford,whichwassmaller,withresidentialcolleges(Women’sCollegewasagoodmemory, thoughbynow Iwouldhavedisdained a single-sex institution). So I choseStAntony’s,whichwasareasonabledecisionalthough,asit laterturnedout,abadone.
* * *
Other literature
21. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood
WithpermissionofSheilaFitzpatrick
2018LITERATUREEXAM 50
SECTION B – continued
Other literature
22. WEH Stanner, The Dreaming & Other Essays
Use two or more of the set passages as the basis for a discussion of The Dreaming & Other Essays.
1.
Durmugam: A Nangiomeri
Durmugamwasinitiated,ashesays,‘inthebush’,atatime(about 1913)when a relatively largenumberofAboriginescouldbeassembledandthefullpanoplyofceremonialformscouldbefollowed.Heemergedablackfellowforlife.Hedidnotsimplyreachmanhood:hewasgivenit,wasmadeamanbymenwhostoodforandtaughthimtostandforatraditionin part only revealed.Later, as I have narrated, he learnedthe full tradition,notofhisown,butofneighbourly tribes.Theconditioningwasnotonlythuscompleted,butvivified,bythenewpresenceofKunabibi,andbytherepetitionandintensificationofstimuliconsistentwiththoseofthetraumaofinitiation. Icametobelieve,intheend,thatthe‘hotbelly’andthecalmfaceofthismanwereconsistent.Theinitiationsteachboystobemen:toknowpainandignoreit;tofeelfearandmasterit;towant,buttobearthenecessarycosts;tograspthatoutsidesocietytheyarenothing(intheisolationofinitiationtheyarecalled ‘wilddogs’) and, inside it, themasters; that throughthemTheDreamingis‘followedup’;thatthetraditionis‘theroad’.The vital impulses are not crushed, but steered; thesocialconscienceforecloses thesefieldsonly to leavethoseopen;themaleegoisbeckonedtoadefineddominance.The‘hotbelly’isnotonlyallowable,butpremial,inanAboriginalman.Thecalmness,self-possession,anddignityarethemarksofawell-socialisedAboriginal;andtheAboriginalfollowingupTheDreamingisamanwhohashisfeetonsurety. Theemphasisonrules,forms,norms,andthelike,whichvexes somany anthropologistswho have not encounteredAboriginalculture,andseemstobeabiasoftheanalysts,isnotanerrorofscholars.Itisobjectivelythere.Itissimplyafunctionofaneed,ornecessarycondition,ofAboriginallife:anelaborationofmeansservingendswhichhavecanonisedvalues.Thelifeofthemature,initiatedmaleisthepracticeofthedoctrine. Durmugam’slife,inbroad,seemstometovindicatethisthesis.HecametogoodtermswithEuropeanism,butfounditsaltlessallhisdaysand,attheend,bittertoo.Ithadsomefewgoods—mundanethingswhichwereeithersubstitutesforAboriginalequivalents(axes,knives,houses)oradditionsinnowaycompetingwithanythingin‘theway’—whichhetookandused,sensibly.Butitneverattractedhimemotionally,itdidnotinteresthimintellectually,anditarousedonlyhismaterialdesires. Hemight perhaps be looked on as a study in benigndissociation.At the conscious level he had found awayoflivingwithduality,anoafishEuropeanismandanAboriginalidealism.
* * *
2.
The Dreaming
Theircreative‘drive’tomakesenseandorderoutofthingshasconcentratedonthesocialratherthanonthemetaphysicalorthematerialside.Consequently,therehasbeenanunusuallyrich development ofwhat the anthropologist calls ‘socialstructure’, the network of enduring relations recognisedbetweenpeople.Thisveryintricatesystemisanintellectualandsocialachievementofahighorder.Itisnot,likeaninstinctualresponse,aphenomenonof‘nature’;itisnot,likeartorritual,acomplextypeofbehaviourpassionatelyaddedto‘nature’,inkeepingwithmetaphysicalinsightbutwithoutrationalandintelligiblepurposeswhichcanbeclearlystated;ithastobecompared, I think,withsuchasecularachievementas,say,parliamentarygovernment in aEuropean society. It is trulypositiveknowledge. Onemayseewithinitthreethings:givencustoms,‘ofwhichthememoryofmanrunnethnottothecontrary’;avastbodyofcumulativeknowledgeabouttheeffectsofthesecustomsonasocietyingivencircumstances;andtheuseofthepowerofabstractreasontorationalisetheresultantrelationsintoasystem. But it is somethingmore; their social organisation hasbecomethe source of the dominant mode of Aboriginal thinking. Theblacksusesocialorganisationtogiveabonystructuretopartsoftheworld-outlooksuggestedbyintuitivespeculation.Imeanbythisthattheyhavetakensomeofitsfundamentalprinciplesandrelationsandhaveappliedthemtoverymuchwider sets of phenomena.This tends tohappen if any typeofsystemofthoughtbecomestrulydominant.Itis,broadly,whatEuropeansdidwith‘religion’and‘science’assystems:extendedtheirprinciplesandcategoriestofieldsfarbeyondthecontextsinwhichthesystemsgrew. Thus,theblackshavetakenthemale-femalesocialprincipleandhaveextendedittothenon-humanworld.InonetribeIhave studied, allwomen,without exception, call particularbirdsortreesbythesamekinshiptermswhichtheyapplytoactualrelatives.Inthesameway,allmenwithoutexceptionusecomparabletermsforadifferentsetoftreesorbirds.Fromthisresultswhattheanthropologistcalls‘sextotemism’.Theuseofotherprinciplesresultsinothertypesoftotemism.Anunderstandingofthissimplefactremovesmuchofthesocial,ifnottheritual,mysteryoftotemism.Again,theprincipleofrelatednessitself,relatednessbetweenknownpeoplebyknowndescentthroughknownmarriages,isextendedoverthewholefaceofhumansociety.Thesametermsofkinshipwhichareusedforcloseagnaticandaffinalrelativesareusedforeveryother person anAboriginalmeets in the course of his life:strangers,friends,enemies,andknownkinmayallbecalledby the same termsasoneuses forbrother, father,mother’ssister, father’smother’sbrother, and soon.This iswhatananthropologistmeanswhenhesays‘Aboriginalsociety isasocietyofkinship’.
* * *
©WEHStanner2010;reprintedwithpermissionofBlackInc.
51 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Other literature
22. WEH Stanner, The Dreaming & Other Essays
3.
Aboriginal Humour
MuchofwhatIshallsayamountsintheendtoaroundaboutstatementthattheAboriginesfoundamusingmuchthesamekindofthingswhichwefindamusing.Inotherwords,wearedealingwith humanuniversals. It is therefore, perhaps, aswellformetobeginbysayingthattherewereofcoursemajordifferences. Wefindacertainamusement—kindly,butstillamusement—inmuchAboriginalcustom.Thisisparochialismonourpart,butitiswellmatched:theAboriginefelt(andfeels)muchthesamewayaboutEuropeancustom.Muchofourschemeoflifedoesnot‘makesense’tohim.Aquickhandfulofthingsthatbafflehimaboutus,andforwhichhelaughsatusbehindourbacks,wouldincludeourinexplicablepassionforunremittingwork;thefactthatmenwillinglycarrythingswheretherearewomentocarrythem;thatweactuallythrashsmallchildren;thatwe accumulate, and hold in perpetuity, stupidly largeamountsofgoodsinsteadofdispersingthemtogainreputation;thatwehavenoapparentrulesofmarriage—Icouldgivemanysuch instances to showhow the two schemes of living lieacrosseachother.Itisremarkableinthecircumstances,thattheuniversalsofhumourshowthroughsostrongly.Sometimes,ofcourse,allcommunicationbreaksdown,andblackfellowandEuropean lookhelplesslyateachotheroveranuncrossablefrontier. SeveralyearsagoIwasmakingsomepsychologicaltestswhichrequiredtheAboriginestorepeat,daysandweekslater,astoryIhadtoldthem.Manyoftherecallsbrokedown,theblacksbeingovercomewithlaughteratthesamepoint.Thestorywasabouttwobrotherswhohadquarrelledoveragirl.Astheblacksbegantotellmehowonebrothersneakedupandkilled theotherwithonestrokeofastick, theirself-controlfailedandtheyhootedwithmirth.Somethingabouttheideaseemedtothemquiterisible.Isuspectitmayhavebeentheconnotationofromanticlove.Isawtoolatethatthiskindofthemesuffusedthestory.Sexualpassionofcoursetheyknowandunderstand,butthesensiblethingforAboriginalbrotherstodoiftheylikethesamegirlistoshare herfavours.Thecultofromanticlove,asfarastheycancomprehendit,possiblyseemstothemasortoflunacy,verymuchassomeofuslookontoothavulsion,thecuttingofbodilycicatrices,orwidow-strangling. Youwillappreciatethedifficulties.IhavetoruleoutofmydiscussionacertainamountofAboriginalhumoursinceitrestson—indeed,onlymakessensewithin—thecontextoftheirownoutlookandcustoms.
* * *
©WEHStanner2010;reprintedwithpermissionofBlackInc.
2018LITERATUREEXAM 52
SECTION B – continued
Other literature
23. Voltaire, Candide, or Optimism
Use two or more of the set passages as the basis for a discussion of Candide, or Optimism.
1.
Pangloss taughtmetaphysico-theologico-cosmo-nigology… themostbeautifulanddelightfulofpossiblecastles.
Voltaire,Candide, or Optimism, TheoCuffe(ed.andtrans.), PenguinClassics,2005
pp.4and5
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Candide said toCacambo… stillweeping as he enteredSurinam.
Voltaire,Candide, or Optimism, TheoCuffe(ed.andtrans.), PenguinClassics,2005
pp.51and52
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
53 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Other literature
23. Voltaire, Candide, or Optimism
3.
Panglossconcededthathehadsufferedhorribly…Atwhichthedervishslammedthedoorintheirfaces.
Voltaire,Candide, or Optimism, TheoCuffe(ed.andtrans.), PenguinClassics,2005
pp.91and92
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 54
SECTION B – continued
2.
Andsinceanovelhasthiscorrespondencetoreallife,itsvaluesaretosomeextentthoseofreallife.Butitisobviousthat thevaluesofwomendiffer veryoften from thevalueswhichhavebeenmadebytheothersex;naturally,thisisso.Yetitisthemasculinevaluesthatprevail.Speakingcrudely,footballandsportare‘important’;theworshipoffashion,thebuyingof clothes ‘trivial’.And these values are inevitablytransferredfromlifetofiction.Thisisanimportantbook,thecriticassumes,becauseitdealswithwar.Thisisaninsignificantbookbecauseitdealswiththefeelingsofwomeninadrawing-room.Asceneinabattlefieldismoreimportantthanasceneinashop–everywhereandmuchmoresubtlythedifferenceofvaluepersists.Thewholestructure,therefore,oftheearlynineteenth-centurynovelwasraised,ifonewasawoman,byamindwhichwasslightlypulledfromthestraight,andmadetoalteritsclearvisionindeferencetoexternalauthority.Onehasonlytoskimthoseoldforgottennovelsandlistentothetoneofvoiceinwhichtheyarewrittentodivinethatthewriterwasmeetingcriticism;shewassayingthisbywayofaggression,or that bywayof conciliation. Shewas admitting that shewas‘onlyawoman’,orprotestingthatshewas‘asgoodasaman’.Shemetthatcriticismashertemperamentdictated,withdocilityanddiffidence,orwithangerandemphasis.Itdoesnotmatterwhichitwas;shewasthinkingofsomethingotherthanthethingitself.Downcomesherbookuponourheads.Therewasaflawinthecentreofit.AndIthoughtofallthewomen’snovelsthatliescattered,likesmallpock-markedapplesinanorchard,aboutthesecond-handbookshopsofLondon.Itwastheflawinthecentrethathadrottedthem.Shehadalteredhervaluesindeferencetotheopinionofothers. Buthowimpossibleitmusthavebeenforthemnottobudgeeithertotherightortotheleft.Whatgenius,whatintegrityitmusthaverequiredinfaceofallthatcriticism,inthemidstofthatpurelypatriarchalsociety,toholdfasttothethingasthey saw itwithout shrinking.Only JaneAustendid it andEmilyBrontë.Itisanotherfeather,perhapsthefinest,intheircaps.Theywroteaswomenwrite,notasmenwrite.Ofallthethousandwomenwhowrotenovelsthen,theyaloneentirelyignoredtheperpetualadmonitionsoftheeternalpedagogue–writethis,thinkthat.
* * *
1.
ItwasawomanEdwardFitzgerald, I think, suggestedwhomade the ballads and the folk-songs, crooning them to herchildren,beguilingherspinningwiththem,or thelengthofthewinter’snight. Thismaybetrueoritmaybefalse–whocansay?–butwhatistrueinit,soitseemedtome,reviewingthestoryofShakespeare’ssisterasIhadmadeit,isthatanywomanbornwithagreatgiftinthesixteenthcenturywouldcertainlyhavegonecrazed,shotherself,orendedherdaysinsomelonelycottageoutsidethevillage,halfwitch,halfwizard,fearedandmockedat.For itneeds littleskill inpsychology tobesurethatahighlygiftedgirlwhohadtriedtousehergiftforpoetrywouldhavebeensothwartedandhinderedbyotherpeople,sotorturedandpulledasunderbyherowncontraryinstincts,that shemusthave lostherhealthandsanity toacertainty.Nogirl could havewalked toLondon and stood at a stagedoorandforcedherwayintothepresenceofactor-managerswithout doing herself a violence and suffering an anguishwhichmayhavebeenirrational–forchastitymaybeafetishinventedbycertainsocietiesforunknownreasons–butwerenonethelessinevitable.Chastityhadthen,ithasevennow,areligiousimportanceinawoman’slife,andhassowrappeditselfroundwithnervesandinstinctsthattocutitfreeandbringittothelightofdaydemandscourageoftherarest.TohavelivedafreelifeinLondoninthesixteenthcenturywouldhavemeantforawomanwhowaspoetandplaywrightanervousstressanddilemmawhichmightwellhavekilledher.Hadshesurvived,whatevershehadwrittenwouldhavebeentwistedanddeformed,issuingfromastrainedandmorbidimagination.Andundoubtedly,Ithought,lookingattheshelfwheretherearenoplaysbywomen,herworkwouldhavegoneunsigned.Thatrefugeshewouldhavesoughtcertainly.Itwastherelicofthesenseofchastitythatdictatedanonymitytowomenevenso lateas thenineteenthcentury.CurrerBell,GeorgeEliot,GeorgeSand,allthevictimsofinnerstrifeastheirwritingsprove, sought ineffectively to veil themselves byusing thenameofaman.
* * *
Other literature
24. Virginia Woolf, A Room of One’s Own
Use two or more of the set passages as the basis for a discussion of A Room of One’s Own.
55 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Intellectual freedomdepends uponmaterial things. Poetrydependsuponintellectualfreedom.Andwomenhavealwaysbeenpoor, not for twohundredyearsmerely, but from thebeginningoftime.WomenhavehadlessintellectualfreedomthanthesonsofAthenianslaves.Women,then,havenothadadog’schanceofwritingpoetry.ThatiswhyIhavelaidsomuchstressonmoneyandaroomofone’sown.However,thankstothetoilsofthoseobscurewomeninthepast,ofwhomIwishwe knewmore, thanks, curiously enough to twowars, theCrimeanwhichletFlorenceNightingaleoutofherdrawing-room,andtheEuropeanWarwhichopenedthedoorstotheaveragewomansomesixtyyearslater,theseevilsareinthewaytobebettered.Otherwiseyouwouldnotbeheretonight,andyourchanceofearningfivehundredpoundsayear,precariousasIamafraidthatitstillis,wouldbeminuteintheextreme. Still,youmayobject,whydoyouattachsomuchimportancetothiswritingofbooksbywomenwhen,accordingtoyou,itrequiressomucheffort,leadsperhapstothemurderofone’saunts,willmakeonealmostcertainlylateforluncheon,andmay bring one into very grave disputeswith certain verygood fellows?Mymotives, letmeadmit,arepartlyselfish.LikemostuneducatedEnglishwomen,Ilikereading–Ilikereadingbooksinthebulk.Latelymydiethasbecomeatriflemonotonous;historyistoomuchaboutwars;biographytoomuchaboutgreatmen;poetryhasshown,Ithink,atendencytosterility,andfiction–butIhavesufficientlyexposedmydisabilitiesasacriticofmodernfictionandwillsaynomoreaboutit.ThereforeIwouldaskyoutowriteallkindsofbooks,hesitatingatnosubjecthowevertrivialorhowevervast.Byhookorbycrook,Ihopethatyouwillpossessyourselvesofmoneyenoughtotravelandtoidle,tocontemplatethefutureorthepastoftheworld,todreamoverbooksandloiteratstreetcornersandletthelineofthoughtdipdeepintothestream.ForIambynomeansconfiningyoutofiction.Ifyouwouldpleaseme–andtherearethousandslikeme–youwouldwritebooksoftravelandadventure,andresearchandscholarship,andhistoryandbiography,andcriticismandphilosophyandscience.Bysodoingyouwillcertainlyprofittheartoffiction.Forbookshaveawayofinfluencingeachother.Fictionwillbemuchthebetterforstandingcheekbyjowlwithpoetryandphilosophy.Moreover,ifyouconsideranygreatfigureofthepast,likeSappho,liketheLadyMurasaki,likeEmilyBrontë,youwillfindthatsheisaninheritoraswellasanoriginator,andhas come into existencebecausewomenhave come tohavethehabitofwritingnaturally;sothatevenasapreludetopoetrysuchactivityonyourpartwouldbeinvaluable.
* * *
Other literature
24. Virginia Woolf, A Room of One’s Own
2018LITERATUREEXAM 56
SECTION B – continued
Poetry
25. Robert Browning, Selected Poems
Use two or more of the set passages as the basis for a discussion of the poetry of Robert Browning.
1.
My Last DuchessFerrara
That’smylastDuchesspaintedonthewall,Lookingasifshewerealive.IcallThatpieceawonder,now:FràPandolf’shandsWorkedbusilyaday,andthereshestands.Will’tpleaseyousitandlookather?Isaid‘FràPandolf’bydesign,forneverreadStrangerslikeyouthatpicturedcountenance,Thedepthandpassionofitsearnestglance,Buttomyselftheyturned(sincenoneputsbyThecurtainIhavedrawnforyou,butI)Andseemedastheywouldaskme,iftheydurst,Howsuchaglancecamethere;so,notthefirstAreyoutoturnandaskthus.Sir,’twasnotHerhusband’spresenceonly,calledthatspotOfjoyintotheDuchess’cheek:perhapsFràPandolfchancedtosay‘HermantlelapsOvermylady’swristtoomuch,’or‘PaintMustneverhopetoreproducethefaintHalf-flushthatdiesalongherthroat’:suchstuffWascourtesy,shethought,andcauseenoughForcallingupthatspotofjoy.ShehadAheart–howshallIsay?–toosoonmadeglad,Tooeasilyimpressed;shelikedwhate’erShelookedon,andherlookswenteverywhere.Sir,’twasallone!Myfavouratherbreast,ThedroppingofthedaylightintheWest,TheboughofcherriessomeofficiousfoolBrokeintheorchardforher,thewhitemuleSherodewithroundtheterrace–allandeachWoulddrawfromheraliketheapprovingspeech,Orblush,atleast.Shethankedmen,–good!butthankedSomehow–Iknownothow–asifsherankedMygiftofanine-hundred-years-oldnameWithanybody’sgift.Who’dstooptoblameThissortoftrifling?EvenhadyouskillInspeech–(whichIhavenot)–tomakeyourwillQuitecleartosuchanone,andsay,‘JustthisOrthatinyoudisgustsme;hereyoumiss,Orthereexceedthemark’–andifsheletHerselfbelessonedso,norplainlysetHerwitstoyours,forsooth,andmadeexcuse,–E’enthenwouldbesomestooping;andIchooseNevertostoop.Ohsir,shesmiled,nodoubt,Whene’erIpassedher;butwhopassedwithoutMuchthesamesmile?Thisgrew;Igavecommands;Thenallsmilesstoppedtogether.ThereshestandsAsifalive.Will’tpleaseyourise?We’llmeetThecompanybelow,then.Irepeat,TheCountyourmaster’sknownmunificenceIsamplewarrantthatnojustpretenceOfminefordowrywillbedisallowed;Thoughhisfairdaughter’sself,asIavowedAtstarting,ismyobject.Nay,we’llgoTogetherdown,sir.NoticeNeptune,though,Tamingasea-horse,thoughtararity,WhichClausofInnsbruckcastinbronzeforme!
* * *
2.
A Toccata of Galuppi’s
iOhGaluppi,Baldassaro,thisisverysadtofind!Icanhardlymisconceiveyou;itwouldprovemedeafandblind;ButalthoughItakeyourmeaning,’tiswithsuchaheavymind!
iiHereyoucomewithyouroldmusic,andhere’sallthegood
itbrings.What, they lived once thus atVenicewhere themerchants
werethekings,WhereSaintMark’sis,wheretheDogesusedtowedthesea
withrings?
iiiAy,becausethesea’sthestreetthere;and’tisarchedby...
whatyoucall...Shylock’sbridgewithhousesonit,wheretheykeptthe
carnival:IwasneveroutofEngland–it’sasifIsawitall.
ivDidyoungpeopletaketheirpleasurewhentheseawaswarm
inMay?Ballsandmasksbegunatmidnight,burningevertomidday,Whentheymadeupfreshadventuresforthemorrow,doyou
say?
vWasaladysuchalady,cheekssoroundandlipssored,–Onherneckthesmallfacebuoyant,likeabell-floweronitsbed,O’erthebreast’ssuperbabundancewhereamanmightbase
hishead?
viWell,anditwasgracefulofthem–they’dbreaktalkoffand
afford–She,tobitehermask’sblackvelvet–he,tofingeronhis
sword,WhileyousatandplayedToccatas,statelyattheclavichord?
viiWhat?Thoselesserthirdssoplaintive,sixthsdiminished,sigh
onsigh,Told themsomething?Thosesuspensions, thosesolutions–
‘Mustwedie?’Thesecommiseratingsevenths–‘Lifemightlast!wecanbut
try!’
viii‘Wereyouhappy?’–‘Yes.’–‘Andareyoustillashappy?’–
‘Yes.Andyou?’– ‘Then,morekisses?’ – ‘Did I stop them,when amillion
seemedsofew?’Hark,thedominant’spersistencetillitmustbeansweredto!
57 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
25. Robert Browning, Selected Poems
ixSo,anoctavestrucktheanswer.Oh,theypraisedyou,Idare
say!‘BraveGaluppi!thatwasmusic!goodalikeatgraveandgay!IcanalwaysleaveofftalkingwhenIhearamasterplay!’
xThentheyleftyoufortheirpleasure:tillinduetime,onebyone,Somewith lives that came to nothing, somewith deeds as
wellundone,Deathsteppedtacitlyandtookthemwheretheyneverseethe
sun.
xiButwhen I sit down to reason, think to takemy standnor
swerve,WhileItriumpho’erasecretwrungfromnature’sclosereserve,InyoucomewithyourcoldmusictillIcreepthroughevery
nerve.
xiiYes,you,likeaghostlycricket,creakingwhereahousewas
burned:‘Dustandashes,deadanddonewith,VenicespentwhatVenice
earned.The soul, doubtless, is immortal –where a soul can be
discerned.
xiii‘Yoursforinstance:youknowphysics,somethingofgeology,Mathematicsareyourpastime;soulsshallriseintheirdegree;Butterfliesmaydreadextinction,–you’llnotdie,itcannotbe!
xiv‘AsforVeniceandherpeople,merelyborntobloomanddrop,Hereonearth theybore theirfruitage,mirthandfollywere
thecrop:Whatofsoulwasleft,Iwonder,whenthekissinghadtostop?
xv‘Dustandashes!’Soyoucreakit,andIwantthehearttoscold.Deardeadwomen,withsuchhair,too–what’sbecomeofall
thegoldUsedtohangandbrushtheirbosoms?Ifeelchillyandgrown
old.
* * *
3.
Two in the Campagna
viSuchlifehere,throughsuchlengthsofhours, Suchmiraclesperformedinplay,Suchprimalnakedformsofflowers, SuchlettingnaturehaveherwayWhileheavenlooksfromitstowers!
viiHowsayyou?Letus,Omydove, Letusbeunashamedofsoul,Asearthliesbaretoheavenabove! HowisitunderourcontrolToloveornottolove?
viiiIwouldthatyouwerealltome, Youthatarejustsomuch,nomore.Noryoursnormine,norslavenorfree! Wheredoesthefaultlie?WhatthecoreO’thewound,sincewoundmustbe?
ixIwouldIcouldadoptyourwill, Seewithyoureyes,andsetmyheartBeatingbyyours,anddrinkmyfill Atyoursoul’ssprings,–yourpartmypartInlife,forgoodandill.
xNo.Iyearnupward,touchyouclose, Thenstandaway.Ikissyourcheek,Catchyoursoul’swarmth,–Iplucktherose Andloveitmorethantonguecanspeak–Thenthegoodminutegoes.
xiAlreadyhowamIsofar Outofthatminute?MustIgoStilllikethethistle-ball,nobar, Onward,wheneverlightwindsblow,Fixedbynofriendlystar?
xiiJustwhenIseemedabouttolearn! Whereisthethreadnow?Offagain!Theoldtrick!OnlyIdiscern– Infinitepassion,andthepainOffiniteheartsthatyearn.
* * *
2018LITERATUREEXAM 58
SECTION B – continued
2.
Parsed into Colors
Diana Der-Hovanessian
Two Voices
Do you think of yourself as an Armenian? Or an American? Or hyphenated American?
—D.M.Thomas
InwhatlanguagedoIpray?
…
ItspeaksinArmenian.
TinaChang,NathalieHandalandRaviShankar(eds),Language for a New Century: Contemporary Poetry
from the Middle East, Asia, and Beyond, WWNorton&Company,2008
pp.61–63
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Poetry
26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
Use two or more of the set passages as the basis for a discussion of the poetry set from this text.
1.
In the Grasp of Childhood Fields
Ha Jin
Homework
Underhispencilalandisunfolding.
…
besiderattlingnukeslikeslingshots.
TinaChang,NathalieHandalandRaviShankar(eds),Language for a New Century: Contemporary Poetry
from the Middle East, Asia, and Beyond, WWNorton&Company,2008
pp.16and17
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
59 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
3.
Slips and Atmospherics
Michael Ondaatje
Proust in the Waters
Swimmingalongthebarofmoon
…
Of the moon bar
TinaChang,NathalieHandalandRaviShankar(eds),Language for a New Century: Contemporary Poetry
from the Middle East, Asia, and Beyond, WWNorton&Company,2008
p.187
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 60
SECTION B – continued
2.
The Tiger
Thetigerpacesupanddown
…
Thesplendiddangerofhisrage!
RosemaryDobson,Collected, UniversityofQueenslandPress,2012
p.87
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
Painter of Umbria
FrancescoCalvi,Umbrianbybirth
…
AndclimbedafurtherrungupJacob’sladder.
RosemaryDobson,Collected, UniversityofQueenslandPress,2012
pp.78and79
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Poetry
27. Rosemary Dobson, Collected
Use two or more of the set passages as the basis for a discussion of the poetry of Rosemary Dobson.
61 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
The Passionate Poet and the Moon
Hiscandle’ssteadyflameburnedon
…
BythatusurpedEndymion.
RosemaryDobson,Collected, UniversityofQueenslandPress,2012
p.123
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Poetry
27. Rosemary Dobson, Collected
2018LITERATUREEXAM 62
SECTION B – continued
2.
The Moon and the Yew Tree
Thisisthelightofthemind,coldandplanetary.
…
And themessageof theyewtree isblackness—blacknessandsilence.
SylviaPlath,Ariel, FaberModernClassics,2015
pp.40and41
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Poetry
28. Sylvia Plath, Ariel
Use two or more of the set passages as the basis for a discussion of the poetry of Sylvia Plath.
1.
The Applicant
First,areyouoursortofaperson?
…
Willyoumarryit,marryit,marryit.
SylviaPlath,Ariel, FaberModernClassics,2015
pp.6and7
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
63 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
28. Sylvia Plath, Ariel
3.
Balloons
SinceChristmastheyhavelivedwithus,
…
Shredinhislittlefist.
SylviaPlath,Ariel, FaberModernClassics,2015
pp.75and76
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 64
SECTION B – continued
Poetry
29. Chris Wallace-Crabbe, New and Selected Poems
Use two or more of the set passages as the basis for a discussion of the poetry of Chris Wallace-Crabbe.
1.
The Swing
Onaswingatmidnightintheblackpark.Betweenpoplars
…
Unsatisfied,uncertain,Iamswingingagaintonightinthepark.
ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013
p.61
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Timber
IVInboyhood,therewasfascinationwithmalleeroots,
…
hemlock,mulga,sandalwood,yew…
ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013
pp.151–155
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
65 2018LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
29. Chris Wallace-Crabbe, New and Selected Poems
3.
The Rescue Will Not Take Place
Whatdowelivefor?
…
givethemwhatGodwas,andcallitart.
ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013
pp.162and163
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2018LITERATUREEXAM 66
SECTION B – continued
Poetry
30. Samuel Wagan Watson, Smoke Encrypted Whispers
Use two or more of the set passages as the basis for a discussion of the poetry of Samuel Wagan Watson.
1.
for the wake and skeleton dance
thedreamtimeDostoyevskysmurmurof a recession in the spiritworldtheysay,thenightcreaturesarefeelingthepinchofgrowingdisbeliefandwesternrationalitythattheapparitionsofblackdingosstalkthecitynight,hungrytheirectoplasmonthesidewalkinacocktailofvomitandswillwaitingoutsidethedrinkingholesofthelivingpreyingonthedwindlingsoulsfencedinbyassimilation
thedreamtimeDostoyevskysponderasdarkridersintheskysignalamovementforthewakeandskeletondanceit’spaybacktimeforthebureaucratsinblackskinsandthefratricidetroopersbeforethemwithnoroomtomoveonadeadman’sbed
isitallworthholdingontothesememoriesamidsttheblood-drenchedsands?bettertoforget?
thedreamtimeDostoyevskysfeeltheearlywinterchilledfootstepswalkacrosstheirbacksinthedarkhours,thewhitemandidn’tbringalltheevilsomeofitwasherealreadygestatinglaughingintoxicateduntappedharassingthelivingwelcomingthetallshipleviathansoftwocenturiesagothatcrossedthelinedrawninthesandbytheSerpentspillingdarkhorsesfromtheirbowelsandsomethingcalledtheCovenant,infectingthedreamtimewiththeghostsofamillionlostentitiesmerelyfacesinthecrowdatthefestivalofthedead,thewakeisoverandtotheskeletondancethebonemensmileopenseasononchaostheoryandretirementeternalforthedreamtimeDostoyevsky
* * *
2.
we’re not truckin’ around
uponthediningtableoftheInvadertherewerethosewhothoughtthattheycouldsimplymimiccreationandploughthroughthislandinventivebutblindfolded
—where’d ya get ya license!
andthebitumenvineofwanderingimpetusdroverightthroughthebora-ringandknockedourphoneoffthehookforever
forcingustostandoutontheshoulderoftheroadlookingforalift,eventhoughweweren’treallylustingthat18-wheelerofalifestyledrivingintothenextmillennium
we’vebeentoousedtofeelingakinshipwiththediscardedandshreddedblackpiecesoftrucktireonthefringesofthebigroad
us‘damper-feet’mayjustpullupaseatontheshoulderwatchandobservehowyoulead-footsfendforyourselvesasthesurferstwistbeforethewhitesquallahead
theencroachingabsalombeforeusall anelectronichighway
* * *
©SamuelWaganWatson2004;reprintedwithpermissionofUQP
67 2018LITERATUREEXAM
END OF SECTION BTURN OVER
Poetry
30. Samuel Wagan Watson, Smoke Encrypted Whispers
3.
smoke signals
Irememberconstructioncraneslikeherdsoffrozenpraying-mantis,highonthesteamyBjelke-Petersenplateauaboveabrownsnake-coiledriver.Itwasfromthisview,attheageof4,thatIlearnttoreadthecolumnsofBrisbanecity.Andfromthisview,IcametorecognisethesegregationofSmoke.Black smokedarkenedtheblue-collarsuburbs,coveringtheworkersinburnt-rubbercologne.Blacksmokewassavedforindustrialaccidents,orwhenalower-incomefamilyhadtheirfibro-linedhouse smothered inwinterflames.Butwhite smoke,whitesmoke plumed from chez-nouveau,white-collar fireplaces.White smokebelonged toEuropeanengineswith a smoothchoke.White smoke stayedbehind the construction craneswhereIimaginedalifethatwouldneverdepreciate.Aplacewherechildrenweren’tscaredofthedark.BeyondthewhitesmokewaswhereIthoughtIwoulddiscovertheLucky Country
highrises dictate a crow punctuates the sky clouds await error
* * *
©SamuelWaganWatson2004;reprintedwithpermissionofUQP
2018LITERATUREEXAM 68
Assessment criteriaSectionAwillbeassessedagainstthefollowingcriteria:• developmentofaninformed,relevantandplausibleinterpretationofthetext• understandingandanalysisofthetext,demonstratedthroughtheuseoftextualevidence• analysisandevaluationoftheviewsandvaluesforegroundedinthetopicandunderlyingoneliterary
perspectiveofthetext,andawarenessofhowtheseviewsandvaluesrelatetothetext• expressive,fluentandcoherentuseoflanguageanddevelopmentofideas
SectionBwillbeassessedagainstthefollowingcriteria:• understandingofthetext,demonstratedinarelevantandplausibleinterpretation• abilitytowriteexpressivelyandcoherentlytopresentaninterpretation• understandingofhowviewsandvaluesmaybesuggestedinthetext• analysisofhowkeypassagesand/ormomentsinthetextcontributetoaninterpretation• analysisofthefeaturesofthetextandhowtheycontributetoaninterpretation• analysisandclosereadingoftextualdetailstosupportacoherentanddetailedinterpretationofthetext
END OF TASK BOOK